The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
LOATH TO DEPART [1]. English, Air (6/4 time). C Minor. Standard tuning (fiddle). AB. Kines
(1964) says this was the "Auld Lang Syne" of the Elizabethan period
and was mentioned in several works, including Beaumont and Fletcher's Wit at Several Weapons. It was set as a
round for four voices in Deuteromelia.
A Welsh tune called “Anodd Ymadael” (Loath to Depart) appears in Edward Jones’ (‘Bardd
y Brenen’) first volume of Welsh music The
Musical and Poetical Relics of the Welsh Bards (1784). Jones was harpist
laureate to King George IV. Kines (Songs
From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pp.
102‑103. Flying Fish FF70610, Robin Huw Bowen –
“Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp” (1996).
LOATH TO DEPART [2]. English, Air (6/4 time). F Major. Standard tuning. ABCD. A 'loath to depart'
was a common term for a song or a tune played when saying farewell to friends.
Chappell (Popular Music of the Olden
Times), vol. 1, 1859; pg. 102.
LOBELIA. English, Country Dance Tune
(2/2 time). G Dorian. Standard tuning. AB. Composed by Brian Jenkins. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 76.
LOBSTER, THE (An Gliomach). Irish, Reel. G Major. Standard. AB. Breathnach
named the tune himself, on the occasion of its printing in the early 1960’s in
LOBSTER POT, THE. Irish, Double Jig. A Minor. Standard. AB.
Source for notated version: “From F. Feane” [Stanford/Petrie]. Stanford/Petrie
(Complete Collection), 1905; No. 567,
pg. 143.
X:1
T:Lobster Pot, The
M:6/8
L:1/8
R:Jig
S:Stanford/Petrie (1905), No. 567
Z:AK/Fiddler’s Companion
K:Amin
z | EAB c2d | edc d2e | cAG
cBA BGE | A3 A2 || c | BAG EGG | EGG
EGG | BAG EDE |
GED D2c | BAG EGG | EGG ABc | cBA
BGE | A3 A2 ||
LOC-AILLINNE. AKA and see "Lough Allen."
LOCH A CHUMHAINN. Scottish, Slow Air (6/8 time). D Major. Standard tuning (fiddle). AABB.
The tune was composed by accordion player and pianist Hamish Johnston (b.
Glasgow, 1922), named for Loch a chumhainn (Loch Cuin), a sea loch at the north
end of the Island of Mull, where he retired to. Neil (The Scots Fiddle), 1991; No. 148, p. 190 (includes 2nd fiddle
harmony part).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:
L:1/8
M:C|
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
B,|EFGA ~B2 Ad|FDAD dDAF|EFGA ~B2 Ag|fdAF E/E/E E:|
|:f|gfef
gfeg|feda fdaf|1 gfef gfeg|fdAF E/E/E E:|2 gfeb gefd|AFdF E/E/E E||
X:1
T:
M:2/4
L:1/8
R:March
S:Morison –
Z:AK/Fiddler’s Companion
K:A
c>B ce | a>f f/e/z | f>e ce
| a>c c/B/z | c>B ce | a>f e/a/z | A>c e>c | c/B/z A2 ||
A>{A}A e>A | c>A e>A |
B>{B}B f>B | d>B f>B | A>{A}A e>A | c>A c>e |f>e
a>c | c/B/z A2 ||
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
f|g2dB G2BG|E2AG FDDf|g2dB G2BG|EAFD G2G:|g|efge fgab|
afge fddf|efge fgag|fefd g2Bd|efge dBgB|caBg AGFD|GABG EGce|dBcA G2G||
X:2
T:
M:C
L:1/8
R:Reel
S:Gow – 2nd Collection of Niel Gow’s Reels (1788)
Z:AK/Fiddler’s Companion
K:G
D|[G,2D2B2g2] dB ~G2 BG|~E2 AE FDDd|”tr”g2 dB ~G2 BG|EAFD G2G:||
d|(ef).g.e fgab|(gfg).e fddf|(ef)ge (fg)ag|”tr”fe)fd g2 Bd|
efge dBgB|ceBd .A(F”tr”ED)|GABG EGce|dBcA G2G||
***
Nigel Gatherer found the following passage in
an old book called The Fiddle in Scotland (n.d.) by Alexander G.
Murdoch, from an account by Peter Stewart, who accompanied Niel Gow during the
Burns visit:
***
Arriving at Dunkeld, [Burns]...put up at the
principal inn...[He] was
fortunate in making the acquaintance of Dr Stewart, an enthusiastic
amateur violin player. At the dinner table he quoted to his guests the
well-known local ditty-
. Dunkeld
it is a little toon,
. An' lies intil a howe;
. An' if ye want a fiddler loon,
. Spier ye for Niel Gow.
Burns expressed much delight at the proposal...a visit was at once
agreed to.
***
The greeting was a cordial one on both sides, and the meeting of Burns
and Gow - both geniuses of the first order in their respective lines -
was mutually worthy of each other. The magician of the bow gave them a
selection of north-country airs mostly of his own spirited composition.
The first tune was "
who long afterwards wrote for the same melody his touching lyric "Oh,
stay, sweet warbling woodlark, stay!"
At Burns's request, Niel next gave them his
pathetic "Lament for
Abercairney" and afterwards one of the best-known compositions in the
after which the whole party adjourned to the little old-fashioned inn
at Inver, where there was a famous deoch, or parting friendly drink.
***
An
unusual Scottish country dance called Loch Erichtside (from Roxburghshire and
X:1
T:
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
G/F/|E<
|| g | e/f/g c>g a/g/f/e/ g>e | a>ada b/a/g/f/ a>g | e/f/g c>g a/g/f/e/ g>c| G>ce>c d2 c>g |
e/f/g c>g a/g/f/e/ g>e | f>ad>a b/a/g/f/ a>g
| e/f/g d>e =c>de>d | c/B/A/G/ c>
X:2
T:
M:C
L:1/8
C:”Composed by Niel Gow & his 2nd Wife.”
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 7 (1788)
Z:AK/Fiddler’s Companion
K:C
G/F/|(EG)~G>A (c/B/c/d/) c2|”tr”A>GAc (d/c/d/e/) dD|(EG)G>A “tr”c>d ({c/d/}e>)d|”tr”c>A (G/A/c/).E/ “tr”D2 CG/F/|
EG~G>A (c/B/c/d/) c2|”tr”A>GAc (d/c/d/e/) dD|EG~G>A “tr”c>d ({c/d/}e>)d|”tr”c>A (G/A/c/).E/ “tr”D2C||
g/f/|eg c(e/f/) (g/f/).e/f/ ({e/f/}g2)|fa d(f/g/) (a/g/).f/.g/ ag/f/|eg c(e/f/) (g/f/).e/.f/ g>c|G>ce>c “tr”d2 c(g/f/)|
eg c(e/f/) (g/f/).e/.f/ gf/e/|fa d(f/g/) (a/g/).f/.g/ ag/f/|e>gd>e ~c>Gca|cGc>E “tr”D2 C||
X:1
T:
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 50
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
d2 BG d2 BG|(ef)ge dB G2|1 d2 BG d2
BG|edcB A2 (Bc):|2 efge dBGB|AGAB G2z2||
|:(eg)dB G2 GB|AGAB GABc|dgdB G2
(GB)|AGAB G2z2:|
X:1
T:
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
f|dA A/A/A A2AB|defe dBAe|dB B/B/B B2Ba|bagf egfe|dA A/A/A A2AB|
dfef dBAB|dB B/B/B B2Ba|bagf edBe||d2 db afdf|e/e/e ef edBe|d2 db afdf|
e/e/e
fd e/e/e ef|dfab afdf|e/e/e fd edBe|dA A/A/A A2AB|defd edBe||
LOCH GORM. Strathspey. Composed by Donald Riddle. BM-91,
Buddy MacMaster – “Glencoe Hall.”
LOCH KATRINE. Scottish, Strathspey. G Major.
Standard tuning (fiddle). ABC. Composed by Nathaniel Gow
(1763-1831). Loch Katrine gets its name from the Gaelic word for ‘Highland
robber’, cateran, and indeed, Loch Katerine was the birthplace of famed
outlaw Rob Roy MacGraggor. It was also the setting for Sir Walter Scott’s Lady
of the Lake (1810). It is located in the Trossachs district, east of Loch
Lomond, and straddles Perthshire and Stirlingshire. Gow (Sixth Collection of
Strathspey Reels), 1822; p. 13.
X:1
T:Loch Katrine
M:C
L:1/8
R:Strathspey
C:Nathaniel Gow (1763-1831)
B:Gow – Sixth Collection of
Strathspey Reels (1822)
Z:AK/Fiddler’s Companion
K:G
(d<G)G>d “tr”B2 Gd|BGGd B<B
gB|(d<G)G>d “tr”B2 Gg|{f}g2 dB A<A e2|dGGd “tr”B2 Gd|
B<GG>d B<B gB|dGGd “tr”B2
Gg|{f}g2 dB A<A e2||dB (b/a/g/f/) “tr”g2 {fg}dg|(e/f/g) dg B<B ge|
dB (b/a/g/f/) “tr”g2 {fg}dg|(e/f/g)
Bg A<A e2|dB (b/a/g/f/) “tr”g2 {fg} d>g|(e/f/g) dg B<B ge|dB b>g
afgd|
(e/fg) B>g A<A e2|dBBd
B<BdB|BGGd B<B gB|dGGd BGdB|e<eg>B A<A e2||d<Bg>B
dBBg|d<Bg>d B<Be2|
d<Bg>B dBBg|(e/f/g) Bg A<A
e2|d<Bg>B dBBg|d<Bg>d B<B e2|d<Bb>g a>fg>d|(e/f/g)
Bg A<A e2||
LOCH LEVEN (Loch Liobhan). Scottish, Slow Air (3/4 time). G Major.
Standard tuning (fiddle). AA. Martin (Ceol
na Fidhle), vol. 1, 1991; p. 11 (includes a harmony part).
LOCH LEVEN/LAVAN
CASTLE. AKA and see "The Gill Can," “Humours of Tuamgraney,”
"Miss Lyle's Reel,” “Shores of Lough Greaney,” "Silver Street Lasses," “Tomgraney Castle [1].” Scottish,
Canadian, Old‑Time; Reel, Hornpipe, Breakdown. USA, West Virginia.
Canada; Cape Breton, Prince Edward Island. A Dorian (Brody, Cranford/Holland,
Perlman, Spandaro): A Minor (Hunter, Kerr). Standard tuning (fiddle). AAB
(Cranford/Holland, Hunter, Kerr, Martin & Hughes): AABB' (Brody, Perlman,
Spandaro): AA'BB' (Spandaro). Lochleven Castle, surrounded by a loch, served as
the site of an exciting 16th century drama involving Mary, Queen of Scots, who
was imprisoned there for several months by Sir William Douglas, at the behest
of the Earl of Moray, Regent of Scotland. The Douglas family was divided in
their loyalty, however, and Sir William's younger brother George Douglas was a
supporter of Mary (and for this had been banned from the castle), and himself
had the support of many of the Scottish nobility. Mary had other sympathizers
among the local populace and even in the castle itself, notably a sixteen year
old boy named Willie Douglas who had become quite enamoured of the Queen and
became the hero of this story. Willie
was a bold, adventurous and resourceful lad who had charge of the castle's
boats. Word was brought to Mary by Sir
William's unsuspecting wife, who innocently returned a token, an earring, and
mentioned that her son George 'would ride to Glasgow the next evening;' this
was the signal that Mary's escape had been planned for the next evening. Willie had planned a celebration for that
day to include feasting and revelry, and even served Sir William at his table
(he had the cunning to have planned the banquet in the hall whose window faced
away from the loch and the escape route). He managed to slip the keys to the
castle away from Sir William while he was distracted and went straight to Mary,
who had evaded her chaperones and hid in an upstairs chamber. They stealthily made their way through the
castle and out the great doors of the castle (which Willie locked behind him
with Sir William's keys) to a boat waiting below and Mary and Willie were rowed
to shore, but not before Willie disabled the rest of the boats and threw the
castle keys into the loch's dark waters. Mary swiftly made her way to West
Middrie Castle in Fife and safety.
***
The reel has been popular in
***
Sources for notated versions: Fuzzy
Mountain String Band (Durham, North Carolina), who learned the tune from
Franklin George (W.Va.), and old‑time fiddler who also plays the Scottish
bagpipes [Brody]; Laurie Brownescombe (Spandaro); Joseph Doucette (b. 1910,
Deblois Road, West Prince County, Prince Edward Island) [Perlman]. Brody (Fiddler’s Fakebook), 1983; p. 172.
Cranford (Jerry Holland: The Second Collection), 2000; No. 41, p. 17.
Hunter (Fiddle Music of Scotland), 1988;
No. 327. Kaufman, 1977; p. 94. Kerr (Merry
Melodies), vol. 1; Set 17, No. 2, p. 11. Martin & Hughes (Ho-ro-gheallaidh), 1990; p. 20. Perlman
(The Fiddle Music of Prince Edward Island),
1996; p. 85. Spandaro (10 Cents a Dance),
1980; p. 49. Revonah
RS‑924, "The West Orrtanna String Band" (1976). Rounder 7008,
"Jerry Holland" (1976). Rounder 0035, Fuzzy Mountain String Band‑
"Summer Oaks and Porch" (1973). Takoma D‑1064, Norman Blake‑
"Directions." Ron Gonella – “Scottish Violin Music” (1966).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Loch Lavin Castle
M:C
L:1/8
KAdor
cB|AGAB AGEG|AGAB cBcd|efga gfed|1
B2G2G2:|2 c2A2A2||
|:e2|e2ag a2eg|agab a2gf|e2ga gfed|1
B2G2G2:|2 c2A2A2||
LOCH LEIN. See "The Red
Haired Man's Wife [2]."
LOCH LIOBHAN. AKA and see "Loch Leven/Lavan Castle."
LOCH LOMOND [1]. AKA - "The Bonny Bonny Banks
o' the Lomond," “Yellow is the Rose.” Scottish, Air. Apart from "Auld
Lang Syne" it is the most famous and recognized Scottish melody
("Oh!, Ye'll tak' the high road and I'll tak' the low road...").
Although there allusions to older origins for the song, it apparently was first
published in W. Christie's "Traditional Ballad Airs" (Edinburgh,
1881). Nevertheless, there are legends attached to the tune, one which has a
Jacobite (sometimes un-named, sometimes identified as Donald McDonnell of Clan
Keppoch) who, in 1746 and about to be executed for his role in the rising, said
to his sweetheart (who had come from Scotland to say good-bye to him):
"Ye'll take the high road, and I'll take the low road (i.e., the grave),
and I'll be in Scotland afore ye." Some versions of the tale have
McDonnell (or MacDonald) composing the song in Carlisle Castle, where he is
imprisoned awaiting execution for his Moira who is safe in the highlands. After
death, his spirit visits her a final time, and he makes love to her, though she
can tell he is gone. A variant of the legend has two imprisoned Jacobites
bidding farewell, one to be released to struggle home over the Highlands, one
to be executed whose spirit will take the ‘low road.’ Lady John Scott and her
husband are also supposed to have heard the piece sung by a boy in the street,
and that it was she who popularized it about 1845. Fuld (1971) finds phrases in
the tune similar to phrases in "The Bonniest Lass in A' the World"
(Thompson, Orpheus Caledonius, 1733)
and "Robin Cushie" (MacGibbon, A
Collection of Scots Tunes, 1742), but believes "Loch Lomond"
sufficiently different to be considered a distinct song. In America it was in
the repertory of Buffalo Valley, Pa., region dance fiddler Archie Miller.
***
By yon bonnie banks
And by yon bonnie braes,
Where the sun shines bright
On
Oh we twa ha'e pass'd
Sae mony blithesome days,
On the bonnie, bonnie banks
O' Loch Lomond.
Chorus:
Oh ye'll tak' the high road
And I'll tak' the low road,
An' I'll be in Sctoland before ye',
But wae is my heart until we meet again
On the Bonnie, bonnie banks
O' Loch Lomond.
***
I mind where we parted
In yon shady glen
On the steep, steep side
O' Ben Lomon'
Where in purple hue
The highland hills we view
And the morn shines out
***
An' weel may I weep
For yestreen in my sleep
We stood bride and bridegroom together,
But his face and his breath
Were as cold as the death,
And his heart's blood ran red in the heather.
***
The wee bird may sing
An' the wild flowers spring;
An' in sunshine the waters are sleepin'
But the broken heart
It sees nae second spring,
And the world does na ken
How we're greetin'
***
Chrysalis Records, Run
Rig (1988). The Corries - “Silver Collection.”
LOCH LOMOND [2]. Different than version #1.
Published c. 1806-1810 in A Favorite
Collection of Popular Country Dances (No. 14), published by Skillern &
Challoner (London).
LOCH LOMOND REEL, THE. Canadian, Reel. Canada, Cape Breton. B Flat Major.
Standard tuning (fiddle). Composed by Halifax, Nova Scotia, fiddler Elmer
Briand (originally from Isle Madame, Cape Breton, d. 1992). Cranford (Jerry Holland’s), 1995; No. 53, p. 16.
LOCH LONG. Scottish, Strathspey. A Major. Standard tuning (fiddle). AB. Kerr (Merry Melodies), vol. IV, No 25, p. 5.
X:1
T:Loch Long
B:Kerr's Merry Melodies Book 4
Z:Nigel Gatherer
R:Strathspey
M:4/4
L:1/8
K:A
E<ee>c B>c A2|E>AF>A E>AF>A|E<ee>c B>c AB|c>F
A/G/F/^E/ F3 =E|
E<ee>c B>c A2|E>AF>A E>AF>A|E<ee>c B>c AB|c>F
c/B/A/G/ A Ac||
e<aa>g f>ec>d|e>Ac>A e>Ac>A|e<aa>g
fe>c>e|d>B d/c/B/A/ G<BBe|
e<aa>g f>ec>d|e>Ac>A e>Ac>A|d>ef>g
a>ec>A|e>A c/B/A/G/ A Ac|]
LOCH MAREE. Scottish, March (3/4 time). A Major. Standard tuning.
AA’BB’. Composed by G.S. McLellan. Martin (Ceol na Fidhle), vol.
4, 1991; pg. 32.
LOCH MUICK. Scottish, Strathspey. F Sharp Minor. Standard tuning. AA'B. Composed by
Alexander Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 157, pg. 54.
LOCH NA GAR [1]. Scottish; Strathspey, Highland
Strathspey or Highland Schottishe. D Major. Standard tuning. AB. Similar to
"Bonaparte
Crossing the Rhine [1]," said Bayard in his 1944 volume. In his 1981
work he speculates that this and several other Scottish(??) tunes are
"interresebled," cognate with one another, or derivative or some
ancestral tune, referencing such tunes as "Pewter
Mug" (Ford), "The Tinware
Lass" (Coles), "Whistling Mike" (O'Neill), "The Ladies
Dressed in Their Garments So Green"
(Joyce), "Dusinberry March"
(Bayard), and perhaps "Scotland the Brave." Bayard (1981) also sees
his
X:1
T:Loch na Gar [1]
M:C
L:1/8
R:Stathspey
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(A>.F)
| D2 (D>.F) A2 A>B | d2 f>e ({e}d2)d>B | A>Bd>B (A<F)
F>D | ({F}E>)DE>F E2 (A>F) |
D2D>FA2A>B
| d2 f>e ({e}d2) d>B | A>Bd>B (A<F) F>D | ({F}E>)D E>F
D2 || A2 |
D2 (f>.e)
({e}d2) (d>.A) | B2 d>B (A<F) F>G | (A<F) ({F}E>)D (D<d)
d>B | (A<F) F>D ({F}E2) f>g |
a>g
(f/e/d/c/) ({e}d2) d>A | .B(g/f/ e/d/c/B/) A2 F>G | A2 ({c}B>)A
(A/B/d) {d}(a>g) | f2”tr”(e>.d) d2 ||
LOCH NA GARR [2]. Irish, Slow Air (3/4 time). D Minor
(Joyce): D Major/Mixolydian (O Cannainn). Standard. AAB (Joyce): AA’B (O
Canainn). "(Lord) Byron's '(Dark) Loch Na Garr' was often sung by the
people to the following slow Irish air, which may be compared with 'The Bunch
of Green Rushes That Grew at the Brim' (Moore's 'This Life is all
Chequered')" {P.W. Joyce}. These songs reference the Jacobite
insurrections in
T:Loch na Garr [2]
L:1/8
M:3/4
R:Air
S:Joyce – Old Irish Folk Music and Song (1909), No. 77
Z:AK/Fiddler’s Companion
N:”Slow”
K:Dmin
A>d|d2c2d2|B2
AGFD|c2d2A2|B2A2G2|F2G2A2|B2A2G2|A2F2D2|D4:|
d>e|f2e2f2|g4 f>g|a2f2d2|dc
A3A|f2e2f2|g2f2g2|a2f2d2|d4 fg|a2g2a2|
g4
fe|d2c2d2|de f2 AG|F2G2 A2|{A}d3 c A2|{F}GF D2D2|D4||
LOCH NA gCAOR. AKA and see “Loch na Gar.”
LOCH-NESS. AKA and see “Sandy is My
Darling.” Scottish, Reel or Highland. A Dorian (Kennedy): A Minor (Bremner,
Glen, Johnson): B Minor (Aird). Standard tuning. AABB. John Glen (1891) finds
the earliest appearance of this tune in print in Robert Bremner's 1757 collection. Aird (Selections),
vol. II, 1782; No. 39, pg. 15. Bremner (A Collection of Scots Reels), 1757; pg. 29. Glen (Glen
Collection of Scottish Music), vol. 1, 1891; pg. 24. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 44. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 105, pg. 26. Maggie’s Music MMCD222, Bonnie
Rideout – “Scottish Fire” (2000).
X:1
T:Loch
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:Amin
c|A/A/A a2 gede|d(GG)A GAcG|A/A/A a2
gede|cABG A/A/A A:|
|:B|A>Bcd e>dce|G/G/G GE
e(GG)c|A>Bcd egde|cABG A/A/A A:|
LOCH OF FORFAR, THE. AKA and see “Blair’s Favourite.” Scottish,
Strathspey or Reel. A Mixolydian. Standard tuning. AAB. Composed by William
Allen. According to Skinner, the melody is sometimes played as a reel. The
alternate title “Blair’s Favourite” is given by Skinner, perhaps a reference to
Blair Atholl. Glen (Glen Collection of
Scottish Music), vol. 2, 1895; pg. 6.
Skinner (Harp and Claymore),
1904; pg. 104 (“As played by the Queen’s Fiddler,” presumably Skinner himself).
X:1
T:Loch of Forfar, The
M:C
L:1/8
R:Strathspey
S:Glen Collection, vol. 2 (1895)
Z:AK/Fiddler’s Companion
K:A
B|A>E E/E/E C~EE>F|A>E
E/E/E c>dcB|A>E E/E/E C>EE>F| D/D/D D>E [B,2=G2][B,G]:|
B|A/A/A c>A e>Ac>A|A/A/A
c>A e2f2|eAcA a>ecA|E/E/E E>F =G2 G>B|
A/A/A c>A e>Ac>A|A/A/A
c>A e2 f2|ef/g/ a/g/f/e f/e/d/c/ d/c/B/A/|E<E E>F =G2G||
LOCH ORDIE. Scottish, Reel. G Minor. Standard. AAB. Composed by James MacIntosh of
Dunkeld. Shanachie Shan‑79017, John & Phil
Cunningham ‑ "Against the Storm" (1980).
X:1
T:Loch Ordie
C:James MacIntosh, Dunkeld
B:A Collection of Reels, Strathspeys, etc (1930)
Z:Nigel Gatherer
R:reel
M:4/4
L:1/8
K:Gm
D|DGG^F G2 Bc|d2 cB AFFA|DGG^F
GBdg|fdcA BGG:|]
d|g2 dg bgdg|f2 cf afcf|g2 dg
bgdg|fdcA dGGd|
g2 dg bgdg|f2 cf afcf|gbag fgdg|fdcA
BG G|]
LOCH RIACH. AKA and see “The Broch Dam.”
Scottish, March. Composed in 1926 by Aberdeenshire fiddler and composer J.
Murdoch Henderson (1902-1972), dedicated to Alexander Grant of Inverness.
Henderson (Flowers of Scottish Melody),
1935.
LOCH RUADHAINN. AKA and see "Loch Ruthven."
LOCH RUAN. Scottish, March (4/4 time). D Major. Standard tuning. AABB. Composed by
G. Macintyre. Martin (Ceol na Fidhle,
vol. 3), 1988; pg. 14.
LOCH RUTHVEN (Loch Ruadhainn). Scottish, Strathspey. C Minor. Standard tuning.
AAB. "Loch Ruthven, celebrated in this air, is as famous in Inverness‑shire,
for the sport it affords the angler, as Loch Erroch on the confines of
Perthshire" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 12, pg. 5. Stewart-Robertson
(The Athole Collection), 1884; pg.
266.
X:1
T:Loch Ruthven
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Cmin
g|e>c ~c2 G<cE<c|B>GF>B D<B, F>D|e>c c2 G<c GF/E/|D<G G>=B C2C:|
g|c>g e<g d<g c>G|dc/B/ f>B g>B d<f|c>g e<g d<g c>E|D<G G>=B, C2 C>g|
c>g
e<g d<g c>G|dc/B/ f>B g>B d<f|c/d/e/f/ g>e d>B
GF/E/|D<G G>=B, C2C||
LOCH TORRIDON. AKA and see “Battle of
Aughrim [1].” Scottish, Reel. A Minor. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 47.
LOCH TYNE SIDE. Scottish, Strathspey. D Dorian. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 140, pg.
85.
LOCH VACH. Scottish, Reel. F Major. Standard tuning. AAB. Composition credited to William Marshall (1748-1833) by Alexander McGlashan. McGlashan (A Collection of Reels), c. 1786; pg. 13.
X:1
T:Loch Vach
M:C|
L:1/8
R:Reel
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:F
CAFA cfcA|dfcA G/G/G G2|cAFA cbag|f<dc<A F/F/F F2:|
fgag fdcf|dfca g/g/g g2|fgag fdcf|d<fc>A F/F/F F2|fgag fdcf|
dfca
g/g/g g2|fgaf bgec|d<f c>A F/F/F F2||
LOCHABER GATHERING. Scottish, Cape Breton; March (2/4 time). A Major. Standard tuning.
AABBCCDD. Composed by Pipe Major George S. McLennan, the melody is popular at
piping competitions. Source for notated version: fiddler Jean-Ann Callender
(Aberdeen) [Martin]. Martin (Ceol na
Fidhle), vol. 2, 1988; pg. 34. Martin (Traditional
Scottish Fiddling), 2002; pg. 67. Shanachie 14001,
"The Early Recordings of Angus Chisholm."
X:1
T:Lochaber Gathering
M:C
L:1/8
R:Air
C:G.S. Maclennan
S:Arthur S. Robertson’s arrangement
(1983)
K:A
(e>d)|c2 (B<A)
{B}A>Bc<e|c}d>(ef>)(g a>)ef<a|c2 (B<A)|
A>(ce>)(c|f>)(e d>)(c B2) (e>d)
c2 (B<A)
{B}A>Bc<e|{c}d>(eg>)(g a>)ef<a|(c>A(A>c)
(c<e)d>(B|{d}c2) A2 A2:|
|:(3efg|a2 e>(f
e>)Ac<A|{g}a2 (c<) {g}f>e d<c|a2 e>(f
e>)Ac<e|{g}(f>e) (d>c) {B}(B (3efg)|
a2 e>(f
e)>Ac<A|{g}a>Ac<e {g}a2 e>d|c>A
A>c|(c<e)d>(B|{d}c2)A2A2:|
|:(e>d)|(c>A) A>c
(c<e)A>(c|d>A) A>d (d<f)A>(d|c>A) A>c
c<Ac<e|{g}(f>e(d>c) {B}(B2 e>d)|
(c>A)A>c (c<e)A>(c|d>A)A>d
(d<f)A>(d|c>A)A>c (c<e)d>(B|{d}c2)A2A2:|
|:(3efg|a>(Aa>e)
c<ec<A|d>(fd>B) c<ec<A|d>(fB>d)
(c<e)A>(c|f)>(ed>)(c B2) (3efg|
a>(Aa>e)
c<ec<A|d>(fd>B) c<ec<A|(c>A)A>c
(c<e)d>(B|{d}c2)A2A2:||
LOCHABER
NO MORE (Cha Till Mor Mo
Bhean). AKA and see "Lament for
Limerick," “Limerick’s
Lamentation,” "King
James' March to Ireland,” “Sarsfield’s
Lamentation." AKA – “Cumha Baird air son a Leannain” (The Bard’s
Lament for his Sweetheart). Scottish, Slow Air or Lament (3/4 time). A
Mixolydian (Boys of the Lough): G Mixloydian (Martin, O’Farrell): F Mixolydian
(Neil): A Dorian (Kerr). Standard tuning. One part (Neil): AAB (Martin): AABB
(Boys/Lough, Kerr, O’Farrell). "Lochaber No More" has been a favorite
tune of Scottish pipers who use it as a funeral march or lament, though its
origins may or may not have have been
Irish. Captain Francis O’Neill (1913) reports that the last of the ancient
Irish harpers at the Belfast Harp Festival of 1792 universally referred to one
Myles O’Reilly as the composer of original “Lochaber.” O’Reilly was born about
1636 in Killincarra, County Cavan. An air called “The Irish Tune,” an early
version of the melody, was printed in Thomas Duffet’s New Poems, Songs, Prologues, and Epilogues, etc, published in 1676
(a copy of which O’Neill states can be found in the British Museum). It
subsequently appeared in the Leyden
Manuscript written for lyra-viol c. 1692 under the title “King James March
to Ireland” and in the Atkinson
Manuscript (1694) as “King James March to Dublin” (Sanger & Kinnaird,
in their 1992 book Tree of Strings,
say that the denotation ‘march’ is likely a commemorative title as the piece is
in ¾ time in these publications, even though organized marching to a 4/4 or 6/8
beat was not part of Scottish military usage until after this period). As an
untitled piece it appears in the c. 1712 Skene
Fiddle Manuscript. Sanger & Kinnaird believe that the military event
the King James titles refer to is the expedition of James II from Kinsale to
Dublin in March, 1689, which ties the melody to the titles by which it is known
in Ireland, “Limerick’s Lament” and “Sarsfield’s Lamentation”; Limerick having
been laid siege to and captured in 1691 later in the conflict, and Sarsfield
having been the commander of the Irish forces in the city. Samuel Bayard (in his article “A
Miscellany of Tune Notes,” Studies in
Folklore, pg. 171) finds a Welsh set under the title “The Heiress of
Montgomery” in Edward Jones’s Cambro-British
Melodies (1820, pg. 15, the third volume of his Relicks), “in a version very close to the old form ‘King James’s
March to Ireland’, of 1692.” O’Neill prints the tune in his Waifs and Strays of Gaelic Melody
(1922), copied from the Caledonian Muse
(London, 1785).
***
Neil (1991) relates:
"It is on record that, in the old days, the playing of this nostalgic
Gaelic air to the Highland regiments on active service abroad had such a
profound adverse effect on the morale of the men, that eventually it had to be
banned." A pipe setting of the tune appears in the Boys of the Lough book. Another setting was used as a vehicle for
words by the Lowland Scots poet Allan Ramsay (b. 1696) entitled "Lochaber
No More" (“Farewell to Lochaber, Farewell to My Jean”), a song from the Tea Table Miscellany (1714) which
relates the feelings of a Highland soldier's leave-taking for active service
abroad and the sense he will not return. It is in this spirit that the tune is
sometimes heard at funerals, as, for
example, when it was movingly played at the 1927 funeral of the great Scots fiddler/composer
James Scott Skinner, by the noted bagpiper and composer G. S. MacLennan (who
was ill with cancer himself at the time, and who died later the same year).
***
Farewell to Lochaber, farewell to my Jean Where heartsome wi' her I ha'e many day days been For Lochaber no more, we'll maybe return We'll maybe return to Lochaber no more. These tears that I shed, they are a' for my dear, An' no' for the dangers attending on weir, Tho' bourne on rough seas to a far distant shore, May be return to Lochaber no more. |
|
***
Actually, the poem
appeared in Ramsey’s Tea Table Miscellany
of 1724, though the tune was not actually printed with the words until Thompson’s
Orpheus Caledonius in 1733. Sanger
& Kinnaird point out that variants of the melody as a song tune seem to
have been current in Scotland prior to 1724, “to an extent which makes it
unlikely that they were drived from an Irish tune imported only around 1700”
(1992, pg. 109). Poet Robert Burns used a one-strain variant for his ballad
“Lord Ronald, my son” which he said was “a favourite one in Ayrshire…evidently
the original of ‘Lochaber.’” “Locaber No More” was requested by Queen Victoria
during her 1842 visit to Taymouth Castle for a recital by one of the most
celebrated singers of Scots songs of the time, John Wilson. In the 1970's the
song became a hit after it was recorded by the British group The Proclaimers. Boys of the Lough, 1977; pg. 22. Kerr (Merry Melodies), vol. 3; No. 421, pg.
47. Martin (Ceol na Fidhle), vol. 2,
1988; pg. 21 (includes a harmony part). Martin (Taigh na Teud), 1990; pgs. 12-13. McGibbon (Scots Tunes, Book II), c. 1762; pg. 29. Neil (The Scots Fiddle), 1991; No. 166, pg. 215. O’Farrell (Pocket Companion, vol. II), c. 1806;
pgs. 59-60. O’Neill
(Waifs and Strays of Gaelic Melody),
1922. Tartan
Tapes CDTT1004, Alasdair Fraser – “Heat the Hoose” (1998). Transatlantic TRA
311, Boys of the Lough - "Lochaber No More."
X:1
T:Lochaber No More
T:Farewell to Lochaber, Farewell to My Jean
M:3/4
L:1/8
S:Caledonian Muse, London 1785
Z:Paul Kinder
R:Air
K:G
"Andante moderato"G>A | B2 B2 B3/2c/4d/4 | B3 A (3BAG|{^d}e2 A2 A3/2B/4c/4 |
{B}A4 G>A|!
B2 cB AG|D3 E GA|B2 AG A>B|G4:|!
G>A|B>c d2 e3/2f/4g/4|{e}d3 c B>A|G2 g2 g>a|g4 G>A|!
B>c d2 e2|d>e dc BA|G2 B2 d3/2e/4f/4|g4 d>e|!
=fe fa gf|e3 d B/4d/4g|ed cB AG|A4 G>A|!
Bc de A>G|D3 e dc|B2 A>G A>B|G4||!
X:2
T:Lochaber No More
B:Kerr's Merry Melodies Bk.3, p47
Z:Nigel Gatherer
M:3/4
L:1/8
K:G
GA|B2 B2 Bc|B2 A2 Bd|e2 A2 AB|B2 A2 GA|BdcBAG|E2 D2 GA|
B2 G2 GA|G4::GA|B2 B2 Bc|d2 cBAB|G2 g2 ga|a2 g2 GA|
B2 B2 Bc|d2 cBAB|G2 g2 ga|g4 de|=f2 f2 ed|e4 EG|
A2 A2 (3GAB|B2 A2 GA|BdcBAG|E2 D2 GA|B2 G2 GA|G4:|]
X:3
T:Lochaber
M:3/4
L:1/8
R:Air
S:McGibbon
– Scots Tunes, Book 2 (c. 1762)
Z:AK/Fiddler’s Companion
K:G
G>A |
B2B2B2 | ({c}B3 ABd | e2A2 A>B | ({B}A4) (GA) | B2 (cB)(AG) |
D3EGA |
B2G2G>A | G4 :: G2 | B>c d2d2 | d>edcBA | G2g2(ga) |
({a}g4G2) | B>cd2d2 | d>e(dc)”tr”(BA) | G2g2g>a | g4d2 | e3 geg |
D2e2g2 |
a2A2 A>B| ({B}A4) GA | B32 (cB)”tr”(AG) | D3EGA |
B2G2G>A | G4 :: G>A | B2B2(B/c/d) | ({c}B3 (d/c/ B/c/d) | e2A2A>B |
({B}A4)GA |
“tr”(B>A/2B/4) cBAG | FA (D{c/d/}e)dc | B2G2G>A | G4 :|
|: G2 | Bc d2d2
| (d/c/d/e/) dc”tr”(BA) | GGBd (g/f/g/)a/ | g4G2 | (B/A/B/c/) dGBd |
(gf/e/)
(dc)”tr”BA) | G2(3gab (3agf | ({f}g4)dg | e>d (eg)(eg) | d2e2(g>a/2b/4) |
a2A2A>B
| ({B}A4) GA | B(B/4c/4d/) (dc)(AG) | De d(e/f/) gc | B2(A<G) G>A |
G4 :: GA |
(B<G)(d<B)(g<d) | B>cB(AB)d | e2 (3gfe (3dcB | ({B}A4)(GA) |
B(c/d/
c/d/c/B/ A/B/A/G/) | (F/D/E/)F/ (G/A/B/c/) (d/c/B/A/) | B2 A<G G>A |
G4 :: G2 | (B/A/B/d/ d)d2d | (d/c/d/e/) (d/e/d/c/) (B/c/B/A/) | G2(3gab(3agf |
({f}g4G2 |
(B/A/B/c/)dd (d/c/d/)e/ | (d/g/f/e/ d/e/d/c/ B/c/B/A/) | G(A/B/ c/d/e/f/
g/f/g/f/) |
g3 bag |
e>d (e/g/f/g/) (e/g/f/g) | d2 e(g/a/ b/g/a/b/) | a2A2A>B | ({B}A4 (GA) |
(Bc/d/)
(cB)”tr”(AG) | D(E/F/ G/A/B/c/ d/c/B/A/) | B2 “tr”(AG) G>A | G4 :|
LOCHABER’S REEL. Scottish, Strathspey or Reel. G Minor. Standard tuning. AB (Howe): AABB (Kennedy). Howe (1000 Jigs and Reels), c. 1867; pg. 127 (strathspey setting). Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 107, pg. 26 (reel setting). Wilson (Companion to the Ballroom), 1815; pg. 72.
T:Lochaber’s Reel
M:4/4
L:1/8
R:Strathspey
S:Howe – 1000 Jigs and Reels (c.
1867)
Z:AK/Fiddler’s Companion
K:Gmin
A<d d>c d>cAF | D<GG<B D<GG<B | A<ddf d<cAF | B2 AG D<G G2 ||
d<gg<b
d<gg<b | d<ff<a d<ff<a | d<gg<b afdc | B2 AG D<G G2
||
LOCHAIL'S MARCH. English, March (6/8 time).
LOCHAN A' CHAIT. Scottish, Reel. E Dorian. Standard tuning. AA'B. Composed by the editor of the Athole Collection, James Stewart-Robertson. Stewart-Robertson (The Athole Collection), 1884; pg. 250.
X:1
T:Lochan a’ Chait
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
E|BEEF GAB^c|dBAG FDDF|1 BEEF GAB^c|dBAF BEE:|2 EBEF GEAF| dBAF BEE||
e|geeB e2 Be|defg afdf|geeB e2 Be|dBAF E/E/E E>B|geeB e2
Be|defg afdf| geaf bgaf|dBAF BEE||
LOCHANSIDE [1]. Scottish, Retreat March (3/4 time). D Major. Standard tuning. AABBCC.
Composed by Pipe Major Angus MacDonald. “The retreat march is not necessarily a
march time tune which would be marched to,” explains Stuart Eydmann; rather,
“as often as not it was played as part of the evening ritual in military camps
as day duties gave way to night ones. It was not linked to the military
manoeuvre of retreating in or from battle but was linked to the idea of refuge
and safety in the camp.” Martin (Ceol na
Fidhle), vol. 1, 1991; pg. 49.
LOCHANSIDE [2]. Scottish, Pipe March. Composed by John McClellan, D.C.M., a poet and
painter from
LOCHEIL HOUSE. Scottish. A mid-20th century composition by Angus Fitchett, listed as
an accompaniment to the dance Duke of Perth. Loch Eil is a sea loch, with the
mouth near
LOCHEND SIDE. Scottish, Reel. G Minor. Standard tuning. AB. Stewart-Robertson
(The Athole Collection), 1884; pg.
196.
X:1
T:Lochend Side
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
DGG^F G2GA|Bcdc BFFE|DGG^F G2 GA|BABc d2dc|Bbbd Bdfb|
FdcB AFFA|GBAc Bcdc|BGD^F G2GB||
Ggg^f g2ga|bfdg ^fgaf|dgga bga^f|dg/a/ b^f g2 gd|gbbd Bdgb|
FdcB
AFFA|GBAc Bcdc|BGD^F G2 GB||
LOCHGERY'S RANT. Scottish, Strathspey. G Major. Standard tuning. AABBCD. John Glen
(1891) finds the earliest appearance of the tune in print in Alexander McGlashan's 1780
collection. McGlashan (Collection of
Strathspey Reels), c. 1780-81; pg. 13.
X:1
T:Lochgery’s Rant
M:C|
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (c.
1780-81)
Z:AK/Fiddler’s Companion
K:G
G|G>DG>B A2
E>A|G>DG>B G>DG>B|G>DG>B A2 E>A|G>DGB
d>eg>d|e>gdg A2 E>A|G>cB>A G2 G,:|
|:d|g>dg>b a2
e>a|g>dg>b g>dg>b|g>dg>b a2 e>a|g>be>g
d>eg>d|e>gB>g A2 E>A|G/A/B/c/ d/c/B/A/ G2 G:|
B/c/|d/c/B/A/ G>B
A>EA>c|d/c/B/A/ GB d>gd>B|c>aB>g A>a f/g/a/f/|
g>de>b
g>de>b|g>de>b ae f/g/a/f/|g>bd>B c>ac>A|B>dB>G Ad
FD|
G>cB>A G2 G||e/f/|g/f/e/d/ gB
acAg|a/g/f/e/ g>B de/f/gd|e>Bg>B GD F/G/A|
B>AG>E DG, B,/C/D|B>A F/G/A
GG, B,/C/D|CA B,G A,A F/G/A|G/A/B/c/ d/c/B/A/ G2 G,||
LOCHIEL'S AWA' TO
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Lochiel’s Awa’ to
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:Ador
g|eA A/A/A e2 dc|B>G G/G/G
(B<d)d<g|e>A A/A/A e2 dc|BGAB gee:|
g|(de)ga (bg)ab|gd d/d/d (gd)dg|dega
bgab|ge e/e/e (ge)eg|
dfga bgab|gd d/d/d (gd)dg|bgae
degB|BA A/A/A (ge)e||
X:2
T:Locheil’s awa’ to
M:C
L:1/8
R:Strathspey
B:Gow – 2nd Collection of Niel Gow’s Reels, pg. 14, 3rd
ed. (orig. 1788)
Z:AK/Fiddler’s Companion
K:Amin
(a/g/)|e<A A>B {B}”tr”e2
dB|A>GAB gdda/g/|(e<A A>B {B}”tr”e2dB|”tr”A>GAB gee:||
g|”tr”d>e”tr”ga (g/a/b)
“tr”a>b|gd e/d/c/B/ g>d”tr”d>e|d>eg>a (g/a/b) ab|ge ed/e/
g>ee>g|
d>eg>a (ga/b/) ab|gd
(e/d/).c/.B/ gddg/a/|b/a/g/b/ a/g/e/a/ g/e/d/e/ g>B|”tr”A>GAB gee||
X:3
T:Lochiel’s Reel
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscript
(Northumberland, 1770)
Z:AK/Fiddler’s Companion
K:Amix
f|eA A/A/A e2 dg|BG G/G/G Bddg|eA
A/A/A e2 dg|a/g/f/e/ gB A/A/A A:|
|:g|defg b3 a/b/|gd d/d/d gddg|defg
b3 a/b/|ge e/e/e geeg|
defa b/a/g a/g/f|g/e/d e/d/c
gddg/a/|bgab e2 dg|BA A/A/A ge e2:|
LOCHIEL'S
MARCH [1]. Scottish, March (4/4 time). A
Dorian. Standard tuning. AAB. Related to the 6/8 time “Black Donald the Piper” “Cameron Gathering,” and “The Pibroch of Donald Dhu.” Kerr (Merry Melodies), vol. 1; No. 1, pg. 47.
X:1
T:Lochiel’s
March [1]
M:C
L:1/8
R:March
S:Kerr – Merry Melodies, vol. 1, No. 1, pg.
47 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Ador
(gf)|e2A2A2
(Bd)|edef gedB|G2G2B2 (AG)|B2d2d2 (gf)|e2A2A2 (Bd)|edef gedB|
A2A2B2
(AG)|g2e2e2:||g2|dBde g2 (fe)|abag gfed|g2d2 edcB|g2d2d2e2|
dBde g2
(fe)|abag gfed|g2 e2 fede|g2e2e2g2|dBde g2(fe)|abag gfed|
g2d2 edcB|g2d2d2
(fg)|a2 fa g2 eg|f2 df (fe)dB|A2A2 cBAG|g2e2e2||
LOCHIEL'S
MARCH [2]. Scottish, March (6/8 time). F
Major. Standard tuning. ABC. Howe (1000
Jigs and Reels), c. 1867; pg. 123.
T:Lochiel’s March [2]
M:6/8
L:1/8
R:March
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
c>AA d>ef | c>AA A2F | c>AA d>ef | cA>F G2F || c>AA d>BB | c>AA A2F |
GGA B>cd | cAF G2F || f>cc f>dd | f>cc A2F | GGA
B>cd | cAF G2F ||
LOCHIEL'S
RANT. AKA – “Lochiel’s Reel.” AKA and see
"Lochiel's Awa' to
France,” “On the Sly." Scottish,
Reel. A Dorian. Standard tuning. AAB. John Glen (1891) finds the earliest
appearance of this tune, which has been described as a ‘pipe reel’, in print in Robert Bremner's 1757 collection (pg.
44), though it also appears in the 1768 Gillespie
Manuscript of Perth (as "Lochyell's Rant"). The first part is
similar to the reel “The Laurel Tree.” On
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Lochiel’s Rant
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
G|eA A/A/A e2 dc|BG G/G/G Bddg|eA A/A/A e2 dc|BGAB gee:|
g|dega bgab|gd d/d/d gddg|dega bgab|ge e/e/e geeg|
dega bgab|gd d/d/d gddg|bgae degB|BA A/A/A gee||
LOCHIEL'S WELCOME (TO
LOCHLEVEN SIDE. Scottish, Slow Air (6/8 time). A Major. Standard tuning. AAB. The
melody appears in John Bowie's 1789
collection. Neil (The Scots Fiddle),
1991; No. 14, pg. 19.
LOCHMABEN HARPER, THE. Scottish. "This old ballad and its tune
were recovered from oral tradition by Burns. It relates how a blind harper
steals, by a cunning plan, a beautiful horse from one of the King Henries of
LOCHMABEN HORNPIPE, THE. AKA and see "The Bridge of Lodi,” “Down Back o’ Shoddy,” "Lord Nelson's Hornpipe," “Nelson’s (Hornpipe) [2],” “Saxon’s Hornpipe.” Scottish, Hornpipe.
D Major. Standard tuning. AABB. The tune is popular in
***
***
X:1
T:Lochmaben Hornpipe
M:4/4
L:1/8
R:Hornpipe
K:D
FE|D2d2d2cd|ecAc d2 de|fdfd
gege|afdf e2 FE|D2d2d2 cd|
ecAc d2 cd|efed
cBA^G|A2A2A2::fg|agfe dedc|B2G2G2 ga|
bagf efed|c2A2A2fg|afaf gbgb|afaf
gbgb|afbg fedc|d2f2d2:|
LOCHNAGAR. AKA and see "Loch Na Gar."
LOCHNESS SIDE. Scottish, Strathspey. G Minor. Standard tuning. AABB. The melody
appears in the 3rd collection of Malcolm MacDonald of Dunkeld, a volume
dedicated to Miss Drummond of
X:1
T:Lochness Side
M:C|
L:1/8
R:Strathspey
N:”Slowish”
S:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)
Z:AK/Fiddler’s Companion
K:G Minor
DGFF G3A | B>c {B/c/}d>c BFFE
| DGGF G3A | BABc {B/c/}d3c |
Bbbd Bdfb | fdcB AFFA | GBAc B>c
{B/c/}dc | BGD^F G2G2 :|
|: Ggg^f g3a | bgdg f>gaf | dgga
bga^f | dg/a/ b^f g3d | gbbd Bdfb |
fd”tr”c>B AFFA | GBAc B>c
{B/c/}dc | BGD^F G2G2 :|
LÓCHRANN BRISTE, AN. AKA and see “The Broken Lantern.”
LOCHRYNACH. Scottish, Reel. G Major. Standard tuning. AAB (Athole, Hunter, Johnson,
Martin/2002,
X:1
T:Lochrynach
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
G2 Bd c>AF>D|G2 Bd c2 c>f|g>dB>d e>cA>c|B>GA>F G2G,2:|
g2 fg/a/ gdBG|g2 fg/a/ g2b2|g>dB>d e>cA>c|BGAF G2G,2|
g2
fg/a/ g>dB>G|g2 fg/a/ g2b2|g>dB>d ceAc|Bc/d/ D>F G2G,2||
LOCHYELL'S RANT. Scottish, Strathspey. AKA and see "Lochiel's Rant"??? The
melody appears in the 1768 Gillespie
Manuscript of Perth.
LOCK THE DOOR (Cuir Glas Air/Ar An Doras). Irish, Single Jig. E Dorian.
Standard tuning. AABBCC. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 993, pg. 185. O'Neill (Dance
Music of
X:1
T:Lock the Door
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:E Minor
EFE BAG|FDF AGF|EFE BAG|AGF E3|EFE
BAG|FDF AGF|B/^c/dB AGF|E3 E2:|
|:A|B2^c d2e|d2B AFD|B2^c d2e|fdB
fdB|B2^c d2e|dcB AFA|B/^c/dB AGF|E3 E2:|
|:E|E2B E2B|E2B BAB|E2B E2B|AGF E3|E2B E2B|E2B BAB|dcB AGF|E3 E2:|
LOCKER'S HORNPIPE. American, Hornpipe. B Flat Major/F Major. Standard tuning. AABB.
Perhaps the earliest recording is from 1904 by violinist Charles D’Alamaine,
born in 1871 in
X:1
T:Locker’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
F2 | B>AB>c B>cd>e |
f>=ef>g f>dB>d | f>=ef>g f>dc>B | A>cB>G F>ed>c
|
B>AB>c B>cd>e |
f>=ef>g f>ag>f | =e>fg>a b>ge>g | f>ca>g f2 :|
|: (cB) | A>f=e>f d>fB>f
| A>f=e>f d>fB>f | g>fe>d e>dc>B | A>cB>G F2 (dc)
|
B>fd>B A>ec>A |
B>fd>B A>ec>A | B>fd>B A>ec>A | B>ba>g (3.f.g.f
(3.e.d.c | B2b2B2 :|
LOCKWELL. American, Reel. The melody appears in George P. Knauff's Virginia Reels, volume III (
LOCKWOOD, THE. Canadian, Jig.
.......................
LOCOMOTIVE, THE. English, Hornpipe. England,
Northumberland. C Major. Standard tuning. AABB. A 19th century
hornpipe composed in the ‘
X:1
T:Locomotive, The
M:C
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:C
c>d | e>d c>B d>G E>G
| e>d c>B c>G E>G | A>c f>e d>c B>c |
(3dec (3BcA G>B c>d | e>d
c>B c>G E>G | e>d c>B A>c f>a |
a>g ^f>g =f>d g>f |
e2c2c2 :: B>c | d>c B>c d2g2 | e>d c>d e2g2 |
f>e f>g a>g f>e | (3ded
(3cBA (3GAG (3FED | C>E G>c e>g e>c |
f>e f>g a2 g>f | (3egf
(3edc (3Baf (3fed | e2 c2c2 :|
LODDIE. AKA and see "The Fairy Reel."
Shetland, Shetland Reel. In the repertory of the Shetland Fiddle Band and
widely known reel in the Shetlands, also called "The Fairy Reel."
LODGE GATE, THE. AKA and see “Jaunting Car,” “Pound Hill, “Russell’s Hornpipe,” “Woodcock Hill.” Irish, Hornpipe. D Major.
Standard tuning. AABB. Roche Collection,
1983, vol. 3; No. 171, pg. 60.
LODGE OF GLEN-TANA, THE. AKA and see "Glentana." Scottish, Strathspey. F Sharp
Minor. Standard tuning. AAB. Composed by J. Scott
Skinner. Hardie (Caledonian Companion),
1992; pg. 105. Henderson (Flowers of
Scottish Melody), 1935. J. Scott Skinner (Elgin Collection), 1884. J. Scott Skinner, The Logie Collection (appears as "Glentana"). Greentrax CDTRAX 9009, Hector MacAndrew (1903-1980) -
“Scottish Tradition 9: The Fiddler and his Art” (1993).
LODGE ROAD, THE ("Botar na Congbail" or "Botar
Tig an Geata"). Irish, Set or Long Dance (2/4 time). D Major. Standard tuning. AABB
(Callaghan, Mulvihill, O'Neill): AABB' (Roche). "From O'Neill, slightly
altered" (Roche). The tune has become popular in English sessions, notes
Barry Callaghan (2007), who believes it may have been popularized by melodeon
player Martin Ellison in the 1980’s. Callaghan (Hardcore English), 2007; pg. 42. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 92. Mulvihill (1st Collection), 1986; No. 6,
pg. 110. O'Neill (Krassen), 1976; pg. 221. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1790, pg. 335.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 964, pg. 165. Roche
Collection, 1983, vol. 3; No. 192, pg 68. Rogue
Records FMSL2004, The English Country Blues Band – “Home and Deranged” (1983).
Topic TSCD 752, The English Country Blues Band – “Stepping Up” (2004.
Compilation CD).
X:1
T:Lodge Road, The
M:2/4
L:1/8
R:Set Dance
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 964
Z:AK/Fiddler’s Companion
R:Set Dance
K:D
A|dd/f e/d/c/B/|AAAF|D/F/A/F/
D/F/A/F/|GF/G/ EA|
dd/f/ e/d/c/B/|AAAF|D/F/A/F/
GE/F/|DDD:|
|:A|d/e/f/g/ a/g/f/e/|d/e/f/g/
aa/f/|ge/g/ fd/f/|e/d/c/B/ A/B/c/A/|
ffgg|ee ff/e/|d/f/a/f/
d/f/a/f/|gf/g/ ez|ffgg|ee ff/e/|d/f/a/f/ b/g/e/c/|dd/e/ d/c/B/A/:|
LODOISKA. English, Quadrille (2/4 time). England, Shropshire. B Flat Major.
Standard tuning. ABCC. The melody is one of the tunes from the set which forms
"Quadrille des Lanciers," finds Gordon Ashman. Source for notated
version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 82,
pg. 33.
LOFTUS JONES. Irish, Planxty (4/4 time). A Major (Complete Collection): G
Major (Johnson, Plain Brown). Standard tuning. AABB. Composed by blind
Irish harper Turlough O'Carolan (1670-1738). Donal O’Sullivan (1958) records
that Loftus Jones was the son of Thomas and Susanna Jones, or Ardnaglass,
County Sligo. O’Sullivan reasons that the tune must have been composed toward
the end of O’Carolan’s career, as Loftus must have been a young man at the
bard’s death. It is recorded that Loftus married in 1740 (two years after
O’Carolan died) to Jane Henry, the daughter of a rich Dublin banker. She died
in Italy some fourteen years after this, while he survived until 1781. The tune
achieved some popularity in sessions for a time due to the influential
recording by The Irish Tradition in the late 1970’s. Source for notated
version: the tune was noted by collector Edward Bunting from the playing of
Edward Fanning, and appears in his manuscripts [Bunting, O’Sullivan]. Complete Collection of Carolan's Irish
Collection, 1984; No. 64, pg. 58. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised
2000); pg. 6. Plain Brown Tune Book, 1997; pg. 30. O’Sullivan (Carolan: The Life Times and Music of an
Irish Harper), 1958; No. 64, pg. 136. Culburnie
CUL110, Abby Newton – “Crossing to Scotland” (1997). Green Linnet GLCD 1016,
The Irish Tradition – “The Corner House” (1978). Green Linnet GLCD 106, “The
Twentieth Anniversary Collection (1996). Green Linnet GLCD 1071, “Patrick
Street” (1988).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Loftus Jones
M:4/4
L:1/8
C:O'Carolan
N:Arr. Jan DeWeese
Z:transcribed Trish O'Neil oneil@cybernw.com
Z:Chords by Ken Laberteaux
K:G
“G”g4 “D/F#”f3e|”G”d3c BcdB| ”C”cBAF
“G/B”G3A | “G/B”BcBA G2”C”A2|\
“G/B”BcdB “C”cdec|”G/B”d2cB “Am”cBAG
| “D”FGFE “D/F#”D2DF |“G”GAGF “C”Eccc|\
“G/B”d^cdB “Am”=cBcA | “G”G2D2 E2F2
| “Em”G2E2 F2G2 | “D/F3”A2F2 G2A2|\
“G”B3G A2B2 | “Am”c3A “G/B”dBBB |
“C”cBAG “D”FGAF |“G”G2DC B,2D2|”G”G,7::\
B|”D/F#”A3F G2E2 | F2D2 “Em”E3F|G2A2
“D/F#”F2B2|”Em”E4 “D/F#”F4|\
“G”B3c “D/F#”A3B | “G”GABc
B2”D/F#”A2| “G”GABc dcBA | G2 “F/F#”F2 “Em”E4|\
“Em”B,EGE B,EGE | “D”DFFF DFAF |
“Em”EGEG EGEG | “D/F#”FAFA FAFA |\
“Em”GBBB “/D#”GBGB| “/D”GBGB
“/C#”GBGB | “Em”efg2 “D”f4 | “C”e4 e3f |\
“G”gbgb fafa|eccc dBdB | “C”cAcA “G/B”BGBG
| “Am”AGFE “D”DEFD|\
“G”G2DC B,DGB | “Am”AGFE “G/B”D2d2 |
“C”cBAG “D”FGAF |“G”G2DC B,2D2|G,7:|
LOFTY MOUNTAINS. AKA and see "Cease
your funning [1]," "Constant
Billy." English, Air. The air dates from the late 17th century and the
song begins:
***
When the hills and lofty mountains
And the vales were hid in snow.
LOG CABIN [1]. Old-Time, Breakdown. D Major/Mixolydian. Standard tuning. AA'BB'.
Source for notated version: Gretchen and Rebecca Koehler [Phillips]. Phillips (Traditional American Fiddle Tunes, vol.
1), 1994; pg. 145.
LOG CABIN [2], THE. Irish, Reel. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 22.
LOG CHAIN [1], THE. American, Jig. USA, Southwestern Pa. D Major.
Standard tuning. AB. Source for notated version: James Smalley (Westmoreland
County, Pa., 1944) [Bayard]. Bayard (Dance
to the Fiddle), 1981; No. 503, pgs. 459‑460.
LOG CHAIN [2]. Old-Time, Breakdown (cut time). D Major. Standard tuning. AB
(Silberberg): AABB (Phillips). Source for notated version: Jeff Goehring with
the Red Mules (Ohio) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 146. Silberberg (Tunes I Learned
at Tractor Tavern), 2002; pg. 92.
LOG
DRIVER’S WALTZ. Waltz. G Major. Standard tuning.
AA’BB’.
X:1
T:Log
Driver’s Waltz
M:12/16
L:1/16
K:G
B,C^C |:
"G"D2B G2E "G"D2^C D2^D | "C"E2c A2c
"C"E2E AG_G |
"D"F2c
E2c "D"D2D DEF |1 "G"GBA GFE "G"D2D B,C^C :|2
"G"G2 z D2 z "G"G2 ||
d^cd |:
"G"e2d B2G "G"D2G F2G | "C"A2G F2G
"C"E2E A2G |
"D"F2c
E2c "D"D2D DEF |1 "G"GBA GFE "G"D2 z d^cd :|2
"G"G2 z D2 z "G"G2 |]
LOG SPLITTER, THE. Scottish. Composed by accordion player Phil
Cunningham. Green Linnet GLCD 1182, The Tannahill
Weavers - “Choice Cuts” (1997).
LOGAN COUNTY BLUES. Old-Time, Country Blues. D Major. Standard tuning. AA'BB. The tune may
be named for Logan County, West Virginia. Source for notated version: Ruthie
Dornfeld (Seattle) [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 79. Reed Island Rounders - “Wolves in the Woods” (1997).
LOGAN WATER (Uisge Logain). AKA and see "Lausin Water". AKA – “Logan Braes.” Irish
Scottish; Slow Air or March (4/4 time). G Minor (O'Neill): A Minor (Cowdery,
Martin, Miller, O’Farrell): B Minor (Kerr). Standard tuning. AB (O'Neill): AABB
(Cowdery, Kerr, Martin, Miller, O’Farrell). The Scottish Gazetteer gives “A stream
in Eskdale, Dumfries and Galloway (south-west Scotland), the Logan Water rises
in the hills to the south of the River Esk. It flows generally southwards to
join the Wauchope Water which flows into the Esk.” The tune appears in the McLean Collection,
published by James Johnson in Edinburgh in 1772, in which it is ascribed
(erroneously) to 18th century musician, composer and publisher, Robert MacIntosh; it also appears in
the 1768 Gillespie Manuscript of Perth.
Samuel Bayard (1981), thought it dated from the latter 17th century,
and says it was often reprinted through the end of the 19th century, primarily
appears as a song tune but also set as a march. It turns out the tune is
considerably older. Simpson (British
Broadside Ballads) traces the tune back to the latter 1680's, when it was
used as a tune for various broadsides, and he cites older occurrences. Their dating would seem correct, for it was
in circulation enough to appear in a musician’s manuscript book dated 1709
(Mrs. Crockat’s Manuscript Book, according to Stenhouse). It was also printed
that year in A Collection of the Choicest
of the Scots Tunes Adapted for the Harpsichord or Spinnet and within the
Compass of the Voice, Violin or German Flute by Adam Craig. antiquity is suggested in many publications
from the early 18th century, including Alexander Stuart’s Musick for Allan Ramsey’s Collection of
Scots Songs, or Musick (Edinburgh, 1724, pg. 56), Watt’s Musical Miscellany (vol. 6, 1731),
Thompson’s Orpheus Caledonius (second
volume, 1733, to the words of James Thomson’s “For ever, Fortune, wilt thou prove”), and Davies’ Calista (1731). In Ramsay’s Tea Table Miscellany (1724) he directs a
song, beginning “Tell me, Hamilla, tell me why,” to be sung to “Logan Water.”
The melody was also employed in the period operas The Highland Fair, or the Union of the Clans (London, 1731), John
Hippisley’s Flora (London, 1729),
Edward Philips’ The Chamber-Maid (London, 1730), and Charles Johnson’s The Village Opera (London, 1729).
***
Bayard
believes it is possible that the Irish dance air "The Poor Old Woman" (An
eSeanbhean Bhocht) and related tunes grew out of this air. The melody for the
old Irish ballad "Boyne Water"
is the basis for the “Logan Water” melody, maintains Cowdery (1990), although
the initial motif's of the "Boyne" tune appear to have been inverted;
nevertheless, he concludes "the whole is a convincing, if unusual,
relative." Many songs have been set to the melody, including poet Robert
Burns’ “Logan Braes” (1793).
***
Randy
Miller (2004) labels the melody a “18th century New England fife
tune,” and, indeed, the melody appears in a number of American musicians
manuscripts of the Revolutionary and Post-Revolutionary period, including the
commonplace (manuscript) books of flute player Henry Beck (Connecticut, 1786),
Jeremiah Brown (New Hampshire, 1782),
Abel Shattuck (Massachusetts, 1801), Luther Kingsley (Connecticut, 1795), and
Hervey Brooks (Connecticut, 1805). It is well---represented in American
published works of the time as well, including Riley’s Flute Book, vol. 1 (1814), Daniel Steele’s New and Complete Preceptor for the Fife
(Albany, 1815), and Joseph Herrick’s Instrumental
Preceptor (Exeter, N.H., 1807). Bruce‑Emmett (Drummers and Fifers Guide), 1880; pg. 51. Cowdery (Melodic Tradition of Ireland), 1990; Ex.
47, pg. 119. Crosby (The Caledonian
Musical Repository), 1811; pg. 230. Gow (Vocal Melodies of Scotland), 1822; pg. 4. Graham, 1908; pg. 117.
Hulbert, pg. 11 (appears as "Lausin Water"). Johnson (Scots Musical Museum), 1787, vol. 1, No.
42. Kerr (Merry Melodies), vol. 3,
No. 421, pg. 47. Martin (Taigh na Teud),
1990; pg. 17. McDonald (The Gesto Collection),
1895; pg. 102 (appears as an untitled march). McGibbon (Collection of Scots Tunes), c. 1795; pg. 21. Miller (Fiddler’s Throne), 2004; No. 195, pg.
123. O’Farrell (Pocket Companion,
vol. II), c. 1806; pg. 132. O'Neill
(Music of Ireland: 1850 Melodies),
1979; No. 576, pg. 101. Oswald (Caledonian
Pocket Companion), c. 1780, vol. 1, pg. 150. Oswald 2nd Collection, 1742;
pg. 21. Robinson (Massachusetts
Collection of Martial Musick), vol. 2, pg. 59 (appears as "The Boyne Water"). Smith (Scottish Minstrel), 1820‑24, vol.
3, pg. 16. Thompson (Orpheus Caledonius),
1733, vol. 2, pg. 56. Wilson (Companion
to the Ballroom), 1840; pg. 131. Green Linnet SIF
1047, John Cunningham - "Fair Warning" (1985). Aly Bain & Phil
Cunningham – “The Ruby.”
X:1
T:Logan Water
M:C
L:1/8
R:Air
N:”Slow and Plaintive”
S:O’Neill – Music of Ireland (1903), No. 576
Z:AK/Fiddler’s Companion
K:G Minor
GA|B2 AG G3B|FDCD F3A|{c}B2 AG
G3B|^FG Bc {B/c/}d3d|
{d}e2 {e}dc {e}d2 cB|{d}cB AG
F3B|G>ABc d>edc|B2 A2{G/A/}G2||
d^f|g2 dB G3B|F<D CD F3 ^f|g2G2
G2 =FG/A/|B>ABc d3d|
{d}e2 {e}dc {c}d2 {d}cB|{d}cB AG
F3B|G>ABc d>edc|B2A2 {G/A/} G2||
X:2
T:Logan
Water
M:C
L:1/8
R:Air
S:The
William Sydney Mount music manuscripts (c. 1840’s)
Z:AK/Fiddler’s Companion
K:A Minor
ed | c2A2 ABcA | GEDE G2 ed | c2
A>B A2E2 | cBcd e3e | f2 ed e2 dc |
dcBA G2E2 | ABcd efde | c2 AA A2 ::
(3efg | a2A2 ABcA | GEDE G2 (3efg |
a2 AB A2 E2 | cBcd e3e | f2 ed ^e2
dc | dcBA G2E2 | ABcd efde | c2 AA A2 :|
X:3
T:Logan
Water
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, Book 1 (c. 1762)
Z:AK/Fiddler’s Companion
K:A Minor
e>d |
{d}c2 B>A A3c | (GE)(DE) G3G | c2 A2 (Ac)(GA) | “tr”(c>Bc)d e3e |
f2 “tr”(ed)
e2 (dc) | (dc)”tr”(BA) G3c | (A>B)(c>d) (ef)(de) | c2 “tr”(B>A) A2 :|
|: e>g |
a2A2 A3c | (GE)(DE) G3 (e>g) | a2A2 A>cGA | “tr”(cBc)d e3e |
f2
“tr”(ed)e2 (dc) | (dc)”tr”(BA) G3c | A>Bc>d (ef)(de) | c2 “tr”B>A A2
:|
LOGGER BREAKDOWN. See "Logger's Breakdown."
LOGGERMAN'S BREAKDOWN. Canadian, Reel. It is perhaps "Logger's Breakdown." Front Hall FHR‑021, John McCutcheon ‑
"Barefoot Boy with Boots On" (1981. Learned from North Tonawanda,
N.Y., duclimer player Paul Van Arsdale who had it from a radio broadcast of a
Canadian fiddler during the 1950's).
LOGGER'S BREAKDOWN. AKA - "Logger Breakdown." AKA and see "Corn on the Cob." New England,
Canadian; Reel. B Flat Major. Standard tuning. AABB (Phillips): AA'BB' (Miskoe
& Paul). Sources for notated versions: Vivian Williams (Seattle)
[Phillips]; transplanted French-Canadian fiddler Omer Marcoux (Concord, N.H.)
who actually learned the tune in a lumber-camp in Maine from a man from
Waterville, Me. [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 28. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 146. Folkways 8826, Per's Four‑‑"Jigs and
Reels." RCA Victor LCP 1001, Ned Landry and his New Brunswick Lumberjacks ‑
"Bowing the Strings with Ned Landry."
LOGGER'S REEL. American, Reel. USA, northern New York. D Major. Standard tuning. AB.
Source for notated version: Bradley Grimshaw (northern N.Y., 1958) [Bayard].
Bayard (Dance to the Fiddle), 1981;
No. 357, pg. 355.
LOGIE O' BUCHAN [1]. AKA and see "The March of the
Corporation of Tailors." Scottish, Air (3/4 time). C Major (Neil): D
Major (O’Farrell). Standard tuning. AB. This version of the air (there are
several) is attributed to Napier (1792). It is also "known as 'The March
of the Corporation of Tailors' and was usually played at the annual meeting
when they chose their deacons" (Neil, 1991). The words to the ballad were
written by George Halket, a schoolmaster at Rathen and an ardent Jacobite (for
another song he wrote describing king George II in league with the devil, the
Duke of Cumberland offered a reward of 100 pounds for his head). "Logie O'
Buchan" is the tale of love and longing for Jamie (James Robertson, in
real life a gardener at the mansion‑house of Logie, in the parish of
Crimond, belonging to Gordon of Logie and near Halket's home), despite the lure
of rich Sandie. The heroine was Isobel Keith, who died in 1826 at the age of
89.
***
O Logie O' Buchan, O Logie the laird,
They hae ta'en awa Jamie, that delved in the yaird,
Wha play'd on the pipe, an' the viol sae sina'
They ha'e ta'in awa' Jamie, the flow'r o' them a',
He said 'Think na lang, lassie, th' I gan awa',
For I'll come and see thee in spite o' tham a'.
Though Sandie has owsen, has gear and has kye,
A house, an' a' hadden, and siller forbye,
Yet I'd tak' my ain lad, wi' his staff in his hand,
Before I'd ha'e him, wi' his houses and land,
But simmer is comin', cauld winter's awa
And he'll come and see me in spite o' them a'.
***
Neil (The Scots Fiddle), 1991; No. 81, pg.
109. O’Farrell (Pocket Companion, Vol. 1),
c. 1805; pg. 37.
X:1
T:Logie o’
Buchan
M:3/4
L:1/8
R:Air
S:O’Farrell
– Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:D
AG | F3GA2 |
A f3e2 | d2B2B2 | B4 AG | F3G A2 | Ad3e2 | f2d2d2 | d4 || e |
f2e2f2 |
a2f2d2 | f2e2e2 | e4 de \ f2g2f2 | e2d2e2 | f2d2B2 | B4 AG |
F3G A2 | A2f2e2 | d2B2B2 | B4 AG |
F2G2A2 | A2d2e2 | f2d2d2 | d4 ||
LOGIE OF BUCHAN [2]. English, Quadrille (6/8 time). England, Shropshire. D Major. Standard
tuning. AB. The melody of version #1, rendered for dancing. Source for notated
version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman,
1991; No. 78, pg. 32.
LOGIER'S HORNPIPE. Irish, Hornpipe. G Major. Standard tuning. AABBCC. O'Neill (O’Neill’s Irish Music), 1915; No. 374,
pg. 180.
X:1
T:Logier’s Hornpipe
M:4/4
L:1/8
R:Hornpipe
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
dc | BGBd gbag | fc’af dcBA | Bdgb
c’bag | f2d2d2 dc | BGBd ac’af dcBA |
Bgec BdAc | B2G2G2 :: ga | bdgb
d’bag | adfa d’agf | gfed ^cbag | f2d2d2 dc |
BGBd gbag | fedc BAG=F | Egec BdAc |
B2G2G2 :: dc | BcAB GBdg | fgef dfac’ |
bgab c’bag | f2d2d2zd | egeg dgcg | Bgeg dgcg | Bgec BdAc | B2G2G2
:|
L'OISEAU BLEU (Blue Bird). AKA and see "Les Vieilles Filles" (The Old Maids).
French Canadian, New England; Country Dance Tune (cut time). D Major. Standard
tuinng. AABB. Miller & Perron (New
England Fiddlers Repertoire), 1983; No. 163.
X:1
T:L’Oiseau Bleu
M:C|
L:1/8
K:D
A3BA2G2 | F2A2d3d | c2d2e3e | d2e2f2d2 | A3BA2G2| F2A2(d2d2 | c2d2e2fg | f2e2(d2d2 :|
|: A2d2f3f | e2f2g2e2|A2c2e2fe|d2e2f2d2|A2d2f3f| e2f2g2e2 | A2c2e2fg | f2e2(d2d2 :|
L'OISEAU ROYALE (Royal Blue). French-Canadian (?), March (2/4 time). G
Major. Standard tuning. AABB. The traditional color of the French military in
the 19th century. The melody appears in the John Greenwood fife
manuscript c. 1784. Sweet (Fifer’s
Delight), 1965; pg. 73.
X:1
T:L’Oiseau Royale
M:2/4
L:1/8
R:March
S:John Greenwood manuscript (c.
1784)
Z:AK/Fiddler’s Companion
K:G
G”tr”f gG | A/B/c/d/ “tr”BG | ed
e/f/g | c”tr”B A2 | g”tr”f gG | A/B/c/d/ “tr”BG | e/d/e/f/ dg |
a”tr”f g2 :: d/c/B/A/ “tr”BA |
d/c/B/A/ “tr”BA | g/f/e/d/ ^cd | ef e2 | a/g/f/e/ “tr”fe |
a/g/f/e/ “tr”fe | g/f/e/d/ ^cd/g/ |
fe d2 :|
LOKAKUUN POLKKA (October Polka). Finnish, Polka. From the repertoire
of Otto Hotakainen.
LOLLIPOP MAN, THE. A tune from Ducklington morris, similar to “The Lea Rig(ges).”
LOLLY POPS AND BULLS
EYES.
See “Duke of Perth,” "Love in a Village [3].”
LOMÁNACH CROSS (Cros an Lománaigh). AKA and see “Fourpenny Bit.” Irish, Reel. G Major.
Standard tuning. AB. Lománach is near Knocknagree, Mallow, County Cork. The
“Lománach Cross” published in Ceol,
iii, pg. 4 is miss-named and is really “The
Scartaglen Reel.” Source for notated version: fiddler Denis Murphy, 1966
(Gneeveguilla, Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 148, pg. 79.
X:1
T:Lománach Cross
M:4/4
L:1/4
R:Reel
K:G
dB|:~G2GA ~B2BA|GBdB cAAB|AGFG
A2AB|cBAG FGAF|
~G2GA ~B2BA|GBdB c2Bc|dBBA BGAG|FAdc
BGG2:|
|dg~g2 b2af|defg agfB|dg~g2
b2ag|fdcA BG~G2|
dg~g2 bgaf|defg agfB|dg~g2
dg~g2|a2agfdca |
LOMBARD. Canadian, Hornpipe. Canada, Cape Breton. D Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
69.
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