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 Tacar Port. Source for notated version: whistle player John Fennell, 1958 (Miltown Malbay, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 147, pg. 78. SU1130, De Dannan – “Song for Ireland” (appears, in the key of A major, as the third of “Mulqueen’s” reels).

 

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 EDE | GED D2D | EAB c2d | edc d2e |

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).

 

LOCH AVON. Scottish, Reel. F Major. Standard tuning (fiddle). AA'B. Composed by Alexander Walker, commemorating the lake at Park Villa, Strathdon. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 150, p. 51.

 

LOCH BUILG. Scottish, Reel. E Flat Major. Standard tuning (fiddle). AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 107, p. 37.

 

LOCH CARRON. Scottish, Pipe Reel. A Mixolydian. Standard tuning (fiddle). AABBCCDD. A 20th century composition by D.C. Mather. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 59, p. 25.

 

LOCH DERCULICH. Scottish, Reel. E Minor. Standard tuning (fiddle). AAB (Cranford/Holland): AABB' (Stewart-Robertson). Loch Derculich is in Strath Tay, Perth and Kinross, northeast of Aberfeldy. Cranford (Jerry Holland: The Second Collection), 2000; No. 159, p. 60.  Stewart-Robertson (The Athole Collection), 1884; p. 253.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Loch Derculich

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||

 

LOCH DUICH.  Scottish, March (2/4 time). A Major. Standard tuning (fiddle). AB (Morison): AABB (Martin). Loch Duich is a sea loch in Ross and Cromarty, on the western coast of Scotland, near Dornie in Kintail. Martin (2002) says the melody is employed by Highland pipers in the area as a funeral air. Much photographed Eilean Donan Castle is situated at the convergence of Loch Duich, Loch Long and Loch Alsh. A selkie legend is attached to Loch Duich in the clan country of the MacRaes. It seems that three brothers went fishing one night and were transfixed by three seal-maidens (selkies) who had transformed into human form and were observed dancing on the shore in the moonlight. Transfixed by the sight of the beautiful women, the brothers determined to steal the maidens’ furs, preventing them from retransforming and returning to the sea, and each brother carried off one of the girls. One brother took pity on the distress of his captive, and returned her seal-skin, freeing her to return to the sea and her father, who in gratitude allowed the couple to visit on the shore every full moon. The captive of the second brother was resourceful enough to recover her fur and escape. The last brother, thinking to prevent a similar occurrence, burned the seal fur of his maiden to prevent her from returning to the sea, but to his horror he found that burning the fur caused her to burn as well. Martin (Traditional Scottish Fiddling), 2002; p. 61. Morison (Highland Airs and Quicksteps, vol. 1), c. 1882; No. 24, p. 12.

X:1

T:Loch Duich

M:2/4

L:1/8

R:March

S:Morison – Highland Airs and Quicksteps, vol. 1 (c. 1882)

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 ||

 

LOCH EARN REEL. Scottish, Reel. G Major. Standard tuning (fiddle). AB (Honeyman, Surenne): AAB (most versions). One of the better compositions by Nathaniel Gow (opines Francis Collinson), 1763-1831, who claimed 197 tunes; it is sometimes erroneously listed under Niel Gow's name (Skye). Loch Earn is in the west of Strathearn, Perthshire, Scotland, out of which the River Earn flows east to eventually join the River Tay Estuary. Unusually, the loch has a tide-like phenomenon (though unrelated to the moon) called a seiching, in which wind action over the surface of the water sets up an oscillating cycle resulting in a rise and drop of water levels over a 16-hour period. There exists a ruin called Loch Earn Castle, once the stronghold of the MacNeishes from the year 1250 to the mid-15th century.  Reduced to plundering the country-side, the MacNeishes made the mistake of preying on the McNabs to the north, who responded with a daring raid that culminated in the utter destruction of the MacNeish clan. The McNab crest historically sports a depiction of the dead McNeish chief’s head. Source for notated version: Joe Cormier (Cape Breton/Mass.) [Brody]. Brody (Fiddler’s Fakebook), 1983; p. 172. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; p. 15. Gow (2nd Collection of Niel Gow’s Reels), 1788; pg. 2. Henderson (Flowers of Scottish Melody), 1935. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; p. 31. Hunter (Fiddle Music of Scotland), 1988; No. 198. Kerr (Merry Melodies), vol. 1; Set 11, No. 4, p. 8. MacDonald (The Skye Collection), 1887; p. 94. O’Farrell (Pocket Companion, vol. IV), c. 1810; p. 134 (appears as “Lough Earn”). Stewart-Robertson (The Athole Collection), 1884; p. 160. Surenne (Dance Music of Ireland), 1852; p. 24. Beltona BL2128 (78 RPM), The Edinburgh Highland Reel and Strathspey Society (1936). Rounder 7012, Winnie Chafe‑ "Highland Melodies." Rounder 7004, Joe Cormier‑ "The Dances Down Home" (1977). Smiddymade SMD615, Pete Clark – Even Now: The Music of Niel Gow.”

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:Loch Earn

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:Loch Earn

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||


 

LOCH EIREACHD SIDE. See "Loch Erroch Side."

 

LOCH ERROCH SIDE. AKA - "Loch Eireachd Side," "Loch Ericht Side." AKA and see "The Lass o’ Gowrie [1]," "The Lakes of Sligo," "Niel Gow's Second Wife [1]," "Over the Hills to Glory," "The Rocky Road to Dublin [4]" (Bayard's No. 2),  Tom Billy’s (Polka) [2].” Scottish, Slow Strathspey. D Major (Cole): C Major (Alburger, Athole, Kerr, Skye). Standard tuning (fiddle). AB (Alburger, Cole, McGlashan, Skye): AAB (Athole): AABB (Kerr). Loch Erroch is the largest lake in Perthshire. This tune may have been composed by Niel Gow, who played it for Robert Burns when the latter visited him in Dunkeld in October, 1787 (though in later life Burns did not support Gow's authorship). Burns long afterwards wrote the lyric "Oh, stay, sweet warbling woodlark, stay!" to the tune. Gow attributed it to both "Niel Gow & his 2nd Wife" (who was Margaret Urquhart) in his publication Second Collection, 2nd edition, 1803 (repeated in the 3rd edition), but a prior claim existed to the tune from Alexander McGlashan, who published it earlier under the same title in his Third Collection, 1786. In fact, when Gow first published it (in his Second Collection, 1st edition, 1788), he left it un-attributed, only claiming authorship for he and Margaret in the 2nd edition of his collection. The tune is similar to "I'm O'er Young to Marry Yet" (in the first strain), but Alburger (1983) is of the opinion only that "it is likely Gow was unconsciously influenced by that earlier piece, but no more than that." The tune first appeared in print in 1786, a year before Burns' visit to Gow, according to Glen.

***

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 "Loch Erroch Side" which greatly delighted the poet,
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
Highlands, "McIntosh's Lament". "Tullochgorum" was also duly honoured,
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 West Berwickshire) was one of the relatively few dances wholly or in part in strathspey time in the early 10th century (Flett & Flett, 1964). See also the related Irish polka settings, such as “Lakes of Sligo.” Aird (Selections), 1788, vol. 3; No. 543. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 66, pp. 105‑106. Cole (1000 Fiddle Tunes), 1940; p. 128. Crosby (The Caledonian Musical Repository), 1811; p. 102. Gale (Companion to the Flute), pg. 39. Gow (Second Collection of Niel Gow’s Reels, 1788, 3rd ed.; p. 7. Gow (The Beauties of Niel Gow), vol. 1, pg. 20. Gow (Strathspey Reels), vol. 1, p. 7. Graham, 1908; pg. 235. Henderson (Flowers of Scottish Melody), 1935. Johnson (Scots Musicial Museum), 1787‑1803, vol. 1, No. 78. Kerr (Merry Melodies), vol. 2, No. 76, p. 11. McGlashan, 1781; p. 46. MacDonald (The Skye Collection), 1887; p. 159. McGlashan (A Collection of Reels), 1786; pg. 46. Ryan’s Mammoth Collection, 1883; p. 167. Smith (Scottish Minstrel), 1820‑24, vol. 2, p. 66. Stewart-Robertson (The Athole Collection), 1884; p. 60. Wilson (Companion to the Ballroom), 1840; p. 34.

X:1

T:Loch Ericht Side

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 GA/B/ c>dc>B | A>GAB/c/ d/e/f/e/ d>D | E<G GA/B/ c>de>d | c/B/A/G/ c>E D2C :|

|| 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>E D2C ||

X:2

T:Loch Erroch Side, a Strathspey

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||

 

LOCH FYNE. Scottish, Reel. G Major. Standard tuning (fiddle). AA'BB. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 3; No. 50, p. 8.

X:1

T:Loch Fyne

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:|

 

LOCH GAMHNA.  AKA and see “Loch Lavan Castle.”

 

LOCH GLASSIE. Scottish, Reel. D Major. Standard tuning (fiddle). AB. Paul Cranford suggests that this tune began as a variant of the better-known “Jenny Dang the Weaver” due to similarity in some melodic material. Kerr (Merry Melodies), vol. 1; Set 28, No. 2, p. 17. Stewart-Robertson (The Athole Collection), 1884; p. 93. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

X:1

T:Loch Glassie

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 County Donegal under the original title, and is played elsewhere on the island as a hornpipe, variously titled “Humours of Tuamgraney,” “Humours of Tuamgreine,” “Tuamgraney Castle,” and “Tomgraney Castle [1].”

***

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 Loch Lomond

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

Frae the gloamin'

***

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 Pennsylvania collected "The Star of Bethlehem" as a member of this tune family. Cole (1000 Fiddle Tunes), 1940; pg. 124. Kerr (Merry Melodies), vol. 2; No. 214, pg. 24. Ryan’s Mammoth Collection, 1883; pg. 162. Smith (Scottish Minstrel), vol. 6, pg. 38. White's Excelsior Collection, pg. 70. CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994).

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 Scotland and Jacobite hopes in Ireland, along the lines of the songs “The Blackbird” and “Jenny’s Welcome to Charlie.” A Stuart on the throne of England was a hope for many Catholics of Gaelic extraction, who longed for a lifting of the burden of the Penal Laws and Catholic emancipation. According to Gearóid Ó hAllmhurain, “Loch na Gar” references the defeat of Bonnie Prince Charlie (Stuart) and his army at Culloden moor in 1746, by the crown forces of the Duke of Cumberland. Brian McNamara says the tune was a favorite of piper Willie Clancy. Joyce (Old Irish Folk Music and Song), 1909; No. 96, pg. 50. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 77, pg. 68. Drumlin Records, Brian McNamara – “A Piper’s Dream.”

X:1

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 Ness

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.

 

 

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.

X:1

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). England, Northumberland. G Major. Standard tuning. AABBCCDDEEFF. See also “Lochiel’s March.” Peacock (Peacock’s Tunes), c. 1805/1980; No. 35, pg. 15.

                       

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 Dunoon, Scotland, who was formerly Pipe‑Major of the 8th Battalion, Argyl and Sutherland Highlanders during World War I.

                                   

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 Fort William, at the head of Loch Linnhe. It spans approximately 10 miles west. Angus Fitchett (Scottish Dance Music Collection), pub. by Mozart Allan.

                       

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 FRANCE (BUT HE'LL COME AGAIN).  AKA and see “Lochiel’s Rant.” Scottish, English; Reel or Strathspey. England, Northumberland. A Dorian. Standard tuning. AAB. Variously labelled "Old set," and, in the case of Gow, “Old.”  The title refers both a father and son. The father, John, 18th chief of Clan Cameron, was a prime supporter of King James in the first Jacobite rebellion in 1715, being created “Lord Lochiel” in the Jacobite peerage. Upon the failure of the enterprise he fled to permanent exile in France. Shortly after his son became acting chief. Donald Cameron of Lochiel (c. 1700-1748), like his father a staunch Jacobite, became one of Bonnie Prince Charlie Stuart’s chiefs and fought under his standard at the battle of Culloden (1746). After the defeat “Young Lochiel” (or sometimes “Gentle Lochiel”) was also forced to flee with the Prince to France. Although he had been badly wounded Lochiel recovered to take command of a French regiment in 1747, and died in Flanders in October, 1748. Lochiel did in fact urge Louis XV to mount a second landing on behalf of Prince Charlie, but it came to naught and he never returned to Scotland. Clan Cameron, however, was eventually pardoned and still retains substantial lands in Scotland. Breathnach (1976) finds the first part of this tune the same as the “The Gossan that beat his father” family of tunes, but that the second part is the same as that of “The Mountain Rose.” MacDonald (1887) opines that the “modern set by Neil Gow (is) not so playable.” Paul Cranford says the tune “was a favorite of the late Mary Hughie MacDonald (Cape Breton pianist Mary Jessie MacDonald’s mother).” Christine Martin (2002) uses the tune as an example of a Scottish melody that can be played “on the back strings”, i.e. an octave lower, for variation. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 14 (3rd edition). Kerr (Merry Melodies), vol. 1; pg. 9 (appears as "Lochiel's Rant"). MacDonald (The Skye Collection), 1887; pg. 49. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 25. Martin (Traditional Scottish Fiddling), 2002; pg. 88. Seattle (William Vickers), 1987, Part 2; No. 222 (appears as "Lochiel's Reel"). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Lochiel’s Awa’ to France

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 France

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.

X:1

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

K:F

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 Cape Breton, Alex Gillis and the Inverness Serenaders were the first to record the tune. Bremner (Scots Reels), c. 1757; pg. 44. Kerr (Merry Melodies), vol. 1; Set 12, No. 4, pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 254. Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

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 GLASGOW). Scottish, Jig or March (6/8 time). A Major. Standard tuning. AABB. Composed by Alexander Cameron. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 16. Sweet (Fifer’s Delight), 1965; pg. 36.

 

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 England. I don't think King Henry VIII would have let him get away with it, though he liked the harp and played it himself (Williamson)." Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

 


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 England under a variety of titles. The references to Nelson date it to at least the early 19th century, and it appears in several north English fiddlers’ manuscripts under the “Saxon’s” title. Lochmaben is a royal burgh founded in 1296 in Annandale parish, Dumfriesshire, in the valley of the Annan about 9 miles north east of the town of Dumfries itself. The town features not one but two castles, Lochmaben Old Castle (dating from the mid-12th century) and Lochmaben Castle (begun around c. 1300); once strongholds of the Bruces, reputed to be the birthplace of Robert the Bruce. Robert Burns referred to the place in his poem “The Five Carlins,” when he says: “Marjory o’ the many Lochs, A Carlin auld and teugh.” Burns claimed to be a Burgess of Lochmaben town, but no record of his installation in the office can be found in the records.

***

Lochmaben Castle

***

Lochmaben Castle is but a deteriorated ruin in modern times. Hunter (The Fiddle Music of Scotland), 1988; No. 331. Miller (Fiddler’s Throne), 2004; No. 297, pg. 176.

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 Perth. It was also printed in John and Andrew Gow’s A Collection of Slow Airs, Strathspeys and Reels (London, c. 1795). Andrew (1760-1803) and younger brother John (1764-1826) established a publishing business in London in 1788 and were the English distributors for the Gow family musical publications. Loch Ness is a large lake in Inverness-shire, at the bottom of the Great Glen of Scotland. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 24. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 9.

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, Marshall): AABB (Lerwick): AABB' (Kerr, Martin). A note in Marshall's volume reads: "This good Old Reel is inserted at the particular request of the Duke of Gordon." It was not one of Marshall’s compositions, but was rather a favorite tune of Alexander, the 4th Duke, Marshall’s employer. The tune has similarities to Johnny Wilmot’s “Hughie Shorty’s Reel.” Hunter (Fiddle Music of Scotland), 1988; No. 199. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 32. Kerr (Merry Melodies), vol. 2; No. 133, pg. 16. Lerwick (The Kilted Fiddler), 1985; pg. 15. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 38. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 12. Martin (Traditional Scottish Fiddling), 2002; pg. 122. Stewart-Robertson (The Athole Collection), 1884; pg. 184. Inverness Fiddlers – “Ruby’s Reel.” Lismore LILP 5017, Ron Gonnella – “Fiddler’s Fancy” (1975).

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 Ireland: 1001 Gems), 1907/1986; No. 388, pg. 78.

X:1

T:Lock the Door

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 388

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 England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 93. Cranford (Winston Fitzgerald), 1997; pg. 4. Ryan’s Mammoth Collection, 1883; pg. 129.

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 (Baltimore, 1839).

 

LOCKWOOD, THE. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 58.

.......................                        

LOCOMOTIVE, THE. English, Hornpipe. England, Northumberland. C Major. Standard tuning. AABB. A 19th century hornpipe composed in the ‘Newcastle style’ by its main progenitor, James Hill, who probably named it after a pub, which itself may have been named for the locomotive works and railway yards in Newcastle. Hill resided in Gateshead, northern England (near Newcastle), for much of his life, but was born in Dundee, Scotland. Howe (1000 Jigs and Reels), c. 1867; pg. 61. Green Linnet SIF 3046, Skylark – “All of It.”

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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 [COMMENT1]This was Font/Pitch 1,10 - Off.

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