The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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LON - LOP

 

 

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]

 

 

 

LON DUBH, AN (The Blackbird). See “Londubh, An”

                                   

LON SCLATER HORNPIPE. AKA and see "The Lonsdale Hornpipe," "Lord Strange."

                                   

LONACH COUNTRY DANCE, THE. Scottish, Country Dance Air (2/4 time). E Major. Standard tuning. AABB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 125, pg. 43.

           

LONACH GATHERING, THE. Scottish, March (4/4 time). A Major. Standard tuning. AAB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore Collection), 1904; pg. 33.

X:1

T:Lonach Gathering, The

M:C

L:1/8

R:March

Q:112

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

E | AG/A/ FE/D/ C/A,/D/B,/ EF/G/ | .A/.c/.e/.a/ .e/.A/.F/.A/ .B/.d/.c/.B/ | AG/A/ FE/D/ C/A,/D/B,/ E/A/C/e/ |

a/e/c/A/ e/c/d/B/ ({B}c)(AA) :| ((3e/f/g | a/).g/.f/.a/ .g/.f/.e/.g/ .f/.e/.d/.f/ .e/.d/.c/.e/ | d/c/B/d/ c/B/A/c/ B/A/G/A/ B/e/f/g/ |

a/g/f/a/ g/f/e/g/ f/e/d/f/ e/a/c/e/ | a/e/c/A/ e/c/d/B/ ({B}c)(AA).e | a/c’/f/a/ g/b/e/g/ f/a/d/f/ e/a/c/e/ |

d/f/B/d/ c/e/A/c/ B/A/G/F/ E/d/c/B/ | A/c/B/A/ G/F/E/D/ C/A,/D/B,/ E/A/c/e/ | a/e/c/A/ e/c/d/B/ ({B}c)(AA) ||

                       

LONACH HALL. Scottish, Strathspey. C Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 64, pg. 23.

                                   

LONACH HIGHLAND FLING, THE. AKA and see “Peter Bail(l)ie [1].” Scottish, Strathspey. Composed by Peter Baillie, with variations by J. Scott Skinner. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

                                   

LONACH HIGHLANDER'S, THE. Scottish, March (4/4 time). F Major. Standard tuning. AAB. Composed by Alexander Walker. The Lonach Gathering features the custom of the Lonach men, armed with pikes, visiting the grand houses of the area where they receive generous drams, reports Moyra Cowie in her book The Life and Times of William Marshall (1999). At the rear of the procession is a man with a horse and cart for conveyance of any clan member who might become to incapacitated to walk, although it seems a point of honor for the cart to remain empty no matter how much is imbibed. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 154, pg. 52.

 

L’ONCLE PETIT (Uncle Tiny).  French-Canadian, Reel. In the repertoire Gaspésie musician Yvon Mimeault (b. 1928, Mont-Louis). The tune is named after a paternal uncle, an excellent step-dancer who loved the tune, and, in fact, a man of rather large girth and stature. Yvon Mimeault – “Y’etait temps!/It’s About Time.”

                       

LONDON ASSEMBLY. English, Country Dance Tune (cut time). B Flat Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 150.

X:1

T:London Assembly, The

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Bb

F2|B2 (dB) café|DFBd cA F2|B2 dB c=egb|agf=e f2::F2|AFec B2 AB|dBbg f=e f2|

gbdf egce|dfBd cA F2|G E2 G cBAG|A F2 A dcBA|Bfga bfed|ecBA B2:||

           

LONDON BRIDGE [1]. AKA and see "KaFooZalum," "Will You Go to Sher(r)iff Moor," "Stewart's March," "Gabhaidh Sinn an Rathad Mor." English, Country Dance Tune (cut time). A Major. Standard tuning. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 40, pg. 20. AAB. Raven (English Country Dance Tunes), 1984; pg. 174.

 


LONDON BRIDGE [2]. Scottish, Hornpipe. D Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 1; No. 19, pg. 44.

X:1

T:London Bridge [2]

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 1, pg. 44 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

B>c|d2 A>F D2 F>A|d2 f>d e2 g>e|f>dc>d B>cd>e|f>dg>e d>cB>A|d2 A>F D2 F>A|

d2 f>d e2 g>e|f>dc>d A>dc>e|f2d2d2||d>e|f>dc>d B>dA>d|G>dF>d E>FD>F|

G>FG>A B>cd>e|f>dg>e d>cB>A|B>eg>e A>df>d|G>Be>G F>Ad>A|g>fe>d A>dc>e|f2d2d2||

                       

LONDON BRIDGE POLKA. AKA and see "Leather Away with the Wattle," "The Grand Old Dame," "The Halfdoor," "The Lisdoonvarna Polka [2]," “Rose Tree [2],” "The Water Street Polka." Irish, Polka. D Major. Standard tuning. AABB. Because of its beginning similarity to more common “The Rose Tree” it is sometimes called “…the other ‘Rose Tree’. Carlin (Master Collection), 1984; No. 275, pg. 155.

X:1
T:London Bridge Polka
S:Sessions etc
Z:Nigel Gatherer
M:2/4
L:1/8
K:D
A | dA  FA | d2 df | ed  cd | ef gf/g/ | af  ge | dc AF | GB  A/B/A/G/ | FD D :|
z | d>d dd | zd d2 | d>d df  | gf ef/g/ | af  ge | dc AF | GB  A/B/A/G/ | FD D :|

                       

LONDON CLOG. Canadian, Clog Dance Tune. D Major. Standard tuning. AABB. Composed by Ontario fiddler Ward Allen, who won contest after contest in the 1950’s and who carved out a successful career as a radio fiddler.

X:1

T:London Clog

C:Ward Allen

R:Hornpipe

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A2 FA B2 AG|FAde f2 ef|g2 gb ag f2|efga fedB|

A2 FA B2 AG|FAde f2 ef|g2 gb agfe|d2 ff d4:|

|:g2 g2 cegb|a2 a2 adef|g2 gb ag f2|efga fedB|

A2 FA B2 AG|FAde f2 ef|g2 gb agfe|d2 ff d2 cB|

A2 FA B2 AG|FAde f2 ef|g2 gb ag f2|efga fedB|

A2 FA B2 AG|FAde f2 ef|g2 gb agfe|d2 ff d4:|

                       

LONDON GENTLEWOMAN. AKA and see "The Sun Has Loos'd His Weary Teams," "The Hemp Dressers," "London Maid," "Winchester Christening." English, Country Dance Tune (6/8 time). G Major (Raven, Vickers): C Major (Chappell). Standard tuning. AB (Chappell): AABB (Raven, Vickers). The air was published by Playford in English Dancing Master (1650), and appears by alternate names in several  publications and ballad operas of the latter 17th century and early 18th century. Chappell gives the beginning of the ballad, from a 1685 collection:

***

There was a London gentlewoman,

That loved a country man-a;

And she did desire his company,

A little now and then-a.

This man he was a hemp-dresser….

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 297. Raven (English Country Dance Tunes), 1984; pg. 43. Seattle (William Vickers), 1987; No. 201 (appears as "The Hemp Dressers").

X:1

T:London Gentlewoman, The

M:6/4

L:1/8

S:Chappell – Popular Music of the Olden Time (1859)

Z:AK/Fiddler’s Companion

K:C

B3c d2 d4c2 | B3c d2 D3E F2 | G4G2 G4A2 | B6c6 ||

B3A B2 G3A B2 | A3G A2 D3E F2 | G4G2 G4A2 | B6c6 ||

                       

LONDON HIGHLAND SOCIETY, THE. Scottish, Strathspey. G Major. Standard tuning. AB. Composed by Lord MacDonald (for more on whom see “Lord Macdonald(‘s Reel) [4]”). The London Highland Society was organized in 1778 to promoted Gaelic culture and advance to advance political considerations. They held annual meetings in which Gaelic poetry and bagpipe music was featured. The Act of Proscription (imposed following Culloden), which had been campained for vigorously by the society was repealed in 1782 and allowed civilian men to wear kilts and the tartan again. The Disannexing Act of 1784 returned some of the old Jacobite familes their traditional estates. Carlin (The Gow Collection), 1986; No. 115. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 9 (3rd ed.).

X:1

T:London Highland Society, The

M:C
L:1/8

R:Strathspey

C:Lord Macdonald

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg.9  (orig. 1792)

Z:AK/Fiddler’s Companion

K:G

D/E/4/F/4|GG,DG, GG, E/D/C/B,/|A,A/B/ c/B/A/G/ F>GA>B|Gg f/g/a/f/ “tr”g>a b/g/d/B/|A/B/c/A/ B/c/d/c/ BGG (D/E/4F/4)|

G/F/E/D/ E/D/C/B,/ C/D/E/F/ G/D/B,/D/|A,A/B/ c/B/A/G/ “tr”F>GAB|”tr”G>ABc (d/c/)”tr”B/A/ (G/F/)”tr”E/D/|^C>EGA FDD||

F|D/D/D D>E F>GA>B|c>de>f gddb|(b/a/)g/f/ gd B>c ({d}c)B/A/|^G>Bde ^cAA=c|

D/D/D D>E F/E/F/G/ A/G/A/B/|c/B/c/d/ e/d/e/f/ gd”tr”d>b|(b/a/)g/f/ gd B>d {c}BA/G/|Ec {B}AG/F/ GG,G,||

                       

LONDON HORNPIPE [1]. AKA and see “The Navvie,” "Navvie on the Line." Canadian, American; Hornpipe. G Major (Cole, Page, Ryan): A Major (Messer). Standard tuning. AABB. See also similar British Isles tune called “The Navvie” or “Navvie on the Line.” North American tunes in the family are “Montreal Hornpipe” and “The Old Blind Sow, She Stole the Middlins’.” Cole (1000 Fiddle Tunes), 1940; pg. 88. Kerr (Merry Melodies), vol. 1; pg. 42. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 129, pg. 86. Page (Ralph Page Book of Contras), 1969; pg. 21. Ryan’s Mammoth Collection, 1883; pg. 122.

X:1

T:London Hornpipe [1]

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

B/c/ | d/g/f/e/ d/c/B/A/ | G/B/D/G/ .B(A/G/) | F/A/D/F/ .A(G/F/) | G/D/E/F/ G/A/B/c/ |

d/g/f/e/ d/c/B/A/ | G/B/D/G/ .B(A/G/) | F/G/A/B/ c/d/e/f/ | ggg :: A/G/ |

F/A/D/F/ .A(G/F/) | G/B/D/G/ .B(A/G/) | F/A/D/F/ .A(G/F/) | (3G/F/E/ (3D/E/F/ |

G/A/B/c/ | d/g/f/e/ d/c/B/A/ | (3G/A/B/(D/G/) .B(A/G/) | F/G/A/B/ c/d/e/f/ | ggg :|

 

LONDON HORNPIPE [2]. English, Hornpipe. England, Dorset. D Major. Standard tuning. AABB. Trim (Thomas Hardy), 1990; No. 50.

 

LONDON HORNPIPE [3]. English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. No relation to "London Hornpipe" [1] or [2]. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Callaghan (Hardcore English), 2007; pg. 20. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 1, pg. 28. EFDSS CD13, Anahata – “Hardcore English” (2007. Various artists).

X:1

T:London Hornpipe [3]

M:4/4

L:1/8

R:Hornpipe

K:G

Bc|:dcBA G2 Bd|g2 eg f2 dB|c2 ac B2 gB|cBAG GFED|

EDEF GFGA|BABc d2g2|dBGB cAGF|G2G2G2:|

|:d2|g2bg f2af|g2 eg f2d2|c2 ac B2 gB|cBAG GFED

|EDEF GFGA|BABc d2g2|dBGB cAGF|G2G2G2:|

 

LONDON HORNPIPE [4]. English, ‘Old’ Hornpipe (3/2 time). D Major. Standard tuning. The tune is printed in several collections from around the third decade of the 18th century, such as Wright’s Collection of 200 Country Dances, vol. I, and one of Walsh’s Compleat Country Dancing Master. Offord (John of the Greeny Cheshire Way), 1985.

X:1

T:London Hornpipe [4]

M:3/2

L:1/8

K:D

D2F2A2 d2 fg a2|g2 e4 B2 dcBA|dABG AFGE FDEF|A,2 D4 GF E2D2|

BdBF GBGE FAFD|C2 E4 B,2C2E2|fafc dfdA GFED|A,2 D4 GF E2D2||

 

LONDON HORNPIPE [5].  AKA and see “Liverpool Hornpipe [1].” English, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 12.

 


(OH) LONDON IS A FINE TOWN. AKA and see "Watton Town's End," "Bonny Peggy Ramsey," "Our Polly is a sad slut." English, Air and Country Dance Tune (4/4 or 2/2 time). E Major (Chappell): F Major (Sharp). Standard tuning. One part. This air appears in Henry Playford's Dancing Master (1665 and later editions), D’Urfey’s Pills to Purge Melancholy (1707), and Gay's Beggar's Opera (1728), though it is somewhat older as it is referenced as the tune for another song written on the occasion of James I.'s visit to Cambridge in 1614. Kidson (1922) confirms it was "an early and very popular air, set to a merry song." Other titles of songs to the air are "The Gowlin," a "Scotch" song from D'Urfey's play Trick for Treat, in Pills to Purge Melacholy (Vol. V, 1719), "Bonny Peggy Ramsey" in The Dancing Master (1707 & 1719), "The Cuckowes Comendation" (Pepys Collection), and "Our Polly is a sad slut" in Gay's Beggar's Opera (1728). Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 6‑7. Sharp (Country Dance Tunes), 1994; pg. 26.

X:1

T:London is a Fine Town

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:F

cB|A2F2F2F2|A2 c4 BA|G2A2 B3c|d6 e2|f2 gf e2 de|f2 F2F2F2|F2G2 A3B|G6 E2||

cB|A2F2F2F2|A2 c4 BA|G2A2 B3c|d6 e2|f2 gf e2 de|f2 F2F2F2|F2 G2 A3 B|G6||

 

LONDON LADIES. English, Air. The air appears in John Gay's Beggar's Opera (1729) under the title "If you at an office solicit your due." The tune is also in Playford's Dancing Master and different editions of Pills to Purge Melancholy. The first lines of the song go:

***

Ladies of London both wealthy and fair,

Whom every town fop is pursuing.

***

Raven (English Country Dance Tunes), 1984; pg. 60.

 

LONDON LANCIERS. English, Lanciers (an elaborate quadrille in 6/8 and 2/4 time alternately). D Major & G Major, various alternating parts. Standard tuning. Part I: AB (6/8 time), Part II: AB (2/4 time), Part III: AB (6/8 time), PartIV: AB (6/8 time), Part V: AABCD (2/4 time). Part III is Gay's Beggar's Opera tune "Would You Have a Young Virgin." "The Lanciers, a regiment of light cavalry armed with lances, gives its name to this elaborate quadrille. Madam Sacre, in her classes in Hanover Square, London, established the dance as fashionable about 1850" (Linscott, 1939). Source for notated version: Benjamin Lovett, "with the consent of Henry Ford, who is much interested in the revival of the country dance." Source for notated version: Benjamin Lovett. Linscot (Folk Songs of Old New England), 1939; pgs. 91‑94.

 


LONDON LASSES [1] ("Cailinide/Cailíní Lungduin" or "Cailíní Londan"). AKA and see "The Maid in the Rushes," "The Bird in the Cage," “Donegal Lassies [2],” “Flying Column [2],” "Gardiner's Favourite [1]," “Streams in the Valley,” “Sunny Banks,” "The Turnpike Gate [2]." Irish, Canadian; Reel. Canada, Cape Breton. G Major. Standard tuning. AB (Dunlay & Reich, O'Neill): AABB (Dunlay & Greenberg, Tubridy): AA’BB’ (Cranford, Harker/Rafferty). The melody was recorded by fiddler Paddy Cronin, piper Patsy Tuohy, and flute player Joe McKenna (the latter called it “Streams in the Valley”). The Cape Breton setting was popularized by the late Donald Angus Beaton, however it is clear from the transcriptions of his settings that he played the tune with parts in reverse order from those printed in O’Neill’s Music of Ireland. Dunlay and Greenberg (1996) note that Cape Breton fiddler John Campbell also played the tune with parts reversed from O’Neill’s. There is another setting in Breathnach’s CRÉ II, No. 170. “London Lasses” is often paired in a medley with “The Galway Rambler,” perhaps stemming from the 1937 recording by the Aughrim Slopes Ceili Band in Dublin. Sources for notated versions: Donald Angus Beaton (Cape Breton, Nova Scotia) [Dunlay & Greenberg, Dunlay and Reich]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1975; No. 170. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 63. Cranford (Jerry Holland’s), 1995; No. 171, pg. 48. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; 95. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 61. Harker (300 Tunes from Mike Rafferty), 2005; No. 29, pg. 10. O'Neill (Krassen), 1976; pg. 110. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1278, pg. 240. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 546, pg. 101. Shears (The Cape Breton Collection of Bagpipe Music), 1995. Taylor (Through the Half‑door), 1992; No. 6, pg. 6. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 21. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007). DAB4‑1985, Donald Angus Beaton‑ "A Musical Legacy" (1985. Appears as "Traditional Reel"). Fiddlesticks cass. ACC-49397, Jerry Holland - “Fathers and Sons” (1992). Green Linnet SIF 1058, Matt Molloy & Seane Keane ‑ "Contentment is Wealth" (1985). JC 127, John Campbell‑ "Cape Breton Violinist" (1983. Appears as "Traditional Reel"). SA93130, Donny LeBlanc - “Rosining Up the Bow” (1993). Shaskeen ‑ "The Joys of Life." STEPH 1-94, Stephanie Wills - “Tradition Continued” (1994).

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:London Lasses [1]

M:C|

L:1/8

R:Reel

K:G

G2 BG dGBd | eaag eg g2 | G2 BG dGBd | egdB AGED |

G2 BGT dGBd | Eaag egga | bgag eaaf | gedB AGED :|

|: gfgd edBe | dGBG BGBd | g2 ag efge | dBGB AGED |

g2 ag efge | dBAB dega | bgag eaaf | gedB AGEF :|

 

LONDON LASSES [2]. Irish, Reel. B Minor ('A' part) & D Major ('B' part). Standard tuning. ABB. The melody appears in the Sutherland manuscript collection of County Leitrim. This is not the tune usually known as “London Lasses” today (see version #1), says New York writer, researcher and musician Don Meade, but rather a variant of O’Neill’s “Curragh Races [1].” Confusingly, he continues, “Curragh Races” is printed by Breathnach as “Maid in the Cherry Tree [1],” a name that is also applied sometimes to the other London Lasses ([1]). Cole (1000 Fiddle Tunes), 1940; pg. 28. Ryan’s Mammoth Collection, 1883; pg. 54. Drumlin Records, The McNamara Family – “Leitrim’s Hidden Treasures” (1999).

X:1

T:London Lasses [2]

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

a | fBdf fBdf | eA (3cBA eA (3cBA | fBdf fBdf | ecAc (dB) B2 |

fBdf fBdf | eA(3cBA eA (3cBA | dcdB cBAd | ecAc dB B2 ||

|: d2 (fd) (ad)(fd) | c2 (ec) Acec | d2 (fd) (ad)(fd) | ecAc (dB) B2 |

d2 (fd) (ad)(fd) | c2 (ec) Acec | defg abaf | ecAc dB B2 :|

 

LONDON LASSIES [3]. Irish, Reel. D Major. Standard tuning. AABB (Miller & Perron/1977): AA’BB’ (Miller & Perron/2006). Source for notated version: Belfast fiddler Sean McGuire (1927-2005) with the Four Star Quartet [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 6. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 82. Blarney Castle Records BC‑509, "Best of Irish Dance Music."

 

LONDON LASSES [4??]. Irish, Reel. G Major. Standard tuning. AABB’. Source for notated version: fiddler Kevin Burke & accordion player Jackie Daly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1986; No. 106.

           

LONDON MAID. AKA and see "London Gentlewoman," "The Hemp Dressers."

           

LONDON MARCH. English, March (4/4 time). England; Lincolnshire, Yorkshire. G Major (Merryweather & Seattle): D Major (Sumner). Standard tuning. AAB (Merryweather & Seattle): AABB (Sumner). The first part of the tune, with a different strain, is "The Scotch Hornpipe [1]" and "March of the Third Regiment of Guards." Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Merryweather & Seattle (The Fiddle of Helperby), 1994; No. 108, pg. 60. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 76 (originally set in the key of ‘C’ major).

           

LONDON POLKA. American, Polka. USA, Ohio. Edison 51995 (78 RPM), 1927, John Baltzell {Baltzell was from Mt. Vernon, Ohio, also the home town of minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but later taught Baltzell to play the fiddle}. Is this the London Bridge Polka?

           

LONDON 'PRENTICE, THE. AKA and see "All in/on a Misty Morning" and "The Friar and the Nun [1]."

           

LONDON PRIDE. AKA and see "Idbury Hill," "Old Medden of Fawsley,” “Stourton Wake." English, Morris Dance Tune (2/2 time). G Dorian or G Mixolydian. Standard tuning. AABB. The tune was collected in two versions from the village of Longborough (Gloucestershire), in England's Cotswolds. Winston Wilkinson, in his article “Virginia Dance Tunes” (Southern Folklore Quarterly, vol. VI, no. 1, pg. 6), sees this tune as the source for his Virginia collected “Foggy Dew” (from fiddler James H. “Uncle Jim” Chisholm). Wilkinson also notes it was sometimes called “Shady Grove” by Virginia informants and that a song was collected in Pennsylvania to it called “The Pinery Boy.” In Scotland the melody has been used for Child  ballad No. 281, “The Keach in the Creel.” Source for notated version: Mason via Cecil Sharpe [Bacon]. Bacon (The Morris Ring), 1974; pg. 247 & 248. Sharp & Macilwaine (Morris Dance Tunes), Set VII, No. 6.

X:1

T:London Pride

L:1/8

M:2/2

B:Sharp & Macilwaine – “Morris Dance Tunes”

K:E Minor

e3fg2e2|dcBA G2G2|A2e2 edcB|1 A3B A4:|2 A4 A4||

e3f g2e2|agfe d2d2|e3e f2f2|a4e4||

           

LONDON SCOTTISH, THE.  Scottish, Pipe March (2/4 time). A Mixolydian. Standard tuning. AABB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 47 (includes variation sets).

X:1

T:Longon Scottish, The

M:2/4

L:1/8

R:Pipe March

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A Mix

.A/.B/ | ({c/d/}c)B/c/ ({d/e/}c/d/ | ({e/f/}e)A ({f/a/}f)e/d/ | c/e/a/f/ e/c/B/A/ | g(dd) .e/.d/ | ({d}c)B/A/ d.c/.d/ |

 .e.a ({f/a/}f)e/d/ | c/e/a/f/ e/c/d/B/ | ({B}c)(AA) :: e/d/ | c/e/a/f/ e/c/A/a/ | ({c/d/}c)(AA) .e/.d/ |

c/e/g/e/ d/B/G/g/ | ({B/d/}B)(GG) .e/.d/ | c/e/a/f/ e/c/A/f/ | e/a/A/a/ ({f/a/}f)e/d/ | c/e/a/f/ e/c/d/B/ | ({B}c)(AA) :|

 

LONDON TOWER. AKA and see “Gleanntan Reel [3].”

 

LONDON WAITS. AKA and see "Past Three O'Clock." English, Air (3/4 time). G Major. Standard tuning. ABC. This Waits' air was turned into a Christmas carol and appears in some collections of those songs; it was published by Playford in his Dancing Master of 1665 (where it appears simply as “The Waits”), and in Apollo's Banquet of 1669. Waits were paid musicians of towns and corporations, especially by the 15th and 16th centuries, and each group had some special tune to which they gave their name e.g. "Chester Waits," "Colchester Waits." In the year 1575 the livery of the London Waits, states Chappell (1859), was described in a contemporary chronicle as "blue gowns, red sleeves and caps, every one having his silver collar about his neck." Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 10‑11.

X:1

T:London Waits

T:Waits, The

M:3/2

L:1/8

S:Playford – Dancing Master (1665)

Z:AK/Fiddler’s Companion

K:Gmin

B2G2G2 F4A2|Bc d2d2 f4F2|B2G2G2 F4 A2|Bc d2d2 c6:|

|:B2c2d2 c4B2|cBc2d2 B6|(BA) (Bc) (de) c4 B2|(cB)c2d2 g6:|

 

LONDON WALTZ.  English, Waltz. A Major. Standard tuning. AABBC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 145, pg. 37.

           


LONDONBRIDGE HONRPIPE, THE. AKA and see “City Life,” “O’Keeffe’s Hornpipe [2],” “Showman’s Fancy,” “Violetta.” Irish, Hornpipe. D Major. Standard tuning. AA’BB. A different tune than “London Bridge” [1] or [2] or the “London Bridge Polka.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 106, pg. 62. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989. Appears as second of “O’Keeffe’s Hornpipes,” named for fiddler Padraig O’Keeffe, from whom O’Leary learned the tune).

           

LONDONDERRY AIR. AKA and see “Derry Air,” “Danny Boy,” “Drimoleague Fair,” “Emer’s Farewell to Cucullain.”

           

LONDONDERRY CLOG. AKA and see "Londonderry Hornpipe," "Delaney's Clog," "Showman's Clog." Irish (originally),  Canadian; Clog. D Major. Standard tuning. AABBCCDDEEFF. The tune was a favorite, records O’Neill (1913), of County Wexford piper Johnny Cash (1832-1909), ‘Cash the Piper’; in fact so much that it was locally known as “Cash’s Hornpipe.” Derry was renamed Londonderry as a result of its being granted to the Corporation of London after the confiscation of the O’Neill estates in 1609. It was ‘planted’ as a colony by the twelve City Corporations (Matthews, 1972). Messer (Way Down East), 1948; No. 84. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 160, pg. 109. O'Neill (1915 ed.), 1987; No. 322, pg. 159.

X:1

T:Londonderry Clog

R:Hornpipe

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

A>G|F2A>d f>dA>F|G2B>d g>dB>G|F2A>d f>dA>F|E2G>B e>cA>G|

F2A>d f>dA>F|G2B>d g2a>g|f>af>d B>ge>c|d2f2 d2:|

|:f>g|a2f>d A>df>a|g2e>c A>ce>g|a2f>d A>dg>f|(3efd (3cdB A2f>g|

a2f>d A>df>a|g>fe>f g2a>g|f>af>d B>ge>c|d2f2 d2:|

           

LONDONDERRY HORNPIPE, THE (Crannciuil Doire-Calgaic). AKA and see “Delaney’s Clog,” “Derry Hornpipe,” “Ladies Hornpipe [1],” "Londonderry Clog," "Showman's Clog." Irish (originally), Canadian; Hornpipe. Canada, Ontario. D Major. Standard tuning. AABB (Allan, Perlman, Phillips): AACC (Perlman): AABBCC (Kerr): AA’BBCC’DD (Moylan): AABBCCDDEEFF (O'Neill). O’Neill states:

***

No. 1753 has a history. Bernard Delaney introduced the tune consisting

of the 1st and 2nd parts on the Irish pipes in a masterly manner, being a

great favourite with dancers. Turlough McSwiney, the Donegal piper,

added the 3rd part which was improved by Miss Gillan. Later Delaney

added the fourth part. In a MS collection I discovered the 5th and 6th

parts. It was an old strain closely resembling the others so its two parts

were joined to the former making altogether a hornpipe of great style

and variety.

***

Breathnach states (in Ennis, 1977) that O’Neill’s setting  was played by Leo Rowsome, Willie Clancy and most other pipers. Perlman (1996) states that while this is a three part tune in Allan’s Irish Fiddler, on Prince Edward Island the tune is two part, though sometimes with the second part being the regular ‘B’ part, and sometimes the ‘C’ part. Derry was renamed Londonderry as a result of its being granted to the Corporation of London after the confiscation of the O’Neill estates in 1609. It was ‘planted’ as a colony by the twelve City Corporations (Matthews, 1972). The tune was picked up by Ontario fiddlers, popularized by radio fiddler Ward Allen. Sources for notated versions: Clem Myers (Vt.) [Phillips]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; George MacPhee (b. 1941, Monticello, North-East Kings County) and Eddy Arsenault (b. 1921, Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 96, pg. 24 (appears as "The Londonderry"). Giblin (Collection of Traditional Irish Dance Music), 1928; 62 (appears as untitled hornpipe). Jarman (Old Time Fiddlin' Tunes); No. or pg. 21. Kerr (Merry Melodies), vol. 3; No. 340, pg. 36. Moylan (Johnny O’Leary), 1994; No. 227, pgs. 130-131. O'Neill (Krassen), 1976; pg. 210. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1753, pg. 326. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 925, pg. 158. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 79. Phillips (The Fiddlecase Tunebook), 1989; pg. 35. Phillips (Traditional American Fiddle Tunes, vol. 2), 1995; pg. 206. Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont." GRT Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 210, “Ward Allen Presents Maple Leaf Hoedown, vol. 2.”

X:1

T:Londonderry Hornpipe, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 925

Z:AK/Fiddler’s Companion

K:D

A>G|F2 A>d f>dA>F|G2 G>B d>dB>G|F2 A>d f>dA>F|E2 G>B e>cA>G|

F2 A>d f>dA>F|G2 B>d g2 a>g|f>af>d B>ge>c|d2f2d2:|

|:f>g|a2 f>d A>df>a|g2 e>c A>ce>g|a2 f>d A>dg>f|(3efd (3cdB A2 f>g|

a2 f>d A>df>a|g>fe>f g2 a>g|f>af>d B>ge>c|d2f2d2:|

|:A>G|(3FED A>D B>DA>D|d>cd>f e>cA>G|(3FED A>D B>DA>D|

E>GF>A G>BA>G|(3FED A>D B>DA>D|d>cd>f e>ce>g| (3fgf d>f {a}g>ec>e|d>f (3edc d2:|

|:(3efg|a>^ga>b a>fd>f|g>fg>a g>ec>e|a>^ga>b a>fd>f|(3efd (3cdB A2 (3efg|

a>^ga>b a>fd>f|g>fe>f g>ba>g|(3fgf d>f {a}g>ec>e|d>f (3edc d2:|

|:f>g|(3aaa f>d A>df>a|(3ggg e>c A>ce>g|f>dg>e a>fb>g|e>cd>B A2 f>g|

(3aaa f>d A>df>a|(3ggg e>c A2 a>g|f>dA>F E>ge>c|d2f2d2:|

|:F>G|A>FA>d f>ed>c|B>GB>e g>fe>d|c>Ac>e a>gf>e|f>cd>B A2 F>G|

A>FA>d f>ed>c|B>GB>d g2 a>g|f>af>d B>ge>c|d2g2d2:|

           

LONDONDERRY LOVE SONG (Abran--Grad Doire-Calgaic). AKA and see "Londonderry Air," "Danny Boy" “Derry Air.” Irish, Air (4/4 time, "with feeling"). G Major. Standard tuning. AB. The familiar “Derry Air” with cadences ending on the relative minor chord. Derry was renamed Londonderry as a result of its being granted to the Corporation of London after the confiscation of the O’Neill estates in 1609. It was ‘planted’ as a colony by the twelve City Corporations (Matthews, 1972). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 188, pg. 33.

X:1

T:Londonderry Love Song

T:Danny Boy

M:C

L:1/8

R:Air

N:”With feeling”
S:O’Neill – Music of Ireland (1903), No. 188

Z:AK/Fiddler’s Companion

K:G

F GA | B3A BedB AG Ez GBe | d3e dBGB | A4 zFGA | B3A BedB |

AGED EFGA | B3 c BAGF | E4 z || d ef | g3f fedB | dB Gz def |

g3f fedB | e4 zddd | b3a ageg | dB Gz FGA | BedB AGFG | E4 z ||

                       

LONDON'S GLORY. English, Country Dance Tune. D Minor. AABB. 18th century tune. Raven (English Country Dance Tunes), 1984; pg. 215.

                       

LONDON’S LOYALTY. English, Old Hornpipe (3/2 time). D Minor. Standard tuning. AAB. The tune was printed by Playford around the year 1700. Plain Brown Tune Book, 1997; pg. 31.

                       

LONDUBH, AN (The Blackbird). AKA and see "The Blackbird." Irish, Air. An Irish song of the Jacobite period in favor of the Stuarts. The title is an allegorical name for Ireland. See note for “The Blackbird” for further info.

           

LONDUBH AGUS AN CHEIRSEACH, AN (The Blackbird and the Woodlark). AKA - "The Blackbird and the Hen," "The Blackbird and the Thrush," "The Cock and Hen." Irish, Air or March (6/8 or ¾ time). G Mixolydian/Major (Johnson): A Mixolydian (O’Neill). Standard tuning. AABB. O'Sullivan finds related tunes in Petrie's Ancient Music of Ireland (1855) and Bunting's 1840 collection under the titles "Cearc agus Coileach a d'imigh le cheile" and "Sweet Portaferry," respectively. Words to the air were recorded by Bunting from two County Mayo sources in 1802. Source for notated version: According to the Index of Bunting's 1840 edition, the tune was noted at Ballinrobe, County Mayo, in 1792. Bunting (The Ancient Music of Ireland), 1840. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 8. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1837, pg. 345. O'Sullivan/Bunting, 1983; No. 7, pgs. 9-10. Green Linnet SIF 1053, Mick Moloney & Eugene O’Donnell – “Uncommon Bonds” (1984).

X:1

T:Blackbird and the Hen, The

M:6/8

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 1837

Z:AK/Fiddler’s Companion

K:A

e/d/ | ccd BBc | AAB/c/ {c}d2B | fdB c/d/ec | {c}BAA A2 e/d/ |

ccd BBc | AAB/c/ {c}d2b | fdB c/d/eb | baa a2 :: d/c/ | def =ged/c/ |

def/^g/ a2a | {a}=gee {e}dBA | Bee e2 e/d/ | cc/e/d/c/ BB/d/c/B/ |

AA/B/c/A/ d2B | fe/d/c/B/ c/d/e/c/d/B/ | BAA A2 :|

                       

LONDUBH AGUS AN CIARSEACH, AN (The Blackbird and the Thrush). AKA and see "The Blackbird and the Thrush."

                       

LONDUBH IS AN CHEIRSEACH, AN. AKA and see “The Blackbird and the Thrush,” “Sweet Portaferry.”

                       

LONE APPENDICITIS. AKA and see "Constitution Hornpipe [1]."

                                   

LONE BUSH [1], THE. Irish, Hornpipe. G Major. Standard tuning. AABB’. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). The tune is named for the solitary surviving bush which grew outside the family farmhouse in Cavan where Reavy was raised. “The Lone Bush” was one of the tune selections of a young Liz Carroll (Chicago) when she won the Junior All Ireland fiddle competition. Reavy (The Collected Compositions of Ed Reavy), No. 106, pg. 119.

X:1

T:Lone Bush, The

R:hornpipe

C:Ed Reavy

D:The Music of Ed Reavy

Z:id:hn-hornpipe-83

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:G

(3DEF|GABd c2dB|GABd c2Bc|dg (3fga gfdc|BGDE =FDCD|

GABd c2dB|GA (3Bcd c2Bc|dg (3fed cADF|AGGF G2:|

|:(3Bcd|gd (3Bcd =fcAc|gdBd =f2 (3de^f|gb (3fga gfdf|gfga fdcA|

GABd c2dB|GABd c2Bc|dgfd cADF|(3ABA GF G2:|

 

LONE BUSH [2], THE. Irish, Jig. D Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 55.

                       

LONE HIGHLAND GLEN. Scottish, Slow Air. Composed in 1928 by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to the Highland Strathspey and Reel Society, Inverness. Henderson (Flowers of Scottish Melody), 1935.

                       

LONE INDIAN. AKA and see "Lost Indian" ???  Old‑Time, Breakdown. USA, Alabama, Missouri. In the repertory of northwest Alabama fiddler D. Dix Hollis (1861‑1927), and considered by him one of "the good old tunes of long ago" (as recorded in the Opelika Daily News of April 17th, 1926) {Cauthen, 1990}. Missouri State Old Time Fiddlers' Association, Lymon Enloe (b. 1906, Cole Co., Mo.) {appears as "Lonesome Indian"}.

           

LONE SHANAKYLE.  AKA and see “Maid of the Golden Tresses,” “An Paisdin/Páistín Fionn [1].” Irish, Air. MORCD001, Mícheál Ó Raghallaigh – “The Nervous Man” (2002).

 

LONE STAR CLOG. American, Clog. D Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 87.

X:1

T:Lone Star Clog

M:C
L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:D

(F>G)|({B}A<)^GA>F D>FA>d|c>ed>B A>ce>g|f>de>c d>BA>F|B2E2 E>FG>^G|

({B}A>)^GA>F D>FA>d|c>ed>B A>ce>g|f>de>c d>BA>F|D2d2D2:|

|:(c>d)|e>^de>c A>ce>g|g>fa>f d2 e>f|g>ab>a g>fe>d|(3cde (3dcB A2 c>d|

e>^de>c A>ce>g|g>fa>f d2 e>f|g>ab>a (3gec (3ABc|d2f2d2:|

           

LONE STAR RAG [1]. AKA and see "Stone's Rag." Old-Time, Breakdown. USA; Texas, Oklahoma, Arkansas. C Major. Standard Tuning. ABCB. This tune, recorded in 1940 by Texas fiddler Bob Wills, proved popular and has since been in the repertoires of many Texas fiddlers. It appears to be a close variant of Oscar Stone’s composition “Stone’s Rag,” with improvisations. Source for notated version: Cecil Snow (1918-1991, Oklahoma/Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 131. Cecil Snow = “The Country Boys, Sounds from the Ozarks (c. 1989. Privately issued cassette).

 


LONE STAR RAG [2]. Old-Time, Country Rag. A Major. Standard tuning. ABB'. A different tune than "Lone Star Rag [1].” Source for notated version: Art Davis with Bill Boyd's Cowboy Ramblers (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 80. Bluebird AMX2-5503, “Bill Boyd’s Cowboy Ramblers” (1975).

           

LONE VALE, THE. Scottish, Slow Air (6/8 time). B Flat Major. Standard tuning. AABB. "A Highland air" (Gow). Carlin (The Gow Collection), 1986; No. 548. Gow (Complete Repository), Part 3, 1806; pg. 14.

X:1

T:Lone Vale, The

M:6/8

L:1/8

R:Air

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:Bb

B/>G/|F>GF {Bc}d>cB|~G>FG (BG)F|~F>GF {Bc}d>cB|c>Bc/d/ B2G|~F>GF (BG)F|

~F>GF {Bc}dcB|{d}d>Bc B2::B|~d>cd e>dc/B/|G>FG BGF|~d>cd e2 d/c/|

(B/A/)(B/c/)(d/=e/) f2F|~d>cd e>dc/B/|G>FG (BG)F|~F>GF {Bc}d>cB|{d}d>Bc B2:|

           

LONELY BIRD, THE (Yksinainen Lintu). Finnish, Slow Air. Composed by Hatti Hintikka. Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996. Learned from some fiddlers at a festival in Finland).  Whirlie Records CD2, Aly Bain - "Lonely Bird."

           

LONELY I'LL BE LOVE WITHOUT YOU. AKA ‑ "Gan Tusa Beid Me Uigneac A Grad." Irish, Air (6/8 time, "with feeling"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 321, pg. 56.

X:1

T:Lonely I’ll be Love without You

M:6/8

L:1/8

R:Air

N:”With feeling”
S:O’Neill – Music of Ireland (1903), No. 321

Z:AK/Fiddler’s Companion

K:G

D|GAB ABd|e3 d2B|GAB AGF|(E3 E2)D|GAB ABd|e3 d2G|Bcd cAF|(G3 G2)||

B/c/|dBd gfg|e3 A2B|cde dBd|G3 F2 F/E/|DGB ABd|e3 d2G|Bcd cAF|(G3 G2)||

           

LONELY LAD, THE. AKA and see “The Pipe on the Hob [2],” “Paddy Canney’s (Jig) No. 2.”

           

LONESOME BLUES. Old‑Time, Breakdown. C Major. Standard tuning. AB (Silberberg): AA'BB (Phillips). Sources for notated versions: Wil Gilmer and the Leake County Revelers [Phillips]; Greg Canote (Seattle) [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 80. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 92. County 532, "The Leake County Ramblers: 1927‑1930 Recordings" (1975).

           

LONESOME BOATMAN, THE. Irish. Composed by piper Finbar Furey at the age of 19, inspired by a fisherman casting his nets for salmon.

           

LONESOME FIDDLE BLUES. Bluegrass, Breakdown. D Dorian ('A' part), D ('B' part). Standard tuning. AA'BA. Composed by bluegrass fiddler Vasser Clements. Charlie Daniels “Devil Went Down to Georgia” seems to have been largely based on Clements’ tune. Source for notated version: Vasser Clements [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 173. Mercury SRM‑1‑1022, "Vasser Clements." Rounder 0068, Mark O'Conner‑ "Pickin' in the Wind." United Artists 9801, "Will the Circle Be Unbroken."

           

LONESOME BOATMAN, THE. Irish, Air. Composed by uilleann piper Finbar Furey in the early 1970’s.

           

LONESOME EYES. Canadian, Air. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. Composed by Cape Breton fiddler Jerry Holland, for his son.

 

LONESOME HILL. Old‑Time, Breakdown. USA, Oklahoma. D Major. Standard tuning. AABB. Thede states that this version of "The Lonesome Hill" was the one played by the fiddler who took first prize in fiddling at the World's Columbian Exposition (Chicago, 1893), Will Connally. The melody has been linked to the “Dubuque” family of tunes (by Gus Meade). Source for notated version: Max Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 112.

           

LONESOME INDIAN. AKA and see "Lone Indian."

           


LONESOME JIG [1], THE. AKA and see “Rolling Wave(s) [1].” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard tuning. AABB’. The first part is almost identical to Joyce’s jig “Humours of Glenflesk,” a town not far from source O’Leary’s home. Source for notated version: Bill the Weaver (Bill Murphy, father of fiddler Denis Murphy) via accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Ceol, vol. 5, No. 1. Moylan (Johnny O’Leary), 1994; No. 122, pg. 71. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989. Appears as “Bill the Weaver”).

 

LONESOME JIG [2], THE. AKA and see “The Castle Jig [2],” “Sean Ryan’s Jig [1].” Irish, Double Jig. A Dorian. Standard tuning. AABB. Source for notated version: Sean Ryan (County Offaly) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 87, pg. 83.

 

LONESOME JIG [3], THE. AKA and see “Leitrim Fancy [2].” Irish, Jig. Danny O’Donnell – “Ón tSean-Am Anall.”

           

LONESOME JOHN. Old‑Time, Breakdown. USA, Kentucky. A Aeolian (Krassen): A Dorian (Reiner): A Mixolydian (Titon). Standard or AEae tunings. AAB (Krassen): AABB (Reiner, Titon). Titon (2001) notes that his source, John Salyer (1882-1952) played his ‘c’ notes at an intonation between a ‘c’ natural and a ‘c’ sharp. This is not a mistake or poor technique, but a legitimate characteristic of the tonality of many old-time fiddlers. Salyer himself called such intonation ‘wild’ notes. Mike Yates (2002) believes this tune to be related to “Salt Creek,” “Salt River [2]” and Hobart Smith’s “Pateroller [1]” (the latter is not the tune that is alternately called “Run, N….r, Run”). Sources for notated versions: “Fiddlin' Sam Kelly” (i.e. Santford Kelly {1898-1973} of West Liberty, Morgan County, Ky.) [Krassen]; John M. Salyer (Salyersville, Magoffin County, Ky.) [Titon]. Krassen (Appalachian Fiddle), 1973; pg. 38. Reiner (Anthology of Fiddle Styles), 1979; pg. 28. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 95, pg. 124. Appalachian Center AC003, “John M. Salyer, Home Recordings 1941-42” (1993). Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our House" (1982. Learned from Scott Boatright, Fort Blackmore, Va.).

           

LONESOME KATY. AKA and  "Beaux of Oak Hill [1]," "The Boys of Bluehill," "Silver Lake [4]." Old‑Time, Breakdown. D Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 57.

X:1

T:Lonesome Katy

M:2/4

L:1/8

R:Breakdown

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:D

A/G/F/G/ AA|B/A/B/c/ ed|f/g/a/f/ ef|d/f/e/d/ BA|A/G/F/G/ AA|

B/A/B/c/ ed|f/g/a/f/ ef|A>de/ d2::a/g/f/g/ aa|g/f/g/a/ ba|

f/g/a/f/ ef|d/f/e/d/ BA|A/G/F/G/ AA|B/A/B/c/ ed|f/g/a/f/ ef|A>de/ d2:|

           

LONESOME MOONLIGHT WALTZ. Bluegrass, Waltz. From the ‘father of Bluegrass,’ Bill Monroe. D Minor/F Major. There are two versions of the melody, both by Bill Monroe, but with differing second parts.“Kenny Baker Plays Bill Monroe.”

           

LONESOME OAK. Old‑Time. The title appears in a list of traditional Ozark Mountains fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

LONESOME POLLY ANN.  Old-Time, Breakdown. USA, Missouri. A Major. AEac# tuning (fiddle). AA’BB’CC’. Gordon McCann remembers that Robertson originally called this tune “Pretty Polly” (see also Pete McMahon’s version of “Pretty Polly” on the album “Now That’s a Good Tune”), but changed the name so as to avoid remarks that he copied McMahon’s tune [Beisswenger & McCann, 2008]. There are several other tunes and folksong ballads with that have the name “Polly Ann” in them, most unrelated to each other, and apparently not with Robertson’s tune. The melody was recorded as “[[Lonesome Betty Ann]]” in the late 1940’s by fiddler Jesse Ashlock, a Western Swing version. Source for notated version: Lonnie Robertson (1908-1981, Springfield, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 120. Caney Mountan CLP 232, Lonnie Robertson – “Fiddle Tunes, Ozark Style.” Rounder 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded in 1977).

 

LONESOME REEL, THE.  AKA and see “Peeler’s Jacket [4],” Sean Reid’s Reel.” Irish, Reel. G Major.

 

LONESOME ROAD BLUES. AKA and see "Going Down the Road Feelin' Bad." Old‑Time, Song Tune. USA, North Carolina. The song is widely known and recorded as "Goin' Down the Road Feelin' Bad," locally called "Lonesome Road Blues" in the Round Peak, North Carolina, region. Tommy Jarrell remembers the tune "coming 'round" to the area about 1918 or so. County 778, Tommy Jarrell ‑ "Pickin' on Tommy's Porch" (1984).

           

LONESOME ROAD TO DINGLE [1]. AKA and see “Din Tarrant’s [3],” “The Gneevgullia Polka [3],” “Paul Landers’.” Irish, Polka. Ireland, West Kerry. D Major. Standard tuning (fiddle). AABB. Mac Amhlaoibh & Durham (An Pota Stoir: Ceol Seite Corca Duibne {The Set Dance Music of West Kerry}), No. 40, p. 29 (appears as “Gan Ainm” {untitled}).

 

LONESOME ROAD TO DINGLE [2]. AKA and see “The Brosna Slide [1],” “The Trip to the Jacks.” Irish, Slide (12/8 time). G Major. Standard tuning (fiddle). AABB. Mallinson (Enduring), 1995; No. 65, p. 28.

           

LONESOME VALLEY WALTZ. Old‑Time, Waltz. USA, Mo. Caney Mountian Records CEP 207 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66.

                       

LONESOME WEDDING, THE (bRon Ar A Ngrad). Irish, Hornpipe. E Minor. Standard tuning. AAB. Roche Collection, 1983, vol. 3; No. 173, pg. 61.

                       

LONG ACRE, THE. Irish. A modern composition by Irish fiddler Kevin Burke, who now resides in Seattle. Green Linnet SIF1122, Kevin Burke - "Open House" (1992).

                       

LONG AND SLENDER SALLY, THE. Irish, Reel. Ciaran Carson mentions the tune in his book Last Night’s Fun (1996), played in a set with “Johnny Going to Ceili” and “The Gosson that Beat His Father,” obtained from flute player Cathal McConnell “of Ballanaleck on the shores of Lough Erne.” Carson thought McConnell had the set from the late John Magure, father of fiddle ‘maestro’ Sean McGuire [sic].

                       


LONG CAMPAIGN, THE. Irish, Reel. D Mixolydian/Major. Standard tuning. AABB. Source for notated version: fiddler Ruth Dornfeld (Boston/Seattle) via accordion player John Whelan [Black]. Black (Music’s the Very Best Thing), 1996; No. 255, pg. 136.

X:1

T:Long Campaign (Mixo 1st part), The

M:4/4

L:1/8

Q:100

R:Reel

K:Dmix

DFAd cAGE | FGAB (3cBA d2 | DFAd cAGE | =F3F EDCE |

DFAd cAGE | FGAB (3cBA d2 | a3g efge | age^c d4 :|

| Ad (3ddd ABcA | fgaf ge^ce | Ad (3ddd ABcA | G2FG EFGE |

Ad (3ddd ABcA | fgaf ge^ce | a3g efge | age^c d4 :||

                                   

LONG CHASE, THE. AKA and see “Ballylander’s Reel,” “Mountain Rose,” “Mulcahy’s,” “Mulvihill’s (Reel) [3],” "The Reel of Bogie."

                       

LONG COLD NIGHTS. See “Sir John Fenwick’s (the) Flower Among Them All.”

                       

LONG DANCE, THE. AKA and see "The Perfect Cure." Also see “The Ladies Fancy [5],” “The Piper’s Finish.”

                       

LONG DROP, THE.  Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by Richard Twomey. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 155, pg. 47. Capelhouse Records, Kevin Crawford – “In Good Company” (2001).

 

LONG-EARED MULE, THE. AKA and see "Flop‑Eared Mule [1]" and variations. Canadian, American (originally); Breakdown. USA; Virginia, Mississippi. D Major ('A' part) & A Major ('B' part). Standard tuning. AABB. In the repertiore of southwestern Virginia and some Mississippi fiddlers under this title, and also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It was recorded by Herbert Halpert in 1939 for the Library of Congress from the playing of Mississippi fiddler John Hatcher. Messer (Way Down East Fiddlin’ Tunes), 1948; No. 24. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 44, pg. 31. Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, vol. 1” (reissue). Gennett 6065 (78 RPM), Ernest Stoneman, c. 1928. Okeh 40405 (78 RPM) Emmett Lundy (b. 1864, Galax, Va.) with Earnest Stoneman (1925. One of only two commercial recordings Lundy made).

                       

LONG EIGHT, THE. AKA and see "Haste to the Wedding [1]." English, Jig. C Major. Standard tuning. AABB. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 8.

                       

LONG ER ONIE OLD MAN. Scottish. A development of a tune called “The Old Man” in the earlier Straloch Manuscript (1627). Nigel Gatherer sees similarities with the American old-time tune “Barlow Knife.”

X:1

T:Long Er Onie Old Man

B:Skene MS (Lute tablature), c1640

O:Scottish

Z:Nigel Gatherer

K:G

L:1/8

M:2/4

ga ge|=fg a^f|ga gd|B2 d2:|ed Bd|=f3 A|

GG d2|GG d2|ed Bd|=f3 a|GG dG|AB d|]

                       

LONG FORK OF BUCKTHORN, THE. Old-Time, Breakdown. USA; Kentucky, Missouri. A Mixolydian. Standard tuning. AABCC. See the related tune "Brushy Fork of John's Creek [1]." Source for notated version: Kentucky fiddler Art Stamper [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 146. County CD2712, Art Stamper - "The Lost Fiddler" (c. 1982. Taught to him by his father, Hiram Stamper).

                       

LONG HILLS OF MOURNE (Cnoic Fhada Mhughdhorna). AKA and see “The Bush Reel,” “Captain Rock [2],” "The Old Bush (Reel)." Irish, Reel. A Dorian. Standard tuning. AB. Breathnach (1963) notes that George Petrie has an untitled version (Complete Collection, 1905, No. 907) and says it is a County Clare reel. Elsewhere, Petrie says that his “Peggy is your head sick” when danced to goes by the name of “Long Hills of Mourne,” but the melodies are not similar. Source for notated version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 105, pg. 44.

X:1

T:The Old Bush

T:The Long Hills of Mourne

N:printed settings include CRE I 105, O'Neill's DMI 781

N:("Captain Rock") and Petrie's "Complete Collection" no. 907

R: reel

M:4/4

L:1/8

K:Dmix

A2 GA cA ~A2|d^cde fdec|A2 GA cAGA | dfef cAdc |

A2 GA cAGB|Add^c defg|(3agf (3gfe fde^c | dfed cA A2 ||

eg ~g2 edcd|efge ~c3 d|eg ~g2 afge | dfed cA A2 |

eg ~g2 ag ~g2|fgfe defg|(3agf (3gfe fde^c | dfed cA A2 ||

 

LONG HILLS OF MOURNE [2], THE. AKA and see "Bascadh Thomais Mhic an Bhaird," “Mourne Mountains [1],” “Tom Ward’s Downfall.”

                       

LONG-HORNED DEER. AKA and see "Forked Deer." The tune was known by this title by West Virginia fiddler French Carpenter.

                       

LONG IS THE DAY WITHOUT THE SONS OF UISNEACH. AKA and see "Fada an la gan clann Uisneach [1]."

                       

LONG ISLAND REEL. AKA and see "The Green Mountain [2]."


                       

LONG JOHN. Old‑Time, Breakdown. USA; Arkansas, Nebraska. G Major. Standard tuning. AABB. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. “Long John” is one of ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Source for notated version: Bob Walters (Burt Co., Nebraska) [Christeson, Phillips]. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 106. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 147.

                       

LONG JOHN'S WEDDING (“Posga Sean Fada” or “Posad Seagan Fada”). AKA and see “The Perfect Cure.” Irish, Double Jig or March. A Major. Standard tuning. AABB. O’Neill (1922) calls the march an ‘elaboration’ of the jig he prints in Music of Ireland (1903). O'Neill (Krassen), 1976; pg. 53. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1018, pg. 190. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 233, pg. 52. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 64 (march version).

X:1

T:Long John’s Wedding

M:6/8

L:1/8

R:Jig or March

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 233

Z:AK/Fiddler’s Companion

K:A

e|c2A ABA|agf e2d|c2A ABc|d2c Bcd|c2A ABA|agf e2d|c2A BGB|A3 A2:|

|:e|A2B c2d|efe e3|d2B Bcd|e2d cBA|e2d cBA|f2g agf|e2d c2a|c2A BGB|A3 A2:|

X;2

T:Long John's Wedding March

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:March

K:G

dc|B2 G GBG|gfe d2 c|B2 G GAB|c2 B ABc|

B2 G GBG|gfe d2 c|B2 G AFA|G3 G2:||

D|G2 A B2 c|dcd d2 B|cBc ABc|d2 c BAG|

e2 f gfe|d2 c B2 d|e2 d c2 B|A3 d3|

G2 A B2 c|dcd d2 B|c2 B ABc|d2 c BAG|

e2 f gfe|d2 g d2 c|B2 G AFA|G3 G2||

                       

LONG LIFE TO STEPMOTHERS. Scottish, Slow Quickstep. D Major. Standard tuning. AAB. Composed by Nathaniel Gow (1766-1831) the title suggested by his family. Father Niel Gow (1727-1807) married twice. His first wife was Margaret Wiseman, with whom he had five sons and three daughters. She died in . Niel remarried to Margaret Urquhart of Perth in 1768, and, although they had no children of their own, they remained happlily married until her death in 1805. As stepmother, she had affectionate relationships with all Niel’s children by his first wife. Niel was deeply distressed by Margaret Urquhart’s death and stopped playing for a time, until urged back to the fiddle by his family. When he picked it up again he composed the lovely “Niel Gow’s Lament for the Death of his Second Wife.” The tune was probably partly an answer to “Short Life to All Stepmothers,” a strathspey by Malcolm MacDonald, appearing in his Fourth Collection (1797). Carlin (Gow Collection), 1986; No. 573. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 4.

X:1

T:Long Life to Stepmothers

M:2/4

L:1/8

N:”Slow”

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:D

({A}D)({A}D) ({A}D)({A}D)|(B,/E/) “tr”E/>C/ (D/F/) “tr”F/A/|({A}D)({A}D) ({A}D)({A}D)|(B,/E/) “tr”E/>C/ D2:||

{^g}a {^g}a f/d/”tr”d/>c/|B/e/e/>d/ (c/A/)d/f/|{^g}a {^g}a f/d/”tr”d/>c/|(B/e/)e/>c/ {c}dD|

{^g}a {^g}a f/d/”tr”d/>c/|B/(e/4f/4) (g/4f/4).e/4.d/4 (c/A/)d/f/|(a/f/).d/.A/ (f/d/).A/.F/|(B/G/)(E/C/) {C}D2||

                       

LONG, LONG AGO. English, Country Dance Tune (2/4). G Major. Standard tuning. AB (Raven): ABCD (Hall & Stafford): AABBCCDD (Dixon). The tune is printed with variations by Morpeth fiddler Robert Whinham (1814-1893) in both Dixon and Hall & Stafford. Source for notated versions: the c. 1850 music manuscript of piper and fiddler Tom Armstrong of Hindley Steel [Dixon]. Dixon (Remember Me), 1995; pg. 54. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 6. Raven (English Country Dance Tunes), 1984; pg. 142. NPS1, Carole & Anthony Robb (et al) – “New Horizon.”

                       

LONG LOST JOHN. Rural Records RRCF 251, Curly Fox (Ga.) {1970}.

                       

LONG MORRIS. English. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993).

                       

LONG NOTE, THE. Irish, Single Jig or Slide (12/8 time). D Mixolydian. Standard tuning. AA'BC. A slide version of the first two parts of  Jenny’s Welcome to Charlie.” It was the theme song of an influential Monday night RTE program, also called The Long Note, in the 1970’s and was thus popularized in the repertoire. Sullivan (Session Tunes), vol. 2; No. 36, pg. 15.

X: 1
T: Long Note [The]
M: 12/8
L: 1/8
Q: 350
R: Single Jig
K: D
DDD D2 A A2 G E2 F|G2 E EEE =c2 E d3|
DDD D2 A A2 G E2G|AAA G2 A E2 A D3 :|
ddd d2 B =c2 Ad2 B|=c2 A d2 B c2 A G3|
ddd d2 B =c2 A d2 d|e2 a a2 g eae d3|
ddd d2 B =c2 Ad2 B|=c2 A d2 B c2 A G2F|
D2 E F2 G A2 d d2 c|AAA G2 A E2 A D3 ||
aaa a2 b a2 f d2 f|g2 f g2 a g2 e c3|
aaa a2 b a2 f d2 d|e2 a a2 g eae d3|
aaa a2 b a2 f d2 f|g2 e fed e2 d c2 B|
A2 B c2 d e2 d d2 c|AAA G2 A E2 A D3 ||

                       

LONG ODDS. AKA – “Miss Laton’s Hornpipe.” English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB'. The melody was first published (with dance instructions) in Preston and Son’s Twenty-Four Country Dances for the Year 1791 (London), As they are performed at Court, Bath, and all Public Assemblys.” There was a song called “Long Odds,” from Charles Dibdin's (1745-1814) The Long Odds : A Serenata, in Two Acts (1783), commencing: “And did you hear what sad disaster.” The country dance title may have derived from it. Barnes (English Country Dance Tunes), 1986. Antilles (Island) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1973).

X:1
T:Long Odds
M:4/4
L:1/8
K:G
DGGA B2BG|c2cA BGFE|DGGA BABd|ecAF G2G2:|!
|:egfe e2dB|cedc c2B2|ABcA Bcd2|ecAG GFED|!
egfe e2dB|cedc c2B2|ABcA Bcd2|ecAF G2G2:|

X:2
T:Miss Latons Hornpipe. JB.037
T:Long Odds,aka. JB.037
S:Jas.Blackshaw MS, 1837, N.Shropshire
Z:Tony Weatherall 2006
M:2/4
L:1/8
Q:1/2=90
A:North Shropshire
N:Hornpipe in the theatrical sense.
R:.Hornpipe
K:G
G2GB|d2dB|e2ec|d2dB|G2GB|d2d2|egga|g2g2::!
b2bg|a2af|g2ge|d2dB|G2GB|d2df|egga|g2g2:|

                       

LONG POINT. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard tuning. AB. Composed by Cape Breton fiddler and composed Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 12. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992).

                       

LONG POINT TWO-STEP. See "Longue Pointe Two-Step."

                       

LONG ROAD TO MILLEDGEVILLE. AKA and see "Milledgeville."

                       

LONG ROOM, THE. AKA and see “The Long Room of Scarborough.”

                       


LONG ROOM OF SCARBOROUGH, THE. AKA – “The Long Room,” “New long room at Scarborough.” AKA and see “Casks of Brandy.” English, Irish; Slip Jig. England; Northumberland, Yorkshire. G Major. Standard tuning. AABBCC. This English slip jig from a 19th century MS turns up in fiddler Martin Mulvihill’s traditional Irish repertoire from the Bronx, NY, a century later, probably through O’Neill’s. The beginning of the ‘C’ part shares a couple of bars with “Foxhunter’s Jig [1],” and the ‘B’ part is reminiscent of the same tune, although whether one or the other is ancestral is conjectural. Scarborough, on the east Yorkshire coast, has been a fashionable leisure resort for hundreds of years, and the ‘long room’ refers to a large assembly hall constructed for dancing. The town’s fame began in 1626 when Mrs. Tomyzin Farrer ‘discovered’ the medicinal properties of the town’s waters. Work quickly spread and Scarborough became established as the first seaside spa resort, attracting many by its scenic views and the relief of aches and pains by ‘taking the waters’. Scarborough catered to the elite’s pleasures, with fashionable amenities such as nightly dancing and gaming tables to afternoon theater and horseracing on the beach sands. The Victorians further developed it by introducing some of the finest formal gardens in Britain, the renowned Scarborough Spa and the Esplanade. It remains a resort town today.

***

Scarborough Spa, Yorkshire.

***

Early printings of the melody appear in Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 4 (1748, pg. 89), Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances of (1756, pg. 75), and Aird’s Selections of Scotch, English, Irish and Foreign Airs, vol. 1 (1782, pg. 45). It also appears in the English music manuscripts of Northumberland musician William Vickers (1770-72, two strains, as “The Long Room at Scarbray”), Rev. Robert Harrison (Brampton, Cumbria, c. 1820), and Yorkshire fiddlers Lawrence Ledley (1827-1897, manuscript c. 1840’s?) and Joshua Jackson (1763-1839). The Browne family manuscripts (Troutbeck, Cumbria) have the tune under the title “Boy in the Basket.” Sources for notated versions: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; copied from James Aird’s Selections [O’Neill]. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. 1, 1782; pg. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 86, pg. 50. Mulvihill (1st Collection), 1986; No. 1, pg. 107 (appears as “The Long Room”). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 197. Plain Brown Tune Book, 1997; pg. 31. EFDSS CD13, Our Northern Branch – “Hardcore English” (2007. Various artists).

X:1

T:Long Room, The

M:9/8

L:1/8

S:Aird's Selections vol. 1, 1782

Z:Paul Kinder

K:G

B | G2 G GBG Bcd | G2 G GBG AFD | G2 G GBG Bcd | e2 e fed g2 :|

|: e/2f/2 | g2 g gag fed | g2 g gbg afd | g2 g gag fed | efg afd g2 :|

|: c | BGB BGB c2 d | BGB BGB AFD | BGB BGB c2 d | ege fed g2 :||

X:2

T:Long Room at Scarbray, The

M:9/8

L:1/8

R:Jig

S:William Vickers’ music manuscript collection (Northumberland, 1770)

K:G

G2G GBG Bcd|G2G GBG AFD|G2G GBG Bcd|EFE EFG AFD:|

|:BGB BGB Bcd|BGB BGB AFD|BGB BGB Bcd|EGE EFG AFD:|

                                               

LONG STRAND [1], THE (An Craig Fada). Irish, Reel. G Major. Standard tuning. AB. See also the related “Longford Collector.” Source for notated version: Chicago policeman and fiddler Timothy Dillon [O’Neill]. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 794, pg. 138. Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999).

X:1

T:Long Strand, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 794

Z:AK/Fiddler’s Companion

K:G

G3B dB B2 | gBBc dcBA | G3B d2 BG | (3ABc BA GEEF |
G3B dB B2 | gBBc d2 cd | (3efg de Bdef | gedB AGEG ||

g3f afge | dB B2 GABd | gfaf gedB | DAFA DAFA |

g2 fg afge | dBBd g2 fg | (3efg de Bdef | gbaf gfeg ||

 

LONG STRAND [2], THE. AKA and see “Gorman’s Reel [3],” “O’Gorman’s Reel,” “Sporting Nell [1].” Irish, Reel. D Dorian. Standard tuning. AA’B. See also the related “Old Gorman’s Reel.”

X:1

T:Long Strand

S:Paul O'Shaughnessy

Z:Juergen.Gier@post.rwth-aachen.de

M:C|

L:1/8

K:Ddor

AD (3DDD A2dc|AcAG EFGc|AD (3DDD A2dc|1AcGE EDEG:|2AcGE EDDB|]\

c2ec gcec|(3ccc Bc AddB|c2ec gcec|AcGE EDDB|\

c2ec gcec|(3ccc Bc Addg|f3f efed|(3cdc Bc Addc|]

                       

LONG TIME I COURTED YOU, MISS. Irish, Air (4/4 time). D Major. Standard tuning. ABC. "Air and one verse of song given from memory, as I heard them in early life at home" (Joyce).

***

Long time I courted you, Miss,

But now I’ve come from sea,

We’ll make no more ado, Miss,

But quickly married be.

Long time you courted Sally—

With false vows you filled her head,

And Susan in the valley,

You promised her you’d wed.

Cho:

And sing oh, the storm is now gone down,

The ship is in the bay;

The captain and the sailors all

Are roving far away.

***

Joyce (Old Irish Folk Music and Songs), 1909; No. 43, pg. 24.

X:1

T:Long time I courted you, Miss

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

N:Chorus starts at second double bars.

K:D

A | d>cdf e2 dB | AfdB A3A | d>cde f>ga>A | AAce d3 || A | BGFG AGFE | Dfge d2 c>A|

d>cde fga>A | AA ce d3 || d/e/ | f>de>c dddc | BAdB A3d | f>de>c d/e/f/g/ (a a/)A/ | AA ce d3||

                       

LONG WAY FROM HOME, A. AKA and see “Lads of Doocastle,” “Paddy Arthur’s Pint,” “The Trip to Kinvara.” Irish, Reel. Alternate title “Lads of Doocastle” is from flute player Roger Sherlock, while “Paddy Arthur’s Pint” and “Trip to Kinvara” are from the Green Linnet Ceili Band and Buttons and Bows, respectively. However, the tune was originally composed in the early 1950’s by accordion player Martin Mulhaire as “A Long Way from Home.”

                       

LONG WAYS TO HOLBROOK. Old‑Time, Breakdown. USA, Arizona. C Major. Learned by Arizona fiddler Kenner C. Kartchner from the playing of Frank Pruitt, 1900.

                       

LONG WHITE CAT, THE (Peely Cuit Ban). Irish, 6/8 time). G Major. Standard tuning. One part. "Same as Moore's, 'They May Rail at this Life'" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 645, pg. 326.

                       

LONGEST DAY, THE. Irish, Air (3/4 time). A Minor. Standard tuning. AB. AB. "From John Windele, Cork," a distinguished archaeologist (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 826, pg. 400.

X:1

T:Longest Day, The

M:3/4

L:1/8

R:Air

N:”Moderate”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 826

Z:AK/Fiddler’s Companion

K:Amin

E2 | A2 A>cBA | G2E2E2 | A2 A>Bcd | c2 B3B | c2c2d2 |

e2 e>fed | c2A2A2 | A4 || d2 | e2e2e2 | {e}d2d2d2 | c2c2c2 |

d4 cd | e2e2e2 | {e}d2d2c2 | B2A2A2 | A4 ||

                       

LONGFIELD JIG, THE. Irish, Jig. D Major. Standard tuning. AABB. The tune begins on the subdominent chord. Source for notated version: Joe Keegan, a flute player from the Co. Laois side of Portartington, father of pianist and fiddler Josephine Keegan [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 14, pg. 4.

                       

LONGFORD BEGGARWOMAN, THE. AKA and see “The Bonny Boy,” "The Longford Collector."

                       

LONGFORD COLLECTOR, THE (Bailitheoir Longphoirt). AKA and see “The Bonny Boy,” "The Longford Beggarwoman." Irish, Reel. G Major. Standard tuning. AB (Breathnach, Mulvihill): AAB (Sullivan): AA’BB’ (Harker/Rafferty, Mallinson, Moylan, Tubridy). The tune was sometimes known as "The Longford Beggarwoman" in the County Clare border area near Galway (Peter Woods). It is the second tune of a famous Michael Coleman medley which includes and “The Sailor’s Bonnet.” Barry O’Neill, in his notes for the LP “Wheels of the World,” states that the title was known to County Sligo/New York City fiddler Michael Coleman as “The Longford Beggarwoman.” The story goes that Coleman was playing the tune in a taproom and after he finished someone asked him the name, which he gave as “Longford Beggarwoman”. Immediately, a plate sailed across the room and crashed on the wall near his head, followed by an irate woman shouting something to the effect that she was from Longford and they weren’t beggars there. Another version has her saying ‘there were more beggarwomen in Sligo than ever was in Longford.’ Very soon afterward Coleman entered the studio to record his famous Tarboton Set (“Tarbolton Reel,” “Longford Collector,” “Sailor’s Bonnet”) at which time he made the name change. See also the related “Long Strand [1].” Sources for notated versions: fiddler Tommy Potts (Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 184, pg. 72. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 26. Harker (300 Tunes from Mike Rafferty), 2005; No. 126, pg. 38. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 24. Mallinson (Essential), 1995; No. 14, pg. 6. Moylan (Johnny O’Leary), 1994; No. 278, pg. 159. Mulvihill (1st Collection), 1986; No. 22, pg. 6. Sullivan (Session Tunes), vol. 2; No. 4, pg. 3. Taylor (Through the Half‑door), 1992; No. 44, pg. 31. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 23. Gael-Linn CEF 045, “Paddy Keenan” (1975). Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004). Leader LEA 2004, Martin Byrnes. Philo 2001, "Jean Carignan" (learned from a Michael Coleman recording). Shaskeen ‑ "Shaskeen Live.” Talcon Records KG240, Paddy Cronin – “The House in the Glen” (197?).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Longford Collector

M:C|

L:1/8

K:G

G3A Bcdf|edBc dedB|G3A BcdB|AcBA GEDE|G3A Bddg|edBc d2 ef|

gbaf gedB|1 AcBA GEDE:|2 AcBA GE D2||

g3 a gedf|edBc d2 ef|gbaf gedB|AcBA GE D2|g3a gedf|edBc d2 ef|

gbaf gedB|1 AcBA GE D2:|2 AcBA GEDE||

                       


LONGFORD JIG, THE. AKA and see "Apples in Winter [2],” “Fruit for the Ladies,” "Gillan's Apples [1]" (Ullai Uí Ghiollain), “Gillian’s Apples,” “Jackson’s Growling Cat,” “Jackson’s Stranger [2],” “Rise the Grouse,” “Rouse the Grouse.” Breathnach (1996) finds this title a County Leitrim name for “Jackson’s Stranger.”

                       

LONGFORD REELS, THE. See “Bonnie Ann(ie) [1],” “Longford Tinker,” and “Jinnie Bang the Weaver” (Jennie Dang the Weaver”).

                       

LONGFORD SPINSTER, THE. AKA and see “The Longford Tinker.”

                       

LONGFORD TINKER, THE. AKA – “The Longford Reel.” AKA and see “The Furze Bush,” “The Longford Spinster.” Irish, Reel. B Minor (‘A’ part) & D Major (‘B’ and ‘C’ parts). Standard tuning. ABC (Mallinson, Sullivan): AABC (Mulvihill). The tune is apparently derived from the Scots “Jenny Dang the Weaver.” It was popularized by the playing of the Bothy Band. Sources for notated versions: Tony Smith (Co. Cavan & Dublin) [Mulvihill]; Bothy Band [Sullivan]. Mallinson (Essential), 1995; No. 25, pg. 11 (appears as “The Longford Spinster”). Mulvihill (1st Collection), 1986; No. 147, pg. 40. Sullivan (Session Tunes), vol. 3; No. 49, pg. 20. Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001. Learned from fiddler Brendan Mulkere, Crusheen, Co. Clare). Green Linnet SIF 3011, Bothy Band - “1975.”

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Longford Tinker

T:Jenny Dang the Weaver

M:4/4

L:1/8

R:reel

K:Bmin

| dBBA B3c | dBBB fBeB | dBBA B3B | ABde 3fe |

dBBB fBBB | dBBB 3FG | aAAd ABAF | ABdf fgfe |

2dfd efge | defa 2gfe | 2dfd efge | defa 2gfe |

2dfd efge | defa 2gfe | bgaf gfed | faaf gfed |

faaa faaa | faaf gfed | gbbb gbbb | gbbg gfed |

faaa faaa | faaf 3ga | bgaf gfed |faaf gfef |

                       

LONGMAN/CLEMENTI AND CO.  AKA and see "Walmer Castle."

                       

LONGUE POINTE TWO-STEP. Cajun, Two-Step (4/4 time). USA, Louisiana. D Major. Standard tuning. One part. Long Point, Louisiana, is between the towns of Iota and Mowata. A related song, according to Raymond Francois (1990), is "T'as Passe par la Fenetre." Source for notated version: Gervais Quibodeaux and Ambrose Thibodeaux (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 203-204. La Louisiane Records LL-119, Ambrose Thibodeaux.

                       

LONGUEVAL. Scottish, Waltz. Composed by Pipe Major John Weatherson. The melody is named after a village in France, the scene of a struggle during the Battle of the Somme, July, 1916. BM-91, Buddy MacMaster – “Glencoe Hall” (from bagpipe music compiled by Captain John MacLellan). Topic 12TS239. Topic TSCD 669, Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998).

                       

LONELINESS WALTZ. AKA and see "Valse d'Ennui."

                       

LONNIE'S BREAKDOWN. Old‑Time, Breakdown. USA, Missouri. D Major. Standard tuning. AA’BB’. Recorded at home by Missouri fiddler Lonnie Robertston for private issue. Mark Wilson says the tune appears to be Robertson’s own composition, “although it is patterend upon traditional pieces such as ‘Johnny, Get Your Gun’ (as played by Earl Johnson).” Source for notated versions: Lonnie Robertson (1908-1981, Springfield, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 120. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; pg. 48 (appears as an untitled tune). Caney Mountain Records CEP 102 (privately issued extended play LP), Lonnie Robertson – “Missouri Fiddling” (c. 1965‑66). Rounder CD 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1977). Rounder Heritage Series 1166-11592-2, Lonnie Robertson (et al) – “The Art of Traditional Fiddle” (2001).

                       

LONNIE'S HORNPIPE. Old‑Time, Breakdwon. USA; Nebraska, Missouri. B‑Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. A tune learned in northern Missouri by source Lonnie Robertson, who had no title for it. Robertson enjoyed the tune, and it became associated with his name through his frequent playing of it. Drew Beisswenger (2008) points out that the key change between strains, while not unknown in reels and hornpipes in the Ozarks, is rare, and he speculates derivation from the schottische form played in German communities in central and northern Missouri. Beissenger also points to large interval jumps in the tune as uncharacteristic of much of the region’s breakdown fiddling. Source for notated version: Lonnie Robertson (Missouri) via Bob Walters (Burt County, Nebraska) [Christeson]; Lonnie Robertson (1908-1981, Springfield, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 121. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 36. Rounder CD 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1979).

                       

LONSDALE HORNPIPE, THE. AKA and see “Lord Strange.”


                       

LOOBY LIGHT. English (?), Jig (9/8 time). D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 41, pg. 10.

                       

LOOHARADHAWN’S JIG, THE. See “Luaithreadan’s Jig.”

 

LOOK BEFORE YOU. AKA and see "Lassie, Look Before You/Ye," "Miss Agnes Ross's Reel," "Miss Ross(' Strathspey—-of Elgin) [1]." Scottish, Strathspey. D Mixolydian. Standard tuning. AB (Cole): AAB (Gow). The melody was composed by William Marshall and originally titled "Miss Ross's Strathspey," published in his First Collection, 1781. The title above is Gow's title for the tune, which appears in his Repository, Part Second, 1802, without credit to Marshall. Carlin (The Gow Collection), 1986; No. 528. Cole (1000 Fiddle Tunes), 1940; pg. 123. Gow (Complete Repository), Part 2, 1802; pg. 37. Ryan’s Mammoth Collection, 1883; pg. 163.

X:1

T:Look Before You

M:C|

L:1/8

R:Strathspey

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:D

F|D>AF>A D>AF>A|E=cc>G E2 CE|D>AF>A D>AF>A|Ddd>A F2D:|

f|d>fA>f d>f A>B|~=c>d~e>f g2 (a/g/f/)e/|d>fA>f dfAf|~d>e~f>g a2 (a/g/f/e/)|

d>fA>f d>fA>B|~=c>d~e>fg2 ef/g/|a>fg>e f>de>c|d>AB>G F2D||

                       


LOOK BEHIND YOU. AKA and see "Lassie, Look Behind You/Ye," "Lady Anne Gordon's Reel," "The House of Letterfourie." Scottish, Reel. D Major. Standard tuning. AABB. Composed by William Marshall (1748-1833) who titled it "The House of Letterfourie" and published it in his First Collection of 1781. The title above is the one Gow used when he reprinted the tune in his Repository, Part Second, 1802, without credit to Marshall. Carlin (The Gow Collection), 1986; No. 529. Gow (Complete Repository), Part 2, 1802; pg. 38. Stewart-Robertson (The Athole Collection), 1884; pg. 87 {appears as "Lassie Look Behind Ye"}.

X:1

T:Lassie Look Behind Ye

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection (1884)

Z:AK/Fiddler’s Companion

K:D

B|ADFD EB,B,B|AD F/G/A d2 d>f|gfed eBBd|FD F/G/A d2d:|

|:f|dg f/g/a beef|dg f/g/a fdec|dBAF EFGA|FD F/G/A d2d:|

 

LOOK OUT GAL I SEE A BOOGER.  Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AAB. Presumably ‘booger’ in this context means a ghost. Drew Beisswenger (2008) sees resemblance to the “Katy Hill” tune family. Source for notated version: Henley Dykes (1920-1995, Greene County, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 182.

           

LOOK SHARP.  AKA and see “Cavendish Court.”

           

LOOKING FOR MY CALVES. AKA and see "Boyne Water [1]," "Cavalcade of the Boyne."

                       

LOOKING GLASS. AKA and see "The Breast Knot," "Bonny Breast Knots [1]," "Ladies Breist/Breast Knot(s)."

                       

LOOKING SOUTH.  Irish, Hornpipe. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 33.

 

LOON LASSES, THE. See “Noon Lasses.”

 

LOONIE McTOWLTER. AKA ‑ "Looney MacTwolter." Scottish, Irish; Jig or Slide. G Major (Cole): B Flat Major (Hardings). Standard tuning. AB (Cole): AABB (Hardings). Cole (1000 Fiddle Tunes), 1940 pg. 75. Hardings All‑Round Collection, 1905; No. 50, pg. 15 (appears as "Looney MacTwolter"). Ryan’s Mammoth Collection, 1883; pg. 108. White’s Unique Collection, 1896; No. 22, pg. 4 (appears as “Looney McTwolter”). Great Meadow GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004).

X:1

T:Looney McTwolter

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 22

Z:AK/Fiddler’s Companion

K:G

G3B3 | AGA BGE | DEF (Gc/d/e) | ({e}d)cB (A2G) | G3B3 | AGA BGE |

DEF (Gc/d/e) | ({d}d)cB (A2G) || Bcd de=f | edc BAG | Bcdl de=f |

e=fd g3 | GBd g^fe | dcB (A2G) | DEF (G2.e) | dcB (A2G) ||

                       

LOOPING. Irish, Slip Jig. D Mixolydian. Standard tuning. AABB. Roche Collection, 1983, vol. 2; No. 264, pg. 27.

                       

LOP-EARED MULE. AKA and see "Flop-Eared Mule [1]."

 

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