dsThe Fiddler’s
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© 1996-2009 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
***
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).
***
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
***
Sources for notated versions: French Carpenter (
X:1
T:
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/ ||
X:1
T:
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
***
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 “
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
after leaving his three associates [in the Virginia Minstrels] in
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
various circus and minstrel companies.
***
In 1853-54 he was part proprietor of White’s Minstrels in
minstrel hall in
Mr. Emmett joined Bryant’s Minstrels in
After Dan Bryant’s death in 1875, he accepted a position as leader in
the Star Varieties,
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
***
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 |
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
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 ||
X:1
T:
M:3/4
L:1/8
R:Air
S:Morison –
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 ||
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
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 “
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).
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 &
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.
CANADI
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
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
***
Un Canadien errant, banni de ses
foyers,
Par courait en pleurant, de pays
etrangers.
(From
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 (
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."
X:1
T:
M:2/4
L:1/8
R:Reel
S:Ford – Traditional Music in
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."
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
CANAMINE HIGHLAND. AKA and see “Alasdair
MacAlister,” “Con Cassidy’s
Highland,” “Little Katie Kearney.”
Irish,
CANARIO. English, Jig. G Major. Standard tuning. AABB. Published before 1730,
notes Raven. Raven (English
CANARY WALTZ. Old‑Time, Waltz.
X:1
T:Canary Waltz
M:3/4
L:1/8
Q:110
C:Trad.
S:Cyril Stinnett
R:waltz
A:
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,
CANDY GIRL [1]. AKA ‑ "Candy Gal." Old‑Time, Breakdown.
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
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
CANE SUGAR. Old-Time, Air? (6/8 time). C
Major. Standard tuning. AA’BB’. From the repertoire of
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
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.
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
CANNY
CANNY HOBBIE ELLIOT. English, Jig (9/8 time).
***
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
CANNY
CANNY SUGACH. AKA and see "The Merry
Merchant [2]."
CANRAY’S
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
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]:||
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,
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,
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
CAOCH EOLAIGHE, AN. See "The Blind Guide."
CAOIDH NA H-ALB AIRSON
NEILL GHOBHA. See "Caledonia's
Wail for Niel Gow..."
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
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.
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
CAOINEADH NA dTRI
MUIRE. Irish, Air (4/4 time). G Major.
Standard tuning. One part. Ó Canainn (Traditional
Slow Airs of
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).
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
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
***
...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
***
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,
X:1
T:Cap and
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."
X:1
T:
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 ||
***
O’Driscoll Castle,
***
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
X:1
T:
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
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||
X:1
T:
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 ||
X:1
T:
The
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,
FEDE FAdA | B2 dA Bd d2 | A,B,DE FAdB | AFED B,D D2 :|
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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[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.
[COMMENT5]This was Font/Pitch 1,10 - Off.
[COMMENT6]This was Font/Pitch 1,10 - On.
[COMMENT7]This was Font/Pitch 1,10 - Off.
[COMMENT8]Note: The change to pitch (12) and font (1) must be converted manually.