X: 3 “The Lea Rigges” - Carol Robb ~ Northumberland small pipes
This transcription is the first time through in a series of variations, the same recording found on LP & CD:
LP: "Cut and Dry #2: Northumberland Small Pipes"
track 6: "The Lea Rigges"
CD: "The Wind in the Reeds: The Northumbrian Smallpipes"
track 17: "The Lea Rigges"
While this melody is often listed as a ‘reel’, most examples I’ve heard and know sound more like a march, including as played in the Canadian Maratimes ~ specifically Cape Breton Island, Nova Scotia… That’s also how I’ve played it in the past, not really sounding like a reel… It is also often notated as 2/4…
Lea rig = fallow ridge.
Most well known variant collected by Burns, and used for his own version.
X: 4 “An Oidhche A Bha Bhainis Ann” / “The Lea Rig” ~ a bit of history
"The Athole Collection", James Stewart Robinson, 1884, page 10
Source: Alexander Reinagle collection, Edinburgh, 1782
Lea rig = fallow ridge ~ & for some, including in lyrics, a beautifully rude metaphor… Though I don’t personally find it ‘rude’ at all, loving such allusions…
Karine Polwart - The Lea Rig
Thanks Hiro, lovely… :-)
X: 5 “An Oidhche A Bha Bhainis Ann” / “The Lea Rig”
X: 4 from A to G for comparison’s sake…
Other sources linking the tune
"Some tunes often identified as hornpipes seem to have avoided this susceptibility to variation, but their form and history associate them with a different class of tune, which derives ultimately from the form known as the ‘Scotch measure’. The significance of the ‘Scotch measure’ - and its scope - may be gauged from the veritable hit parade of examples which are variously cited: Bottom of the Punch Bowl, Cairdin’ of it, Corn Rigs, Duke of Perth, East Neuk of Fife, Flowers of Edinburgh, Highland Laddie (Donkey Riding), Jacky Tar/Cuckoo’s Nest, Mairi’s Wedding, Miss McLeod, Petronella, Soldier’s Joy, White Cockade. It would take a braver man than I to attempt to define the ‘Scotch measure’ on the basis of this list, and that task is fortunately beyond my purpose: suffice it to say that attention is usually drawn to the stress given to the first three beats in the bar. On that basis it is easy to add tunes like the Lea Rigs (‘Lolly Pop Man’), Princess Royal and the Rose Tree to the list. "
T:My ain Kind Dearie. MBe.36
S:Matthew Betham MS, Towcett Cumbria, 1815
Z:VMP - Hugh Taylor, 2012
T:Lea Rig, aka. MBe.36
T:Lollipop Man,aka. MBe.36, The
T: The Lea Rig
B: RSCDS 21-5(I)
Z: John Chambers <jc:trillian.mit.edu>
N: Compare with The Lollipop Man, a Ducklington morris tune.
N: "from Surenne"
"The Lollipop Man ( aka Lea Rigg)"
"Last one for this weekend, a familiar tune known by other names … Shall we call it "Lea Riggs Where My Ain Kind Lollipop Man Lives"?"
T:My Ain Kind Dearie O
C:arr. Carlo Minasi
It seems that others recognise them as variants of the same tune. The music goes back centuries.
The Lea Rig
A very well known tune, submitted as a separate and basic version to avoid further bruised ego:
This is basically the setting adopted by Burns, for which he wrote his own version of the verse.
When o’er the hill the eastern star
Tells bughtin-time is near, my jo,
And owsen frae the furrow’d field
Return sae dowf and weary O;
Down by the burn where scented birks
Wi’ dew are hangin clear, my jo,
I’ll meet thee on the lea-rig,
My ain kind Dearie O.
At midnight hour, in mirkest glen,
I’d rove and ne’er be eerie O,
If thro’ that glen I gaed to thee,
My ain kind Dearie O:
Altho’ the night were ne’er sae wild,
And I were ne’er sae weary O,
I’ll meet thee on the lea-rig,
My ain kind Dearie O.
The hunter lo’es the morning sun;
To rouse the mountain deer, my jo;
At noon the fisher seeks the glen,
Adown the burn to steer, my jo:
Gie me the hour o’ gloamin grey,
It maks my heart sae cheery O
To meet thee on the lea-rig,
My ain kind Dearie O.
There are many variants, of words and tune.
It’s plain that the Morris tune "The Lollipop Man" is a variant, and perhaps it should be grouped with this, but ach weel.
Some of the early Scottish publications contain a version.
Perhaps some of the settings entered in the other page could be transferred here to satisfy the Lollipop Man.
I don’t like the idea of "The Lollipop Man" setting being presented as "The Lea Rig" either, but once several versions of the Lea Rig were on this page it was nonsense to retain the "lollipop" title (fwiw, even the word "lollipop" isn’t recorded in the English language until the 1780s - well after the Lea Rig was first put in print). The way the tune database works now, however, is that you cannot have variants under their own titles on the same page. Before, there would be one tune entry, and variants - whether under the same title or otherwise - would be placed in the comments section. This, in some ways, was better in that it avoided confusion over some slight differences in tune settings but those settings having distinct titles along with the melodic variation. It doesn’t detract from what I, and it seems many others, see as these two variants being basically the same tune. You seem to be the only one who thinks they are different tunes. Should every setting that deviates for a couple of bars warrant its own page? You say "we would have a lot less tunes on this website" which is not true. We would have fewer pages in the database, as opposed to many, many pages full of "tunes" with slight variations from other "tunes". How many tunes are played quite differently by two different musicians?
There has to be a balance. In this case, it’s not just "similarities" but the same tune with not a huge difference in setting. "The Lollipop Man" is the Lea Rig adopted for a Morris dance. There is nothing untoward in presenting the original and its variant on the same page. All the stories behind each setting can be told in the comments. It’s a pity that the different titles couldn’t be retained as headers. This is how it would likely be presented in a book. You could compare the two versions on one page, instead of footering about between pages.
# 6 : “The Caledonian Laddy”, Thomas Sands MS, 1810.
Thomas Sands, 1810 Lincolnshire
‘Thomas Sands’s Book, March 12th 1810’
Added to for a number of years in the same hand, plus a handful of tunes added c1840 in two further hands.
From a private collection
Transcribed to ABC for www.village-music-project.org.uk by Ruairidh Greig October 2011
T:Caledonian Laddy, The TS.196
T:Lea Riggs,The,aka TS.196
T:My Ain Kind Deary O,aka TS.196
T:Lollipop Man,The,aka TS.196
S:Thomas Sands’ MS,1810,Lincolnshire
Z:vmp.Ruairidh Greig, 2011
c>B|A<cE2E2F>G|A3BA2zc|B>AB>c d>cB>A|"triplet sign added"(3ABc F2F2c>B|!
"triplet sign added"(3ABc E2E2F>G|A3BA2ze|fefg (3fga e>d|c<eA2A2:|!
|:"q.inms"e2|f>ef>g az2c|d>cd>e fz2=A|B3c d>cB>A|(3ABc F2F2 c>B|!
A<cE2E2F>G|"^cr in MS"A3BA2ze2|fefg f<a e<d|c<eA2A2:|]
#7 “My Ain Kind Dearie” “William Docker Tune Book”, c 1815.
From the Anne Geddes Gilchrist collection at the Vaughan Williams Library.
Transcription adapted from Village Music Project. More info on the MS here:
I’m holding my breath waiting for the comments re Lollipop man in the Harrison ms transcription …
#8 “The Lollipop Man” c/o Steve Allen.
From Steve Allen’s Morris collection:
T:The Lollipop Man
Clearly showing where the tune originates, IMO.
Don’t hold it…
"I’m holding my breath waiting for the comments re Lollipop man in the Harrison ms transcription …"
Perhaps you could submit the transcription yourself, David?
I do note the comment on the "Lollipop Man" transcription in the Clive Carey Collection says:
"Cf The Scotch Air"
"Tune resembles ‘The Lea Rig’ or "My ain Kind Dearie O""
Lea Rigg - Rev.R.Harrison’s MS, c1815, Cumbria
X: 485 in http://www.village-music-project.org.uk/abc/HARRISON.ABC is Lea Rigg. What a reviewer of the transcription comments is a "Pointless set of variations on The Lollipop Man". They look fun to me.
see also note against X:84 in that file.
I don’t post other peoples ABC transcriptions because the transcriber’s header fields get lost
Rig or Rigg ?
Sorry Rev.R.Harrison’s MS, c1815, Cumbria
Weejie: "Adderbury" … "Clearly showing where the tune originates, IMO."
There is also a morris version of the "Lollipop Man" from the Cotswold village of Duckington.
I’d hazard a guess though that Lea Rigg" as a title pre-dates the "Lollipop Man". Morris sides plagarised tunes from various traditions - including Scotland.
As a point of protocol though, I think that the OP’s choice of tune name should stand as the primary title.
“Lollipop” is a new-fangled word
"Weejie: "Adderbury" … "Clearly showing where the tune originates, IMO."
I was implying that the tune originates with the Lea Rig.
"I’d hazard a guess though that Lea Rigg" as a title pre-dates the "Lollipop Man""
See above - The Lea Rig appears in publications well before the word "lollipop" is recorded as entering the English vocabulary (first instance of "lollipop" = 1784, apparently). It’s a no-brainer.
"As a point of protocol though, I think that the OP’s choice of tune name should stand as the primary title."
I can’t see why. Once the Lea Rig found its way here, it’s down to "original version" IMO.
I submitted the Lea Rig as a separate entry. It’s been combined with the others on this page (by the site owner, probably). As it is now on this page, and the evidence heavily leans toward the Lea Rig being the original, then it would make sense to either separate them again or retain the Lea Rig as the main title.
>"X: 485 in http://www.village-music-project.org.uk/abc/HARRISON.ABC is Lea Rigg. What a reviewer of the transcription comments is a "Pointless set of variations on The Lollipop Man". They look fun to me."
The VMP spoil their copy books there. It loses value as a manuscript collection if such comments are placed in the headers. Everone is entitled to an opinion, but placing it in a header is probably a lot more pointless than the Reverend Harrison’s variations. Nevertheless, for whoever it was who made those comments to see the tune as "The Lollipop Man" does make the point of the "tunes" being seen as the same.
"I don’t post other peoples ABC transcriptions because the transcriber’s header fields get lost "
You could always place them in the comments. If you want to transcribe from the manuscript, you can see it here:
Thanks for the VWML links. That was what I was going to search for when I had time.
It looks like VMP have a policy of using the N: field for comments like that (and all the stuff about fitting it onto a page). It keeps it all together - and I don’t think they have the budget that VWML had for their effort. The uncredited alternative titles bother me more - but that’s no different to here.
I am still feeling grumpy about the slip jig used by Burns for a song. I deliberatly left the beaming out, as in the original, because the words were a few comments up and suggested the rhythm, but it got put in in groups of three 8ths. So now I just try to point to a source if I happen across it.
DaveC, loved the pictures, and also the useful additional relevant comments and links regarding history by Weejie and David50 ~ useful, constructive and much appreciated ~ more to think about, consider and explore. Such roots, revolutions and evolutions of music I’ll always be curious about. Thanks, as always, for the added value.
We don’t own this music. It’s not our personal possession, however personal our relationship with it might be. It exists outside and beyond our limited being. We only carry it for a short spell, with sometimes that added pleasure of sharing our passion and understanding of it with another, most healthy as a two way and open exchange. Where there’s the occasional brick wall thrown up in the way it can usually be navigated around, being narrow, or climbed over or under, being shallow, unless, of course, we’re that brick wall.
Fiddler’s Companion: “The Lea Rig(ges)”
LOLLIPOP MAN, THE. A tune from Ducklington morris, similar to “The Lea Rig(ges).”
LEA RIG(GES), THE. AKA ‑ "The Old Lea Rig." AKA and see "(My) Own Kind Deary O," "Ain Kind Dearie O," “Maggie Pickins/Pickie/Piggy,” "An Oidhche a Bha Bhainis Ann" (The Night the Wedding Was), “Wedding Night.” Scottish, English, Canadian; Reel and Air. England, Northumberland. Canada, Cape Breton.
Preferring and finding more useful the old ‘Fiddler’s Companion’ above, here’s the rejigged take on it which I find not as much fun to use and scroll through. Each entry being individual it is more time consuming and dull, akin to some of the so-called ‘improvements’ Microsoft sometimes forces on us… And that ever present cartoon of a cockroach with a fiddle (some kind of a 4-limbed prancing beetle?) is just naff, though glad of the resource. Here’s the link for that too:
P.S. I’d first entered “The Lea Rigges” on site here as a separate entry (duplication?!), later remembering and discovering the relative entries already on site, with great interest, which continues as more accumulates here after it was all moved to here. I also have had some familiarity with the Morris connections for this melody in my past, dancing and playing for dance ~ under the welcomed and appreciated guidance and expertise of others… The soul of this melody is the root to many variants, for dance and song… Amazing! Brilliant! Good fun!
Links are similar to ceolachan’s, but the link to The Lollipop Man has a little more information than in the Fiddler’s Companion.
"The tune is claimed by the team to be traditional to the village of Ducklington, … however, the melody … appears to have been widespread in England in the 19th century …. Rude words sung to the tune are a modern invention by enthusiastic morris dancers."
The Lea Rig is much older, though no clear, direct connections are made between the two. Interestingly, The Lea Rig beat The Lollipop Man to the punch with rude lyrics in 1698.
While it is possible that, like many tunes similar to Greensleeves, the two tunes come from a popular melody, but the similarities (especially how both tunes are strongly associated with sexual lyrics) suggest that they are directly related. But the tunes do have different intentions (song/reel vs. dance tune) and different traditions, so they probably should be separate.
I can’t get to any text in that link.
"The tune is claimed by the team to be traditional to the village of Ducklington,"
I’m not sure if the "team" is the Ducklington Morris (a revival team, formed in 1980) or not, but it’s a spurious claim. The source of the tune’s connection with Ducklington is Clive Carey’s notebook (1912). His transcription of the tune came from Joseph Druce (1830-1917), and no dance was noted as being connected with the tune. It seems that Bristol Morris men created the lyrics and the dance was created by other Morris side(s) to the tune at a later date. I’m sure some Morris folk would dearly love the tune to be a traditional Ducklington one, but, going by notebooks well before 1912, it’s clear that variants of the tune in all their names were doing the rounds in England as well as Scotland, and very few tunes grew in isolation - let alone this one, whose "pedigree" hangs on a transcription from the early 20th century. Other tunes collected by Carey in Ducklington include "Old Taylor", "The Nutting Girl" and "The Princess Royal" - the latter being a variant based around the tune which has been attributed to Carolan (but quite distinct from that setting) - I’ve heard it claimed that "The Arethusa" was the origin of the tune, but those making the claim hadn’t researched enough to know that that was the title given to it by William Shield when he half-inched it for a musical . There is nothing to deduce that these tunes were originally from the village, but there are those who would assume this (wishful thinking). It’s clear, just by studying old manuscripts, just how much tunes travelled, and how they picked up their local quirks.
It is probably a good thing that the two variants have been separated, but the connection should not be dismissed - and even Carey noted the connection when he collected Druce’s "Lollipop Man".
The bottom line is that The Lea Rig (Ain Kind Dearie) pre-dates The Lollipop man, and if Druce’s rendition is the earliest record of the latter, it is by close on two centuries at least.
Thanks Shawn, I’d meant to add that too ~ other distractions and responsibilities!
I’m glad of the split, for Alistair’s peace of mind.
Thanks again for all added useful information…
Links forgot parentheses
Sorry, Weejie, I didn’t realize that the links left out the parentheses. You’re definitely right, the tune certainly did not originate from Ducklington in the modern era when so many versions of the tune had already permeated Britain for centuries. The lyrics are certainly modern. Lollipops such as in the lyrics have only been around for around 80 years, and Thomas D’Urfey published risqué lyrics for The Lea Rig back in 1698.
Trying again with the links:
http://tinyurl.com/kbg5umu - The Lollipop Man
http://tinyurl.com/n24m36a - The Lea Rig
Had to use tinyurl because parentheses in links can be bad, but these work.
No problem Ceolachan; for some reason the Fiddler’s Companion was missing the information on The Lollipop Man in favor of the redirect.
just to add another strand to this discussion, some years back there was a TV play about a wee girl
in Belfast or Derry [cant remember which] who played the accordion in an Orange marching band and
the tune featured through the programme was Lea Rig. I can see how a Lowland Scots tune could have got to Ulster given its cultural history but it doesn’t seem to have that militaristic ‘over the top lads’ flavour of most marching tunes………………
YES! Absolutely! Another fine use of this melody, as a march, which are also used for dance…
Having some rhythmic fun with it as a march…
Re: The Lea Rig
As a member of Ducklington Morris since the revival in 1980, I can say that we did not think that the tune was used for morris in Ducklington, it was quite clear to us that it had not. For that reason we did not as some others have done attach a dance to it. We did however decide that we would use it for a processional dance which we needed to be able to take part in Kirtlington’s Lamb ale festival. As processional dancing is not traditional in Cotswold Morris anyway we felt that that was OK. We probably had incomplete information about the tune; we knew it came from Druce via Carey, but some people, myself included were probably not aware of it’s wider background. I realised there was more to it when I heard it on television being used by an Orange day parade. It was only very recently that I discovered this name for it. This lack of knowledge may be why someone in the team at sometime may have claimed that it is a Ducklington (village not Morris) tune. Unfortunately such claims often promulgate rapidly when people do not check their sources. I appear on an American university website credited as Chas Marshall as one of the dancers in some film of Ducklington Morris in the eighties. Information provided by a dancer from another side, but much later so his memory partly failed him. I have tried to get it corrected to Chris, but to no avail! No wonder the origins of Morris dancing are unfathomable!
Re: The Lea Rig
I don’t know where the words known as the Lollipop Man come from, we first heard them from someone in either Blackheath or Hammersmith Morris.