dsThe Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

CAMP - CAPR

[COMMENT3] 

 

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]

 

 

[COMMENT4] 

CAMP CHASE [1]. Old‑Time, Breakdown. USA, (central) W.Va. A Major (Brody, Phillips): D Major (Krassen). AEae tuning (W.Va): also found in GDgd version (James Bryan?). AAB: AA'B (Phillips). Both parts have irregular measures. Sources for notated versions: The Fuzzy Mountain String Band (NC) [Brody]; Skip Gorman [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 62. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 43. Bay 217, Any Old Time ‑ "Ladies Choice." Carryon Records 002, "Ace Weems & the Fat Meat Boys." Flying Fish FF 90468, Critton Hollow ‑ "Great Dreams" (1988). Rounder 0010, "The Fuzzy Mountain String Band" (1972). Rounder 0047, Wilson Douglas‑ "The Right Hand Fork of Rush's Creek" (1975).

 

CAMP CHASE [2].  Old-Time, Breakdown. A Major. AEae, DGdg (Harvey Sampson) or Standard tunings. AABB. No relation to version #1. The tune and attached story are popular among fiddlers in the central West Virginia area. The legend has been related by several writers (with slight variations) but most versions begin at the point that Solly “Devil Sol” Carpenter (fiddler French Carpenter's grandfather and himself one of the most influential fiddlers in West Virginia history) has been imprisoned during the Civil War at a Union prison in Camp Chase, located near the west side of Columbus, Ohio, where the present-day Fort Hayes is situated. Little remains of the prison camp save for a cemetery on West Sullivan Ave., and a small stone retaining wall on West Broad Street, Columbus.

***

Near view of Camp Chase Prison. Picture in possession of Ohio State University Library.

***

The story goes that while Solly was incarcerated the commandant held fiddler's contest to give the best player a chance to fiddle his way to freedom, or, as some versions go, to win a reprieve from a death sentence. Devil Sol, a man named Bowie and others played and  apparently all the fiddlers played the same tune. Solly won by adding some unusual new notes to the tune according to his fancy (or perhaps, as one writer suggests, in desperation). West Virginia fiddler Wilson Douglas, a protégé of French Carpenter, relates "There was quite a few who played in the contest; but Saul put these two high notes in. That tune, he called it 'Camp Chase.' It was some kind of a tune before but they hadn't named it yet. And when he got out of there he called it 'Camp Chase,' and it's gone by that name ever since." Although Sol gained his freedom in the contest he had to sign a parole, pledging not to take up arms against the Union; as the story goes, he ignored this and headed south to join another Confederate unit.

***

Alan Jabbour notes a similarity between one of the versions of "Camp Chase" and "George Booker [1]," and suspects it may be the latter that was played in the contest; the name "Camp Chase" may then have been applied to the tune by W.Va. fiddlers who were familiar with the legend and Solly's Carpenter's music (Bill Hicks {1972}; Krassen {1983}). “George Booker” seems related, notes Jabbour, to the 18th century Scottish strathspey “The Marquis of Huntl(e)y’s Farewell.”

***

It will be noted that there are similar such legends in British Isles and other traditions in which a fiddler tries to play his way to freedom (or plays a masterpiece just before he is executed). Perhaps the oldest, and certainly one of the most famous, is the myth of the Greek harper Orpheus, who played his way out of Hades. See also the tunes "MacPherson's Lament," "Last of Callahan," "Callahan" and the Cajun "Guilbeau's Waltz" and "Valse a Napoleon [1]" which have similar tales attached.

***

Sources for notated versions: French Carpenter (W.Va.) [Krassen]; Bruce Molsky [Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg 58‑59. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 44. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson, probably from one of the Carpenter family). Burning Wolf 001, Reed Island Rounders – “Wolves in the Wood.” PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. Learned from Gerry Milnes, who had it from Emery Bailey, Calhoun County, W.Va.).

 

CAMP CHASE [3].  Old-Time, Breakdown. G Major. Standard. AA’B. Shanachie Records 6040, Gerry Milnes & Lorraine Lee Hammond – “Hell Up Coal Holler” (1999).

X:1

T:Camp Chase

M:2/4

L:1/8

N:Form is AA’B, irregular parts.

S:Gerry Milnes

Z:AK/Fiddler’s Companion

K:G

[G2B2] [GB>]A |: G/A/B/d/ gg | B/d/g/e/ d/B/A/G/ | A/B/d/e/ aa |

A/d/a/g/ f/d/c/A/ | B/A/B/d/ gg | B/d/g/e/ d/B/A/G/ | {A}[Gc>]A [GB][G/B/]A/ |

G/A/B/G/ A/G/E/G/ | D/C/D/E/ D/C/B,/C/ |1 D/E/G GB/A/ :|2 D/E/G G(3D/E/F/ ||

G[G/B/][G/B/] [GA][GB] | G/A/B/G/ A/G/E/G/ | D/C/D/E/ D/C/B,/C/ |

D/E/G GD/E/ | G[GB] [G/A/]A/[GB] | G/A/B/G/ A/G/E/G/ | D/C/D/E/ D/C/B,/C/ |

D/E/G/ G(3D/E/F/ ||

 

CAMP HORNPIPE. Scottish, Hornpipe. D Major. Standard. AA'BB. Not related to "Camp Meeting Hornpipe" in Cole. Kerr (Merry Melodies), vol. 2; No. 326, pg. 36.

X:1

T:Camp Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 2, No. 326

Z:AK/Fiddler’s Companion

K:D

(AG) |: FAdf edfd | edfd ABAG |1 FAdf edfd | gfed cBAG :|2 FAdf edfd | edfd ABAG | FAdf agec | d2d2d2 :|

(AG) |: FAdf edfd | edfd ABAG |1 FAdf edfd | gfed cBAG :|2 FAdf edfd | edfd ABAG | FAdf agec | d2d2d2 :|

|: (fg) | agfe d2 (ga) | bagf e2 (ef) | gfed cegb | agfe d2 (AG) | FAdf edfd | edfd ABAG | FAdf agec | d2d2d2 :|

 

CAMP MEETING [1]. American, "Jig" (2/4 time). A Major. Standard. AABBC (Cole): AA'BBCCDE (Kerr). A syncopated dance tune composed by 19th century American black-face minstrel Dan Emmett. Listed as "Hell on the Wabash" in Emmett and Bruce (pg. 80), "Negro Jig" in Hans Nathan, and "Negro Sand Jig" in Kerr‑‑the jig was a term for a type of banjo tune rather than the Irish jig. Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), has this entry on Emmett:

***

DANIEL DECATUR EMMETT was better known to the general public than any of his associates,

from the fact that he outlived nearly all his contemporaries, and the more important one that he

was the author of “Dixie,” which will live forever. Mr. Emmett first blacked up at the age of

sixteen, and two years later joined Sam Stickey’s Circus. At the age of twenty-five, he learned to

play the banjo, and travelled with Angevine’s Circus until he reached New York, in 1842. In 1843,

after leaving his three associates [in the Virginia Minstrels] in England, he performed at Bolton,

Lancashire; he rejoined Pelham and Brower in Dublin, Ireland, April 22, 1844, and played with

them and Joe Sweeney for several weeks. Returning to the United States , he appeared with

various circus and minstrel companies.

***

In 1853-54 he was part proprietor of White’s Minstrels in New York; in 1855 he opened the first

minstrel hall in Chicago, at 104 Randolph Street. Emmett’s Minstrels opened at St. Paul Minn.,

April 26, 1858; he was also associated with Frank Brower in a minstrel company in the 50’s.

Mr. Emmett joined Bryant’s Minstrels in New York City in 1858, and remained several years;

After Dan Bryant’s death in 1875, he accepted a position as leader in the Star Varieties, Chicago.

In the Fall of 1881 he went out with Leavitt’s Minstrels, where in conjunction with several old

timers, they gave a reproduction of the original Virginia Minstrels of 1843.

***

 His last engagement was a tour of the country with Al. G.Field’s Minstrels about ten years ago.

Dan Emmett was born in Mt. Vernon, Ohio, October 29, 1815, where he died, June 28, 1904.  (pgs. 14-15).

***

Cole (1000 Fiddle Tunes), 1940; pg. 82. Kerr (Merry Melodies), Vol. 2; No. 428, pg. 49. Ryan’s Mammoth Collection, 1883; pg. 114.

X:1

T:Camp Meeting [1]

M:2/4

L:1/8

R:”Jig”

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E | (3A/A/A/ A/A/ z/A/G/B/ | z/A/d/f/ e2 | (3f/f/f/ f/f/ z/c/d/f/ | z/c/d/B/ A :|

|: c | z/A/G/>E/ C/<A,/z | z/A/A/>E/ C/<A,/z | z/A/G/>E/ C/>E/E/>F/ |

A/>EF/>E/ C/<A,/ :| A, | (_B,2 A,)z | z/A/F/D/ .E/D/z/A,/ | (_B,2A,)z |

z/A/(G/>.E/) C/A,/z/A,/ | (_B,/A,/)z/A,/ | (_B,2A,/)z | z/A/F/D/ E/D/z/A,/ |

(_B,2/A,/)z | z/A/(G/>.E/) C/A,/z/A,/ | A,{G}A z/A/C/A/ | A,{G}A z/A/C/A/ |

=G{F}G z/G/B,/G/ | =G{F}G z/G/B,/G/ | A,/A/z/A/ C/A/B,/A/ | A,/A/z/A/ C/A/B,/A/ |

=G/G/z/G/ B,/G/A,/G/ | =G,/G/z/G/ B,/A/A,/^G/ ||

 

CAMP MEETING NO. 2. American, (Sand) Jig {cut time}. A Major. Standard. ABBCCD. Similar to "Camp Meeting." The tune is listed as a "jig" in Cole, which refers not the Irish 6/8 jig but rather to a type of syncopated solo dance tune often performed on stage in the mid-19th century. A sand jig refers to the practice of sanding the floor to reduce friction and to facilitate the brushing movements of the shoes. Cole (1000 Fiddle Tunes), 1940; pg. 83. Ryan’s Mammoth Collection, 1883; pg. 116.

X:1

T:Camp Meeting [2]

M:C|

L:1/8

R:Sand Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E2 | (3.A.A.A A2 z.B.G.B | z.A.d.f e4 | (3fff f2 fedf | zecA BAFE | (3AAA A2z AGB |

zAdf e4 | (3fff f2 zedf | zdBG A3 |: A | AAGE CA,zA | AAGE CA,zA | AAGE CDEF |

GEFD CA, :: A, | (_B,4A,2) zA | AAGE CA,zA, | (_B4A,2)zA | AAGE CA,z :| A |

Agae cABG | Agae cABG | AF{a}=ge dB=GB | Af{a}=ge dB=GB | (A>.a)(3aaa caBa |

(A>.a)(3aaa caBa | (=G>.g) (3ggg BgAg | (G>.g)(3ggg bgAg ||

 

CAMP MEETING (HORNPIPE) [3]. American, Hornpipe. C Major. Standard tuning. AABB. Composition credited to Harry Carleton in Ryan's Mammoth Collection (1883). Source for notated version: Mel Marshall [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 108. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 185. Ryan’s Mammoth Collection, 1883; pg. 144.

X:1

T:Camp Meeting [3]

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

(3G/A/B/ | [E2c2][G2d2] | [ce][Ec]z d/e/ | f/e/d/c/ d/c/B/A/ | G/A/B/A/ G/F/E/CD/ |

[E2c2][G2d2] | [ce][Ec]z d/e/ | f/e/d/c/g/f/d/ | cec :: (e/f/) | g/^f/g/a/ g/=f/e/d/ |

c/d/e/c/ G(f/g/) | a/^g/a/_b/ a/=g/f/e/ | f/g/a/f/ d(f/e/) | d/^c/d/e/ f/g/b/a/ |

c/B/c/d/ e/f/a/g/ | ^f/g/b/a/ g/=f/e/d/ | cec :|

 

CAMP MEETING ON THE FOURTH OF JULY. Old-time, March. D Major. Standard or DDad. AB. James Bryan has said that the tune was originally played as a processional for evening services at camp meetings in Arkansas in the 19th century. Bryan’s source was Tom Jackson, who learned it from Coleman Barwick, an old-time fiddler from Blountsville, Alabama. (Not to be confused with similarly-titled melodies “4th of July at the County Fair” or “At a Georgia Camp Meeting”). Source for notated version: Greg Canote [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 19. Martin Records CD, James Bryan & Carl Jones – “Two Pictures.”

X:1

T:Camp Meeting on the Fourth of July

M:C

L:1/8

R:March

S:James Bryan – Festival of Fiddle Tunes, 1995

Z:From a transcription by Dave Barton

K:D

DE |: “D”F2F2 FE DF | A2B2 AF DE | F2F2 AB AF | “A”(ED) EF E2 DE |

“D”F2F2 FE DF | A2B2 AF DE | F2F2 “A”F(D EF) |1 “D”D3 (ED2) DE:|2 “D”D3(ED2) (3ABc ||

|: “D”d2 de (dc) BA | “G”B2B2 “D”(AF) A2 | d2 de (dc) BA | “G”(BA) (Bc)B2 (3ABc |

“D”d2 de (dc) BA | “G”B2B2 “D”(AF) A2 | “A”A2 (AB) (AF E2) |1 “D”D3(ED2) (3ABc :|2 “D”D3(ED2) DE ||

 

CAMP NELSON BLUES. Old‑Time, Country Blues Tune. The piece was recorded by the Booker Orchestra, comprising African-American fiddler Jim Booker and his two brothers. Booker recorded two classic sides with Taylor's Kentucky Boys (Tom Carter, 1975). County 531, "Old Time String Band Classics: Original Recordings from 1927‑1933" (1975). Document 5167, Booker Brothers.

 

CAMP RUN. Old‑Time, Breakdown. USA; Braxton County, W.Va. AEae tuning. Not the original title for the tune. Learned by Ernie Carpenter from his father Shelt Carpenter. Augusta Heritage Records 003, Ernie Carpenter ‑ "Elk River Blues: Traditional Tunes From Braxton County, W.Va."

 

CAMPBELL BROTHERS, THE. Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AB. Source for notated version: John Campbell (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 50. Ancient Music 79602 2001-2, Ashley MacIsaac- “Hi, How Are You Today?” (1995. Appears as “Traditional Reel {Alex Dan MacIsaac tune}”). JC 127, John Campbell - “Cape Breton Violinist” (1983. Appears as 4th of “Four Traditional Reels”).

 

CAMPBELL OF DUNTROON’S WELCOME. Scottish, Air (3/4 and 2/4 time). G Major. Standard tuning. ABC. Jane Morison indicates the tune was “Kindly contributed (along with “A cho-dhalta mo ruin! Seachainn an dun!”) by Miss McLeod of McLeod, and interesting as having been given to her many years ago by ‘The Stuart Princes’ the grand children of Prince Charles Edward.” Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 27, pg. 15.

X:1

T:Campbell of Duntroon’s Welcome

M:3/4

L:1/8

R:Air

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 27 (c. 1882)

Z:AK/Fiddler’s Companion

K:G

B3A G2 | c3Ad2 | B3A (3GGG | B2G2z2 | B3AG2 | c3Ad2 |

B2G2A2 | {G/F/}G6 ||

M:2/4

L:1/8

B<B d<d | g<g d<d | B<B d<d | G<G A2 | B<B d<d |

g<g d<d | B<B d<d | G<G A2 ||

M:3/4

L:1/8

B3AG2 | c3Ad2 | B3GA2 | {G/F/}G6 ||

 

CAMPBELL OF LOCHNELL’S REEL. AKA and see “Road to Balquhidder.”

                       

CAMPBELL RIVER JIG. American, Jig. B Minor. Standard tuning. AABB. Susan Songer (The Portland Collection) records that the tune was composed by Dean Kenty and named for the community (or the river itself) of Campbell River on Vancouver Island. Kenty died in a hiking accident on Mt. Hoot in Sept., 1983, but is remembered by the Portland dance community who sponsor a yearly dance in his name to raise funds for musicians with lost or broken instruments. Songer (Portland Collection), 1997; pg. 45.

 


CAMPBELLS ARE COMING [1], THE. AKA and see  The Burnt Old Man [1],”  "Campbell's Frolic," "Hob or/a Nob,” "I was at a Wedding in Inverara Town," "O Tommy Come Tickle Me" (Pa.), "The Old Man [1]," "An Seanduine."  Scottish (originally), American; Jig, March and Air (6/8 time). USA; Arkansas, New York, southwestern Pa. G Major (most versions): G Mixolydian (Bremner): F Major (Emmerson). Standard tuning. One part (Ford): AB (Emmerson): AA’B (Gow, Mitchell): ABB (Harding): AABB (Bremner, S. Johnson, Kennedy, Kerr, Sweet). The melody is punctuated like a Scotch Measure in jig time‑‑tunes like this are classified by Oswald and others as "Scotch Jigs." Grattan-Flood, typically and without much evidence, claims the tune is Irish.  Another claim is that the tune was composed for a song on or about the period of Mary Queen of Scots’ imprisonment in Loch Leven Castle. "The Campbells are Coming" was known as a Whig tune and as such was played by the vanguard of the loyalist Scottish troops, many Clan Campbell, as they marched in opposition to the ill‑fated Jacobite rebels of 1715 led by the Earl of Mar (nicknamed 'Bobbing John')  [Winstock, 1970]. The Robert Wodrow Correspondence records that in 1716 each of three companies of Argyle's Highlanders entered Perth and Dundee led by a piper playing "The Campbells are Coming," "Wilt thou play me fair, Highland Laddie," and "Stay and take the breiks with thee."{see also notes for those tunes}.  James J. Fuld in The Book of World Famous Music (1966) notes the tune was mentioned in a letter (probably the one by the aforementioned Wodrow) dated 1716, although it was not printed until 1745 when it appeared in a Scottish collection. Despite mention of the existence of a melody by that name early in the 18th century, Glen (1891) finds the first printed version of the melody not to have been until Robert Bremner's 1757 collection Scots Reels, although it also is said to appear in James Oswald’s Caledonian Pocket Companion (c. 1750).  Another printing with the “Campbell” title appears somewhat later in the 1768 Gillespie Manuscript from Perth. Further to the south in Britain, the title was included in Henry Robson's list of popular Northumbrian songs and tunes, which he published c. 1800.

***

The melody is to be found as a country dance called “Hob or Nob” in collections earlier than Bremner. It can be found, for example, in Walsh’s Caledonian County Dances (4th book) of c. 1745, in Johnson’s Collection of 200 Favourite Country Dances (1748), and other contemporary dance books.

***

“The Campbells are Coming" was transplanted to American country dance tradition and appears in repertories of dance fiddlers in New York and Pennsylvania (Harry Daddario, Union County, Pa.). Musicologist/folklorist Vance Randolph recorded the tune for the Library of Congress from Ozark Mountain fiddlers in the early 1940's. Samuel Bayard (1981) also collected the tune from Pennsylvania fiddlers. He notes that the cadences of the 'A' parts are different in modern versions from those in the 18th and 19th century where the tune ended on the major third. He sees the American versions, which end on the tonic, as a "rebellion" against the 'circular' or 'endless' tunes from the British Isles. The cognates of the tune family that "The Campbells Are Coming" belongs to include "The Baldooser," “The Burnt Old Man [1]," and "The Field of Hay," but more importantly Bayard speculates that the popular dance tunes "Miss McLeod's Reel" and "The White Cockade" also derive from the same source. See also tunes which use the same melodic material: "Bobbing for Eels," "The Butchers of Bristol [1]," “The Groom,” “Jackson’s Bottle of Brandy,” Pay the Reckoning.” Other writers have also noted the connection with "Miss McLeod's Reel;" Breathnach (1977) and O'Neill (in his introduction to The Dance Music of Ireland) both point out that "The Campbells Are Coming" is the same air as "Miss McLeod" only played in jig time. The Pennsylvania version, altered in the 'B' part, takes its alternate title from the ditty sung to it:

***

O Tommy come tickle me, I'll tell you where;

Just under my navel there's a big bunch of hair.     (Bayard).

***

Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Amasiah Thomas (Jefferson County, Pa., 1952) [Bayard]; Irvin Yaugher (Fayette County, Pa., 1946) [Bayard]; Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Bayard (Dance to the Fiddle), 1981; No. 539A‑C, pgs. 478‑480. Bremner (Scots Reels), 1757; pg. 83 (appears as “Campbells are coming, O ho”). Bronner (Old Time Music Makers of New York State), 1987; No. 15, pg. 78. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 81, pg. 160. Ford (Traditional Music in America), 1940; pg. 110. Gow (Complete Repository), Part 1, 1799; pg. 15. Harding’s All Round Collection, 1905; No. 189, pg. 60. Jarman (Old Time Fiddlin' Tunes), No. or pg. 17. Johnson (Scots Musical Museum), 1790; No. 299. S. Johnson (The Kitchen Musician No. 6: Jig), 1982 (revised 1989, 2001); pg. 2. Kerr (Merry Melodies), vol. 1; No. 16, pg. 32. Mitchell (Willie Clancy), 1993; No. 90, pg. 80. O’Farrell (Pocket Companion, vol. 1); c. 1805; pg. 74 (appears as “The Cambles are Coming”). O'Malley and Atwood (Seventy Good Dances), pg. 11. Sweet (Fifer’s Delight), 1964/1981; pg. 18. Tyson (Twenty-Five Old Fashioned Dance Tunes), No. 10. Gennett 6121 (78 RPM), Uncle Steve Hubbard and His Boys, c. 1928. Victor 20537 (78 RPM), Mellie Dunham (appears as last tune of the improbably named "Medley of Reels").

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Cambles (sic) are Coming, The  [1]

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:G

B2e dBG | A>BA A2G | B2e dBG | d<BB B2A | B2e dBG |

A>BA g2a | geg dBG | BcB B2 :: G | g2g gab | ded dBG | gfe gab |

gee e2d | def gfe | def gab | geg dBG | BcB B2A :|

X:2

T:Campbells are Coming, The  [1]

M:6/8

L:1/8

K:G

D|G2e dBG|B2B B2A|G2e dBG|ABA A2B|G2e dBG|GBd g2a|bag efg|ded B2:|

|:A|g2g gab|d2d d2B|g2g gab|e2e e2d|def gfe|def g2a|bag gfe|ded B2:|

 

CAMPBELLS ARE COMING [2], THE (Tá na Caimbéalaigh ag Teacht). AKA and see "The Lasses of Sligo [2]." Irish, Slip Jig. G Major. Standard tuning. ABB'CC'. The alternate title “Lasses of Sligo” is from O’Neill’s Waifs and Strays of Gaelic Melody” (1922), reprinted from Power’s Musical Cabinet (1810); it is not the jig usually known by that name. Source for notated version: fiddler Pat Kellegher, 1967 (Bunanadden, Co. Sligo, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 95, pg. 51.

 

CAMPBELL'S FAREWELL TO REDCASTLE. See "Campbell's Farewell to Red Gap," "Steph's Reel." Scottish, March (2/4 time). A Mixolydian. Standard tuning. AABB' (Gatherer, Martin): AABBCC (Johnson). The Campbell referred to in the title may by the Captain Robert Campbell of Glenlyon, who led troops in the massacre of Glencoe Pass in 1692. Redcastle is a village on the north side of Beauty Firth approximately 100 miles from Glencoe, whose castle was built in 1179 (it claims to be the oldest inhabited castle in Scotland). The Scots Guards Standard Pipe Settings suggests that “The Sweet Maid of Glendaruel” follow “Campbell's Farewell to Redcastle.” Glendaruel is on the way to Tighnabruaich from Glencoe and is nearly as far to the south as Redcastle is to the north. The Irish “Galway Belles” polka has a similar melodic contour and theme coding, albeit in the dorian mode. Gatherer (Gatherer’s Musical Museum), 1987; pg. 46. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 11. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 1. Ross, William Ross's Collection of Pipe Music (1875).

See also listing at:

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

X:1

T:Campbell's Farewell to Redcastle

T:Campbell's Farewell to Red Gap

S:Various books & records

Z:Nigel Gatherer

M:2/4

L:1/8

K:A

E|AA/B/ cc/d/|ea e>d|cA AB/c/|dd/B/ =GE|

AA/B/ cc/d/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|]

=g/f/|ea a=g/f/|ea e>d|cA AB/c/|1 dd/B/ =G g/f/|

ea a=g/f/|ea e>d|cB/A/ =G/A/B/G/|A2 A:|2

dd/B/ =GE|A/B/c/d/ c/d/e/f/|e/f/g/a/ e>d|cB/A/ =G/A/B/G/|A2 A|]

 


CAMPBELL'S FAREWELL TO RED GAP. AKA and see "Steph's Reel," "Campbell's Farewell to Redcastle." Old‑Time, Breakdown. A Mixolydian. Standard tuning. AABCC. The tune is a setting of the Scottish march "Campbell's Farewell to Redcastle." Source for notated version: Kenny Hall (Califorinia) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 61 (appears as "Steph's Reel"). Folkways FA2402, Bruce Hutton‑ "Old Time Music, Its All Around." June Appal 014, John McCutecheon‑ "The Wind That Shakes the Barley" (1977. Learned from Kenny Hall via Greg Jowaises). Philo 1008, "Kenny Hall." Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977).

 

CAMPBELL'S FROLIC. AKA and see "Campbells are Coming."

 

CAMPBELL'S POLKA. Scottish, Polka. G Major ('A' and 'C' parts), D Major ('B' part) & C Major ('D' part). Standard tuning. AABBCD. Composed by James Hunter in 1964 in memory of Campbell Connon, an Aberdeen lawyer, member and former officer of the Aberdeen Strathspey and Reel Society. Hunter (Fiddle Music of Scotland), 1988; No. 362.

 

CAMPBELL'S REEL. Scottish, Reel. Glen (1891) finds the tune first in print in Joshua Campbell's 1778 collection (pg. 50).

           

CAMPBELL’S ROAD.  Canadian, Jig. Canada, Cape Breton. Composed by Cape Breton fiddler Dan. R. MacDonald. RC2000, George Wilson – “Royal Circus” (2000).

 

CAMPBELTON KILTIE BALL. Scottish, Strathspey. A Major. Standard tuning. AABB. Composed by Pipe Major John MacLellan (Dunoon). Martin (Ceol na Fidhle), vol. 4, 1991; pg. 20. Green Linnet GLCD1182, The Tannahill Weavers - “Choice Cuts 1987-1996.”

 

CAMPER VAN, THE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 228, 66.

 

CAMPION. Canadian, Jig. Canada, Cape Breton. Composed by Dan Hughie MacEachern. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992).

 

CAMPSIE GLEN. Scottish, Strathspey. A Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 111, pg. 14.

X:1

T:Campsie Glen

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 111  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E | C<E E>A F>A E2 | C<E E>F A>B (c<e) | C<E E>A F>AE>c | (3dcB (3cBA G<B B :|

|: d | (c<e) (ef/g/) a>e c2 | (c<e) (ef/g/) a>e (f<a) |1 (c<e) (ef/g/) a>e c2 | (3dcB (3cBA G<B B :|2

e<c a>g f>ed>c | (3dcB (3cBA G<B B ||

 

CAMPSITE JIG. Canadian, Jig. D Major. Standard tuning. AA'BB'CC'. Composed by Max Sexsmith (British Columbia) in 1965 (Gibbons). Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 10, pg. 27.

 

CAMPTOWN HORNPIPE [1]. AKA and see "White Cockade." New England, Country Dance Tune (cut time).  G Major. Standard tuning. One part. Burchenal also prints a contra dance of the same name with the tune. Burchenal (American Country Dances, vol. 1), 1917; pg. 18.

 

CAMPTOWN HORNPIPE [2]. AKA and see "Granny Will Your Dog Bite? [2]" (Pa.). Old‑Time, Reel. USA, Pa. D Major. Standard tuning. AABB. Not the "Camptown Hornpipe" in Burchenal, which is really the "White Cockade" married to the name of the dance. See also notes for "Harry Cooper" and "Granny Will Your Dog Bite." Bayard (1981) collected several versions of this tune with the same or similar 'A' parts, but varying 'B' parts. Hans Nathan (Dan Emmett and Negro Minstrelsy, Univ. of Oklahoma Press, 1962, pg. 93) mentions a ‘Camptown Hornpipe’ that was an old blackface minstrel dance or series of steps. Bayard (Dance to the Fiddle), 1981; No. 58, pg. 40.

 


CAMPTOWN RACES [1]. American, Country Dance Tune; English, North‑West Morris Tune (4/4 time). G Major (Sweet, Wade): Standard tuning. AB (Wade): AABB (Sweet). Wade's version is the famous Stephen Foster song melody translated to the North‑West Morris tradition (for use with either a polka or single step). In America there is a singing call to the tune for square dancers. Apparently, the melody was collected as a sea shanty called “Banks of Sacramento,” whose origins were in the California Gold Rush of 1849. This would seem to predate the Stephen Foster copyright, but the relation, if any, between the two is unclear. Cazden (Dances from Woodland), 1945; pg. 22. Sweet (Fifer’s Delight), 1964; pg. 14. Wade (Mally’s North West Morris Book), 1988; Pg. 21.

 

CAMPTOWN RACES [2]. Irish, Polka. A Major (Mac Amhlaoibh & Durham, Mallinson): A Mixolydian (Moylan). Standard tuning. AABB (Mac Amhlaoibh & Durham): AA’BB (Moylan). The west Kerry set dance versions are quite a bit removed from the Stephen Foster original, which is barely discernible in some versions. Editor Moylan states that O’Keeffe’s recorded version is a link between the two. Source for notated version: Jack Sweeney via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Mac Amhlaoibh and Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 9, pg. 15. Mallinson (100 Polkas), 1997; No. 28, pg. 11. Moylan (Johnny O’Leary), 1994; No. 346, pg. 195. RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe.”

 

CAMRON HAS GOT HIS WIFE AGAIN. See "Cameron's Got His Wife Again."

 

CAMSTRONNAN'S RANT. AKA – “Camstrod(d)en’s Rant.” AKA and see “Card and Spin,” “Jack in the West,” “Mr. McPhadden’s Favorite.” Scottish, Country Dance Tune (9/8 time). D Mixolydian/Major. Standard tuning. AABB. The melody appears in the Drummond Castle Manuscript, in the possession of the Earl of Ancaster at Drummond Castle. It is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 10, pg. 4.

X:1

T:Camstronnan’s Rant

M:9/8

L:1/8

R:Country Dance Tune

K:D

d || D2d D2E F2F | =C2c B2A GEC | D2d D2E F3 | D2d cBc d2 :|

d |: d2e f2g e2e | c2d e2f gfe | agf gfe d3 | A2d =c2B AFD :|

                       

CAN DUBH DILISH. See "Black Headed Deary" (Ceann Dubh Dilis).

                       

CAN LOVE BE CONTROLLED BY ADVICE. AKA and see "Grim king of the ghosts," "Colin's Complaint." English, Air (3/4 time). G Major. Standard tuning. AB. The air appears in Pills to Purge Melancholy, Vol. VI (1720). Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 27.

X:1

T:Can Love be controul’d

M:3/4

L:1/8

R:Air

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipes (c. 1745-46)

Z:AK/Fiddler’s Companion

K:G

G2 | e2 (cB) (AG) | (Ac) (BA) (GF) | (G>A) B2D2 | E2D2G2 | c2 BA Bc |

(B2A2) (A>B/2c/4) | BA G2 (B>^c/2d/4) | (^cB) A2G2 | (F2G2)A2 |

f2 ed ^cB | AB AF GE | D4 || FG/A/ | D2D2 GA/B/ | D2D2 dB | B2A2G2 |

F2G2A2 | e2 dc BA | B4D2 | E2 cB AG | F2 dc BA | G2 edcB | c4 Ac |

Bd cB AG | ge dB cA | G4 ||

                       

CAN YOU DANCE A TOBACCO HILL. Old-Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AABB. From the playing of Snake Chapman. A related tune is “Charlie MacLean’s Strathspey,” from the playing of fiddler Joe Peter MacLean (Rounder 7060, “Back of Boisdale”). Source for notated version: Owen “Snake Chapman (Canada, Pike County, Ky., 1995), who learned the tune from his father, G.W. Chapman [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 22, pg. 57. County 2714, Brad Leftwich – “Say Old Man” (1996). McDirlam Greene Productions, Bruce Greene & Hilary Dirlam - "Fiddler's Dozen" (1985). Rounder 0378, Owen “Snake” Chapman – “Up in Chapman’s Hollow” (1996).

                       

CANADI CANADA. See "T'en As Eu, T'en N'auras P'us."

                       

CANADIAN BREAKDOWN. Canadian, Breakdown. D Major. Standard tuning. AABB. Composed by Canadian fiddler Jim Magill (c. 1937). Jarman (The Cornhuskers Book of Square Dance Tunes), 1944; pg. 11. Sannella, Balance and Swing (CDSS).

                       

CANADIAN CENTENNIAL REEL.  Canadian, Reel. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989). John was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

 

CANADIAN JIG. AKA and see "Gigue Canadienne."

                       


CANADIEN ERRANT, UN. French-Canadian, Air and Waltz. C Major. Standard tuning. AB. The melody is based on an old folk melody from France, usually sung to a song called "Si tu te mets anguille." The Canadian lyrics were written in 1842 by a student, M.A. Gerin-Lajoie, an expatriot who had fled the revolt of 1837-38 in France, but who later became one of Canada's greatest writers. His lyrics go:

***

Un Canadien errant, banni de ses foyers,

Par courait en pleurant, de pays etrangers.

(From Canada he comes, exiled he comes alone,

In foreign lands to roam, heart broken far from home.)

***

Matthiesen (Waltz Book II), 1995; pg. 9.

X:1

T:Un canadien errant

M:3/4

L:1/8

R:Waltz

K:C

c2e2c2 | G4c2 | (e6 | e6) | e2d2e2 | f4 e2 | (d6 | d6) :|

d2d2d2 | e4 f2 | (g6 | g6) | d2e2f2 | e4d2 | c6 | c6 |

c2c2c2 | a4g2 | g6 | g6 | d2e2f2 | e4d2 | (c6 | c6) ||

                       

CANADIAN FOURSTEP. Canadian, Dance Tune (6/8 time). G Major. Standard tuning. AA'BB'. Source for notated version: Rudy Meeks (Canada) [Hinds]. Hinds/Hebert (Growling Old Woman), 1981; pg. 25. Mariposa 1364M, Rudy Meeks ‑ "Fiddles of Shelburne."

                       

CANADIAN JIG. French Canadian, Reel. G Major. Standard tuning. AABB. Carlin (Master Collection), 1984; pg. 54, No. 83.

                       

CANADIAN REEL. AKA and see "Murray's Fancy (Hornpipe) [1]," "Cuckoo Hornpipe." Irish, Canadian; Reel. G Major. Standard tuning. Philo 2001, "Jean Carignan" (learned at the age of 10 from fiddler Joseph Allard). Point Records P‑229, Gerard Joyal ‑ "Canadian Jigs and Reels."

                       

CANADIAN RIVER. American, Reel. C Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 76.

X:1

T:Canadian River

M:2/4

L:1/8

R:Reel

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:C

G|cc B/c/d/B/|c/e/g/a/ g/e/c/e/|f(f/d/) e(e/c/)|d/c/B/A/ G(A/B/)|

cc B/c/d/B/|c/e/g/a/ g/e/c/e/|f(f/d/) e(e/c/)|d/c/B/d/ cz:|

|:G|c/e/g/e/ c/e/g/e/|d/e/f/e/ d/c/B/d/|c/e/g/e/ c/e/g/e/|(d/g/)(^f/a/) gG|

c/e/g/e/ c/e/g/e/|f(f/e/) d/c/B/A/|G/A/B/c/ d/e/f/g/|e/c/d/c/ cz:|

                       

CANADIAN WALTZ. AKA and see "Louis' Waltz."

                       

CANADIENNE, LA. Canadian, Reel. G Major. Standard tuning. AA’BB’. Source for notated version: fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 56, pg. 65.

                       

CANAL BOAT, THE. Irish, Air (4/4 time). C Major. Standard tuning. AB. "Given to Forde by Mr. Robert Orr, who took it down from a street‑singer in Dublin" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 657, pg. 330.

                       

CANAMINE HIGHLAND. AKA and see “Alasdair MacAlister,” “Con Cassidy’s Highland,” “Little Katie Kearney.” Irish, Highland. Ireland, County Donegal. A Mixolydian (‘A’ part) & A Dorian (‘B’ part). Standard tuning. AB. Source for notated version: Simon Doherty (County Donegal) [Northern Fiddler]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 107.

                       

CANARIO. English, Jig. G Major. Standard tuning. AABB. Published before 1730, notes Raven. Raven (English County Dance Tunes), 1984; pg. 7.

                       

CANARY WALTZ. Old‑Time, Waltz. USA, Missouri. A Major. Standard tuning. AB. “Canary Waltz” is one of the ‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie Walden. Source for notated version: Lonnie Robertson (Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 161. Missouri State Old Time Fiddlers' Association, Dwight Lamb (b. 1934, Moorehead, Iowa) - "Old Ladies Pickin' Chickens."

X:1

T:Canary Waltz

M:3/4

L:1/8

Q:110

C:Trad.

S:Cyril Stinnett

R:waltz

A:Missouri

Z:B. Shull, trans.; R.P. LaVaque, ABCs

K:A

|:AFE|[A,2E2] [C3/2E3/2][C/2E/2] [E2A2]|[A3A3](c BG)|A2 [c3/2e3/2][c/2e/ 2] [c2e2]|[e3e3](fe2)|!E3 G (Bc)|d2 g3 g|(3fgf e2) d2|[c3e3]([de]c)A|! [A,2E2] [C3/2E3/2][C/2E/2] [E2A2]|[A3A3] (c B)G|A2 [c3/2e3/2][c/2e/2] [c 2e2]|[e3e3] (f e2)|!E3 G (Bd)|c3 G (AB)|A3 G AB|A3:|! |:A cB|A2 ce a2|c'3 e' c'a|a2 ec Ac|[e3e3] f e2|!E3 G Bc|d2 g3 g|(3fgf e 2 d2|[c3e3] [de] cB|!A2 ce a2|c'3 e' c'a|a2 ec Ac|[e3e3]f e2|!E3 G Bd|c3 G AB|A2 G2 AB|A3 :|!

                       

CANDLE GILL. AKA – “Candle Ghyll,” “Kendal Ghyll.” English, Jig. G Major. Standard tuning. AABB. Known as a Cumbrian tune.

X: 1
T:Candle Gill.
M:6/8
L:1/8
S:Vicker's MS
R:Jig
Z:C.G.P
K:G
G2AB2c|BAG FED|G2AB2c|dcB AGF|G2G GAB|!D2DD2B,|C2ED2C|B,G,G,G,3:|
|:B,2B,D2B,|DE=F FED|!C2CE2C|EFG GEC|B,2B,D2B,|GAB =FDB,|C2ED2C|B,G,G,G,3:|]

                       

CANDY GAL. Old-time, Bluegrass; Breakdown. Learned by Bill Monroe from his Uncle Pendaver Vandiver as a young man in the 1920’s in Ohio County, western Kentucky. Similar to “Candy Girl [1].”  Bill Monroe – “Uncle Pen.”

 


CANDY GIRL [1]. AKA ‑ "Candy Gal." Old‑Time, Breakdown. USA; Cumberland Plateau (Ky./Tenn. border area), Tenn. A Major. Standard or AEae tunings. AAB (Ford): ABAB' (Phillips). Uncle Bunt Stevens, a some‑time WSM radio performer, recorded the tune for Columbia in 1926, the same year he defeated the famous Uncle Jimmy Thompson in a regional fiddling contest. He later was crowned national champion by automotive king and fiddle buff Henry Ford (Charles Wolfe). Source for notated version: Bunt Stephens and Bruce Molsky [Phillips]. Ford (Traditional Music in America), 1940; pg. 118. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 28. Columbia 15085‑D (78 RPM), Uncle Bunt Stevens (Lynchburg, Tenn.), 1926. County 541, Uncle Bunt Stevens ‑ "Nashville ‑ The Early String Bands, vol. 1." County 786, "Gettin Upstairs: Traditional Music From the Cumberland Plateau, vol. 1." Rounder Cd0278, Mike Seegar – “Solo—Old Time Country Music” (1991).

 

CANDY GIRL [2]. Old-Time, Breakdown. A Major. Standard tuning. AABB. A more melodic variant of version #1. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 28.

                       

CANE BRAKE [1]. AKA - “Canebreak,” “Canebrake,” “Down in the Canebreak.” Texas-Style, Breakdown. D Major ('A' and 'B' parts) & B Flat Major ('C' part). Standard tuning. ABBC. “Canebreak” has been a popular ‘choice’ tune at modern Western fiddle contests, though often only the first two parts are played (sometimes the ‘A’ part is repeated in the key of G Major as a third part, and the tune is played ABCA). The tune was derived from a two-part classical piece composed by Samuel Gardner entitled "From the Canebrakes" (perhaps recorded by Heifitz on a 78RPM), although fiddle versions have evolved with an added section in ‘G’. The melody was apparently being played at a Texas jam session attended by fiddler Benny Thomasson when the guitar players began playing G Major chords during the piece and Thomasson simply followed them, “creating” the third part. The tune was recorded by Dale Morris (with the third part in G Major). Source for notated version: Argel Walker [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 29. Dale Morris – “New for 78.”

 

CANE BREAK [2], THE. AKA and see "Nancy Dill." English, Reel. G Major. Standard tuning. AB. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 43, pg. 22.

                       

CANE HORNPIPE. Scottish, Hornpipe. The tune was listed in the program of J. Scott Skinner's dance school ball in Forres, 1880; he also instructed "advanced lady pupils" in the dance at Elgin. Skinner, noted later in his life as a fiddle virtuoso, earned his livlihood as much as a dance instructor as a musician in his youth.

           

CANE SUGAR.  Old-Time, Air? (6/8 time). C Major. Standard tuning. AA’BB’. From the repertoire of Alabama fiddler James Bryan.

X:1

T:Care Sugar

M:6/8

L:1/8

Q:150

S:James Bryan – Festival of Fiddle Tunes 1995

Z:From a transcription by Dave Barton

K:C

|: “C”G,2G, A,2B, | C(E2 E3) | .E2E D2C | E(G2G3) | G,2G, A,2B, | .C2E G2c |

“G7”BAG (FED) |1 “C”C(ED) C(B,A,) :|2 “C”C3 [.Ec]z2 ||: “C”.e2d c2e | “F”.d2c Ac2 |

“C”.G2G E2C | “F”.D2C A,C2 | “C”.e2d c2e | “F”.d2c Ac2 | “G7”GAG (FED) |1

“C”C3 [.Ec]z2 :|2 “C”C(ED) C(B,A,) ||

           

CANEBREAK. See “Cane Brake.”

                       

CANEY MOUNTAIN HORNPIPE. Old‑Time, Breakdown. USA, Missouri. D Major. Standard tuning. AA’BB’. Composed by Missouri fiddler Lonnie Robertson, who named it after a mountain near where he grew up, in Long Run, Missouri [Beisswenger, 2008]. Beisswenger & McCann (2008) note similarities with Art Galbraith’s “Ladies Fancy [7].” Sourcce for notated version: Lonnie Robertson (1908-1991, ) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 115. Caney Mountain Records CEP 109 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66.


                       

CANIAD MARWNAD IFAN AB Y GO. Welsh, Air. The melody can be found in the 15th century MSS of Robert ap Huw. Maggie's Music MM107, "Music in the Great Hall" (1992).

                       

CANKTON WALTZ. See "Daylight Waltz."

                       

CANNIE HOBBIE ELLIOT. See "Canny Hobbie Elliot."

                       

CANNIFAX. Old‑Time, Breakdown. USA, Missouri. D Major. Standard or AEae tunings. AABB. Source for notated version: Bill Driver (Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 51.

                       

CANNONBALL RAG. Old-Time, Country Rag. D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AB. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 20.

                       

CANNONGATE TWITCH, THE. Scottish. Cannongate is in the city of Edinburgh. Green Linnet GLCD 1108, The Tannahill Weavers – “Cullen Bay” (1990).

                       

CANNY CUMBERLAND. English, Jig. England, North‑West. D Major ('A' part) & D Mixolydian ('B' part). Standard tuning. AABB. Cazden (et al, 1982) briefly mentions a British song by this title whose tune is a strain of his Catskill Mountain (New York) collected minor-key song "The Cumberland Crew." Despite the similarity in titles the tune printed by Knowles and Cazden's do not appear to be similar, and he may be referring to another tune used for the song "Canny Cumberland." Knowles (Northern Frisk), 1988; No. 120.

                       

CANNY HOBBIE ELLIOT. English, Jig (9/8 time). England, Northumberland. G Major. Standard tuning. AABB. The version in Stokoe is identical to Vickers'; Seattle says "it is fairly certain that Stokoe used Vickers' MS as one of his sources" (Seattle). "A copy of this tune will be found in Oswald's Caledonian Pocket Companion, 1759; and the late Mr. Thomas Doubleday, in writing of it says: 'There is in Oswald what I should call an authentic and genuine set of this tune ( I forget under what name), and has at its tail more variations that a kite has wisps of hay. It speaks for itself, and as there were Elliott's on both sides of the Border, I don't see the Scotch have any exclusive right to it; besides, the tune being compound triple is in our favour'. In Bell's Rhymes of the Northern Bards, 1812, appears the following short song:‑‑

***

O, canny Hobbie Elliot,

O, canny Hobbie still,

O, canny Hobbie Elliot,

Who lives at Harlow Hill.

Had Hobbie acted right,

As he has seldom done,

He would have kissed his wife,

And let the maid alone. (Stokoe).

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 29. Seattle (William Vickers), 1987, Part 3; No. 444.

X:1

T:Cannie Hobbie Elliot

M:9/8

L:1/8

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

c|B2d c2B ABc|B2d e2f g3|B2d c2B ABc|BAB cGE D2:|

|:c|dB/c/d/B/ dB/c/d/B/ ABc|dB/c/d/B/ dB/c/d/B/ g2e|

dB/c/d/B/ dB/c/d/B/ ABc|BAB cGE D2:|

                                               

CANNY LITTLE LAD, THE. AKA and see "The Morning Star [1]." Widely known in the Shetland Islands.

                       


CANNY NEWCASTLE. English, Jig. G Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 116.

                       

CANNY SUGACH. AKA and see "The Merry Merchant [2]."

 

CANRAY’S JAM. Cajun. Canray Fontenot’s reworking of Bébé Carriére’s classic tune “Blue Runner.” Swing Cat 1612, “Al Berard & Friends.”

                       

CANST THOU NOT HIT IT. English, Air (6/4 time). D Major. Standard tuning. AAB. The air appears in William Ballet's Lute Book. Chappell (1859) records that this tune is alluded to in the old ballad of "Arthur a Bradley," and is mentioned as a dance tune in the Elizabethan play Wily Beguiled. Shakespeare alludes to the song in his Love’s Labour Lost (act iv., sc. I) when Rosaline and Boyet sing:

***

Thou canst not hit it, hit it, hit it; Thou canst not hit it, my good man.

An I cannot, cannot, cannot; An I cannot, another can.

***

Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pg. 249.

X:1

T:Canst Thoy Not Hit It?

M:6/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:D

d4 d2 d4 B2 | c4 d2 e4 c2 | d4 d2 d4 =c2 | B4 AG F6 :|

F4 GA B4 A2 | d4 A2 B4 A2 | F4 GA B4 A2 | G3F E2 D6 ||

                       

CANTEEN, THE. Irish? Reel. D Major. Standard tuning. AA'BB. Harding’s All Round Collection, 1905; No. 137, pg. 43.

X:1

T:Canteen, The

M:2/4

L:1/8

R:Reel

S:Harding’s All-Round Collection, No. 137  (1905)

Z:AK/Fiddler’s Companion

K:D

(3A,/B,/C/|:DD/E/ F/A/A|B>ef/ e/d/B/c/|d/c/d/B/ A/F/d/B/|1 A/G/F/E/ D/C/B,/A,/:|2

A/G/E/F/ D||:A|d/e/f/d/ af/d/|b/a/g/e/ c/B/c/A/|d/e/f/g/ a/f/e/d/|B/d/c/e/ d:|

                       

CANTEEN CALL, THE. AKA and see “Old Drummer’s Delight.” American (?), Air. G Major. Standard tuning. AABB. Howe categorizes the tune among the ‘songs’ section. Howe (1000 Jigs and Reels), c. 1867; pg. 45.

X:1

T:Canteen Call, The

M:2/4

L:1/8

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:G

D | GB AG | d2 B>d | ed cB | A/G/A/B/ AD | GB AG | d2 B>d | e>d c/d/e/c/ | d3 :|

|: d | ec A(B/c/) | dB GA/B/ | cB AG | A/G/A/B/ AB/c/ | d/c/B/c/ d(e/d/) |

c/B/A/B/ cd/c/ | B/A/G/A/ BA | G3 :|

                       

CANTERBURY REVEL. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody appears unique to London publisher Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 9.

X:1

T:Canterbury Revel

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

D|DGBG|cABG|ABcA|B2g2|ecdB|AcBG|AcBA|G2 [G,G]:|

|:d|afga|gbgd|egec|B2g2|ceac|BdgB|AcBA|G2 [G,G]:||

 

CANTERBURY TALE. English, Jig. England, North‑West. C Major. Standard tuning. AABB. The name Canterbury is an Anglo-Saxon name, originally Cantwaraburgh, meaning ‘the fort of the men of Kent’ (Matthews, 1972). Knowles (Northern Frisk), 1988; No. 75.

                       

CANTIE CRECKET. Scottish, Reel. D Major. Standard tuning. AAB. 'Canty' means jolly, lively or happy in Scottish dialect, while ‘crecket’ probably refers to a cricket or grasshopper. These insects are often animated as fiddlers due to their characteristic of producing sound by sawing (fiddling) their wings together. Glen (1891) finds the tune first published in Neil Stewart's 1761 collection (pg. 16). Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 4.

X:1

T:Cantie Crecket

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:D

B|AFdF AFDB|Afde c2 (EF/G/)|AFdF AFAg|fdef d/d/d d:|

(d/e/f/g/ a)f bgag|f>edf e/e/e e2|(d/e/f/g/ a)f bgag|f>def d/d/d d|

(d/e/f/g/ a)f bgag|f>edf e/e/e e2|(d/e/f) (e/f/g) (f/g/a) (e/f/g)|fdef d/d/d d||

                       

CANTY BRODY/BODY. AKA and see "Thomson's Got a Dirk." Scottish, Reel. A Mixolydian. Standard tuning. AAB. Glen (1891) finds the tune first published in Alexander McGlashan's collection. 'Canty' means jolly or happy in Scottish dialect. McGlashan (Collection of Strathspey Reels), 1780/81; pg. 27.

X:1

T:Canty Body

M:C|

L:1/8

R:Reel

S:McGlashan – Strathspey Reels  (c. 1780/81)

Z:AK/Fiddler’s Companion

K:A Mixolydian

e|cA c/d/e c2 Ad|BG B/c/d B2 GB|cA c/d/e c2 Ad|BGdB A2 A:|

g|aeec aeee/f/|gddB gddg|aeeg aeed|cAB^G A2 Ag|

aeec aeef|gddB gddg|aeeg aeed|caB^G A2 A||

                       

CANTY COUPLE, THE. Scottish, Jig. C Major. Standard tuning. AABB. 'Canty' means jolly or happy in Scottish dialect. Kerr (Merry Melodies), Vol. 3; No. 283, pg. 31.

                       

CANTY JEAN. Scottish, "Solo Strathspey." D Major. Standard tuning. AB. Composed by William C. Honeyman. 'Canty' means jolly or happy in Scottish dialect. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 33.

X:1

T:Canty Jean

M:C

L:1/8

R:Strathspey

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:D

(D>A)(F>d) (B>g)(A>f)|(G>e)(F>d) c<(e e2)|B>GA>f G>eF>d|(3cde (3fed c<a a2|

b>a g<b a>g f<a|g>fe>d c<(e e2)|D>AF>d B>gf>d|(cBA (3GFE D<d d2||

f>a a2 f<a a2|g<b b>a (3gfe (3dcB|A<a a2 c<a (a2|g>)f(e>d) (c>B)(A>G)|

F<A A2 F<A A2|G<B B>d (3cBA (3GFE|(D>A)(F>d) (B>g)(f>d)|

(3cba (3gfe (f<d) d2||

                       

CANTY JEANIE MUNROE. Scottish, Strathspey. B Flat Major (Cranford/Fitzgerlad): B Major (Skinner). Standard. AAB. Composed by the great Scottish fiddler and composer J. Scott Skinner (1841-1927), who originally set it in the key of B Major (but who gave the direction that it could also be played in B Flat). Canty means jolly or happy in Scottish dialect. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 108, pg. 45. Skinner (Miller o’ Hirn Collection), 1881. Skinner (Harp and Claymore), 1904; pg. 121.

X:1

T:Canty Jeanie Munro

M:C
L:1/8

R:Strathspey

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:B

F | (d>c B<F) G<B F<B | (d>c B<F) G<B A<f | (d>c B<F) G<B F>B | A/B/c f/g/a b<B ~B :|

a | (3bfd (3BFD ~E>F G>E | (D<F) B>G A<c c>a | (3bfd (3BFD ~E>F G>B | A/B/c f/g/a b<B ~B>a |

b/f/d B/F/D ~E>F G>E | (D<F) B>G A<c ~c>f | d>c B<F .G/.B/.e .g/.a/.b | (3.a.g.f (3.e.c.f d<B ~B ||

                       


CANTY OLD MAN, THE. Scottish, Jig. G Major. Standard tuning. AABBCC. 'Canty' means jolly or happy in Scottish dialect. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 204, pg. 79. Kerr (Merry Melodies), Vol. 1; No. 31, pg. 33. Welling (Welling’s Hartford Tune Book), 1976; pg. 18.

 

CANYON JIG. American, Double Jig. E Minor. Standard tuning. AABB'. Composed in the 'Irish' style by David Reiner, 1983, inspired by a walk in a steep and curving canyon in the Canadian Rockies. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 161.

 

CAOCH EOLAIGHE, AN. See "The Blind Guide."

 

CAOIDH NA H-ALB AIRSON NEILL GHOBHA. See "Caledonia's Wail for Niel Gow..."

 

CAOILTE MOUNTAINS, THE. Irish. Green Linnett GLCD 1127, “Martin Hayes” (1993).

 

CAOINE, AN (The Lament). AKA and see "Irish Cry," "The Goll," "The Little Lamentation," "The Great Lamentation," "Second Goll and Half Chorus," "Half Chorus of Sighs and Tears." Irish, Air (3/4 time). C Major. Standard tuning. AABBCC. Source for notated version: The index to Bunting's 1840 collection gives the source as "O'Neill, harper and from the hired mourners or keeners at Armagh; and from a MS. above 100 years old." A melody with the title “An Irish Cry” can be found in Thompson’s “Hibernian Muse” of 1786, followed by its jig. O'Sullivan/Bunting, 1983; No. 81, pgs. 124-125.

 

CAOINE CILL CAIR/CAIS. AKA and see "Lament for Kilcash."

 

CAOINE FOR WINIFRED McDERMOT, ROSCOMMON. AKA and see “Lament for Una MacDermot.”

 

CAOINE SLOIN. AKA and see "Sloan's Lamentation," "The Foggy Dew."

 

CAOINEAD AN SPAILPÍN (“The Wandering Laborer’s Lament” or “The Spalpeen’s Lament”). AKA – “Caoineadh an Spailpín.” Irish, Air. Ireland, West Kerry. D Mixolydian/Minor (Mac Amhlaoibh & Durham): G Mixolydian/Dorian (Cranitch): A Mixolydian/Dorian (Ó Canainn). Standard tuning. One part (Cranitch, Ó Canainn): AB (Mac Amhlaoibh & Durham). Mac Amhlaoibh & Durham’s version is in 4/4 time, Cranitch’s in mixed 4/4 and 5/4 time, and Ó Canainn’s in 3/4 time. The subject of the song is the spailpín, or wandering farm laborer, “the most wretched of the many wretched classes in Ireland,” according to the Devon Commission of 1843. Cranitch (Irish Fiddle Book), 1996; pg. 114. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 88, pg. 50. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 66, pg. 59.

 


CAOINEADH EOGHAIN RUA (Lament for Owen Roe). Irish, Slow Air. E Minor. Standard tuning. AB. "There is some dispute over who this air is named for. Some argue for Owen Roe O'Neill, nephew of "the Great O'Neill" and commander of the Irish army which drove out the English in the mid‑17th century. Others claim the lament is for Owen Roe O'Sullivan (Eoghain of the sweet month) the great 18th century poet from the province of Munster." Source for notated version: Philip O'Leary, a fiddler from County Cork. Boys of the Lough, 1977; pg. 3. Green Linnet SIF 091, Paddy O’Brien – “Stranger at the Gate.” MDG CD1, Nollaig Casey – “Lead the Knave” (1989). Shanachie 79002, "Boys of the Lough" (1973). Trailer LER 2086, "Boys of the Lough."

 

CAOINEADH NA dTRI MUIRE. Irish, Air (4/4 time). G Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 10, pg. 16.

 

CAOINEADH RIOGHAIL (The Royal Lament). Scottish, Air or Lament. A harp melody composed by the Laird of Coll, John Garbh Maclean, on the execution of Charles I. Sanger & Kinnaird, in their book Tree of Strings (1992), say variants of the tune can be found in several early manuscripts and tune collections.

 

CAOINEADH UÍ DHOMHNAILL (O’Donnell’s Lament). AKA - “Caoineadh Uí Dhonail.” AKA and see "Lament for O'Donnell." Irish, Slow Air (4/4 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB. This song and its air have some currency in Kerry but apparently not elsewhere. The Munster air is in memory of Red Hugh O'Donnell, an Ulster chieftain who (along with Hugh O'Neill) waged the Nine Year War against the English forces of Elizabeth I at the end of the 16th century. O'Donnell, O'Neill and their Spanish allies were defeated at the Battle of Kinsale in 1601, having been outmanoeuvred by Mountjoy's army, with the effect that the rebellion quickly collapsed and English control over the entire island was assured. A story, perhaps from a winking Denis Murphy (?), has it that “Lament for O'Donnell” is about a man who, while dancing at a party, cuts his foot on a tap from his shoe and contracts blood poisoning from which he soon expires.  His friends take him to the field in the hopes of reviving him, and an angel appears and sings this lament for him! Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 19, pg. 24. Folkways FW8781, Denis Murphy - "Traditional Music of Ireland Volume 1” (appears as “Queen of O’Donnell,” a misinterpreting of the Gaelic title “Caoineadh Ui Dhomhnaill”, which when rendered in English sounds like “Queen of O’Donnell” {caoineadh is pronounced ‘kween’}). Green Linnett SIF 1139, Eileen Ivers - “Eileen Ivers” (learned from Brendan Mulvihill). RTE Records, "Denis Murphy: Music from Sliabh Luachra". Topic Records, Padraig O’Keeffe - “Kerry Fiddles” (Padraig probably learned it from the singing of his grandmother Mrs. Callaghan). Topic Records, Denis Murphy - “The Star Above the Garter.” 

                       

CAOINEADH UÍ NÉILL (O’Neill’s Lament). AKA – “Caoine Uí Néill.” Irish, Air. The title may refer to Hugh O’Neill, who took part in the Battle of Kinsale and the Flight of the Earls at the beginning of the 17th century. Seán Keane says that although the O’Neills were from Ulster, the tune appears to be from Munster. Séamus Ennis recorded the melody from Pádraig Ó Caoimh around 1945. Claddagh CC17, Seán Keane ‑ "Gusty's Frolics" (1975). RTE Records, "Denis Murphy: Music from Sliabh Luachra".

                       

CAOIRE AR NA SLEIBTIB, NA. AKA and see "The Sheep on the Mountains."

                       

CAOIRIGH AR NA SLEIBHTE, NA. AKA and see "The Sheep on the Mountains."

                       


CAOL MHUILE (The Narrows of Mull). AKA – “Caol Muile.” AKA – “Iona Boat Song,” "St. Columba's Hymn." Scottish, Air (6/4 time). G Major (Neil): A Major (Martin). Standard tuning. One part. This ancient air is thought to be St. Columba's rowing song as he guided his coracle (a hide‑covered frame boat) into the Sound of Mull on his pilgrimage to Alba. Columba, or Colum Cille, was an Irishman from County Donegal who was born of noble parentage in the year 521. He is famous for establishing over 100 monasteries, and especially for his ministry to the Scottish Picts, which began on Whit Sunday in 563 on the island of Iona or I‑Colum Cille.  For the next 34 years he missioned to the islands and Highlands. He was:

***

...an extraordinary character, with a vibrant and winning

personality, matched with great shrewdness. Many of the

miracles which he is adjudged to have performed can be

rationalized and accounted for by his great sense of foresight.

Throughout his life, he worked hand in hand with his followers,

and he took a very active part in the politics and affairs of his

people. He had a single purity of mind and a boundless love of

his fellow man, which rank him among the foremost saints of

Scotland. (Neil, 1991)

***

Martin (Ceol na Fidhle, vol. 3), 1988; pg. 31. Neil (The Scots Fiddle), 1991; No. 165, pg. 213.

                       

CAP AND BELLS, THE. Irish, Reel. D Major. Standard tuning. AABB. Composed by fiddle and piano player Josephine Keegan (b. 1935) who lives in Mullaghbawn, South Armagh. The title is a reference, she says, to one of the times when she briefly thought herself foolish, imagining that donning the cap and bells of a jester would be appropriate. Keegan (The Keegan Tunes), 2002; pg. 21. Outlet Records, Josephine Keegan - “Josephine Keegan: Irish Traditional Music.” Spin CD1001, Eoghan O'Sullivan, Gerry Harrington, and Paul DeGrae - “The Smoky Chimney” (1996. Learned from east Galway fiddle player Conor Tully).

X:1

T:Cap and Bell, The

L:1/8

M:4/4

K:D Major

|d~F3 ADFA|dfec dAFA|B~G3 GBde|f2(3def eABc|

|d~F3 ADFA|dfec dcBA|GFGA (3Bcd eg|1fdec Addc:|2fdec Adde|]

|f~a3 afdf|bagf gfed|Be (3eee gfed|Be ba‑ agfe|

|f~a3 fade|f2ed dcBA|GFGA (3Bcd eg|1fdec Adde:|2fdec Addc|]

                       

CAPAILLIN LANGSTERN. AKA and see "Langstern Pony."

                       

CAPALL 'SA MARCAC, AN. AKA and see "The Horse and Jockey."

                       

CAPE BLOMIDON REEL. Canadian, Reel. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. Credited to Ron Goodwin. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 73, pg. 48.

                       

CAPE BRETON FAVORITE. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. The tune was recorded in the 1960's by Cape Breton fiddler Johnny Wilmot paired with “The Leg of a Duck.” Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 130, pg. 45. “Johnny Wilmot: Another Side of Cape Breton.” Gael-Linn Records, Maire O’Keeffe - “House Party (An Coisir).”

                       

CAPE BRETON FIDDLERS’ WELCOME TO THE SHETLAND ISLANDS. Scottish, Reel. Scotland, Shetland Islands. A Major. Standard tuning. AA’BB’. Composed by the late fiddler Willie Hunter of Lerwick, Shetland. Culburnie Records CUL102c, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988. Appears as “Cape Breton Symphony’s Welcome to the Shetland Isles”). Green Linnet SIF 1139, “Eileen Ivers” (1994. Appears under the title “Cape Breton Symphony’s Welcome to the Sheltlands,” recorded in duet with Natalie MacMaster). Tartan Tapes CDTT1004, Chris Stout – “Heat the Hoose” (1998). Tannahill Weavers – “Dancing Feet.”

X:1

T:Cape Breton Fiddlers Welcome to the Shetland Islands

L:1/8

M:C|

R:Reel

C:Willie Hunter

K:A

AE~E2 dcBc | ~A3e fece | fBBA ~B3A | B2fe fBge | acef eA~A2 |

cBAF eAce | ~f3d eaaf |1 ecdB ~A3B :|2 ecdB ~A3e ||

|: aee^d efe=d |ce~e2 fece | bffe f2ef | defd Befe | aee^d efe=d |

ce~e2 fece |1 ~f3e afed | cABc ~A3e :|2 ~f3e afec | Bagf edcB ||

                       

CAPE BRETON JIG. See “Wandering Minstrel.”

                       

CAPE BRETON SYMPHONY REEL. Canadian, Reel. Canada, Cape Breton. D Mixolydian. Standard tuning. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 110, pg. 32.

                       

CAPE BRETON SYMPHONY STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. D Mixolydian. Standard tuning. AB. Composed by fiddler Jerry Holland (Inverness, Cape Breton), a member of the group Cape Breton Symphony. Cranford (Jerry Holland’s), 1995; No. 109, pg. 32.

                       

CAPE BRETON VISIT TO SHETLAND, THE.  Scottish, Reel. Scotland, Shetland Isles. Composed by Shetland fiddler Willie Hunter. RC2000, George Wilson – “The Royal Circus” (2000).

 

CAPE BRETON WEDDING REEL. AKA and see “John o’ Badenyond,” “Old Time Wedding Reel [1].”

                       

CAPE BRITTON. English. England, Northumberland. One of the "lost tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

                       

CAPE CLEAR. Irish, Slow Air (3/4 time). D Minor (Joyce): E Minor (Ó Canainn): B Minor (Stanford/Petrie). Standard tuning. AB. Cape Clear, Oileán Chléire, is Ireland’s southernmost inhabited island, eight miles off the coast of County Cork. It is three miles long by a mile wide and features spectacular landscape, cliffs and views. The island is rich in history with Megalithic standing stones, a 5,000 year-old passage grave, and a ruined church dating from the 12th century. The 14th century O’Driscoll castle was cannonaded in the early 1600’s but still remains. The patron of the island is Saint Ciarán, allegedly the earliest of Ireland’s four pre-Patrician saints. Today the island is famous for tourism, bird watching, and for the wind-generators which produce electricity for the island’s thousand or so permanent inhabitants.

***

O’Driscoll Castle, Cape Clear

***

George Petrie included the tune twice in his collection; as an untitled air (No. 79) and with the heading “Irish setting of ‘Black eyed Susan’” (No. 729), both tunes nearly identical. Source for notated version: "From O'Driscoll of Clonakilty" [Joyce]. Joyce (Old Irish Folk Music and Songs), 1909; No. 653, pg. 329. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 67, pg. 59. Stanford/Petrie (Complete Collection), 1905; No. 79 & 729, pgs. 20 & 183.

X:1

T:Cape Clear

L:1/8

M:3/4

K:E Minor

B2|e>f g2 fe|e>d B3 A|GA B>A GB|A>G E3 B|e>f g2 fe|dB b3 a|gf eg f>e|e6||

b2|b>a ga bg|a>g fg af|g>f eg fe|e>d B3 A|GA B^c dB|e>d ef ba|gf eg f>e|e4||

X:2

T:Untitled

M:3/4

L:1/8

R:Air

S:Stanford Petrie – Complete Collection, No. 79 (1905)

Z:AK/Fiddler’s Companion

K:B Minor

FBc|d2 c>B BA|F3E DE|F>E DF E>D|B,3 FBc|d2 cB AF|

f3 edc|B>d cBAc|{c}B3||ffe|d>e fd ed|c>d ec dc|

B>d cB BA|F3 EDE|F>^G AF BA|Bc f>e dc|B>d cB Ac|B3||

X:3

T:”Irish setting of ‘Black eyed Susan’”

M:3/4

L:1/8

R:Air

S:Stanford Petrie – Complete Collection, No. 79 (1905)

Z:AK/Fiddler’s Companion

K:B Minor

FBc|d2 c>B BA|F3 E DE|F>E DF E>D|B,3 FBc|

d2 cB AF|f3 edc|B>d cB ^Ac|{c}B3||ffe| d>e fd ed|c>d ec d>c|

B>d cB B^A|F3 EDE|F^G AF B^A|Bc f>e dc|B>d cB>^Ac|B3||

                       

CAPE COD. American, Reel. G Major. Standard tuning. AABB. Cape Cod was named on the 15th of May, 1602, by Captain Bartholomew Gosnold, a Cornishman from Falmouth who sailed north from Virginia and ‘took great store of cod fish’ off the peninsula in the closing years of the reign of Elizabeth I. “Cape Cod” is another tune that honors the central New England region that publisher Elias Howe and Ryan collected music from. Cole (1000 Fiddle Tunes), 1940; pg. 14. Ryan’s Mammoth Collection, 1883; pg. 38.

                       

CAPE COD HORNPIPE [1], THE.  American, Hornpipe. G Minor. Standard tuning. AAB. Howe (1000 Jigs and Reels), c. 1867; pg. 59.

X:1

T:Cape Cod Hornpipe [1]

M:4/4

L:1/8

R:Hornpipe

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:Gmin

GABd cAFA | BGGB AGFE | GABd cAFA | AGFD G2G2 :| f2 fd cAFA | f2 fa ga a2 |

f2 fd cAFA | AGFD DG G2 | f2 fd cAFA | f2 fa ga a2 | baag fdcA | AGFD DG G2 ||

 

CAPE COD HORNPIPE [2], THE. American, Hornpipe. A Major. Standard tuning. AABBCCDD. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Cape Cod was named on the 15th of May, 1602, by Captain Bartholomew Gosnold, a Cornishman from Falmouth who sailed north from Virginia and ‘took great store of cod fish’ off the peninsula in the closing years of the reign of Elizabeth I. Black (Music’s the Very Best Thing), 1996; No. 194, pg. 103.

X:1

T: The Cape Cod Hornpipe

C: © B. Black

Q: 325

R: hornpipe

M: 4/4

L: 1/8

K: A

cBAB ceae | f2 ae f3 e | cBAB ceaf | ecBA FB B2 |

cBAB ceae | f2 ae fa a2 | EFAB ceaf | ecBA FA A2 :|

K: Dm

dcAc defg | f2 ed cAGE | FEFG AGAc | dcde fedc |

d2 ad edad | c2 ec gcec | BG G2 FAcA | GEDC D4 :|

K: Gm

GDDD FDDA | Bcdg fdcA | BGdG AFcF | BAGF GABc |

dg g2 bagf | cf f2 afdc | BdcB AcBA | GFDF G4 :|

K: D

FEDE FAdA | B2 dA B3 A | FEDE FAdB | AFED B,E E2 |

FEDE FAdA | B2 dA Bd d2 | A,B,DE FAdB | AFED B,D D2 :|

                       

CAPE KENNEDY.  Canadian, Reel. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989); one of several tunes he composed in honor of the c. 60’s-70’s space program (Cape Kennedy was, for a time, the name for Cape Canaveral). Durocher was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

 

CAPE NORTH JIG. Canadian, Jig. Canada, Cape Breton. G Dorian (Dunlay & Greenberg/Fitzgerald): A Dorian (Dougie MacDonald). Standard tuning. AA’BB’. Dunlay & Greenberg (1996) believe this tune to be derived from “The Haughs of Cromdale Strathspey” and suggest it was perhaps “another example of Fitzgerald’s genius at adapting tunes.” Cape North is at the extreme north of Cape Breton Island, jutting into the Gulf of St. Lawrence. Source for notated version: Winston Fitzgerald (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 119. ACC-49195, Dougie MacDonald - “Staying in Tune.” Celtic CX 40, Winston Fitzgerald - “Its New.” Celtic CX 51, Winston Fitzgerald - “This is Sydney” (2nd in “Medley of Cape North Jigs”).

                       


CAPE NORTH REEL [1]. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 122, pg. 35.

 

CAPE NORTH REEL [2], A. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB. Source for notated version: learned by Barry Shears from a tape of the late Rory MacKinnon of Sugarloaf, Cape Breton. The tape was made in the early 1960’s by the late Helen Creighton, a folklorist who published several folksong collections. Shears (Gathering of the Clans Collection, Vol. 1), 1986; pg. 50 (pipe setting).

                       

CAPE WRATH. Scottish, Strathspey. D Major. Standard tuning. AB. Composed by the great Scottish composer and fiddler J. Scott Skinner (1841-1927). Cape Wrath lies at the north-westernmost tip of mainland Scotland in Sutherland. There are cliffs on either side of the headland, with those to the west rising to over 200 meters high. They are the site of vigorous bird colonies, especially important for gulls and auks. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 131, pg. 54.

                       

CAPEL STREET. AKA and see “The Ballymahon Reel.” The title is from Anee Conroy on “Winds of Change.” Capel Street is in Dublin, on which was located Slattery’s Pub, where on Wednesday evenings the tradition club held forth upstairs [James Kelly].

                       

CAPELHOUSE, THE.  Irish, Jig. Composed by fiddler James Kelly, originally from Dublin though long resident of Florida, “inspired by…fiddler Paddy Cronin from Brosna, County Kerry.” The title honors the former family home in Dublin, on Capel Street. Capelhouse Records, James Kelly – “Traditional Irish Music” (1996). Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007).

 

CAPER FEY. AKA and see "Caber Fey/Féigh/Fei," "The Castle Street Reel," "Glastertown's Downfall," "Copperplate [1]," "Sporting Pat [1]," "The Deer's Horn(s)." Scottish, Strathspey (Gow) or Reel (Honeyman). C Major. Standard tuning. AB. Glen (1891) finds the tune first in print in Robert Bremner's 1768 2nd collection (pg. 102). Carlin (The Gow Collection), 1986; No. 18. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 26. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 16.

X:1

T:Caper Fey

M:C

L:1/8

R:Strathspey or Reel

N:”Original Set”

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

Z:AK/Fiddler’s Companion

K:C

G|c2 {c/d/}e>d “tr”c2 Gc|{A/B/}c2 “tr”G>F ECCE|{D}d<d f>e “tr”d2 A(B/^c/)|”tr”d2 A>G FDD>E|

{C}c2 {c/d/}e>d “tr”c2 GA/B/|”tr”c2 G>F ECC>E|(DEF).G (AB^c).A|~d2 A>G FDD||

g/f/|e>cg>c a>cg>c|e>cg>c {f}e>dce|f>da>d bdaf|~d>e ~f>g a/g/f/e/ dg/f/|

e>cg>c a>cg>c|~G>A ~c>d ec cf/g/|{f/g/}a>f g>e f>d e>^c|{c}d2 A>G FDD||

                       

CAPERS. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AA’BB. A traditional tune. Cranford (Jerry Holland’s), 1995; No. 218, pg. 63. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40). Rounder 7001, Joe Cormier ‑ "Scottish Violin Music from Cape Breton Island" (1974).

                       

CAPILLAIRE MINUET. Scottish, Minuet. Composed by Thomas Alexander Erskine, Viscount Fenton, Sixth Earl of Kelly, born at Kellie Castle in Fife in 1732 (and familiarly known as “Fiddler Tam”) in honor of the Capillaire Club in Edinburgh, which he is credited with having founded. The club was one of the convivial organisations of the 18th century and the capillaire itself was a kind of cocktail which the members drank exclusively from small liqueur glasses engraved with the name (Pulver, 1992). The melody appears in the Brown Manuscript.

           

CAPITAINE DU 22E REGIMENT.  French-Canadian, Reel. Composed by Chicoutimi fiddler and story-teller Louis “Pitou” Boudreault (1905-1988). As a young man in the 1920’s and 1930’s Boudrealt was much in demand as a performer in the Saguenay-Lac-St-Jean region, but retired from public appearances thereafter. In the 1970’s, after a hiatus of 35 years Bourealt was encouraged to compete in a fiddle contest in Montréal. He was a surprise winner, and a revival of his musical career followed, with several appearances at the Mariposa folk festival, recordings, and a documentary film.  Éric Favreau & Mario Landry – “Reel à Deux” (1998).

           

CAPPAMORE POLKA, THE. Irish, Polka. D Major/B Minor. Standard tuning. AABB. Cranitch (Irish Fiddle Book), 1996; No. 40, pg. 141. Cranitch (Irish Session Tunes: Red Book), 2000; 40.

 

CAPPER’S JIG. AKA and see “Cherish the Ladies,” Humors of Cappa [2],” Pathway to the Well.” Irish, Jig.

                       

CAPRICE, THE. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 312.[COMMENT5] [COMMENT6] [COMMENT7] [COMMENT8] 

 

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