The Fiddler’s Companion

© 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]

 

 

 

CAR DRIVER, THE. Irish, Double Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 195, pg. 22.

X:1

T:Car Driver, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 195  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A2d B2d|ABc def|g2e f2d|efd cdB|A2d B2d|ABc def| gab afd|e3d3:|

|:a2f b2f|agf fed|g2e f2d|efd cdB|A2d B2d|ABc def|gab afd|e3d3:|

           

CARA MO CROIDE, A. AKA and see "Friend of My Heart."

           

CARABAT AN LOINGSEOIR. AKA and see "The Sailor's Cravat."

           

CARABAT MIC SEOIN. AKA and see "Jackson's Cravat."

           

CARACASTLE LASS, THE. AKA – “Carracastle Lass,” “Carrowcastle Lasses.” Irish, Reel. Played in both the key of ‘G’ and ‘D’. Caracastle is a town in County Mayo. The tune is associated with flute and whistle player Roger Sherlock, who has a personal setting. Sherlock was originally from County Mayo, directly on the border with County Sligo, and he is an inheritor of the south Sligo/north Roscommon musical tradition, although he spent much of his adult life in London where he played famously with other Irish émigrés throughout the 1950's and 1960's. He was the source for Breathnach's "Jack Maguire's" (CRÉ III, 105). Coleman Center CD CC004, Paddy Ryan & Jim Corry – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”).

                       

CARADALE BAY. Scottish. Green Linnet GLCD 1182, The Tannahill Weavers - “Choice Cuts” (1997).

           

CARAQUET, LA. Described by Anne Lederman in her article on “Fiddling” in the Encyclopedia of Music in Canada (1992) as an Acadian tune that is typically played with the ‘D’ string removed and the lowest (‘G’) string tuned to ‘A’ in order to facilitate a droning effect throughout.

 

CARA’S SONG. Irish, Air (2/4 time). G Major. Standard. AB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988) for his grandaughter Cara, a child who was autistic but who had a love of music. Reavy (The Collected Compositions of Ed Reavy), No. 126, pg. 140.

X: 1

T:Cara's Song

R:Air

C:Ed Reavy

M:2/4

L:1/16

Z:Joe Reavy

N:An air Ed wrote for his granddaughter Cara.  Cara is autistic,

N:but has a special fondness for music.  Maybe someday his

N:music will touch her, too.

K:G

D2EF G2FG | A2FD B2GE | c2AG F2A,B, | C2B,A, B,2B,C |

D2B,D G2FG | A2FD B2GE | c2AG F2EF | G>G G2Bc ||

d2ed B>G | Ec cBAG (3F2D2F2 | G2FG A2FD | (3c2B2A2 B2Bc |

d2^cded B2G2 | EccBAG (3F2D2B,2 | C2B,C F2EF | G2>G/2 G6 z ||

           

CARAVAT AND SHANAVEST, THE. Irish, Hornpipe. D Aeolian. Standard tuning. AABB. Caravat and Shanavest were the names of two fighting factions in and around Co. Kilkenny, about the beginning of the 1800's. See note for "Shanavest and Caravat [1]" for explanation. Roche Collection, 1982; Vol. 2, pg. 9, No. 207.

           

CARAVAT JIG, THE. AKA – “Carawath Jig.” AKA and see "When the Wind Blows," “Basket of Eggs,” "Green Goose Fair [1]," "The Onehorned Cow [2]," "O'Sullivan Mor(e's March) [1]," “Our Own Little Isle,” "Painseach," "Painneach na nUbh [1]," "Pretender's March," "The Retreat," "A Rock and the/a Wee Pickle Tow," "The Scotch March [1]." Irish, Jig. G Major. Standard tuning. AABB. The Caravat was a secretive, gang-like organization that grew out of agrarian unrest which eventually degenerated into faction fighting. The earliest appearance of the tune in print is in Church of Ireland cleric James Goodman’s mid-19th century manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster, although he also gleaned melodies from printed sources and collections. See note for “Shanavest and Caravat [1]" for more detailed explanation of factions. Joyce (Old Irish Folk Music and Song), 1909; No. 268, pg. 127‑128. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 189, pg. 78.

X:1

T:Caravat Jig, The

M:6/8

L:1/8

R:Jig

S:Joyce – Old Irish Folk Music and Songs

Z:AK/Fiddler’s Companion

K:G

D|GFG AGA|Bee dBA|BAB GAB|AGE E2D|GFG AGA|

Bee dBA|BAB GAB|AGG G2:|f|edB g2e|fed e2d|

ege dBA|Bee e2f|gfe agf|gfe dBA|BAB GAB|AGG G2:|

X:2

T:Caravat Jig, The

M:6/8

L:1/8

R:Jig

S:James Goodman manuscripts  (mid-19th century)

K:G

D/E/|G2G AGA|Bdd dBG|BAB GAB|AGE EDE|GAG AGA|

Bdd dBG|BAB GAB|AGG G2::d|def g2e|f2d edB|

ded dBd|efe e2f|g2e fdB|ded dBG|BAB GAB|AGF G2:|

           

CARAWITH JIG. See “Caravat Jig.”

           

CARBAD NUAD NA LITREACA. AKA and see "The New Mailcoach."

           


CARBRAY'S FROLICS (Sugacas Ui Cairbre). Irish, Single Jig. D Major. Standard tuning. AABB. An untitled single jig named by O’Neill in honor of the source. Source for notated version: obtained from an Edison recording by fiddler James Carbray, from Québec, Canada, who later moved to Chicago [O’Neill]. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 407, pg. 81.

X:1

T:Carbray’s Frolics

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 407

Z:AK/Fiddler’s Companion

K:D

d|c2A Bcd|AGF E2d|EFE E2D|EFE E2d|c2A Bcd|AGF E2D|F2D GEC|DED D2:|

|:F/G|A3 AFD|FED AFD|EFE E2D|EFE E2 F/G/|A3 AFD|FED AFD|F2D GEC|DED D2:|

           

CARD AND SPIN. AKA and see “Camstrodden’s Rant,” “Jack in the West,” “Mr. McPhadden’s Favorite.” English, Slip Jig. England, Northumberland. D Major. Standard tuning. AABB. Carding is the process of preparing the wool for spinning by drawing the raw fibers into line with each other. The melody appears under the “Card and Spin” title in the 1770 music manuscript book of Northumbrian musician William Vickers, about who unfortunately little is known. Other versions of the tune are modal or minor-key. Vicker’s own version may correctly have been in the mixolydian or dorian mode, rather than in two sharps he sets the tune in. Seattle (William Vickers), 1987, Part 2; No. 365.

X:1

T:Card and Spin

M:9/8

L:1/8

R:Jig

S:William Vickers’ music manuscript book, pg. 101

Z:AK/Fiddler’s Companion

K:D

D2d D2E F3|E2c B2A GEC|D2d D2E F3|D2d c2B AFD:|

|:d2g faf e3|cde e2c ege|d2g ee2 d3|ABc dAG FED:|

           

CARDEUSE (ET LE GRAND TRIOMPHE), LA. French-Canadian, Reel. Canada, Québec. G Major. Standard tuning. AABBCC’. A cardeuse refers to the person who performs the task of carding wool, straightening it between wire brushes in preparation for spinning. La Cardeuse is supposedly a dance from the St. Jean region of France, brought to the New World by French immigrants to Québec. The step-dance La Cardeuse is from the Saguenay region of Quebéc, and imitates the carding of wool, according to Hart & Sandell, giving rise to the title. Guy Bouchard notes that, while this ‘crooked’ tune was quite popular in the past, modern fiddlers seem to have forgotten it. Lisa Ornstein believes the tune may have derived from an 18th century cotillion melody. Source for notated version: fiddler Lisa Ornstein (Maine), based on the playing of William Gagnon (1st, 3rd parts) and Louis Boudreault (2nd part) [Hart & Sandell, Remon & Bouchard]; Louis “Pitou” Boudrealt [Remon & Bouchard]. Hart & Sandell (Dance ce Soir), 2001; No. 52, pg. 87. Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle Tunes), 1997; No. 2 (appears as “La cardeuse”). Voyager 322, Louis Boudrealt - "Old Time Fiddler of Chicoutimi, Québec" (1977, 1993). Les Tétes de violon - “Le talencourt.” Daniel Roy - “Au tour du flageolet” (1996). 30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).

           

CARDIGAN BOWER.  See “Deildy Aberteifi.”

 

CARDINAL, THE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody also appears in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 124.

X:124

T:Cardinal, The

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

c|{c}”tr”B>AGB|ceec|{c}”tr”B>AGB|ADDc|BAGB|cegc|BGAF|G[G,G] [G,G]:|

|:g|{g}”tr”f>edf|gafg|{g}”tr”f>edf|aAAc|{c}B>AGB|cegc|BGAF|G[G,G] [G,G]:||

 

CARE, THOU CANKER OF OUR JOYS. AKA and see "When the rosy morn appearing." English, Air (4/4 time). E Flat Major. Standard tuning. AA. Chappell (1859) identifies the composer of the tune as John Garth of Durham, who adapted English words to Marcello's Psalms, while the words were written by the Rev. Dr. Grant. In Chappell's time the air was better known as a round from the opera Rosina, called "When the rosy morn appearing." Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 184.

X:1

T:Care, Thou Canker of Our Joys

M:C

L:1/8

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

Z:AK/Fiddler’s Companion

K:Eb

B3c B2e2|B2A2A2G2|E3G G2F2|F3A A2G2|

B3c Bcde|B2A2A2G2|E3G F2 (3FGA|G2F2E4:|

                       

CARELESS LOVE. Old‑Time, Song and Fiddle Tune. USA, Arkansas. Originally a country music song, the title appears in a list of fiddle tunes from the Ozark Mountains compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

CARELESS SALLY [1]. English, Country Dance Tune (4/4 time). England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 110, pg. 61.

 

CARELESS SALLY'S REEL [2]. New England, Reel. G Major. Standard tuning. AABB. Composed by the late New England caller and musician Ralph Page; no relation to "Careless Sally [1]." Page (Ralph Page Book of Contras), 1969; pg. 5.

                       

CARENCRO WALTZ. See "Valse de Carencro."

                       


CAREY'S DREAM (Aisling Uí Chiardha). AKA and see "The Cameronian Reel [1]," "Carey's Reel," "Roger's Fancy." Irish, Reel. D Major. Standard tuning. AB. Sources for notated versions: one of "two very old well‑written manuscripts lent to me in 1873 by Mr. J. O'Sullivan" (Bruff, Co. Limerick) [Joyce]; piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 128, pg. 52. Joyce (Old Irish Folk Music and Songs), 1909; No. 236, pg. 114.

X:1

T:Carey’s Dream

L:1/8

M:C

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

Z:AK/Fiddler’s Companion

K:D

A2AF DFAF|GFEF GBdB|A2 AF DFAF|GBAG FDdB|A2 AF DFAF|GFEF GBdB|

ABAF dcdA|GBAG FD D2||d4 d2 ed|cdef gfed|cAeA fAeA|cdef gfed|

faeg afge|cege d>efg|afge fdec|dABG FAdB||

           

CAREY’S IRISH HOSPITALITY.  Canadian, Hornpipe. Canada, Cape Breton. E Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 145, pg. 55.

           

CAREY'S REEL. AKA and see "Carey's Dream," "The Cameronian Reel [1]," "Roger's Fancy."

           

CARFRAE FROLIC. Scottish, Jig. C Sharp Minor. Standard tuning. AABB. Arranged for piano on a music sheet published by Gow and Shepherd (1813).

X:1
T:Carfrae Frolic
S:Miss Platoff's Wedding (music sheet, Gow and Shepherd, 1813)
B:NLS Mus.E.l.78(65)
C:Mr. Mather
M:6/8
L:1/8

Z:Posted to Scots-L 2/27/03 by Jack Campin
K:C# Minor
{^A}G^^FG {A}GFG |{^A}G^^FG {A}GFG |e3 d2c|^Bcd  G3   |
cdc BAG | ABA GF^E|FGF =EDC|^B,CD G,3 :|
{F}EDE   {F}EDE | cde BAG |ABc  BAG| FGE  DC^B,|
{D}C^B,C {d}c^Bc| A=BA GAF |EFG  FED| C3 c3 :|

 

CARIBOU BARREN. Canadian, Jig. Canada, Cape Breton. C Minor. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 48.

           

CARIBOU REEL. Canadian, Reel. E Dorian. Standard tuning. AABB. Composed by the late Manitoba fiddler Andy de Jarlis. The version in Songer’s book, current among Portland, Oregon, contra dance musicians, is slightly distanced from the original (which appears in the Appendix). Source for notated version: Kevin Carr (California) [Songer]. Songer (Portland Collection), 1997; pg. 46.

           

CARIGOIM BROACH. Canadian (?), Reel. AMI 92 EMI 94, Ashley MacIssac - “Close to the Floor” (1992). Atlantica Music 02 77657 50222 26, Ashley MacIssac - “Atlantic Fiddles” (1994).

           

CARILLON AT SNEEK, THE. English, Country Dance Tune (3/4 time). D Major. Standard tuning. AABB. Barnes (English Country Dance Tunes), 1986.

                       

CARILLON, THE.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream); 17.

 

CARILLIONS, THE. Irish, Jig. E Dorian. Standard tuning. AAB. Composed by fiddler Maire Breathnach.

X:1
T:Carillions, The
C:Maire Breathnach
S:session at Fahy's
R:double jig
Z:id:js_1117
M:6/8
K:Edor
EGA ~B2 e|edB ded|~B3 ABA|GFG AFD|
EGA ~B2 e|edB d3|~B3 ABA|GFD E2:||
f|gfe fed|ABd ~B2 A|GFD EGA|Bef def|
gfe fed|ABd ABA|GFD EGA|Bcd ~e3|
gfe fed|ABd ~B2 A|GFD EGA|Bef def|
gfe fed|edB AdB|B,B,D E3|]

                       

CARINSKYE LODGE. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Composed by George Rutherford. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 9.

           

CARL BEATON’S.  Canadian, Reel. Canada, Cape Breton. Composed by Mabou, Cape Breton, fiddler Donald Angus Beaton (1912-1982), for one of his sons. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

 

CARL ELLIOT’S HORNPIPE.  Canadian, Hornpipe. Composed by fiddler Carl Elliot, born in 1928 in Pleasant Hills, Nova Scotia. As a teenager Elliot played fiddle and guitar for dances in a family band, along with his mother and brother. He has resided since the late 1940’s in Ontario. 

 

CARL WALK. English, Polka. G Minor. A modern tune composed by Dave Shepherd.

X:1

T:Carl Wark

R:polka (?)

C:Dave Shepherd

B:Encyclopaedia Blowzabellica

Z:Transcribed by Jeff Lindqvist (as notated)

M:2/2

L:1/8

K:Gm

d|d2de d2cB|c3d BAGA|B2G2 A2AB|c2Bc d4|

d2de d2cB|c2cd BAGA|B2G2A2AB|c2B2 G4:|

|:d2dc d2g2|g2fg d4|b2ab g2gf|d2de c4|

c2Bc d2fg|d2cB G4|D3B B2Bc|A2AB G4:|

 

CARLE AN’ THE KING COME. Scottish, Air (4/4 time). G Major. Standard tuning. AABB (McGibbon): AA’BB’ (Gow). This melody appears in Allan Ramsay's ballad opera The Gentle Shepherd, published 1725. Although it predates Gay's famous Beggar's Opera it was not performed until after Gay's work became a hit in London. A 'carle' in Scottish usage is a 'bloke', or common man. Gow (Complete Repository), Part 4, 1817; pg. 20. McGibbon (Scots Tunes, book III), 1762; pg. 53.

X:1

T:Carle an’ the King come

M:C

L:1/8

R:Air

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:G

B2G4BA|G3E DEGA|B2A4B2|{B}A4G E3G|D3E G2G2|A2B2 g3a|(ba)ge (de)gB|1

A3G E2c2:|2 A4G E2A2||

G2g2 ~g3a|g3e d2g2|e2a2~a3b|{b}a3g e2 ga|b3a g2e2|d2 ef g2d2|e2g2 d2B2|1

{B}A3G E2A2:|2 {B}A3G E2c2||

X:1

T:Carle & the King come

M:C

L:1/8

R:Air

S:McGibbon – Scots Tunes, book III, pg. 63 (1762)

Z:AK/Fiddler’s Companion

K:G

GA | B2 AG G2 BA | G3E DEGA | B2A2A2 (AB) | ({B}”tr”A3GE2 (DE) | G3A BABG |

A2B2g3a | bage degB | “tr”A3GE2 :: (ga) | b2 ag g2 (ga) | “tr”g3e dega | b2a2a2 (ab) |

({b}”tr”a3)g e2ga | b2 ab g3e | dBde dega | bage degB | (cB)”tr”(AG) E2 :|

 

CARLE HE CAME O'ER THE CRAFT [1], THE. Scottish, Reel. A Mixolydian. Standard tuning. AAB (Gow): AABB' (Athole). John Glen (1891) finds the tune earliest in print in . AKA and see "Port a Bhodich." A 'carle' in Scottish usage is a 'bloke' or common man.

                       

CARLIN, IS YOUR DAUGHTER READY?  AKA and see "The Bob O'Dooly." AKA – “Port Nan Con.” Scottish, Strathspey. A Mixolydian (Athole, Johnson): D Mixolydian (Mackintosh). Standard tuning. AABB. A carlin is a Scots word meaning an old woman. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 1, 1782; No. 24, pg. 9. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), vol. 10, 1992 (revised 2001); pg. 3. Mackintosh, vol. 3, 1796; pg. 39. Stewart-Robertson (The Athole Collection), 1884; pg. 14. Queltic Q‑104, Ten Strike ‑ "Neuantics."

X:1

T:Port Nan Con

T:Bob o’ Dooly, The

M:C

L:1/8

S:Reel

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

Z:AK/Fiddler’s Companion

K:A

A>ee>f e>d c2|A>ee>c d=GdB|A>ee>f edcA|BEEF =GABG:|

A>a a2 eaca|=G>=g ~=g2 dgBG|aAA2 eaca|BE~E>F =GABG|

Aaa2 eaca|B=GG2 dGB=G|aAAe f<eae|=gbeg dgB=G||

                       

CARLIONNE. AKA and see "Carolan's Receipt." Scottish, Air. E Flat Major. Standard tuning. AABB. "A favorite Irish tune (Gow)." Carlin (The Gow Collection), 1986; No. 535.

           

CARLISLE BAY WALTZ.  Irish, Waltz. Composed by fiddler Ciaran Tourish, during a holiday to Antigua, lying on the beach in the morning. Compass Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005).

 

CARLISLE LASSES. AKA and see “Lass o’ Corrie Mill.” Scottish, Strathspey. F Major. Standard tuning. AA'B (Athole): AA’BB’ (Perlman). The name Carlisle was originally Caer Leul, caer being Welsh for castle while Leul is a contraction of the Latin form of the name of a Celtic deity known by the Irish as Lug, all processed by Norman clerks who knew nothing of the spelling of either (Matthews, 1972). Carlisle, in Cumbria, was a Celtic settlement since prehistoric times. The Romans garrisoned and fortified it and made it the anchor of the western end of Hadrian’s Wall, although as their power waned it was sacked by the Picts in 181 and 367, and then by the Danes in 875. At the end of the first millenium it formed part of the kingdom of Strathclyde, but was conqoured by the Normans in 1092. Carlisle Castle was the first place of imprisonment for Mary, Queen of Scots. Royalist Carlisle fell the Scots in 1645 and it was captured again by Bonnie Prince Charlie in the rebellion of 1745.  Source for notated version: Dennis Pitre (b. 1941, St. Felix, West Prince County, Prince Edward Island) [Perlman]. Stewart-Robertson (The Athole Collection), 1884; pg. 238.

X:1

T:Carlisle Lasses

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

C|:~F>GA>F E>G F2 | A>Bc>B A<c ~c2 | d>fc>f B>gA>f |1 (3agf (3edc (3edB (3ABG :|2

(3agf (3def A<F ~F2 || B | A<c ~c>B A<f ~f2 | e>g ~g>e f<a a2 | b>ga>f g>ef>g|

(3agf (3edc (3dcB (3ABG | A<c ~c>B A<f ~f2 | e<g ~g>e f<a a2 | b>ga>f g>ef>g | (3agf (3efg af ~f ||

 

CARLISLE RACES. English, Country Dance Tune or Jig. G Major. Standard tuning. AABB. The name Carlisle was originally Caer Leul, caer being Welsh for castle while Leul is a contraction of the Latin form of the name of a Celtic deity known by the Irish as Lug, all processed by Norman clerks who knew nothing of the spelling of either (Matthews, 1972). Carlisle, in Cumbria, northwest England, was a Celtic settlement since prehistoric times. The Romans garrisoned and fortified it and made it the anchor of the western end of Hadrian’s Wall, although as their power waned it was sacked by the Picts in 181 and 367, and then by the Danes in 875. At the end of the first millennium it formed part of the kingdom of Strathclyde, but was conquered by the Normans in 1092. Carlisle Castle was the first place of imprisonment for Mary, Queen of Scots. Royalist Carlisle fell the Scots in 1645 and it was captured again by Bonnie Prince Charlie in the rebellion of 1745.

***

Carlisle has a history of horseracing dating back some five centuries, and the racetrack remains one of the premier tracks in the country. The oldest races were the Carlisle Bell (first run in 1599) and the Cumberland Plate, which may date from the reign of Charles II and which are still run today. Flagging attendance at the racecourse led the local gentry to add wrestling as an attraction to the racing programme in 1808, and the matches became quite famous. The innovation worked, for a period newspaper noted that, on October, 1811, “on the first day of the races, 20 guineas were wrestled for on the Swifts in a roped ring, sixty yards in diameter…the wrestling was most severely contested in the presence of 10,000 people, by some of the most sinewy and active youths we ever saw enter a ring. We observed among the spectators the Marquis of Queensbury, the Earl of Lonsdale, Lord Lowther…etc.”

***

Knowles (A Northern Lass), 1995; pg. 41. Harbourtown HARCD 047, The Boat Band – “A Trip to the Lakes.”

X:1

T:Carlisle Races

M:6/8

L:1/8

R:Jig

S:Richard Robinson’s Tunebook

Z:http://www.leeds.ac.uk/music/info/RRTuneBk/

K:G
D|G2B d2e|dBd g2d|c2e dBG|FAA A2D|G2B d2e|

dBd g2B|c2e DEF|FGG G2::d|gab agf|efg dcB|cde dBG|

FAA A2d|gab agf|efg dcB|c2e DEF|FGG G2:|

           

CARL’S COUCH. Irish, Reel. E Minor. Standard tuning. AABB. Composed by Chicago tin whistle player Johnny Harling. Black (Music’s the Very Best Thing), 1996; No. 272, pg. 146.

           

CARL’S HOMECOMING. Canadian, Reel. Canada; Nova Scotia, Prince Edward Island. B Flat Major. Standard tuning. AA’BB’. Composed by Nova Scotia musician Lawrence Buckler. Source for notated version: Ervan Sonier (1920-1994) & Toussaint Arsenault (b. 1916) {Summerside, East Prince County, Prince Edward Island} [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 113.

           

CARLTON COUNTY BREAKDOWN. Canadian, Reel. Canada, Prince Edward Island. A Major. Standard tuning. AABB. Composed by Earl Mitton (1926-1991), a native of Stewiacke, Nova Scotia. He learned to fiddle as a child, and in the 1960’s played with his band (The Valley Rhythm Boys) on radio and television out of Saint John, New Brunswick. He appeared on the Don Messer television show and recorded for several Canadian labels. Perlman (1996) notes this is a very popular tune on Prince Edward Island, particularly in the western regions. Source for notated version: Leonard McDonald (b. 1933, Emyvale, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 86. Rounder CD7014, Dennis Pitre – “Fiddlers of Western Prince Edward Island” (1997).


                 

CARLTON HORNPIPE. Scottish, Hornpipe. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 352, pg. 38.

X:1

T:Carlton Hornpipe

M:C
L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 3, No. 352 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(ed) | cAce dBdf | ec a4 (ec) | dbgd caec | (3BcB (3AGF E2 (ed) | cAce dBdf |

ec a4 (ec) | Bbge ^dBAF | E2e2E2 :: (3efe | dcBA GBed | cdBc A2 (3efe | dcdB cBcA |

(3GAB (3AGF E2 (ed) | cAce dBdf | ecea gegb | aefd cBAG | A2a2A2 :|

                 

CARLWAE’S MARCH. Irish, March (2/4 time). D Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 987, pg. 252.

                 

CARL’S COUCH. Irish, Reel. E Dorian. Standard tuning. AABB. Composed by Chicago tin-whistle player Johnny Harling. Black (Music’s the Very Best Thing), 1996; No. 272.

X:1

T: Carl's Couch

C: Johnny Harling

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Edor

D | EBAF G2 eB | B2 GB FBeB | dF F2 D2 dB | AF F2 DFAF |

EBAF G2 eB | B2 GB FBeB | dF F2 DFdB | AF F2 E3 :|

f | g3 f gB B2 | GB B2 dBeB | f3 e fA A2 | fgaf gfef |

g3 f gB B2 | GB B2 dBeB | f3 e defe | dBAF E3 :|

                 

CARMAN'S AMBER. Irish, Jig. D Major. Standard tuning. AB. Learned by fiddler Bronx-born Andy McGann (d. 2004) from some touring musicians from Co. Clare, but since he had no name for the tune he called it after the amber earrings of a Hispanic friend and co‑worker. Shanachie 29009, "Andy McGann and Paul Brady" (the tune is notated in the booklet that comes with the album).

                             

CARMAN'S JIG. Irish, Double Jig. E Dorian. Standard tuning. AABB. Source for notated version: From a MS of Mr. James Corrigan (Ireland) [Darley & McCoy]. Darley & McCoy (Darley & McCall Collection of Irish Traditional Music), 1914; No. 45, pg. 19.

                             

CARMAN'S WHISTLE, THE. English, Air (6/4 or 6/8 time). C Major (Chappell): D Major (Raven). Standard tuning. One part (Kines): AABB (Chappell, Raven). The air, harmonized by the famous English composer William Byrd, appears in both the Fitzwilliam Virginal Book and My Lady Nevells Virginal Book (1591), as well as Jane Pickering's Virginal Book and a British Museum Eg. MSS. 2,046. Chappell (1859) decided the popular sixteenth century ballad "was not suitable for publication" in his book, being risque by Victorian standards. The unexpurgated lyrics are printed by Kines (1964) and contain the usual double entendres of such bawdy songs of the period:

***

When he had played unto her

One merry note or two,

Then was she so rejoiced

She knew not what to do.

"Oh, God‑a‑mercy, carman,

Thou art a lively lad;

Thou hast as rare a whistle

As ever carman had."   (Kines)

***

Chappell explains that in the sixteenth and seventeenth centuries carriages and coaches were introduced from Europe and the trade of carter or carman developed. These individuals "appear to have been singularly famous for their musical abilities; but especially for whistling their tunes."  Chappell and Pulver (1923) reference several works which allude to the musical skill of the carmen; one is Ben Jonson's Bartholomew Fair (I,1) when Waspe says:

***

I dare not let him walk alone, for fear of learning idle tunes, which

he will sing at supper and in the sermon times! If he meet but a carman

in the street, and I find him not talk to keep him off him, he will whistle

him all his tunes over at night, in his sleep.      (Act i., sc. 1)

***

Shakespeare has Falstaff say of Justice Swallow in Henry IV, Part II, Act 3, that he "Sang the tunes he heard the carmen whistle and swore they were his Fancies or his Good‑nights." Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 253. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 57. Raven (English Country Dance Tunes), 1984; pg. 8.

X:1

T:Carman’s Whistle, The

M:6/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:C

c4c2 B4G2 | A4A2 G6 | c4c2 B4G2 | A3G A2 G6 :|

F2A4 E2G4 | D2F4 E4C2 | F2A4 E2G4 | F3E D2C6 ||

F2A4 E2G4 | D2F4 E4C2 | F2A4 E2G4 | FEDC D2 C6 ||

                             

CARMEL MAHONEY MULHAIRE (Carmel Ní Mhathúna Uí Mhaoichéire). AKA – “Carmel Mahoney’s.” AKA and see “Brearton’s,” “California Girls,” “The Morning Mist,” “O’Mahoney’s.” Irish-American, Reel. D Major. Standard tuning. AABBCCDD (Cranford/Holland): AA’BB’CC’DD’ (Breathnach). Composed (in the key of ‘C’ Major) by New York City accordion player Martin Mulhaire (see “The Golden Keyboard”) in honor of his wife, the correct title being “Carmel Mahoney Mulhaire.” Mulhaire was originally from Dún an Uchta, east County Galway, and played in Ireland with the famed Tulla Céilí Band before moving to the U.S. The title “Brearton’s” refers to accordion player Francie Brereton, while “The Morning Mist” title comes from a James Keane recording. Jackie Small, editor or CRÉ V, notes there is a fiddle version of the tune that dispenses with the c’ notes and stays in first position. Sources for notated versions: learned by fiddler Jerry Holland (Inverness, Cape Breton) from a recording by Sligo fiddlers Seamus and Manus Maguire [Cranford]; Martin Mulhaire [Breathnach]. Breathnach (CRÉ V), 1999; No. 130, pgs. 66-67. Bulmer & Sharpley (Music from Ireland), vol. 4; 43. Cranford (Jerry Holland’s), 1995; No. 84, pg. 25. Fiddlesticks cass., Jerry Holland - “Lively Steps” (1987). Gael-Linn CEFCD 140, Kevin & Séamus Glackin – “Na Soighneáin/Northern Lights” (appears as “Brearton’s”). Green Linnet SIF 1135, Martin Mulhaire - “Warming Up.” Sean Nua – “The Open Door” (appears as “The Session”, first tune, track #9).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Alan Ng’s Irishtune.info

X:1

T:Carmel Maloney Mulhaire

M:C|

L:1/8

C:Martin Mulhaire

Z:transcribed by Philippe Varlet

R:Reel

K:C

GE~E2 CEG,E|CE~E2 GAcd|ecgc acgc|~d2 fd BGAB|

(3cBA (3BAG AGED|~C2 EC G,CEG|AF~F2 dGBd|1 egdB cBcA:|2 egdB c2gf||

~e2 ed eged|ce~e2 ge~e2|c'egc' e'c'ge|(3fed (3edc dGBd|

~e2 ed eged|ce~e2 gceg|~f2 eg fagf|1 efed c2gf:|2 efed c2ef||

gG~G2 EGcd|ec'~c'2 agfe|fdd^c d=cBA|~G2 ^FA G2ef|

gG~G2 EGcd|ec'~c'2 agfe|fdd^c d=cBA|1 GEFD C2ef:|2 GEFD C2GF||

EG~G2 (3EFG CE|GCEG ageg|~f2 ef (3def cA|GdBG ^FG=FG|

EG~G2 (3EFG CE|GCEG ageg|~f2 ef df cd|1 BGAB cBcG:|2 BGAB cBcA||

                             

CARMEL MALONEY MUHAIRE’S. See “Carmel Mahoney’s.”

                                         

CARMELAN. Scottish, Hornpipe. D Major. Standard tuning. AB. The Carmelan is a Scottish name for the Dutch ship Kennemerland, wrecked in a gale off the coast of Shetland in 1664. All hands were lost save for three men who had been posted in the rigging as lookouts; when the mast fell as the ship broke apart, they were cast onto dry land. Though most of the wreckage was carried out to sea, the body of the ships drummer washed up on the shore of Bruray and was buried on a knoll near the pier, a place still known as ‘Drummer’s Grave’.  This rhyme entered oral tradition in the Shetlands:

***

The Carmelan frae Amsterdam,
Cam on a Maunmas Day,               (Maunmas Day=feast day of St. Magnus)
On Staura Stack she broke her back,
And the Skerry folk got a prey.

***

T:Carmelan
M:4/4
L:1/8
Q:200
R:hornpipe
K:D
(3ABc) | d2AF DFAF | defd g2fg | a2fa gfec | dedc A2AG | FGAF DFAF |

defd g2fg |a2fa gfec|dfec d2cd || ec~c2 efge | fd~d2 fgaf | ec~c2 efge |

fddc d2cd |ec~c2 efge|fd~d2 fgaf | e^def ^gef^g | ae^gb a2 ||

                 

CARMEL’S BIRTHDAY. Irish, Reel. A Mixolydian. Standard tuning. AA’BB’. Composed by Peter Fitzgerald. Black (Music’s the Very Best Thing), 1996; No. 260.

X:1

T: Carmel's Birthday

C: Peter Fitzgerald

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Amix

ed |: c2 AE FAEC | ACEC FCEC | A,B,CE A2 cA | G2 eG dGed |

c2 AE FAEC | AC C2 FCEC | A,CEF EGBd |1 (3Bcd BG A^GAB :|

|2 (3cde cA A4 || ae e2 defa | gedB cAGE | A2 ED CECA, |

G,2 EG, DG,EG | AE E2 GABG | AECA G,B,DE | ^GBEF D=GBd |

|1 (3Bcd BG A2 Ae :|2 (3Bcd BG A4 ||

                                                     

CARMICHAEL'S STRATHSPEY. Scottish, Strathspey. C Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 123. Ryan’s Mammoth Collection, 1883; pg. 163.

X:1

T:Carmichael’s

M:C

L:1/8

R:Strathspey

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

(c>.d) (e>.c) (A<c) G2 | (A<.c) (G>.e) {e}(d>.c) (d<e) | (c>.d)(e>.c) (A<c) G2 | (A<c) (G>e) d2c2 |

(c>.d) e>c (A<c) G2 | (A<c) G>e {e}d>c (d<e) | c>de>c (A<c) G2 | (A<c) G>e d2c2 ||

(c>.d)(e>.f) (g<c) e2 | (f>.d)(e>.c) d>cA>B | c>de>f (g<c) e2 | f>de>c d2c2 | c>de>f (g<c) e2 |

f>ae>g d>c (d<e) | (c<e)(d<f) (e<g)(f<a) | (g<e) f>e d2c2 ||

                             

CARN DUBIL. Scottish, Strathspey. A Mixolydian. Standard tuning. AABB'. Composed by James Stewart-Robertson, editor of The Athole Collection. Stewart-Robertson (The Athole Collection), 1884; pg. 14.

X:1

T:Carn Dubil

M:C|

L:1/8

S:Strathspey

C:James Stewart-Robertson

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

Z:AK/Fiddler’s Companion

K:A

e|A/A/A c>A e>Ac>A | =G>AB>c c/d/B/A/ =G>B | A/A/A c>A e>Ac>a |

=g>ed>B e<A A :: e | a>ecA e>Ac>A | =G>AB>c d/c/B/A/ =G>B |1 a>ec>A e>Ac>a |

=g>ed>B e<AA :|2 A>Bc>d e>de>a | =g>e d<B e<AA ||

                             

CARNANBAN. Irish, Reel. G Major. Standard tuning. AAB. Randy Miller (2006) says: “The title is possible a corruption of the name King Carnabon of Thrace. Carnabon was known in Greek mythology as the Serpent-Holder, the alternate name for the constellation Ophiuchus.” Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 57. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 55. Outlet 1010, Matt Cranitch, Tom Barry, Tomás Ó Canainn - "Na Fili” (1971).

                                         

CARNAVAL. See “Carnival.”

                 

CARNEGIE’S WELCOME TO SCOTLAND.  Scottish, March (4/4 time). A Major. Standard tuning. AAB. Composed by Scots fiddler-composer J. Scott Skinner (1842-1927). Skinner (Harp and Claymore), 1904; pg. 34.

X:1

T:Carnegie’s Welcome to Scotland

M:4/4

L:1/8

R:March

Q:112

N:”Brightly”

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore  (1904)

Z:AK/Fiddler’s Companion

K:A

E/D/ | (CE) EF/G/ ({G}[AA>)]E CA, | C/E/A/c/ ed/c/ BB,B,>D | (CE) .E.F/.G/ (A>ce)A | F/A/G/B/ A/c/B/d/ cAA :|

A/B/ | c/B/c/d/ ef/g/ ({g}a).e.c.A | C/E/A/c/ e/c/A/c/ BB,B, z/d/ | c/B/c/d/ e/f/g/ ({g}.a/)(G/A/e/) .c.A |

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

(CE) .E.F/.G/ ({G}[AA>)]E (D/C/).B,/.A,/ | (F/A/G/B/) (A/e/d/B/) ({B}c)AA ||

     


CARNIE'S CANTER. Scottish, Reel. F Major. Standard tuning. One part (Hunter): AB (Skye): AABB (Perlman). Composed by J. Scott Skinner (1842-1927). The tune is well represented by Cape Breton fiddlers, including Winston Fitzgerald (who recorded it on a 78 RPM disc) and Buddy MacMaster. One of the earliest 78 RPM recordings, Celtic 006 released in 1936, featured fiddler Dan J. Campbell playing this tune (in medley with “Mrs. Dingwall of Brockly’s”). Sources for notated versions: Kenny Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]; Hector MacAndrew [Martin]. Hunter (The Fiddle Music of Scotland), 1988; No. 260. MacDonald (The Skye Collection), 1887; pg. 142. Martin (Traditional Scottish Fiddling), 2002; pg. 121. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 117. Skinner (Miller O’Hirn). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

X:1

T:Carnie's Canter

R:Reel

C:J. Scott Skinner

S:Charlie Menzies

O:Scotland

M:4/4

L:1/8

K:F

B|\ A>c c/c/c dc =Bc|Ac =Bc fc _BA|\B>d d/d/d ed ^cd|Bd ^cd ed =cB|\

A>c c/c/c dc =Bc|Ac =Bc fc _BA|\{Bc}BA Bd g^f ga|ba gf ed cB||\

A>f f/f/f cf Af|af ef cf Af|\B>g g/g/g dg Bg|ba gf ed cB|\

a>f f/f/f cf Af|af ef cf Af|\bg af ge fd|cB AG F3||

                             

CARNIVAL. AKA – “Carnaval.” French-Canadian, Reel. E Minor/G Major (third part) {Bouchard/Marcoux}: B Minor/D Major {Hart & Sandell}. Standard tuning. AABCC (Hart & Sandell): AABBCC (Marcoux). The tune has harmonic and chordal similarities with “Reel Beatrice.” The original source for the tune was fiddler Joseph Bouchard (1905-1980), an important figure in Québec musical tradition, and a member of the group Les Montagnards laurentins (The Laurentian Mountaineers – the Laurentians are a range of mountains in the Province of Québec), who had a long-running radio broadcast in the 1930’s and 1940’s. Sources for notated versions: French-Canadian fiddler Omer Marcoux (who later in life lived in Concord, N.H.) who learned the tune from Bouchard's Bluebird recording [Miskoe & Paul]; fiddler Michel Bordleau [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 23, pgs. 54-55. Miskoe & Paul (Omer Marcoux), 1994; pg. 3. Compo Records, Joseph Bouchard – “Reel carnaval” (1968). Laurie Hart & William Coulter – “Gravity Hill” (1992).

                                                     

CARNIVAL ANGLOIS, LA.  French, Country Dance (2/4 time). G Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 49.

X:1

T:Carnival Anglois, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 49

Z:AK/Fiddler’s Companion

K:G

G2 Bd | {d}cAFD | G/A/B/c/ d/e/f/g/ | {e}d2 B2 | cc/e/ cA/c/ | BB/d/ B/G/B/ |

A/B/c/A/ EF | {A}G2G,2 :: {e}d2 Bc | de/f/ {a}gf/e/ | {e}d2 Bc | d2 BG |

g/a/b/g/ e/f/g/f/ | f/g/a/f/ d/e/f/d/ | e/f/g/e/ B^c | d=c BA | G2 Bd | cAFD |

G/A/B/c/ d/e/f/g/ | {e}d2B2 | .c/f/a .A/B/c | .B/d/g .G/A/B | .A/(B/c) EF | {A}G2G,2 :|

                             

CARNIVAL HORNPIPE. American, Canadian; Hornpipe. A Major ('A' part) & E Major ('B' part). Standard tuning. AABB. "Can be used as a Clog." Cole (1000 Fiddle Tunes), 1940; pg. 111. Messer (Way Down East), 1948; No. 62. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 108, pg. 69. Ryan’s Mammoth Collection, 1883; pg. 149.

X:1

T:Carnival Hornpipe

R:Hornpipe

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:A

ed|cAcf e2ed|cAcf e2ef|edB2 edB2|egba gfed|

cAcf e2ed|cAcf e2ef|edBf edBG|A2c2 A2:|

K:E

GA|Bege B2GA|Bege B2fg|agfe dcBA|GBAc B2GA|

Bege B2GA|Bege B2fg|agfe dBcd|e2g2 e2:|

                             

CARNIVAL MARCH. Shetland, March. Composed by Shetland composer and fiddler Gideon Stove. Stove (The Shetland Violinist), vol. 1; pg. 20. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

                             

CARNIVAL OF VENICE. Scottish, Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 260, pg. 29.

X:1

T:Carnival of Venice

M:6/8

L:1/8
R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 260  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d | e2d c2B | d2c A2B | cBc e2d | (B3 B2)d | e2d c2B |

d2c A2B | cBc e2d | (G3G2) :: d | dcB BAG | F2A e2d |

^c2d =c2A | (B3B2)d | dcB BAG | F2A e2d | fed cBA | G3G2) :|

                             

CARO IN THE CABBAGE PATCH. AKA and see "Saro," "Cow in the Cabbage Patch." Old‑Time, breakdown. USA, southwest Va. The tune is really the old‑time breakdown and song "Saro," with a 2nd part added by Taylor Kimble (1892‑1979), Patrick County, southwest Va.

                             

CAROLAN... See "O'Carolan."

                                   

CAROLAN'S CAP [1]. Irish, Air (2/4 time). C Major/G Mixolydian. Standard tuning. AB. Composed by Turlough O'Carolan. A "cap" is a dram of liquor, as in a 'nightcap'. Is this the tune in Bunting? Complete Collection of Carolan's Irish Tunes, 1984; No. 183, pg. 127.

 

CAROLAN'S CAP [2]. AKA and see “Sir Ulick Burke.” Irish, Air (4/4 time). D Dorian. Standard tuning. AAB. "'Cap', a dram. Bunting has a different air with this name" (Joyce). As does George Petrie, who calls it “Sir Ulick Burke.” Joyce (Old Irish Folk Music and Song), 1909; No. 707, pgs. 353‑354.

X:1

T:Carolan’s Cap [2]

M:C
L:1/8

N:”Mod.”

S:Joyce – Old Irish Folk Music and Song (1909), No. 707

Z:AK/Fiddler’s Companion

K:D Dorian

A | dcde f2 ed | cdcA G2 FD | FGFD FGAc | AGAC DEFG | F2 (3FGA G2G2 | AGAd c2c2 |

dcde fgfe | edcA A4 | c2 (3cde d2 (3efg | fedc A2 GF | c2 (3cde cAFA | GFED D4 :|

|: A,DDC DEFD | EDEC EFGE | G2c2 cdcG | A3d d3e | fefg (3fga gf | edef e/f/gfe |

dcde fefa | AFGA “tr”G4 | AFFd c2c2 | d2 (3efg fedc | AFAF cAcA | GFED D4 :|

 

CAROLAN'S CAP [3]. Irish, Air. The first strain shows a resemblance to "The Lass of Patie’s/Peatie's Mill,” and in fact may be a Scottish melody adapted, re-titled and attributed to O’Carolan. Bunting, 1809; pg. 24.

                             


CAROLAN'S CONCERTO. AKA‑ "O'Carolan's Concerto." AKA and see "Mrs. Power," "Mrs. Power of Coorheen," "Mrs. Poer." Irish, Air or Planxty (4/4 time). D Major (most versions): G Major (Complete Collection...). Standard tuning. AABB (most versions): AB (Complete Collection..., Mallinson): One part (Williamson). The air is considered to be the most famous composition of blind Irish harper Turlough O'Carolan (1670-1738) who fashioned it in honour of Elizabeth Keating, who became Mrs. Power of Coorheen (County Galway) when she married David Power (the subject of another of Carolan’s compostions). The tune is sometimes known by the name “Mrs. Power” (she was also the mother of Fanny Power, the title of another of O’Carolan’s famous compositions). Irish Collector Edward Bunting (1773-1843), in the preface to his General Collection of the Ancient Irish Music (London, 1796), says that in this piece and “Madam Cole” “the practitioner will perceive evident imitations of Corelli, in which the exuberant fancy of that admired composer is happily copied.” The name 'concerto' perhaps became attached to the tune because of a famous, colorful story of dubious veracity (but nevertheless persistent), retold by Flood (1906) and Williamson (1976) among others (and critically examined by Donal O’Sullivan), of an incident between O'Carolan and the famous Italian violinist and composer Gemeniani, who was then resident in Dublin. Hearing of O'Carolan's musical skill and wishing to test him, Geminiani sent him a piece of Italian music which he had altered to include very subtle and changes and flaws. Upon being presented with the music through an intermediary O'Carolan listened to the piece and praised it but said, in Irish, "Here and there it limps and stumbles." He instructed the correction of the piece and had it sent back to Geminiani who is then said to have declared him 'il genio vero della musica'. It has been remarked upon that the piece seems to contain influences of various Italian masters, especially Corelli, whose music Carolan was said to have admired. The air was played by one of ten Irish harp masters in competition, recorded the Belfast Northern Star of July 15th, 1792, at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. See also note for “Mrs. Poer/Power” for more on this tune.

***

Turlough O’Carolan. National Gallery of Ireland. Painted from life, artist unknown.

***

The tune was printed in John Lee’s A Favourite Collecgtion of the so much admired old Irish Tunes, the original and genuine compostions of Carolan, the celebrated Irish Bard. etc. (Dublin, 1780), where it appears as “Mrs. Poer.” Source for notated version ‑ Delaware Water Gap (Brody). Brody (Fiddler’s Fakebook), 1983; pg. 62. Complete Collection of Carolan's Irish Tunes, 1984; No. 154, pg. 105. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 11. Mallinson (Enduring), 1995; No. 94, pg. 39. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pgs. 138-139 (includes harmony parts). O’Farrell (Pocket Companion), c. 1805; pg. 16. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 154 (appears as “Mrs. Power or Carolan’s Concerto”). Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 41. Adelphi 2004, The Delaware Water Gap‑ "String Band Music." Claddagh CC10 or Island ILPS 9379, Cheiftains‑ "Cheiftains 3" (1971). Claddagh CC18, Derek Bell‑ "Carolan's Receipt" (1987). Gael-Linn Records 78 RPM, Tommy Reck (c. 1957). Island ILPS 9501, "The Chieftains Live" (1977). Outlet 1031, Seán McGuire‑ "Ireland's Champion Traditional Fiddler." RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Shanachie 79023, "Chieftains 3" (1982). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Carolan’s Concerto

M:4/4

L:1/8

R:Air

K:D

A/B/c|d2dd d2cB|ABGA F2A2|E2A2 D2A2|Bcde dcBA|d2a2 fgaf|

efge fgaf|gabg fdfa|gfed dcBA|B/c/d Bd gBgB|A/B/A A/B/A fAfA|

G3B efed|c2Bc A3G|FGAF EFGE|FGAF GABG|AFAd fedc|d2dd d:|

|:A2|d2b2 agfe|d2a2 c2a2|B2 gB ABcd|ecBA d2 df|edcB ca a2|Bg g2 Af f2|

edcB ca a2|bg g2 bgbg|afaf edcB|cABG AFGE|DAFA DAFA|

G/F/E BE dEBE|FAdc BAGF|EFGA BcdB|AFAd fedc|d2 dd d2:|

                 

CAROLAN'S COTTAGE. Irish, Air or Planxty (3/4 time). A Minor. Standard tuning. AB (O’Sullivan, Stanford/Petrie): AABB (Barnes). Composed by blind Irish harper Turlough O'Carolan (1670-1738). Donal O’Sullivan (1958) has little to say about this air, save that it is similar in structure to that of Carolan’s “Lament for Terence MacDonough.” Source for notated versions: “From P. Carew’s MS” [O’Sullivan, Stanford/Petrie]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 64 (appears as “The Introdcution”, the title of a 1996 dance by Fried de Metz Herman set to the tune). Complete Collection of Carolan's Irish Tunes, 1984; No. 184, pg. 128. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 184, pg. 206. Stanford/Petrie (Complete Collection), 1905; No. 670, pg. 168.

X:1

T:Carolan’s Cottage

M:3/4

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 670

Z:AK/Fiddler’s Companion

K:A Minor

c>B | A2E2A>B | c4 BA | G2 dcBA | G4 cB | A2E2 AB | c4 cd |

e2 fedf | e4 cd/e/ | f2 gfed | e2 fedc | fd eA dE | G4 c>B | A2a2g2 |

f e3 dce | c2 BA^GB | A4 || eg | abage^g | a4 a/b/c’ ge de c’a |

g4 eg | ab age^g | a3b a/b/c’ | c>B ce df | e4 cd/e/ | f2 gfed | e2 fedc |

f>d eA dE | G4 cB | A2a2g2 | f e3 dcd | c2 BA^GB | A4 ||

                       

CAROLAN'S CUP. Irish, Air (6/8 time). B Minor. Standard tuning. AABB. The tune is often attributed to blind Irish harper Turlough O'Carolan (1670-1738), although Donal O’Sullivan, in his definitive work on the bard could find no incontrovertible evidence of its origin. O’Carolan may well have played it, says O’Sullivan, and perhaps altered it to his purpose, for it is an altered version of  a folk tune well-known in his time called “Ar bhruach na carraige báine” (On the Brink of the White Rocks). O'Carolan was known to be rather fond of spirits betimes, and this tune has been placed among his bacchanalian compositions. Complete Collection of Carolan's Irish Tunes, 1984; No. 185, pg. 128. See also the related “Lass of Patie’s Mill.” O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 134.

X:1

T:Carolan’s Cup

M:6/8

L:1/8

R:Air

N:”Slow”

S:O’Farrell – Pocket Companion, vol. IV (c. 1810)

Z:AK/Fiddler’s Companion

K:D

d/e/ | f>gf/e/ dfa | “tr”e2 d/B/ A2 f/e/ | dcB A<FA | Bba bfe | f>(gf/e/) dfa |

eg/f/e/d/ c2e | dcB AFA | B3 B2 :: c | d>ed/c/ d2f | a>ba/f/ a2f | e>fe/d/ efa |

b4 fa | ba(f/e/) dfa | “tr”e2 d/B/ A2f/e/ | dcB AFA | B3B2 :|

                       

CAROLAN'S DEVOTION. AKA and see "Miss Fetherston," “O’Carolan’s Devotion [2].”

                       

CAROLAN'S DOWRY. AKA and see "Captain Sudley." Irish, Air (cut time) or Planxty. D Major. Standard tuning. One part. Keegan (The Keegan Tunes), 2002; pgs. 98-99 (piano arrangement).

X:1

T:Carolan’s Dowry

M:C|

L:1/8

R:Air

K:D

D2D2 DEFG | A4 A3A | d2c2d2e2 | f4 A2z2 | f2g2a2f2 | e2f2g2e2 |

f2d2e2c2 | d4 d2z2 | D2D2 DEFG | A4 A2A | d3c d2e2 | f3g a2z2 |

A2F2G2 FG | A2F2G2 FG | BAGF AGFE | D4 D2z2 | f3e f2g2 | a4f2z2 |

e3de cdef | g4 e2z2 | f2 fg a2f2 | edef g2e2 | f2d2 e2c2 | d4 d2z2 | D2D2 DEFG |

A4 A3c | d2c2 defd | e2c2A2z2 | A4G2F2 | G3A B2G2 | F2A2 AGFE | D4 D2z2 ||

                       


CAROLAN'S DRAUGHT. AKA – “O’Carolan’s Draught.” Irish, Air or Planxty (4/4 time). G Major (most versions): D Major (S. Johnson). Standard tuning. AAB (Johnson): AABB (most versions). Composed by blind Irish harper Turlough O'Carolan (1670‑1738). The air was printed in Petrie’s Music of Ireland (1882) with this note: “The following spirited harp melody was obtained from an old MS. music-book sent to me by Father Walsh, P.P. of Sneem, in the county of Kerry; and I found a second setting of it in an extensive manuscript collection of tunes made, within the present century, by Patrick Carew, a county of Cork piper, the use of which has been kindly allowed me by my friend Mr. Richard Dowden, Alderman of Cork. Though hitherto unpublished, and, apparently, unknown to preceding collectors, the peculiarities of its style, and of its flow of melody, can leave no doubt as to its being a genuine composition of the eminent composer whose name it bears: and as it seems to be known only in Munster, it may perhaps be regarded as one of the many tunes composed by the bard during his sojourn in that province; and which, unlike the majority of his Connaught tunes, do not appear to have been ever collected during their author’s lifetime.” The first two bars are identical to the English country dance tune “Justice Balance,” printed in London publisher Charles and Samuel Thompson’s Compleat Collection of 200 Country Dances, vol. 4 (1780, pgs. 3 & 100). Source for notated version: “From Father Walsh MS” [Stanford/Petrie]. Complete Collection of Carolan's Irish Tunes, 1984; No. 186, pg. 129. Cranitch (Irish Fiddle Book), 1996; pg. 99. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pgs. 4-5 (includes harmony part). O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 186. Sullivan (Session Tunes), vol. 2; No. 47, pg. 20. Stanford/Petrie (Complete Collection), 1905; No. 669, pg. 168. Culburnie CUL110, Abby Newton – “Crossing to Scotland” (1997). Shanachie 79001, De Danann – “Selected Jigs, Reels and Songs” (1978).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Carolan’s Draught

M:C

L:1/8

S:Stanford/Petrie (1905), No. 669

Z:AK/Fiddler’s Companion

K:G

D2 | GABc defd | g2 fe d2d2 | e2E2 d2D2 | c2 Bc ABcA | GABc defd |

gfed ^cbag | gfed A2^c2 | d6 :| fg | afga bagf | egfe edcB | e>def gfga |

bagf edcB | bBbB aBaB | gBgB fBfB | edef gfed | e6 f2 | gfed cBAG |

e2d2d2D2 | c2B2A2G2 | FGAF D2z2 | EFGE FGAF | GABG ABcA | d2g2 bagf | g6 ||

                       

CAROLAN'S DREAM. AKA and see “O’Carolan’s Farewell to Music.” Irish, Air. A Minor. Standard tuning. AABB. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), although Donal O’Sullivan, in his definitive work on the bard could find no incontrovertible evidence of its origin. Complete Collection of Carolan's Irish Tunes, 1984; No. 187, pg. 129. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 27.

X:1

T:O’Carolan’s Dream

M:C

L:1/8

R:Air

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:A Minor

AB | c2 B>A A2 GA | c2 BA G2 cd | e2 de {d}c2 BA | “tr”A4 A2 de |

f2 fg e2 ef | d^cde a3g | aged {d}c2 AG | A4 :||:ef | gede g3a | gede g3e |

agab ageg | a6 ag | f2 fg e2 ef | d^cde a2 ab | aged {d}c2 AG | A4 :|

 

CAROLAN'S FANCY [1]. AKA and see “Ned Coleman’s Jig [2],” “Tommy Mulhaire’s Jig.” Irish, Jig. G Major. Standard tuning. AABB. “Josephine Marsh.”

X:1
T:Carolan's Fancy
T:Ned Coleman's
S:Josephine Marsh
M:6/8
L:1/8
K:G
EDE G2 A|~B3 dBd|edB GAB|ABA AGF| EDE G2 A|

~B3 dBd|edB GAB|AGF G3:|:dBd def|g2 e fdB|~A3 ABd|

egf e2 f| gfe fed|edB g3|edB ABc|BGF G3:|

 

CAROLAN'S FANCY [2]. See “O’Carolan’s Fancy.”

                       

CAROLAN'S FAREWELL. See "Carolan's Farewell to Music," “O’Carolan’s Farewell.”

                       

CAROLAN'S FAREWELL TO MUSIC. Irish, Air (4/4 time). G Dorian (Complete Collection..., O’Farrell): D Minor (Williamson): A Minor (O’Farrell/Pocket). Standard tuning. AB (Complete Collection): AABB (O’Farrell): One part (Williamson). The last tune composed by blind Irish harper Turlough O'Carolan (1670‑1738). "It was in the spring of 1738 that Carolan felt a weakness coming over him and, foreknowing his death, he made a return to the home of his dearest friend and sponsor, Mrs. MacDermott Roe. It was by now an old, old lady who received him at (the ancestral seat of the MacDermott Roes,) Alderford. Carolan spoke lovingly to her, telling her he was come home to die. Then, calling for his harp, he played this farewell to music. At the close of the tune, he walked upstairs to the bed, where he died a few days later amid the tears and praises of friends and mourned the country round" (Williamson, 1976). John McCutcheon (1982) said that when he visited the site the present occupants told him stories of a two‑week wake given in the harper's honer "...with port barrels and ale as far as the eye could see! There was harp music around the clock for the entire wake!" 

***

Harper Arthur O’Neill (1734-1818) mentions Carolan often in his memoirs and obviously idealized him as a master harper and composer.  He was less kind to Carolan’s male offspring:

***

When Carolan died he left an only son and three daughters. There

Lived in some part of the County of Louth the celebrated Dean or

Doctor Delany, who delighted in Carolan—so much so that he took

young Carolan (in a manner) by the hand, with the intention of opening

a subscription for the purpose of defraying every expense incident to

revive and recover his father’s music. Young Carolan was a tolerable

performer on the harp, and totally destitute of any capability of compo-

sition. However, the Doctor never stopped until there was a subscription

to the amount of £1,600 or thereabouts collected, on which young

Carolan made some attempts to represent his father. But his productions

were scandolous, which I often heard, and Master Carolan becoming

tired of industry, after humbugging the good-natured Delany for some

time, formed an acquaintance with another man’s wife in Ballymahon

in the County of Longford [and] took her to London, where I am informed

he died in obscurity when [the] residue of the £1,600 was spent or other-

wise disposed of between him and his Dulcinea.

***

Complete Collection of Carolan's Irish Tunes, 1984; No. 188, pg. 130. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 26. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 41. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 94. Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our House" (1982). Island ILPS 9501, "The Chieftains Live" (1977). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

X:1

T:Carolan’s Farewell to Music

M:C

L:1/8

R:Slow Air

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:G Dorian

GFGA B2 AG | A2 cd f2 dc | (fd)(cA) (dc)(AG) | {G}F4 D3G | G>FGA BABG |

A2 f>a g3f | d3f c3d | BAGF G2 :: d2 | g3a gfga | gfga g2 d>e |

f4 (fe)fg | (fg)(fg) f2d2 | g3a gfga | gfga g2 d>e | fefg {f/g/} a2 fg |

a>gfd fdcA | d>cAG F2D2 | GFGA BABG | A2 ga g3f | d2 df c2 cd | BAGF G4 :|

                                               

CAROLAN'S FAVORITE JIG. AKA and see “The Humours of Dublin [2],” “Horse in the pound,” "Mary O'Neill [1],” “Planxty Mary O’Neill,” “The Rutland Jig."

                                   

CAROLAN'S FROLIC. See “Planxty Tom Judge,” "Thomas Judge."

                                   

CAROLAN'S GAP. Irish, Harp Air. Probably one of the “Carolan’s Cap” versions. The tune was recorded by the Belfast Northern Star of July 15th, 1792, as having been played in competition by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week.

                       

CAROLAN’S LAMENTATION FOR CHARLES MACCABE. See “Lament for Charles MacCabe.”

                       


CAROLAN'S MAGGOT. Irish, Air. F Major. Standard tuning. AB. Composed by Turlough O'Carolan (1670-1738). A maggot was a unit of liquid measure--a dram--though used in the musical sense, a slight melody or plaything (from the Italian maggioletta). Complete Collection of Carolan's Irish Tunes, 1984; No. 189, pg. 130.

                       

CAROLAN'S NIGHTCAP. Irish, Air. Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

                       

CAROLAN'S QUARREL WITH THE LANDLADY. Irish, Air (6/8 or 6/4 time). G Major. Standard tuning. AB (Complete Collection, O’Sullivan): AABB (Johnson). Composed by blind Irish harper Turlough O'Carolan (1670-1738). The melody is contained in the Forde manuscript, where it is sourced to the volume by P(atrick) Carey, with the alternate title “The Bold Rover.” No set of words has been found to accompany the tune, says O’Sullivan (1958), and so the nature of the quarrel with the Landlady (i.e. of a tavern) is unknown. It is possible, continues O’Sullivan, that the woman in question was one Bridget Waldron, described as a “niggardly ale-wife,” upon whom O’Carolan composed the following “pungent” epitaph (translated from the Irish and rendered by Hardiman in Irish Minstrelsy, 1831):

***

I prithee tombstone, loet not Bridget come back whence she came,

For she would turn your liquor sour and put your house to shame.

Full many a faultless poet has through her by drought been cursed,

Now she’s buried, devil plague her—and thirst, thirst, thirst!

***

O’Carolan, it has been noted, was known to become short and irascible when the supply of drink was limited in any way. Complete Collection of Carolan's Irish Tunes, 1984; No. 190, pg. 131. Johnson (Kitchen Musician No. 5, Mostly Irish Tunes), 2000; pg. 1. O’Sullivan (Carolan: Life and Times of an Irish Harper), 1958; No. 190, pg. 209. Flying Fish FF‑407, Robin Williamson ‑ "Winter Turning" (1986).

See also listing at:

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

X:1

T:Carolan’s Quarrel with the Landlady

M:6/8

L:1/8

R:Air

K:G

B/A/|G>AB g2 g/a/|b/a/g/f/e/d/ g2 g/f/|e>fe/d/ efg/f/|e/d/c/B/A/G/ A2 B/A/|

G>AB g2 g/a/|b/a/g/f/e/d/ g2 g/f/|ef/e/d/B/ de/d/B/A/|B3 g2 g/f/|ef/e/d/B/ de/d/B/A/|Bee e2||

g/a/|bgb b/a/g/f/e/d/|dfg a2 a/4/b/4c’/|b/a/g/f/e/d/ efg/f/|e/d/c/B/A/G/ A>cB/A/|

G>AB g2 g/a/|b/a/g/f/e/d/ g2f|ef/e/d/B/ de/d/B/A/|B3 g2f|ef/e/d/B/ de/d/B/A/|Bee e2||

                                   

CAROLAN'S RAMBLE TO CASHEL. Irish, (Moderate or slow) Air (3/4 time). E Minor. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). The Rocks of Cashel was the site of an ancient Irish fortress upon which was later built a large cathedral to which many made pilgrimage. Complete Collection of Carolan's Irish Tunes, 1984; No. 191, pg. 131. Joyce (Old Irish Folk Music and Songs), 1909; No. 245, pgs. 118‑119. Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987).

X:1

T:Carolan’s Ramble to Cashel

L:1/8

M:3/4

S:Joyce – Old Irish Folk Music

Z:AK/Fiddler’s Companion

N:”Mod. Time: or rather slow”

K:E Minor

(3def|g>fgaba|g2 fagf|e2B2de|d4 gf|e>dcBAG|GFGABA|

B2e2 e>f|e4||ef|g2b2b2|b2a2g2|f>edefg|a2g2f2|g>fgaba|

g2 fagf|e2 B2de|d4 d/e/f|gfgaba|g2 fagf|e2B2de|d4 gf|

edcBAG|GFGABA|B2e2 ef|g4 fg|edcBAG|GFGABA|B2e2 ef|e4||

                       


CAROLAN'S RECEIPT (FOR DRINKING). AKA and see "Carlione" (Gow), "Doctor John Stafford" (An Dochtuir Sean Stafford), "Planxty Stafford,” "Stafford's Receipt for Whiskey." Irish; Planxty (listed in Roche as a March, 2/4 time, "with spirit"). G Major (most versions): D Major (Williamson). Standard tuning. AB (Complete Collection, Heymann, O’Farrell, O'Neill, O'Sullivan/Bunting): AAB (Johnson, Roche): ABB (Williamson): AABB (O’Farrell/Pocket). Composed by blind Irish harper Turlough O'Carolan (1670-1738) at the house of his life-long friend, Dr. John Stafford of Portabello, near Elphin, County Roscommon, who attended to O'Carolan during his last illness and who helped bear the harper's coffin at his funeral. O’Carolan had a fondness for alcoholic spirits; so much so that for his health he had been advised to abstain from drinking, and he endeavored to do this for some six weeks. During this time, however, he became increasingly morose, and his harp lay neglected. Williamson (1976) relates that “it was then that his friend... prescribed a liberal dose of whiskey with repeated applications, and the two of them sat up till dawn. The fire would be burning low and the candles guttering against the daylight, Carolan 'wild in frenzy, harp strings breaking,' and he composing this tune for the Doctor” (Williamson, 1976). O’Neill (1913), relating a tale that comes from Charles O’Conor (and printed by Walker, 1786), concludes the tale somewhat differently, and has the blind bard visiting a grocer’s shop in Boyle, where he asks the clerk to pour him a measure of his favorite liquor “which I shall smell to, but indeed shall not taste.” The temptation proved to great and “he once more quaffed the forbidden draught until his spirits were sufficiently exhilarated and his mind had resumed its former tone.” O’Carolan immediately set about composing the tune known as “O’Carolan’s Receipt,” and “before the following morning he sang and played the noble offspring of his imagination in Mr. Stafford’s parlour at Elphin.” Stafford himself died later the same year, 1738, as Carolan.

***

Another O'Carolan story relates that the harper expired with a tumbler of whiskey in his hand, though by the end he had no strength left to drink it.  It was a pity, said Turlough, 'that two such friends should part, at least without kissing' (Ó hAllmhuráin, 1998). One of the bard’s drinking cups was preserved by the Stafford family at Rockingham, and escaped being consumed in a disastrous fire that destroyed the great mansion in 1957 (O’Sullivan, 1958).

***

O’Carolan’s lyric, originally written in Irish, was translated by O’Sullivan (1958):

***

If sick or strong I chanced to be,

I went along—‘twas well for me!—

To Doctor John to find relief,

Brave Stafford, skilful leech is he!

About the witching hour we would start our carouse,

By morn our zest for whiskey was the sharper:

Sensible man! For such was his plan

To put life in the poor blind harper!

***

Cho:

Sometimes tipsy, sometimes raking

Wild in frenzy, harpstrings breaking,

The custom that we followed, we will never let it die!

I tell you once again, Sirs,

I always will maintain, Sirs,

For a long and merry life of it, be drinking for aye!

***

At least one piper met his doom playing the tune, records O’Neill (1913). In India in the 19th century, the King of Oude became an affectionado of Irish music and desired that a piper be attached to his court. A capable piper was found and sent overseas, and received a lavish reception in Calcutta. Unfortunately, the piper took a considerable fondness to arrack, the native liquor, and while playing “Carolan’s Receipt” on the state barge the king had sent to convey him upriver to Hoogly, he fell overboard and was drowned.

***

Turlough O’Carolan. National Gallery of Ireland. Painted from life, artist unknown.

***

Early printings of the melody are to be found in Lee's Favourite Collection (1780, pg. 28), Walker's Historical Memoirs of the Irish Bards (1786, pg. 15) and Thompson's Hibernian Muse (1786, pg. 2). Donal O’Sullivan (1958) printed his version—which is often reproduced—as a composite of the aforementioned three sources, the result being “more suited to the words…than any individual copy of the tune.” Scottish versions appear in print by the Gows under the title “Carlionne—A Favorite Irish Tune,” by which name it also appears in McGoun’s Repository of Scotch and Irish Airs (Glasgow, c. 1799). Sources for notated versions: the Irish collector Edward Bunting noted the tune from the blind County Derry harper Daniel Black (1718-1796) in 1796 (about whom little is known, says Heymann, save he was a good singer and had a Mr. Heyland of Glendaragh, County Antrim for a patron); Neil Gow (Scotland) [Williamson]; O’Farrell’s Pocket Companion [Johnson]. Carlin (Gow Collection), 1986; No. 535 (appears as "Carlione"). Complete Collection of Carolan's Irish Tunes, 1984; No. 161, pg. 109. Heymann (Legacy of the 1792 Belfast Harp Festival), 1992; pg. 9-10. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 2000; pg. 2. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 27 (appears as “Carolan’s Receipt for Drinking Whiskey”). O’Farrell (Pocket Companion), c. 1805; pg. 10. O'Neill (Krassen), 1976; pg. 228. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 634, pg. 113. O’Neill (1913), pg. 74. O’Sullivan (Carolan: The Life and Times of an Irish Harper), 1958; No. 161, pg. 187. O'Sullivan/Bunting, 1983; No. 75, pgs. 117-119. Roche Collection, 1982; vol. 2, pg. 52, No. 317. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg., 93. Columbia 35612, "The Chieftains" (1978). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987). Tara Records 4008, “Josephine Marsh” (1996).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Carolan’s Receipt

L:1/8

M:C|

S:Bunting

K:G

g>f|edcB cBAG|E2 G>A G2 g>f|edcB cBcd|e2 AB A2 Bc|dBde d2 ef|

g2 fe d2 BA|BAGE AGED|E2 GA G2||Bc|dBde dBAG|EFGA G2 Bc|

dBde d2 Bd|e4 e3g|G2 G/A/B A2 A/B/c|B2 c/d/e d3d|efgf edBd|e4 e2 ga|

babg agae|gfgd edcB|cBcd efgf|edeB A4|BcBA G2 eg|dgBA G3 A|

BAGE AGED|E2 GA G2||

                       

CAROLAN'S WELCOME. AKA – “O’Carolan’s Welcome.” Irish, Air (3/4 time). E Minor (Johnson): A Minor (O’Sullivan). Standard tuning. AB (Johnson, O’Sullivan): ABB. Donal O’Sullivan (1958), the primary source for information on Turlough O’Carolan (1670-1738) and his music, identified this as one of the O’Carolan tunes which has come down to us without a title and was one of his melodies “probably composed for patrons whose names have been lost; they have come down to us either with wrong titles or with no titles at all.” O’Sullivan finds the tune in the Forde manuscript in the Royal Irish Academy, [Dublin, p. 62] which was reprinted with slight alterations by P.W. Joyce in his Old Irish Folk Music and Songs [London,1909], p. 293. “Carolan’s Welcome” is a modern title for the tune, appended by the Irish group the Chieftains for the occasion of the Pope’s visit to Ireland in 1979. The piece was also re-worked by the Pope’s composer, Monsignor Frisina, who orchestrated it for the album “A Christmas in Rome” [Bonnie Shaljean, Appendix to the 2001 edition of O’Sullivan’s Carolan]. Source for notated version: "The present tune was given to (the collector William) Forde (1795-1850) by Patrick McDowell and is marked 'said to be Carolan's'" [O’Sullivan]; Kit Nelson and Kathrine Gardner (San Francisco, CA) of the band ContraBandits (who knew the tune as "Carolan's Circle Waltz") [Matthiesen]. Complete Collection of Carolan's Irish Tunes, 1984; No. 171, pg. 119 (appears untitled). S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 14. Matthiesen (Waltz Book II), 1995; pg. 11. O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 171 (untitled tune).  Folkways FTS 31098, Ken Perlman ‑ "Clawhammer Banjo and Fingerstyle Guitar Solos.” Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999). Rounder 0216, John McCutcheon ‑ "Step by Step" (1986). CBS 36401, Chieftains - "Boil the Breakfast Early." Lunasa – “Otherworld.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:O'Carolan's Welcome

M:3/4

L:1/8

Z:Transcribed by Tomas Embréus

K:BMin

|:"part A"dc|B2d>ef2|B2d>ef2|e>fedcB|d2A2A2|d3cB2|e3dc2|dfF2A2|B4:|

|:"part B"dc|B2d>ef2|B2d>ef2|e>fedcB|c2A2A2|a3gf2|b3afe|dfedcd|B4z2:|

|:"part C"f2b>c'd'2|f2b>c'd'2|d'<d'c'babc'|d'2f2f2|g2b/b/gfe|e2g/g/fed|e

2f2a2|b6|b/b/agab2|a/a/fefa2|f/f/edefd|e2c2A2|d3cB2|e3dc2|

1dfF2A2|B6:|2dfedcd|(B6|B2)z2z2|

X:2

T: O'Carolan's Welcome

R: waltz

Z: John Chambers <jc@ ecf-guest.mit.edu > http://eddie.mit.edu/~jc/music/

B: Ossian p.119 #171 (unnamed)

N: The chords are highly variable.

N: The G# in bar 24 is often played natural.

M: 3/4

L: 1/8

K: Am

cB \

| "Am"A2 cd e2 | A2 cd e2 | "Dm"de dc BA | "Em"G/A/B G2 E2 \

| "Am"c3 B A2 | "Dm"d3 c B2 | "Em"ce E2 G2 | "Am"A4 cB ||

| "Am"A2 cd e2 | A2 cd e2 | "Dm"de dc BA | "Em"G/A/B G2 E2 \

| "C"g3 f e2 | "F"a3 g ed | "Em"ce dc Bc | "Am"A4 ||

|| e2 \

| "Am"e2 ab c'2 | e2 ab c'2 | "G7"c'b ag ab | "C"c'2 e2 e2 \

| "Dm"f2 af ed | "C"e2 ge dc | "E7"d2 e2 ^g2 | "Am"Ha6 ||

|| "F"ag eg a2 | "C"ge de g2 | ed cd ec | "G"d2 B2 G2 \

| "Am"c3 B A2 | "Dm"d3 c B2 | "Em"ce E2 G2 | "Am"A4 |]

                       

CAROLINA COUNTY. Old-Time. Similar to "Jordan is a Hard Road to Travel." The name Carolina is actually a Latinized reworking (formed from an adjective with a completely acceptable feminization to agree with terra) of the name Charles, and was the name designated by Charles I of England for this colony (Matthews, 1972). Yodel-Ay-Hee 05, The Wildcats - "On Our Knees" (1992).

                       

CAROLINA GLIDE.  Old-time. The tune was recorded in Atlanta by the Scottdale String Band, named in honor of the mill village of Scottdale, near Atlanta, and home to the band members (Wayne W. Daniel, Pickin’ on Peachtree, 1990). Their first recording was made for the OKeh studios on October 28, 1926, and between that date and 1932 the group recorded nearly thirty sides (all but two—released by Paramount—for OKeh). Bill Rattray wrote about the group in Old Time Music magazine (“Scottdale Boys,” OTM, Summer, 1971) and said the group’s records sold “well, or at least fairly well,” and that “their instrumentation was profoundly different from that of the other, more well-known Georgia bands like the Skillet-Lickers, and gave their music a more sophisticated sound that that of the ‘rough North Georgia’ school.” The groups repertoire varied more than usual for string bands from the region, and included “a wider range of material including tunes used chiefly by the jazz bands…the more traditional breakdowns, songs and ballads are hardly featured at all.” [quoted by Daniel].

 

CAROLINA RATTLESNAKE. Old‑Time, Fiddle Tune. USA, Arkansas. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. “Carolina Rattlesnake” was recorded by Ozark (Arkansas) fiddler Lon Jordon. The name Carolina is actually a Latinized reworking (formed from an adjective with a completely acceptable feminization to agree with terra) of the name Charles, and was the name designated by Charles I of England for this colony (Matthews, 1972). Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

                       

CAROLINA STOMPDOWN. AKA and see "Soldier's Joy." Old‑Time, Breakdown. USA, South Carolina. The tune, a retitling of the chestnut "Soldier's Joy," was recorded by South Carolina's Aiken County String Band. The name Carolina is actually a Latinized reworking (formed from an adjective with a completely acceptable feminization to agree with terra) of the name Charles, and was the name designated by Charles I of England for this colony (Matthews, 1972). County 531, "Old Time String Band Classics: Original Recordings from 1927‑1933" (1975).

                       

CAROLINE O'NEILL'S HORNPIPE (Crannciuil Caroline Ni Niall). Irish, Hornpipe. G Major. Standard tuning. AABBCCDD. Composed by Chicago fiddler Edward Cronin, originally from County Tipperary, in honor of one of Chief Francis O’Neill’s baby daughters. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 364, pg. 176. O'Neill (Krassen), 1976; pg. 218. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1780, pg. 332. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 938, pg. 160.

X:1

T:Caroline O’Neill’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 938

Z:AK/Fiddler’s Companion

K:G

Bc|(3dcd gd BGAB|(3cBc ec AGFA|DGBG FGAF|GB (3def gdBc|

de (3dcd (3BAG AB|cBAG FGAF|GBdg fdcA|BGGF G2:|

|:Bd|gfef gdBd|(3efe ce dBGc|edce dcBd|(3gba (3gfe d2 ef|

gfed cBAG|FGAB cdef|gbge dcBA|BGGF G2:|

|:Bc|dBGB AFDC|B,CDE FGAB|cBdB cBAG|(3FEF AB cedc|

BGAF GDEC|B,DEF GABc|dfeg fdcA|BGGF G2:|

|:Bd|(3gfg dg (3efe ce|dedc BGAB|cBcA dcBd|(3gba (3gfe d2 ef|

(3gab af gedB|(3cde dB cBAB|dfeg fdcA|BGGF G2:|

                       

CAROUSE AND BE MERRY. Scottish. The tune appears in the 1768 Gillespie Manuscript.

                       

CAROUSEL WALTZ. See “Village Carousel Waltz.”

                       


CARPENTER'S JIG, THE. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 450.

           

CARPENTER’S MARCH, THE. Irish, March (6/8 time). E Flat Major. Standard tuning. AB. O’Neill (1913) mentions that Petrie included two entirely dissimilar tunes by this title in his collections. Stanford/Petrie (Complete Collection), 1905; No. 992, pg. 253.

                       

CARPENTER’S MORRIS. English, (Old) Hornpipe (3/2 time). F Major. Standard tuning. AABBCCDD. The melody was published by Walsh in his third collection of Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) c. 1740.

X:1

T:Carpenters Morris

B:Walsh

M:3/2

L:1/8

K:F

F4 E4 DEFD| E2 G4 A2 ^C4| F4 E4 DEFD | E2 A,4 ^C2 D4 :: F4 G4 ABcA | B2 G4 c2 E4 |\

FEFG ABcA B^c d2| e2 A4 ^c2 d4:: f4 e4 defd| e2 g4 a2 ^c4| f4 e4 defd |

e2 A4 ^c2 d4:: F4 FGA2 ABc2| E2 G4 A2 B4| A2 GF EFGE F2 ED| D4 ^C2 D6:|

                       

CARPENTER'S RAFF YARD, THE. English, Jig. England, Northumberland. F Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 505.

           

CARPENTER'S REEL (Reel De L'Ouvrier). AKA and see “Reel de Saint-Malo,” "Walker Street," “The Traveller [1]." French‑Canadian, New England; Reel. G Major. Standard. AABB. Folkways FG3531, "Old Time Fiddle Tunes played by Jean Carignan" (1968).

           

CARR COIATHÁNACH DO SHEISEAR. AKA and see “Jaunting Car for Six.”

           

CARRAIG AN tSOIP. AKA and see “Angry Peeler,” "The Cook in the Kitchen."

           

CARRAIG DONN. AKA‑ "Carraigdown." Irish, Air. B‑Flat Major. Standard tuning. AAB. Roche Collection, 1982; vol. 3, pg. 12, No. 41.

           

CARRAIGDOWN. See "Carraig Donn."

           

CARRAIGIN AN ANNSA (The Little Rock of Affection). AKA and see "Nelly, My Pretty Girl."

 

CARRAIGÍN RUA. See “Charraigín Rua.”

           

CARRAROE (JIG), THE. AKA and see “The Lark on the Strand [4].” Irish, Jig. D Major. Standard tuning. AABB. See also related tunes “Blue Bonnets Jig,” "Scotsman Over the Border," "Mist on the Meadow," "Mist in the Glen." Reg Hall (1995) provides (in liner notes to the reissue Irish Dance Music): “In 1926, Father Tom Larkin created the Ballinakill Traditional Dance Players for local public ceilidh dances, bringing together fiddle and flute players, all men, small-farmers and ear players, from the tradition of country-house dancing.” Members included Jerry Moloney and Tommy Whyte on fiddles, and Stephen Moloney and Tommy Whelan on flute. The piano player with the Ballinakill Ceili Band (who recorded in the 1930’s) was named Anna Rafferty. Her home, where the band often gathered, was Carraroe House, in Ballinakill, east Co. Galway. However, that is not the origin of this particular tune’s name. It is one of the first two tunes (along with “What will we do if the kettle boils over”) learned by concertina player Gerdie Comman (b. 1917) of Ballyknock, Kilnamona, County Clare. He was 8 or 9 years old at the time and learned from a Mrs. Barry who lived in Rushane. Hall (1995) calls the tune a relative of the pipe march “Blue Bonnets Over the Border.” Sources for notated versions: set dance music recorded live at Na Píobairí Uilleann, in the 1980’s [Taylor]; Donegal fiddler Tommy Peoples [Bulmer & Sharpley]; Ballinakill Traditional Dance Players (County Galway) [Miller & Perron]; ]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 50. Carlin (Master Collection), 1984; pg. 149, No. 261. Harker (300 Tunes from Mike Rafferty), 2005; No. 180, pg. 56. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol.2, No. 36. Miller & Perron (Irish Traditional Fiddle Music, 2nd Edition), 2006; pg. 18. Taylor (Music for the Sets: Yellow Book), 1995; pg. 18. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 34. Folkways Records FW 8821, Ballinakill Traditional Dance Players - "Irish Dance Music" (1973. Reissue recordings, re-released on Topic in 1995). Old Hat Music OH!02, "The Old Hat Dance Band" (1992). Topic TSCD 602, Ballinakill Traditional Dance Players – “Irish Dance Music” (1995. A reissue of the 1931 original).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Carraroe

M:6/8

L:1/8

R:jig

K:D

DED F2 A | dfe d2 B | AFA def | afd e2 f | DED F2 A | dfe d2 c | d2 B AFA | dAF E2 D :|

dfa afa | bge edB | dfa afa | bge e2 f | dfa afa | bge edB | d2 B AFA | dAF E2 D :|

           

CARREE DE VOURAY. French, Bourree a 2 Temps (2/4 time). D Minolydian. Standard tuning. AABB. Composed by Gilles Chabenat. Stevens (Massif Central), 1988, vol. 2; No. 79.

           

CARRICK LASSES, THE. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).

           

CARRICK ON BANNOW, THE. Irish, Hornpipe. G Major. Standard tuning. AABB. A. Carrick = rock. Source for notated version: Monaghan and J. Smith [Sullivan]. Sullivan (Session Tunes), vol. 3; No. 27, pg. 10.

           

CARRICK FERGUS. See “Carrickfergus.”


           

CARRICK REEL. Scottish, Reel. D Major. Standard tuning. AABB. Bremner (Scots Reels), c. 1757; pgs. 94-95

X:1

T:Carrick Reel

M:C

L:1/8

R:Reel

B:Bremner – Scots Reels  (c. 1757)

Z:AK/Fiddler’s Companion

K:D

D3F A/A/A AB | ABdA F/F/F FD | EFEF B/B/B Bf | gfed “tr”B2 (A/B/d) |

D3F A/A/A AB | ABdA F2 ED | GBGB FAFA | EFGA “tr”B2 (A/B/d) :|

|: d>edf d/d/d dA | BAdA F/F/F FD | e>fef e/e/e ef | gfed B/B/B “tr”(BA) |

d3f d/d/d dA | BAdA F/F/F FD | G/G/G GB F/F/F FA | EFGA “tr”B2 (A/B/d) :|

 

CARRICKFERGUS [1]. AKA and see “Haste to the Wedding [1].” Irish, Jig. Carrick = rock. The melody, well-known under the title “Haste to the Wedding,” was printed by Brysson in his A Curious Selection of Favourite Tunes with Variations to which is appended “Fifty Favourite Irish Airs” (Edinburgh, 1790).  Two similar versions appear in the Scottish Gillespie Manuscript of 1768‑‑one version is called a "new set," while another is labelled an "Irish reel."

X:1

T:Carrick Fergues an Irish Reel

S:Gillespie MS, NLS MS.808

N:transcribed by Jack Campin

L:1/8

M:6/8

K:D

B|\

A>FA A>Bd|ede fdB|AFA (B/c/d)F|E>FE E2B|

A>FA ABd|e>de fdB|A>FA (f/g/a)e|fdd d2:| f|\

dfa afa|bgb afa|dfa agf|efe (Te2f/g/)|

Ta3 Tf3|ede fdB|AFA (f/g/a)e|fdd d2:|

***

X:2

T:Carrick Fergues New Set

S:Gillespie MS, NLS MS.808

N:bar 12 is written |e>fe ef2g2| in the MS

N:transcribed by Jack Campin

M:6/8

K:D

B|\

A>FA A>Bd|(Te>de) fdB|AFA (B/c/d)F|E>FE E2B|\

A>FA Agf|Te>de fdB|A2g (f/g/a)f|d>ed d2:| f/g/|\

afa def|bab efg|aba agf|e>fe efg|\

a3 {g}f3|Te>de fdB|A2g (f/g/a)f|ded d2f/g/|

af/g/a/f/ df/g/a/f/|ag/a/b/g/ ef/g/a/g/|ag/a/b/g/ a/f/g/e/f/g/|

e>fe e2f/g/|a(f/g/a/f/) ge/f/g/e/|fde fdB|A2g (f/g/a)f|d>ed d2|]

 

CARRICKFERGUS [2]. Irish, Slow Air (3/4 time). G Major. Standard tuning. AAB. A harp air. The Castle of Carrickfergus is on the coast of northern Ireland not far from Belfast. It was a stonghold of the English at least from the time of Scotland's James IV, for he ransacked the place with his flagship The Great Michael, the great ships only battle. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 26, pg. 28. Island ILPS 9501, "The Chieftains Live" (1977). RCA 5798-2-RC, "James Galway and the Chieftains" (1986). Shanachie Records 79024, "Chieftains 4" (1972/1983).

 

CARRICKFERGUS [3].

X:1

T:Carrickfergus

M:4/4

L:1/8

Z:transcribed by Sean O'Malley

K:G

g2 g2 f2|e4 A4-|A2 B2 c2 d2|B3 A G4-|G2 G2 A2 B2|

c4 E4-|E2 F2 G3 G|G8-|[1 G2 :|2 G2 d2 g2 a2|b8-|

bgab c'2 b2|a3 f d4-|d2 dd g2 a2|b8-|bgab c'2 b2|

a8-|a2 g2 g3 f|e4 A4-|A2 AB c2 d2|B3 A G4-|

G2 G2 A3 B|c4 E4-|E2 F2 G3 G|G8-|G2||

 

CARRICKFERGUS [4].  AKA and see “Patrick’s Pot.” Canadian(?), Jig. Canada, Cape Breton. C Major. Standard tuning. AABB. The tune was recorded by Cape Breton fiddler Donald MacLellan on 78 RPM disc. The alternate title “Patrick’s Pot” comes from the name of the tune in Elizabeth Burchenal’s Rinnci na h-Éireann (1925). Cranford (Jerry Holland: The Second Collection), 2000; No. 251, pg. 91. Jerry Holland – “Master Cape Breton Fiddler” (1982). Mac Morin.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Carrickfergus [4]

M:6/8

L:1/8

K:C

AB|c2e c2e|cdc BAG|A2c B2d|c2e dBG|c2e c2e|cdc BAG|Afe dc|c3 c:|
|:BA|GAG E2c|GAG E2c|ABc dBG|fed cBA|GAG E2c|GAG E2c|ABc dBG|c3 c:||

           

CARRICKMACROSS AIR (Aedhear charraic mhic chroise) [1]. Irish, Air (9/8 time). D Minor. Standard tuning. One part. The title is probably Bunting's own, believes O'Sullivan (1983). Source for notated version: the Index to the Irish collector Edward Bunting's 1840 collection gives that the tune was noted from "An old woman at Dundalk, 1794." O'Sullivan/Bunting, 1983; No. 120, pg. 171.

 

CARRICKMACROSS [2]. Irish, Air (6/8 time). G Major. Standard tuning. AB. Joyce identifies Carrickmacross as being in County Monaghan. The tune is in the Pigot Collection, contained in Joyce’s Old Irish Folk Music and Song (1909). Related to O’Neill’s “Paddy in London [1]” and Goodman’s “Paddy from Cork.” Joyce (Old Irish Folk Music and Song), 1909; No. 805, pg. 391.

X:1

T:Carrickmacross [2]

M:6/8

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Song (1909), No. 805

Z:AK/Fiddler’s Companion

K:G

d/c/ | BGB dBd | egg gfe | dcB c2d | ecA A2 d/c/ | BGB dBd | egg gfe |

dcB edc | BGG G2 || b/c’/ | bgb afa | gfe dBA | GAG c2d |

ecA A2 b/c’/ | bgb afa | gfe dBA | GBd edc | BGG G2 ||

                       

CARRICK'S/CARRACK'S REEL/RANT. AKA and see "Berwick Lasses," "Bonny Lass" (Kennedy), “Clurie’s Reel,” "Mary Scott [1]," "The Smith's a Gallant Fireman." English, Reel; Scottish, Strathspey. Scotland, Lowland region. England, Northumberland. D Major. Standard tuning. AB (Honeyman, Johnson, Seattle/Vickers, Skinner): AA'BB' (Athole). Seattle (1987) classifies "Carrick's Reel" as one of a family of tunes using the same melodic material in different meters. He finds it resembles "The Smith's a Gallant Fireman," and cites comparisons with printings of the melodies in MacDonald's Skye Collection (pg. 44); Kerr, Vol. 1 (pg. 4); Hunter's Fiddle Music of Scotland (No. 1112); and the tune "Mary Scott the Flower of Yarrow" in Bewick's Pipe Tunes (1986, No. 6), where it appears alongside versions of  "Sir John Fenwick," another member of the family.  In fact, the comparison between "Carrick's" and "Mary Scott" is not new; there has been a strong suggestion that the former was derived from the latter, for a note in Gow's publication remarks, "The old Scotch Song of Mary Scott is taken from this Tune." Other writers record that Hector Macneil's lyric "Dinna think, bonnie lassie" is likewise set to the melody.  John Glen (1891) finds the tune first in print in Robert Bremner's 1757 collection (pg. 94). A variant called "Berwick Lasses" is to be found in a MS collection by fiddler Lawrence Leadley (1827-1897) of Helperby, Yorkshire. See also the related “Sir John Fenwick’s the Flower Among Them All.” Source for notated version: Gow (Complete Repository, Part First) [S. Johnson]. Gow (Complete Repository), Part 1, 1799; pg. 3. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 10 (appears as "Carrick's Rant"). S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 38. Seattle (William Vickers), 1987, Part 2; No. 315. Skinner (Harp and Claymore), 1904; pg. 87 (includes variation sets by Skinner). Stewart-Robertson (The Athole Collection), 1884; pg. 104.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Carrick’s Rant

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

A,|D3F A/A/A A>F|A>Bd>A F/F/F F>D|1 E2 D>F B/B/B B>A|

d>fe>d B<A B>d:|2 G<BG<B F<AF<A|E>DE>F B/B/B B||

c|:d2 d>f d/d/d d>A|B>Ad>A F/F/F F>D|1 e3f e/e/e e>f|

g>f e<d B/B/B Be:|2 G<BG<B F<AF<A|E>DE>F B/B/B B|| 

X:2

T:Carrick’s Rant

M:C

L:1/8

R:Strathspey

N:”Boldly”

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

[D2D2] D>F (F<A)A>B | A>B d>A F2D2 | E2 E>F EE E>f | g>fe>d B>A (B/c/d) |

[D2D2] D>F (F<A)A>B | A>B d>A F2D2 | GBGB FAFA | E>FG>A ({c}B>)AB>c ||

(d2 f>)e e<dd>B | A>Bd>A F2D2 | ([e2e2] g>)f e<ee>f | g>fe>d B>AB>c |

(d2 f>)e e<dd>B |A>Bd>A F2D2 | G<BG<B F<AFA | E>FGA> B>A (B/c/d) ||

                       

CARRIE A NUIENISH. Irish, Harp Air. The tune was recorded in the Belfast Northern Star of July 15th, 1792, as having been played in competition by one of ten Irish harp masters at the last great ancient harpers' convocation, the Belfast Harp Festival, held that week.

                       

CARRIGALINE (Carraig ui Leocain). AKA and see "It's a Hard Road to Travel," “The Milestone [2],” "Rocks of Cashel [1]," "Steeplechase [2].” Irish, Reel. C Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1226, pg. 231.

X:1

T:Carrigaline

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1226

Z:AK/Fiddler’s Companion

K:C

(3G,A,B, | CB,CD (EG) G2 | Adde dcAB | {d}cBcA GEcA | GFED ECA,B, |

CB,CD (EG) G2 | Adde dcAB | {d}cBcA GEcA | GEDE C2 z2 ||

“tr”c2 ec gcec | agfd BcdB | “tr”c2 ec gcec | agfd BGAB | “tr” (ec) gcec |

agfd BcdB | cBcA GEcA | GEDE C2 || 

                                   


CARROLL COUNTY BLUES. Old‑Time, Country Blues or Two-Step. USA; Mississippi, Missouri. A Major (Brody, Phillips): G Major (Beisswenger & McCann, Reiner & Anick). Standard tuning. AAB (Brody, Reiner & Anick): AA'B (Beisswenger & McCann, Phillips). "Carroll County Blues" was the Mississippi fiddle and guitar duo Narmour and Smith's biggest hit recording. The original melody was composed by fiddler Will Narmour (1889-1961) and was named for his home county, Carroll County, north-central Mississippi. Narmour recorded it with a man named Shell (Sherril) Smith, and it was Smith's wife who recalled that Narmour may have heard the tune either being whistled by a black farmer (according to David Freeman), or hummed by a black field hand (remembers Henry Young). This farmer claimed authorship and called the tune “Carroll County Blues.” Narmour and Smith then “worked the tune out,” presumably meaning that they arranged it for fiddle and guitar. Narmour is known to have been friendly with black bluesman Mississippi John Hurt, who lived in nearby Avalon.  It has also been maintained, ostensibly by folks in Avalon, that Narmour’s mentor, Gene Clardy, an older local fiddler, was the one who composed “Carroll County Blues.”

***

Gary Stanton, in his article “All Counties Have Blues: County Blues as an Emergent Genre of Fiddle Tunes in Eastern Mississippi” (North Carolina Folklore Journal, vol. 28, no. 2, Nov. 1980), points out that the tune is not what one would consider to be in conventional twelve or sixteen bar blues, but was rather built on several ‘riffs’ (melodic statements) separated by long held notes or a contrasting musical figure. This results in a piece which has alternations of motion and repose, that Stanton contrasts with Anglo-American fiddling, which is almost constant melodic and rhythmic motion. Joseph Scott points out that:

***

It seems to be fairly widely accepted among old time music  enthusiasts

that Narmour and Smith’s "Carroll County Blues" is not a "true blues,"

because it does not use the "standard" 12-bar blues progression. That

reasoning rests on the anachronistic assumption that all "true blues" by

definition used the 12-bar approach. The famous ‘standard’ 12-bar approach

increasingly dominated within blues over the decades... "Carroll County Blues"

 is based on the same basic progression, the 8-bar I-I-I-I-IV-IV-I-I, as were

some ‘Blues’ by ‘black’ Mississippi musicians born around the same era, such

as "Sundown Blues by Alec Johnson, "Pretty Mama Blues" by Cannon’s Jug

Stompers, and "Vicksburg Blues" by Scott Dunbar.

***

In addition the tune features ‘blues notes’, flattened thirds and sevenths slurred into the natural note. The timing is rather odd (ten measures in the 'A' part instead of the usual eight, among other irregularities) with respect to the majority of fiddle tunes, but despite this Freeman (1975) says it has become one of the most famous fiddle tunes in the United States. He notes it was mentioned in Talking Machine World, an old trade paper, as having been one of the biggest selling records of 1929. Narmour recorded other “Carroll County Blues” tunes (see abc’s below) attempting to ride the popularity of “Carroll County Blues #1” but they never achieved such widespread acclaim as the first. Due to its popularity #1  was covered by a great many fiddlers, including Kentuckian Doc Roberts (it appears that the Gennett company gave a copy of Narmour’s recording to Roberts and told him to learn it for their next recording session). Subsequently, it has been found in local fiddlers’ repertoires throughout the South and Mid-West. As previously mentioned, the 'A' part is irregular, though Phillips notes that Narmour sometimes omits the 2/4 time measures (in an otherwise 4/4 tune) or adds two beats to them, so that his performance can be considered inconsistent as well, a not uncommon phenomenon among traditional fiddlers who seldom play a tune the same way twice. “Carroll County Blues” also seems to be related to bluesman Furry Lewis’ “Turn Your Money Green.” Other than Narmour & Smith’s 1929 recording, another early version was by the Doc Roberts Trio (1933). Sources for notated versions: Highwoods String Band (Ithica, N.Y.) [Brody], W.T. Narmour (Miss.) [Philips]; Bob Holt (1930-2004, Ava, Missouri), learned from Lonnie Robertson and the Narmour & Smith recording [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 61. Brody (Fiddler’s Fakebook), 1983; pg. 63. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 29. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 115. Arhoolie 5001, Hodges Brothers‑ "Watermelon Hangin' On the Vine." Arhoolie 2001‑2002, Hodges Brothers‑ "The Roots of America's Music." Caney Mountain Records CLP 228, Lonnie Robertson (Mo.), c. 1971‑72. Conqueror 8104 (78 RPM), Doc Roberts. County 511, Narmour and Smith‑ "Mountain Blues." County 528, Narmour and Smith‑ "Traditional Fiddle Music of Mississippi, vol. 1." Flying Fish 065, Buddy Spicher‑ "Me and My Heroes." Okeh 45317 (78 RPM), William Narmour & Sherril Smith (3/11/1929). Rounder 0045, Highwoods String Band‑ "Dance All Night." Rounder CD – 0432, Bob Holt – “Got a Little Home to Go to” (1998). Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. Learned from Johnny Bruce, with whom the tune is identified in northern Missouri).

See also listing at:

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

X:1

T:Carroll County Blues [2]

M:2/4

L:1/8

S:From a transcription by Gary Stanton of Narmour and Smith OK 45377

K:G

B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/(d/ d2)|

B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/G/ E<G|G [G,/D/]G/E/G/ G|

B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/(d/ d2)|[ee>][ef] ed|

B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/G/ E<G|G/D/[B,/D/][A,/E/] [B,2G2]|

B/A/B/G/ E<G|B/A/B/G/ E<G|B/A/B/(d/ d2)|B/A/B/G/ E<G|

B/A/B/G/ E<G|G/G/ D/G/E/(G/ G2|G/ g e<g d/|eg e/d/[D/d/]g/|

f/d/f/d/ A/^c/e/g/|f/(d/[d/f/])g/ ed|f/d/f/d/ A/^c/e/g/|

f/(d/[d/f/])g/ ed|g/e/a/(e/ [B/b/]) [Bb]a/|fd e[Bg]||

X:2

T:Carroll County Blues [3]

M:2/4

L:1/8

S:From a transcription by Gary Stanton of Narmour and Smith OK 45459

K:D

F/E/F/(A/ A2)|([B,2G2] G/) AE/|F>A F>E|DA, B,(D|D2 D>)B,|

DE DB,|DE DB,|(D2 F2)|(F2 D2|D4|D)D E/ [A,F] [B,/G/]|

[B,2G2] F>G|AG (FE)|D2 F2|[F2d2] (ef)|[F2d2] (ef)|[F2d2] (ef)|

[F2d2] (ef)|[F2d2]A B([F2d2]|[F4d4]|[Fd])(A B)([Fd]|[F2d2]) d2|

dd [Fe]([Fd]|[F4d4]|[F2d2]) (ef)|[F2d2] (ef)|[F2d2] (ef)|

[F2d2](A B)([Fd]|[F4d4]|[fd])(A B)([Fd]|[F2d2])[F2d2]|

[Fd][Fd][Fe][F((d]|[F4d4)]|[Fd)](e f)(a|a)(ec)(A|A)(ef)(a|

a)(ec)(A|A)BB(d|d4|d)A BA|[F2d2] [F2d2]|[Fd][Fd] [Fe][Fd]|[F4d4]||

           

CARROLL’S (POLKA). AKA and see “Art O’Keeffe’s Polka [1].” Irish, Polka. G Major. Standard tuning. AABB. The accompaniment begins on the subdominent chord. Mallinson (100 Polkas), 1997; No. 34, pg. 13.

           

CARROLLTOWN BREAKDOWN [1]. Old‑Time, Breakdown. USA; northwestern Missouri, Iowa. A Major. Standard tuning. AABB. Sources for notated versions: Cyril Stinnett (northwestern Missouri) and Dwight Lamb (Iowa) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 18. Reported to have been on an out‑of‑print (Canadian) Ned Landry record.

X:1

T:Carrollton Breakdown [1]

L:1/8

M:4/4

S:Charlie Walden

K:A

EC|:A,CEA cABc|dAFB AFED|[1 EAcd ecAc|BGEG BGEG :|[2 EFAc BAGA |

BAGB A2 af ||:eaca eagf|egBe g2 eg|(3fgf f eg {fgf}fefg|aceg a2 (3fgf f|

eaca eagf|egBg e2 g2| (3fgf f eg feaf|ecBc A2 af:|

 


CARROLTOWN BREAKDOWN [2]. AKA and see "Shaddighee," "Silver Lake [5].” Old‑time, Reel. USA, southwestern Pa. G Major. Standard tuning. AB. Bayard (1981) believes this tune to be a derivative of "Buffalo Gals" (See "Buffalo Gals [1]"). Variants he notes are "Off to Charleston," and his (1944) No. 1b version of "Buffalo Gals," which he now considers to be "Carroltown Breakdown." The alternate name "Shaddighee" also appears in Messer as "The Chatagee" but with a different tune. Sources for notated versions: Bayard collected the tune from nine southwestern Pa. fiddlers and fifers. Bayard (Dance to the Fiddle), 1981; No. 336A‑I, pgs. 318‑321.

           

CARRON BRIDGE [1]. Canadian, Strathspey. Canada, Cape Breton. A Major. Standard tuning. AB. Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 2.

 

CARRON BRIDGE [2]. Canadian, Reel. A Major. Standard tuning. AB. Composed in May, 1945, by Cape Breton fiddler Dan R. MacDonald (1911-1976) when in Germany. Cameron (Trip to Windsor), 1994; pg. 2.

           

CARRON WATER. Scottish, Slow Strathspey. A Major. Standard tuning. AAB. Hunter (Fiddle Music of Scotland), 1988; No. 115.

           

CARRON'S REEL. AKA and see "The Ew(i)e wi' the Crooked Horn [1]," "Cheap Mutton." Scottish. John Glen (1891) finds the earliest printing of the tune in Angus Cumming's 1780 collection (pg. 17). It caught the attention of the Reverend Skinner who wrote his famous lyrics set to the tune, "The Ewie wi' the Crooked Horn," by which title the tune is generally known today.

           

CARROWCASTLE LASSES, THE. AKA and see "George White's Fancy/Favorite,” “The Lass of Carrowcastle [2]." Recorded under this title by the Kincora Ceili Band.

           

CARRY ME BACK TO GEORGIA TO EAT CORNBREAD AND 'LASSES. Old‑Time, Breakdown. USA, northwest Alabama. The first tune learned by Bug Tussle, Cullman County, Alabama, fiddler "Fiddling" Tom Freeman (1882‑1952), according to his autobiography (Cauthen, 1990).

           

CARRY ME BACK TO OLD VIRGINNY. American, Jig. G Major. Standard tuning. ABB. A song by Stephen Foster’s songwriting contemporary, James J. Bland, popular during the minstrel era. It is printed in Ford arranged for dancing. Ford (Traditional Music in America), 1940; pg. 107.

           

CARRY THE NEWS TO MARY. American, Cakewalk or "Walk Around." A Major. Standard tuning. AABBC, Break. Cole (1000 Fiddle Tunes), 1940; pg. 26.

 

CARRYCOATS HALL. AKA and see “Remember Me.” English, Hornpipe. The tune is included under this title in T. Carruther’s manuscript in the Beamish Museum. Carrycoats Hall is located near Bellingham and Wark, Northumberland.  The tune was composed by Northumbrian fiddler and composer Robert Whinham, and is better known as “Remember Me.”

           

CARSHALTON OAKS.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB’. Composed by John Gilbert. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 125 (appears as “Surrey Hills,” the name of a dance set to the tune by Eileen Bloy).

 

CARTHY’S (JIG). AKA – “Con Carthy’s.” AKA and see “Petticoat Loose [1].”

 

CARTHY’S MARCH.  English, March. Composed by English fiddler Dave Swarbrick, who says it came to him in a dream, played by guitarist Martin Carthy (with whom Swarbrick has partnered off-and-on for decades). Castle Music CAS 36205-2, Dave Swarbrick – “It Suits Me Well: the Transatlantic Anthology” (2005). Dave Swarbrick – “English Fiddler.”

 

CARTHY’S REEL (Ríl Mhic Chárthaigh). Irish, Reel. D Mixolydian (‘A’ part) & D Major (‘B’ part). Standard tuning. AABB. Source for notated version: the midi-20th century collection of Jack Wade (County Monaghan), who in his youth collected the tune from Tom Matthews, a musician in Greenanstown, County Meath, who played the uilleann pipes among other instruments [Breathnach]. Breathnach (CRE IV), 1996; No. 181, pg. 84.

           

CARTHY’S WALTZ. Old-Time, Waltz. D Major. Standard tuning. AB. An adaptation by Carthy Sisco, based on “God Only Knows Who’ll Take Her Home.” Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 21.

                                   

CARTON'S REEL. AKA and see "The Mason Laddie," "Fiagai an Mhada Rua," "Lady Carbury," "The Mason's Apron," "The Mason's Cap," "Gallagher's," "Wake Up Susan [1]."

           

CARTON'S NO. 2 REEL. AKA and see "Cathcart's Favourite," "The Piper's Wedding [1]," "Soh Mode, G=Doh."

           

CARTWRIGHT'S JIG. American, Jig. The first part bears resemblance to the 'A' part of Bayard's (1981) untitled No. 636. Cazden, 1955 (Dances From Woodland); pg. 10.

           


CARTY'S REEL (Ríl an Chárthaigh). AKA – “Carthy’s Reel.” AKA and see “Castle Reel,” "Kathy's Reel,” “Micho Russel(l)’s Reel [1]." Irish, Reel. E Minor ('A' part) & G Major ('B' part). Standard tuning. AABB'. A variant of “The Ashplant” and the only known composition of Doolin, County Clare, tin whistle player Micho Russell (1915-1944). It is commonly known as “Micho Russell’s Reel” although, according to Charlie Piggott (Blooming Meadows, 1998), Russell himself called it “Carthy’s Reel.”  The tin-whistle player, known for his weaving stories, lore and associations into his music, and not above some purposeful playing with the tradition, said he had long ago learned it from an old man named Carthy. “At the time there used to be such a thing on the Aran Island called a Pattern Day (June 14th). People from here used to go over in curraghs. An awful lot used to come up from Galway, pipers and others, with different classes of instruments. So Carthy was beyond anyway and he heard the old tune from a piper playing it and he had the first part but only three-quarters of the  second part. So when Séamus Ennis came around collecting the music, I put in the last bit. That’s roughly the story of the tune.” Source for notated version: flute and whistle player Micho Russell, 1966 (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 294, pg.  Bulmer & Sharpley (Music from Ireland), vol. 2; 2.

X:1

T:Carthy’s Reel

T:Micho Russell’s Reel

L:1/8

M:C

K:E Minor

ed|B ~E3 G2 GB|B ~E3 BEdE|Be (3eee d2 dB|ABAF DEFA|

Beed G2 GA|B ~E3 BEdE|Be (3eee d2 dB|ABAF DEFA:|

|:BcBA G2 GA|B ~E3 Bdgd|BcBA G2 FG|A ~d3 A ~d3|

BcBA g2 GA|B2 BA Bdgd|gbaf g2 ge|dedB A2 GA:|

           

CARVE DAT POSSUM [1]. See "'Possum Pie" and "Bile Them Cabbage Down." Old‑Time, Song. USA; Tennessee, Oklahaoma. G Major. Standard tuning. One part. Charles Wolfe (1991) identifies this as a piece written and performed by black minstrel Sam Lucas about 1870, that appears in a few collections of minstrel songs. Thede printed the following stanza with the tune, collected from Oklahoma fiddlers:

***

Carve dat 'possum Hannah,

Carve dat 'possum soon;

For de pan am ready,

An here am de spoon.

***

African-American collector Thomas Talley, in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), gave the title as “An Opossum Hunt” and printed the text:

***

Possum meat is good an’ sweet                    Carve him to de heart,

I always finds it good to eat,                         Carve him to de heart

Cho:

Charve dat possum!

Charve dat possum!

Charve dat possum!

Oh charve ‘im to de heart!

***

My dog tree, I went to see                            Carve him to de heart,

A great big possum up dat tree                     Carve him to de heart,

I retch up an’ pull him in,                             Carve him to de heart,

Dat ol’ possum ‘gin to grin,                          Carve him to de heart,

***

I tuck him home an’ dressed him off            Carve him to de heart,

Dat night I laind him in de’ fros’,                 Carve him to de heart,

De way I cooked dat possum sound,             Carve him to de heart,

I fust parboiled, den baked him brown         Carve him to de heart,

I put sweet taters in de pan,                           Carve him to de heart,

‘Twas de bigges’ eatin’ in de lan’                 Carve him to de heart.

***

Thede (The Fiddle Book), 1967; pg. 69. Vocalion 5151 (78 RPM), Uncle Dave Macon (1927).

 

CARVE DAT POSSUM [2].  American, Cakewalk or "Walk Around." G major. Standard tuning. AAB, Break. Cole (1000 Fiddle Tunes), 1940; pg. 26. Ryan’s Mammoth Collection, 1883;

           

CASA LOMA CASTLE. Canadian, Reel. Canada, Cape Breton. Composed by Cape Breton, Nova Scotia, fiddler Dan R. MacDonald. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

           

CASADH AN TÁILLIÚRA. AKA and see "The Tailor's Twist," "Captain Moss's Hornpipe" (?).

           

CASADH AN tSÚGÁIN (Twisting the Hay Rope). AKA and see "The Twisting of the Rope." Claddagh 4CC 39, “The Pipering of Willie Clancy vol. 2” (1983).

           

CASAG LACHDUNN RUAIRDH RUAIDH (Red Roderick's Dun Coat). Scottish, Strathspey. A Dorian. Standard tuning. AAB. MacDonald (The Skye Collection), 1887; pg. 81.

X:1

T:Red Rodrick’s Dun Coat

T:Casag lachdunn ruairdh ruaidh

M:C

L:1/8

R:Strathspey
S:MacDonald - Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:A Dor
G|A<A B>G A<A A2|G>B g>e dB G2|A<A B<G A<A A2|d>eg>f eA A:|

e<e a>e g>e a>e|gage degd|e<e a>e g>e a>g|efge a>fe>f|e<eg<e a<e g>e|

dedc BA G2|edBd A<A A2|G<A B<gfe A<A||

           

CASEY JONES. Old-Time, Breakdown. G Major (Edden Hammons) or D Major. Standard tuning. AABB. In the repertoire of West Virginia fiddler Edden Hammons. The famous railroad song was published in 1909, credited to two railroad men, T. Lawrence Seibert and Eddie Newton. Casey Jones was written about a real person, John Luther Jones (1864-1900), nicknamed ‘Casey’ because of his birthplace, Cayce, Kentucky. Jones, an engineer, substituted for a sick friend the night of April 29, 1900, and took the Cannonball Limited out of Memphis on a Sunday run. The train crashed into another one, and Jones was indeed killed, “with his hand on the throttle, scalded to death by the steam.” The Leighton Brothers sang the song for years on the vaudeville stage. A counterclaim for authorship rests with Wallace Sanders, an African-American engine-wiper who worked in the roundhouse at Canton, Mississippi, and who probably knew Casey Jones. John Lomax found an older, although different, song called “Jimmie Jones,” which had a variant “’Cause He’s Been on the Charlie Too Long.” Sigmund Spaeth believes it was the older “Jimmie Jones” song that Sanders knew, and that “he would quite naturally have changed the ‘Jimmie’ to ‘Casey’ after the tragedy” [See Sigmund Spaeth, A History of Popular Music in America, 1948, pgs. 366-367]. Source for notated version: Art Stamper (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 44. Edden Hammons Collection II, Disc 1.

           

CASEY THE WHISTLER (Ua Catasaig An Feadaire). Irish, Reel. D Major. Standard tuning. AAB. O'Neill (Krassen), 1976; pg. 121. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1333, pg. 249. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 590, pg. 108.

X:1

T:Casey the Whistler

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 590

Z:AK/Fiddler’s Companion

K:D

Ad{e}dB cBAG|(3ABc GF EF G2|Ad{e}dB cBAG|(3ABc GE ED D2:|

FEFG ABcA|d2 dc AGFD|FEFG ABcA|d2 cA G2 AG|FEFG ABcA|

d2 dc AB c2|(3ded cA G2 FG|(3ABc Bd cAGE||

           

CASEY'S FIDDLE [1]. Irish?, Jig. D Major. Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 55, pg. 17.

X:1

T:Casay’s Fiddle [1]

M:6/8

L:1/8

R:Jig

S:Harding’s All-Round Collection, No. 55  (1905)

Z:AK/Fiddler’s Companion

K:D

d|cAA AGA|cAA A2d|cAA AGA|FDD D2d|cAA AGA|cAA A2D|G2G ABA|FDD D2:|

|:e|f2z g2z|afd cBA|f2z g2z|afd d2(f/g/)|agf gfe|f2d cAF|G2G ABG|FDD D2:|

 

CASEY’S FIDDLE [2]. Irish, Reel. Outlet SOLP 1044, Josephine Keegan - “Irish Traditional Music.”

           


CASEY'S HORNPIPE. Old‑Time, Breakdown. USA; Missouri, Nebraska. B Flat Major. Standard tuning. AABB. The tune was recorded by northwest Missouri fiddler Cyril Stinnett (1912-1986). Source for notated versions: Bob Walters (Burt County, Neb.) [Christeson, Phillips]. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 37. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 185. Missouri State Old Time Fiddlers' Association, Cyril Stinnett - "Plain Old Time Fiddling."

           

CASEY’S JIG.  See titles “Con Casey’s Jig” and “Bobby Casey’s Jig [1].”

 

CASEY'S OLD-TIME WALTZ. Old‑Time, Waltz. USA, Missouri. C Major (Christeson): E Flat Major (Phillips). Standard tuning. AABB (Christeson): AA'AA"BB'CC'DD (Phillips). Sources for notated versions: Charlie Walden (Mo.) [Christeson]; Vivian Williams (Seattle) [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 147. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 244.

           

CASEY’S PIG. AKA and see “Boston O’Connor,” “The Duke of Gordon’s Birthday.” Irish, Highland. Ireland, County Donegal. A popular and well-known highland in County Donegal. It originally was the Scottish strathspey “The Duke of Gordon’s Birthday,” reworked as a highland. The tune was recorded in 1932 by Nova Scotia fiddler Colin Boyd, a 78 RPM record that had wide distribution in Ireland and was highly regarded, according to Caoimhin Mac Aoidh. Philippe Varlet notes that Boyd waxed his record in New York in February, 1932, and that it was, along with two others of Boyd’s, issued in Columbia’s Irish series. The "Casey's Pig" record was reissued in England and Ireland by Regal Zonophone (EMI). Columbia 33520-F (78 RPM), (Nova Scotia fiddler) Colin Boyd (1932). Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002. Learned from his father, Jim Conway).

X:1

T:Casey's Pig

S:Paul O'Shaughnessy \& Paul McGrattan

D:Within a Mile of Dublin

R:Highland

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

L:1/8

M:4/4

K:G

G2GD EDGB|(3cBA gB A2AB|GAGD EDGD|(3EFG DC B,G, G,D::\

gabg d2df|gabg e2ef|(3gab (3efg dgBG|AGAB G2G2:

X:2

T:Casey's Pig

S:Colin Boyd, Columbia 33520-F, 1932

R:Highland

Z:Philippe Varlet

L:1/8

M:4/4

K:G

DGGD EDGB|dBgB A2AB|DGGD EDGD|(3EFG DB, G,2G,B,:||

gabg d2df|gabg e2ef|gbeg dgBG|1 AGAB G2Gf:|2 AGAB G2GE||

                       

CASEY’S REEL. AKA and see “The Tempest [5].” Na Connery’s – “The Session.”

                       

CASEY’S (WALTZ).  Irish, Waltz. G Major. Standard tuning. AABBCCDDEEFF. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 106, pg. 25.

 

CASHEL JIG, THE. Irish, Jig. G Major. Standard tuning. AABB. Cashel is an Irish word derived from the Latin castellum, ‘little fort’, which the Britons had picked up from the Romans and used in Wales in the form of castel. In the late Roman period the Welsh coast was fortified against Irish raiders, who picked up the work in the course of their adventures (Matthews, 1972). Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 18, pg. 68.

                       

CASHEL OF MUNSTER. AKA and see "The Soft Deal Board."

                       

CASHMERE SHAWL, THE (An Filleog Casmear). AKA and see "The Hut in the Bog." Irish, Scottish; Reel. A Dorian (O’Neill): A Minor (Kerr). Standard tuning. AAB (O’Neill): AA’BB’ (Kerr). Breathnach prints a three part version of the tune from accordion player Sonny Brogan under the title “The Hut in the Bog.” Source for notated version: Chicago fiddler James Kennedy who had the tune from his father, a celebrated local fiddler from Ballinamore, County Leitrim [O’Neill]. Kerr (Merry Melodies), vol. 4; No. 142, pg. 17. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 599, pg. 109.

X:1

T:Cashmere Shawl, The

L:1/8

M:C|

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 599

Z:AK/Fiddler’s Companion

K:A Minor

BG|A2 AB AGED|EGAB {d}c2BG|AcBG AGEa|gedB {d}c2:|

cd|ecgc eccg|ecge d2 cd|ecgc eccg|a^fge d2 cd|

ecgc eccg|dcge d2 cd|e^f g2 ea a2|gedB {d}c2||

 

CASKS OF BRANDY.  AKA and see “Long Room of Scarborough.”

           

CASOG AN LOINGSEOIR. AKA and see "The Sailor's Jacket."

           

CASOG AN MAIRNEALAIG. AKA and see "The Mariner's Frock."

           

CASOG AN SITMAOIR. AKA and see "The Peeler's Jacket."

           

CASOG BRREID MIC SEOIN. AKA and see "Jackson's Frieze Coat."

           

CASOG GLAS, AN. AKA and see "The Green Jacket."

           

CASSAC. English (?), Country Dance Tune (2/4 time). G Major. Standard tuning. AABBCC. McGlashan (Collection of Scots Measures), c. 1780; pg. 21.

X:1

T:Cassac

L:1/8

M:2/4

B:McGlashan – Collection of Scots Measures  (c. 1780)

Z:AK/Fiddler’s Companion

K:G

G/A/B/c/ dd|de/d/ c/B/A/G/|G/A/B/c/ dd|dg G2::Bc dc/B/|AB dB/A/|B/d/B/G/ A/c/A/F/|

GG G2::A/D/A/D/ B/D/B/D/|A/D/A/D/ c2| B/d/B/G/ A/c/A/F/|GG G2|

A/D/A/D/ B/D/B/D/|A/D/A/D/ c2| B/d/B/G/ A/c/A/F/|GG G2:|

 

CASSE PAS MA TETE (Don't Nag Me). AKA - "Aie ye yaille, Adea, Cogne P'us su' ma Tete" (Oh It Hurts, Adea, Quit Thumping on My Head). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. AABB(Vocal)AABB(Vocal)AABB. Raymond Francois (1990) translates the title as "Don't Nag Me", noting the phrase is used locally to mean stop nagging or constantly worrying someone about a particular thing. The alternate title is from Dewey Balfa who said the tune was "an old song that I learned from my daddy who learned it from his grandparents" (quoted in Francois, 1990). Source for notated version: Dewey Balfa (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 63-64. Swallow Records SW-LP6020, Dewey Balfa.

           

CASSE-REEL D’IDAS BOUDREAULT, LE.  French-Canadian, Jig. Perhaps a version of the Irish slip jig “The Foxhunter’s.” 30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998). Thirty Below TB-113CD, Louis Boudreault.

                       


CASSINE SPECIAL, LA. Cajun, Reel. A Major. Standard tuning. AA'BB'. Source for notated version: Tracy Schwarz [Reiner]. Reiner (Anthology of Fiddle Styles), 1979; pg. 63.

           

CASSINO. AKA and see "Hickity Crackity," "Baltimore [1]," "Cacina," "Cacinameronian's Rant," "French March [2]" (Murphy), "Cotillon" (Greenwood), "Cottillion Oats Peas Beans." English, American; March or Country Dance Tune (6/8 time). Van Cleef and Keller (1980) report the tune (which will be recognizable as the melody to the singing game "Oats, peas, beans and barley, oh!") was very popular in the late 18th and early 19th centuries in England and America, though it appears to have been French in origin. The melody appears in Button & Whittaker, 1804‑5 (Button and Whittaker's Pocket Collection of Favorite Marches); pg. 58. In America, it was copied by Cushing Eells (Norwich, Connecticut) into his German flute MS of 1789. Later American sources give the title as "Baltimore," and in Pennsylvania as "Hickity Crackity."

           

CAST A BELL. AKA and see “Birks of Abergeldie.” English, Country Dance. A longways dance tune from John Playford’s English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 40 (facsimile reprint of the Playford original).

           

CASTELL ABERYSTWYTH (Aberystwyth Castle). Welsh, Country Dance Tune (4/4 time). F Major. Standard tuning. AAB. Composed by John Parry (Bardd Alaw), the composer of "Cader Idris" and other airs. The name Aberystwyth comes from the Welsh or Brittonic prefix ‘Aber-‘ or mouth- and the Welsh river name Ystwith, meaning winding, for ‘mouth of the winding river’ (Matthews, 1972). Mellor (Welsh Dance Tunes), 1935; pg. 18.

           

CASTLE, THE.  See “Carty’s Reel.”

 

CASTLE [2], THE.  Irish, Jig. A three part jig from east Clare fiddlers (father and son) P.J. and Martin Hayes, although the tune is better known as “The Basket of Turf.” Ice Nine Productions ICE 003, P.J. & Martin Hayes – “The Shores of Lough Graney.”

 

CASTLE BARR.  English, Jig. F Major. Standard tuning. ABC. A delightful English-sounding jig. The melody also appears in a manuscript copybook of Thomas Hammersley, c. 1790 (in the British Library). Castle Barr = Castlebar, Ireland? Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 32.

X:1

T:Castle Barr

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:F

F2c (A/B/c)A | GEG B2G | (A/B/c)B AGF | ECE F2 || c | f2f (f/g/a)f | gec f2f |

(d/e/f)d cBA | GEG B2d | cAF B2d | cAF B2d | cAF B2d | cAF (G/A/B)G | ECE F2 ||

c | fed cBA | fed cBA | fed cBA | GEG B2d | fed cBA | Bcd efg |

fed cBA | GEG B2c | dcd ede | fef cAF | BAG ECE | F6 ||

 

CASTLE BRAY. Irish, Highland. A Major. Standard tuning. AB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 121, pg. 135.

X: 1

T:Castle Bray

R:Highland

C:Ed Reavy

M:4/4

L:1/8

Z:Joe Reavy

N:Ed didn't write many highlands, but the ones he wrote are

N:superb compositions.  And this is the best of those highlands

K:A

A2 (3Bcd edcA | A,B,=CE DB,=G,B, | A,2 (3B,=CD ED^CD |

EAce dB=GB | A2 (3Bcd edcA | A,B,=CE DB,=G,B, | A,B,=CD EA^ce|

dB=GB A2 Ad | ceac dcBA | GABa gedB | ceac dcBA | GABd cAAB |

ceac dcBA | GABc d2 fg | (3aba (3gag (3fgf ec | dfec Aaga :||

           

CASTLE CAMPBELL. Scottish, Reel. C Major. Standard tuning. AB. The tower house of the structure, in Argyll, dates to the late 15th century. Originally called Castle Gloom, the name was changed in 1489 to Castle Campbell, and a few years later, around 1500, the structure was enlarged. Burned in 1654, the castle ceased to be used as a residence, but remains to the present as a picturesque ruin.  In 1948 Castle Campbell was received by Historic Scotland, which maintains the property. Gow (Complete Repository), Part 4, 1817; pg. 33.

X:1

T:Castle Campbell

M:C|

L:1/8

R:Reel

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:C

f|ec c2 Gc c2|ECGE cGEC|fd (d>^c/4d/4) Ad (d>^c/4d/4)|FDAF dAFD|ec c2 Gc c2|

ECGE cGEC|egec dfdB|cCEG c2C||f|e>g (g>^f/4g/4) c>g (g>^f/4g/4)|ecfd gece|

fa a2 da a2|fdge afdf|eg (g>^f/4g/4) c>g (g>^f/4g/4)|ecfd gecf|egec dgdB|cCEG c2C||

           

CASTLE COSTELLO. Irish, Air (3/4 time). D Major/Mixolydian. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 838, pg. 209.

X:1

T:Castle Costello

M:3/4

L:1/8

S:Standford/Petrie (1905), No. 838

Z:AK/Fiddler’s Companion

K:D

A | d2e2f2 | A2A2 Ad | f2 gfed | {d}c2A2 AB/c/ | d3 efe | d2 DEFG |

A3 BAG | A4 || DE | FE FG AB | =c2 A2 Ad | f2 fe/d/ ed/c/ |

d>c A2 AB/c/ | dc de fe | dc AG FG | A3 BAG | A4 ||

           

CASTLE DALY. Irish, Reel. D Major. Standard tuning. AB. There are Castle Dalys in Armagh, Galway and Westmeath. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 8, pg. 4.

X:1

T:Castle Daly

M:C

L:1/8

R:Reel

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

dB | A2 FA BGGB | A2 FA B2 EB | A2 FA BABc | dBAG F2 DB |

A2 FA BGGB | A2 FA B2 EB | A2 FA BABc | dBAG F2D2 ||

dAFA dAFA | gefd c2 ee | dAFA BABc | dBAG F2 DA |

dAFA dAFA | gefd c2 eA | cfaf dgbg | fgeg fddB ||

                       

CASTLE DONOVAN [1] (Caislean Ui Donnabain). Irish, Double Jig. G Major. Standard tuning. AABB. See also “Kitty Come Over.” O'Neill (Krassen), 1976; pg. 20. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 727, pg. 135. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 26, pg. 21.

X:1

T:Castle Donovan [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 26

Z:AK/Fiddler’s Companion

K:G

G/A/|~B3 ABA|GAG GBd|edd gdB|BAG Adc|BcB ABA|GAG GBd|edd gdB|cAF G2:|

|:d|gfg efg|fag fed|gfg efg|afd d2c|BcB ABA|GAG GBd|edd gdB|cAF G2:|

 

CASTLE DONOVAN [2]. AKA and see "Blessin(g)ton Maid," "Maid of Blessington." Irish, Air (3/4 time). G Minor. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 24, pg. 21. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 473, pg. 83.

X:1

T:Castle Donovan [2]

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 473

Z:AK/Fiddler’s Companion

K:Gmin

G>F|D2G2 G>A|B2 cB G>A|B2c2 (3d=e^f|g4 a>g|f2d2 cA|B2A2G2|(F6|F4) GF|

D2G2 GA|B2 cB GA|B2c2 (3d=e^f|g4 ag|f2d2c2|B2G2 {B}A2|G6|G2 z2||

Bc|d2g2 af |g2d2 dc|B2c2 d=e|f4 dc|B2G2 GA|B3 cdc|B2G2G2|F4 DC|

D2G2A2|B2 cB G>A|B2c2 (3d=e^f|g4 a>g|f2d2c2|B2G2 {B}A2|G6|G2z2||

                       

CASTLE FINN. Irish, Air (3/4 time). G Mixolydian. Standard tuning. One part. "A little town in (east) Donegal" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 602, pg. 311‑312.

                       

CASTLE FORBES. Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by Alexander Walker. Castle Forbes, overlooking the river Don in the northeast of Scotland,  was commisioned in 1815 by the 18th Lord Forbes and was designed and built in the Georgian style by the famous architect John Smith. It is still occupied by the Forbes family.

***

Castle Forbes.

***

Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 134, pg. 46.

                       

CASTLE GARDEN (HORNPIPE). American, Hornpipe. D Major. Standard tuning. AABB. Castle Garden began as one of the forts built to defend New York harbor at the time of the War of 1812. In 1817 the name was changed to honor DeWitt Clinton, Mayor of New York, but in just a few years the fort (Fort Clinton), situated at the tip of Manhattan Island (“The Battery”), ceased to have any defensive purpose and it was leased to the city in 1823. A restaurant and entertainment center opened at the site, renamed again as Castle Garden, and later an opera house and theatre were added. It was there that P.T. Barnum, the great showman, arranged the American debut performance of ‘The Swedish Nightingale’, Jenny Lind in May, 1850. As an entertainment center it had passed its hey-day by that time, however, and was supplanted by the numerous uptown attractions in a rapidly expanding New York city. In 1855 Castle Garden became an immigrant landing depot, serving as the main entryway to the United States for European immigration for the next 34 years. In all, over 8 million people entered the country through Castle Garden. Howe (1000 Jigs and Reels), c. 1867; pg. 56.

X:1

T:Castle Garden

M:2/4

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:D

F/G/ | A/d/c/d/ F/A/G/A/ | D/F/E/G/ DE/F/ | G/F/G/A/ B/F/G/A/ | E/^D/E/F/ EF/G/ |

A/d/c/d/ F/A/G/A/ | D/F/E/G/ DE/F/ | G/F/A/G/ B/G/E/C/ | DD D :: c/d/ |

e/^d/f/e/ g/f/a/g/ | d/c/e/d/ f/d/a/g/ | f/a/^g/a/ d/f/e/f/ | e/a/g/b/ ac/d/ |

e/d/f/e/ g/f/a/g/ | d/c/e/d/ f/d/a/g/ | f/a/d/f/ e/g/c/e/ | d/A/F/A/ d :|

                       


CASTLE GARDEN (JIG). American, Jig. G Major. Standard tuning. AABB. One of several tunes attributed to Harry Carleton in Ryan’s Mammoth Collection, about whom little is known. Cole (1000 Fiddle Tunes), 1940; pg. 69. Ryan’s Mammoth Collection, 1883; pg. 101. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

X:1

T:Castle Garden

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | GFG AFD | GFG Bcd | efg dBG | ABG FED | GFG AFD |

GFG Bcd | efg dBG | AGG G2 :: d | gfg dBG | gfg ecA | Bdg gfg |

Abg fed | gfg dBG | gfg ecA | Bdg dBG | AGG G2 :|

           

CASTLE GATE.  English, Jig (9/8 time). D Major. Standard tuning. AABB. The melody appears in the 1823 music manuscript collection of H.S.J. Jackson (Wyresdale, Lancashire). Callaghan (Hardcore English), 2007; pg. 80.

           

CASTLE GORDON.  Scottish, March (4/4 time). A Major. Standard tuning. AAB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore Collection), 1904; pgs. 32-33.

X:1

T:Castle Gordon

M:C

L:1/8

R:Quickstep

C:J. Scott Skinner

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

KA

.e/.d/ ({d}c)B/c/ .A/.A/.A ({A}a)g/a/ ({a}f)e | de/d/ cB/A/ G/A/B/c/ B/f/e/d/ | ({d}c)B/c/ .A/.A/.A ({A}a)g/a/ ({g/a/}f)e |

de/d/ ({d}c)B/A/ ({c}B/)A/B/c/ A :| e | ag/a/ .A/.A/.A ({A}a)g/a/ ({g}.f.e | de/d/ cB/A/ B/A/B/c/ B/e/f/g/ |

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

 

CASTLE GRANT [1]. Scottish, Country Dance (4/4 time). The air appears in the Bodleian Manuscript, residing in the Bodleian Library, Oxford. It is inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740."

 

CASTLE GRANT [2]. Scottish, Strathspey. D Major. Standard tuning. AB. Castle Grant is the seat in Strathspey of the Clan Grant (whose name perhaps derives from the Norman-French grand, meaning ‘great’), a mile north Grantown in Speyside, who first occupied it in 1693. The story goes that it was wrested from the powerful Comyn family by an alliance of Grants with Clan MacGregor, in reprisal for attacks made by the Comyns on the Grants, and it is said the skull of the Comyn Chief is held a Castle Grant to this day. The structure was originally an L-shaped tower, and housed, along with the living clan members, the ghost of Lady Barbara Grant, a daughter of a 16th century laird, who died while locked in a cupboard because she fell in love with someone deemed unsuitable by her father. Castle Grant was completely rebuilt in 1765 by John Adams at the behest of Sir Ludovic Grant, with the new structure completely enveloping the old. Vacant in modern times, it has recently been sold for renovations.

***

Castle Grant

***

McGlashan (A Collection of Reels), c. 1786; pg. 8.

X:1

T:Castle Grant – a Strathspey

M:C

L:1/8

R:Strathspey

S:McGlashan – Reels  (c. 1786)

Z:AK/Fiddler’s Companion

K:D

F|D>AAB/c/ d>BA>F|D>AAB/c/ d>FD>F|E>ee>f g>ef>d|B>eea/g/ f>ed>f|

D>AAB/c/ d>B A/B/A/F/|D>AAB/c/ d>F D>g|a>fg>e f>de>c|d/c/B/A/ B/c/d/A/ F>E D||

f|d/e/f/g/ a>b a>fd>f|d/e/f/g/ a>b a>fd>f|Bee>f g>ef>d|Beea/g/ f>ed>f|

d/e/f/g/ a>b a>fd>f|d/e/f/g/ a>b a>fd>f|g>bf>a e>fd>A|B/A/B/c/ d/c/B/A/ F>E D||

 

CASTLE GRANT [3].  Scottish, Pipe Quickstep (4/4 time). A Mixolydian. Standard tuning. AABB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1927; pg. 44.

X:1

T:Castle Grant [3]

M:C

L:1/8

R:Pipe Quickstep

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:Amix

c | ({A/c/}B)A .A.c ({A/c/}B)A Ac | {B/c/}(BA)eA {A}”tr”(cB)Bc | ({B/c/}B)A Ac “tr”(BA Ae |

({f/a/}f)e cA {A/c/}(BA) A :: e | “tr”feaA “tr”fe.c.A | “tr”BA ({A}e)A “tr”(cB) Be |

“tr”fe aA “tr”fAeA | “tr”fe cA {A/c/}(BA) A :|

           

CASTLE HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABC. A 19th century tune composed by King Colbath (?). Paul Stewart Cranford says the tune was popularised among Cape Breton fiddlers as a result of the influential recordings of Winston Fitzgerald, and identifies Colbath as a 19th century New England bandleader. Cole (1000 Fiddle Tunes), 1940; pg. 111. Cranford, 1997 (Winston Fitzgerald); pg. 1. Ryan’s Mammoth Collection, 1883; pg. 149. Celtic CX 59, Winston Fitzgerald (appears in a medley with “Mrs. J. Walker” and “Sean Maguire’s Reel”, and was learned from Ryan’s/Cole’s). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Castle Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

E | C/E/A/E/ C/E/A/E/ | C/E/A/c/ e/c/A | (d/c/)B/c/ d/e/f/g/ | a/e/c/A/ {c}B/A/F/A/ |

C/E/A/e/ C/e/A/E/ | D/F/A/F/ D/F/A/F/ | E/G/B/G/ E/G/B/G/ | AAA :||

(c/d/) | e/d/c/d/ .e/(a/g/a/) | f/e/d/c/ .B(B/c/) | d/c/B/c/ .d/(f/^e/f/) | g/f/e/d/ .c(c/d/) |

.e/(a/g/a/) .f/(a/g/a/) | .e/(b/a/b/) .g/()b/a/b/) | .e/(c’/b/c’/) d’/e/f/g/ | aaa ||

(c/d/) | e/c/A/E/ C/E/A/c/ | f/d/B/G/ E(B/c/) | d/B/G/E/ B,/E/G/B/ | c/A/E/C/ A,(c/d/) |

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

           

CASTLE HYDE [1] (Ciuineas Na h-Oidce). Irish, Air (3/4 time, "tranquilly"). G Major. Standard tuning. ABC. A similar title is “Sweet Castle Hyde.” Roche Collection, 1982, vol. 3; No. 62, pg. 18.

 

CASTLE HYDE [2]. AKA and see "Let Others Breathe in Glowing Words." Irish, Air (3/4 time, "tenderly"). G Major. Standard tuning. AAB. O’Neill says a parody of this song is the similarly-metered  “Groves of Blarney” (Fitzsimon’s Irish Minstrelsy, 1814, even gives “Castle Hyde” to the tune of “Groves of Blarney”). Joyce (1909) found an entry in the Forde MSS indicating the song is sometimes sung to “Youghal Harbor,” and says his “Castle Hyde” is a variation on the “Youghal” tune. Source for notated version: the air was learned by O’Neill from the singing of his father in Bantry, west Cork [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 229, pg. 40.

X:1

T:Castle Hyde [2]

M:3/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 229

Z:AK/Fiddler’s Companion

K:G

B A>G|G2 Bdef|g3 edB|A2 GBAG|E3 BAG|G2 Bde>f|g3 edc|B2 G>BA>G|G3:|

||d d>B|g3 fed|e>d BB dB|g3 fed|e3 def|gagf e^d|e>f g>edB|A2 G>BA>G| G3||

 

CASTLE HYDE [3]. See "Castlehyde" (Song Tune).

                       

CASTLE IN THE GLEN. See "Caisteal a Ghlinnea."

                       

CASTLE ISLAND. Irish, Reel. D Major. Standard tuning. AAB (O'Neill {Krassen}): AA'B (O'Neill {1850}). Castleisland is a market town in County Kerry, which takes its name from a castle that formerly stood on the spot. “The Castle of the Island of Kerry” was built in 1226 and stood for some 400 years before being destroyed around the year 1600. There are spectacular limestone cave systems near and under the Castleisland area, running for over two miles. Source for notated version: Dillon [O’Neill]. O'Neill (Krassen), 1976; pg. 133. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1409, pg. 262.

X:1

T:Castle Island

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1409

Z:AK/Fiddler’s Companion

K:D

F>A (3.A.A.A dcAc | dcAc dcAG | F>A (3.A.A.A dcAc |1 defe dcAG :|2

dgfe d2d2 || fa ~a2 geeg | fddf ecAc | fa ~a2 geeg | fded cA Az |

affa geeg | fddc defg | afge fdec | defe dcAG || 

                       

CASTLE JIG [1]. AKA and see “Kerrigan’s Jig,” “The Kesh Jig [1],” "The Kincora Jig," “The Mountaineers’ March,” “Tear the Callies.” Irish, Jig. G Major. Standard tuning. AABB. Sources for notated versions: fiddler Brendan Mulvihill (Washington, D.C.) [Mulvihill]; session at the Regent Hotel, Leeds, England [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 56. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 2, No. 66. Mulvihill (1st Collection), 1986; No. 20, pg. 68. Comhaltas Ceoltoiri Éireann No. C18, "From the Homes of Ireland."

 

CASTLE JIG [2]. AKA and see “O’Connell’s Welcome to Dublin,” “Sean Ryan’s Jig [1].” Irish, Double Jig. A Dorian (most versions): E Dorian (Harker/Rafferty): B Minor (O’Malley). Standard tuning. AABB. Composed by Tipperary fiddle player Sean Ryan (d. 1985). It is often played in a set with another Ryan composition, “The Nightingale,” and together they are called “Sean Ryan’s Jigs,” though “Sean Ryan’s Jig” has also been used as an alternate for both tunes separately. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]; Sean Ryan [O’Malley]. Breathnach (CRÉ II), 1976; No. 35. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 55. Flaherty (Trip to Sligo), 1990; No. 69. Harker (300 Tunes from Mike Rafferty), 2005; No. 201, pg. 62. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 87, pg. 44. Ryan (The Hidden Ireland), No. 10.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Castle Jig [2]

T:Sean Ryan’s Jig

M:6/8

L:1/8

C:Sean Ryan

K:Ador

|:cBA BAG|AGE DB,G,|~A,3 EDB,|DEG AGE|c2A B/c/dB|

AGE DB,G,|~A,3 ~E3|DB,G, A,2B::cBA ~a3|bag edB|

GBd ~g3|GBd cBA|cBc d^cd|ede gab|age dBG|EFG A2B:|

                       


CASTLE KELLY (Caisleán Ui Cheallaigh). AKA and see "Cumar na Cathrach." Irish, Reel. A Minor (Carlin, Heymann, Johnson): A Dorian (Breathnach, Flaherty, Harker/Rafferty, Joyce, Mulvihill). Standard tuning. AB (Flaherty): ABB (Breathach, Johnson): AAB (Joyce): AABB (Heymann, Miller): AABB’ (Mulvihill): AA’BB’ (Harker/Rafferty). There are numerous Castle Kelly’s to which this title may refer. One is near Tallaght, County Dublin. Other castles built by the O’Kelly’s (according to “The Tribes and Customs of Hy-Many, commonly called O’Kelly’s Country”, author unknown) are in Moate, near Roscommon; Galy, on the borders of the Shannon, near Knockcroghery; Athleague, Corbeg and Skryne, in the County of Roscommon, and Garbally, Aughrim, Gallagh, Mullaghmore, Moy-lough, and Aghrane, now Castle Kelly in the county of Galway (the latter is where O’Carolan composed his air “Mabel Kelly”). In fact, at one point in their history  the O’Kelly’s had as many as eighty castles in their territory. As “The Darkhaired Maid” the melody was recorded by Bobby Gardiner in 1970, and Paddy Glackin had a slow setting of the tune when he was with the Bothy Band (which he later recorded on a solo album). Philippe Varlet finds the earliest recording of the tune by the Lough Gill Quartet, in 1941. Sources for notated versions: from Mr. M. Flanagan (c. 1885) of the Hibernian Military School, Phoenix Park, Dublin, "a good player of the Union pipes. Mr. Flanagan picked them up in North Kildare" (Ireland) [Joyce]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; fiddler Fred Finn (1919-1986, Kiltycreen, Kilavil, County Sligo, Ireland) [Flaherty]; Gus Collins (Bronx, NY) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 108, pg. 45. Carlin (Master Collection), 1984; pg. 131, No. 225. Flaherty (Trip to Sligo), 1990; pg. 78. Harker (300 Tunes from Mike Rafferty), 2005; No. 66, pg. 21. Heymann (Off the Record), 1990; pg. 29. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 16. Joyce (Old Irish Folk Music and Song), 1909; No. 359, pg. 165. Miller (Fiddler’s Throne), 2004; No. 134, pg. 88. Mulvihill (1st Collection), 1986; No. 181, pg. 49 (appears as “Kelly’s Castle”). Peoples (Fifty Irish Fiddle Tunes), 1986; 40. Roche (Collection of Irish Airs, Marches and Dance Tunes, III); No. 75. Clairseach Records 8979, Ann Heymann – “Let Erin Remember” (1979). EMI Records ISRM 006, Tulla Ceili Band – “Dance Tunes” (1990).  Green Linnet SIF 1075, John Whelan & Eileen Ivers - "Fresh Takes" (1987). Topic 12TS294, “Pat Mitchell Uilleann Pipes” (1976). Paddy Glackin & Paddy Keenan - “Doublin’”. Chieftains – “Water from the Well.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Castle Kelly

M:C

L:1/8

K:A Dorian

A2 cA (A/B/ A) cA|GEDE G2 EG|A2 cA GAcd|egde cAAG
A3 cA (A/B/ A) cA|GEDE G2 EG|~A cA GAcd|egde cA A2:|

|:agec d2 ed|cAGE G4|agec d2 cd|eaag a2 ba|agec d2 ed|cAGE G2 EG|

~A cA GAcd|egde cA A2:|

X:2

T:Castle Kelly

M:C

L:1/8

S:Mike Rafferty

Z:Lesl Harker

K:Ador
|:A2BA A2BA|GBEG ~G2EG|AzBA GABd|egdB BAGE|
A2BA AzBA|GBEG ~G2EG|AzBA GABd|1 egdB BAGE:|2 egdB BAa2||
age^c d2ed|cAGE g~g2z|age^c dz(3B^cd|eaag a~a2b|
age^c d2ed|cAGE GGEG|AzBA GABd|egdB BAaz||
age^c d2ed|cAGE G~G2z|age^c dz(3B^cd|eaag a~a2b|
age^c d2ed|cAGE GGEG|AzBA GABd|egdB BAA2||

X:3

T:Castle Kelly
R:reel
M:4/4
L:1/8

Z:Philippe Varlet
K:C
A2{d}cA AB{d}cA | GE~E2 GDEG | A2{d}cA GAcd | ecdB {d}cAAG |
A2{d}cA AB{d}cA | GcEG {A}GDEG | A/B/A cA GAcd |1 eged cABc :|
2 eged cAA2 ||
agec d2 ed | cAGE ~G3 z | agec decd | ea{b}ag a2ba |
gedc dfed | cAGE GDEG | A/B/A cA GAcd |1 ecdB {d}cAA2:|2 eged cABc ||

                                   

CASTLE NEWE. Scottish, Strathspey. A Major. Standard tuning (or ADae, al la Allie Bennett). AAB. Composed by Alexander Walker, a composer and fiddler who was employed as a gardener at Castle Newe, home of Sir Charles Forbes. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 3, pg. 2. Allie Bennett – “Its About Time” (2004).

                       

CASTLE OF DROMORE, THE. AKA and see “My Wife is Sick and Like to Die, Oh Dear What Shall I Do,” “October Winds.” Scottish, Irish; Air (6/8 time, "with feeling"). D Major. Standard tuning. AB.  The words below are from an 18th century song, rewritten by Sir Harold Boulton (1859-1935), an English baronet who arranged and edited several song collections and adapted some Irish and Scotch folk songs (see also "Skye boat song"). Boulton also wrote “The Loch Tay Boat Song.”

***

October winds lament around the castle of Dromore.

Yet peace is in its lofty halls, a phaisde ban a stor,

Though autumn winds may droop and die, a bud of spring are you,

(Sing hush-a-bye, lul, lul, lo, lan, sing hush-a-bye, lul, lul, loo. )

***

Bring no ill will to hinder us, my helpless babe and me,

Dread spirits of the Blackwater, Clann Eoghain's wild banshee;

And holy Mary pitying us in Heaven for grace doth sue.

***

Take time to thrive, my ray of hope, in the garden of Dromore;

Take heed, young eaglet, till thy wings are fairer fit to soar.

A little rest, and then the world is full of work to do.

***

The song was recorded by the Scottish group the Corries, and proved a popular version. Ted Hastings points out that the Scottish version refers to "Drumore,” near Campbeltown, in Argyll, while the Irish version refers to "Dromore,” located in Co. Down, only a few miles away across the Irish Sea. He suspects the names have a common origin. Graves (The Irish Song Book), 1895. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 52, pg. 9. Stanford/Petrie (Complete Collection), 1905; No. 509, pg. 129 (appears as “My Wife is Sick”). Claddagh CC11, Leo Rowsome – “The Drones and Chanters.” 

X:1

T:Castle of Dromore

T:October Winds

S:Clancy Bros. and Tommy Makem (both on "CB&TM" and "Hearty & Hellish")

Z:Jerome Colburn

M:6/4

L:1/4

K:C

E/F/ | "C"G2 G G2 G | "F"A2 G "C"G2\A/B/ | "F"c2 F "Am"E2-E/ F/ |

"C"G4 z\A/B/ | "Am"c2 C C2 C | "G"D2 C "C"CD\E | "F"F2 A "G7"G2 F |

"C"G4 z\A/B/ | "Am"cd c "G"Bc B | "F"A>B A "G"G2\F | "C"E2 G "G7"FE D |

 "C"C3 ||\"Am"E2 G | "G7"F>E D B,2 F | "C"E2 C "Am"E2 G |

"G7"F>E D B,2 B, | "C"C4 z |]**

           

CASTLE OF GOLD.  See “Caisleán an Óir.”

           

CASTLE OLIVER CHASE. Irish, Jig. F Major. Standard tuning. AB. "...marked as taken 'from A.P.'s MS. book'" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 735, pgs. 364‑365.

                       

CASTLE RAG HORNPIPE, THE. English, Hornpipe. England, Shropshire. F Major. Standard tuning. AABB. Similar to "The Cliff Hornpipe." Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 103a, pg. 41.

                       

CASTLE REEL [1], THE. AKA and see “Carty’s Reel,” “Christmas Eve [2],” "Tommy Coen's Reel." Irish, Reel. The tune is known by this title in County Clare. Source for notated version: accordion player John Ferguson [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 2.

                       

CASTLE REEL [2]. See “Dick Gossip’s Reel.”

           

CASTLE SPYNIE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by J. Scott Skinner. MacDonald (The Skye Collection), 1887; pg. 56.

X:1

T:Castle Spynie

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection   (1887)

Z:AK/Fiddler’s Companion

K:D

B|A>FG>E F<A d>e|f>ed>f e<E E>B|A>FG>E F<A (d>e)|f>de>c d2d:|

f/g/|a>f g>e f<a dc/d/|e>cd>B c<e Af/g/|a>fg>e f<d B>g|f>de>c (d2 d)f/g/|

a?fg?e f>a dc/d/|e>cd>B c<e Af/g/|(3agf (3edc (3B^c^d (3efg|(3fed (3edc d2d||

                       


CASTLE STREET JIG. AKA and see "Maid at the Well," "The Milkmaid [2]," "The Maids of Glenroe," "The Black Stripper," "The Kilkenny Jig," "Arthur McBride [1]."

                       

CASTLE STREET REEL, THE. AKA and see "Glastertown's Downfall," "The Deer's Horn(s)," "Caper Fey," "Caber/Cabair Féigh," "Padraig Réice."

                       

CASTLE STUART. Scottish, Country Dance Tune (4/4 time). The melody appears in the Bodleian Manuscript, residing in the Bodleian Library, Oxford. It is inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740."

                       

CASTLE TOWN HUNT. Irish, Jig. D Major. Standard tuning. AABBCCDD. The Castletown Hunt was an Anglo-Irish gentleman’s club in the 18th century. They were the subject of a pastel by Irish artist Robert Healy (1743-1771), after a commission in the late 1760’s of nine paintings from MP Tom Conolly, to be executed at his seat, Castletown, County Kildare. O’Farrell (Pocket Companion), c. 1805; pg. 6.

X:1

T:Castle Town Hunt

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

B | ABd dfa | dfa {c}B2A | ABd (f/g/)ad | (ed)e d2 :: e/f/ | gbg faf | efe edB |

gbg faf | (ed)B A2f | gbg faf | efe edB | ABd (f/g/)ad | ede d2 :: B | ABd fdd |

edd fdB | ABd (f/g/)ad | ede d2 :: e/f/ | g/a/bg f/g/af | efe edB | g(b/g/)(b/g/) f(a/f/)(a/f/) |

edB A2f | (g/a/)bg (f/g/)af | efe edB | ABd (f/g/)ad | ede d2 :|

                       

CASTLE URQUHART. AKA and see "Urquhart Castle."

                       

CASTLE VIEW. Irish, Jig. A Mixolydian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black. Black (Music’s the Very Best Thing), 1996; No. 105.

X:1

T: Castle View

C: © B. Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: Am

E | EcA B2 c | ded BAG | EcA Bcd | ecB A2 G |

EcA B2 c | ded cBA | GAB FAc | BGE A2 :|

e | ea^f g2 a | bag ^fed | ea^f gab | age a2 e |

eaa b2 a | g^fe cBA | GAB =FAc | BGE A2 :|

           

CASTLEBAR BOY, THE. AKA and see “Castlebar Jig,” “Castlebar Races,” “The Castlelan Races,” “The Mist on the Meadow,” “Morrison’s Fancy,” “The Rakes of Castlebar,” “The Thrush in the Straw [1],” “The Thrush in the Strand.” Irish, Jig. G Major. Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 64, pg. 78.

           

CASTLEBAR JIG, THE. AKA and see “The Black Hoe,” “The Castlebar Boy,” “Castlebar Races,” “The Castlelan Races,” “The Mist on the Meadow,” “Morrison’s Fancy,” “The Rakes of Castlebar,” “The Thrush in the Straw [1],” “The Thrush in the Strand.” Irish, Jig.

           

CASTLEBAR LASSES.  Irish, Jig. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 17, pg. 6.

 

CASTLEBAR RACES. AKA and see “The Black Hoe,” “Castlebar Jig,” “The Castlelan Races,” “The Mist on the Meadow,” “Morrison’s Fancy,” “The Rakes of Castlebar,” “The Thrush in the Straw [1],” “The Thrush in the Strand.” Irish, Double Jig. E Dorian. Standard tuning. AABB. “The Castlebar Races” was a derisive reference to the rapid withdraw of the British Army back to their barracks during one of the skirmishes on the march to take Sligo Town by the combined forces of the Irish and French under Humbert during the Irish Rebellion of 1798. The English forces, who greatly outnumbered their foes, took up position at Sion Hill just outside Castlebar and greeted Hubert with cannon fire as he approached. The general decided to regroup and to divide his troops, sending them left and right to attack the English flanks. In an inspired act of guerrilla warfare, the Irish drove a herd of cattle ahead of them causing confusion in the English ranks in the center, then capitalized upon by an effective bayonet charge by Irish and French forces causing the English to retreat down Staball Hill. Another attack occurred at Main Street Bridge which the English defended for some time with forces from the Longford and Kilkenny militias and a Scottish regiment called Frazier’s Fencibles, but eventually they too were routed and fled towards Tuam and Athone in the famous ‘races of Castlebar.’ The Irish/French victory has been described by Thomas Pakenham in The Year of Liberty as "one of the most ignominious defeats in British military history". Unfortunately, the combined French/Irish forces were eventually stopped and the defeated outside Colooney, just short of their goal. Today there is a monument at the site to Teeling, one of the Irish leaders of the force. General Humbert surrendered and he and his French troops were allowed to depart. His Irish allies were not treated as prisoners of war by the British, but rather as traitors and were harshly dealt with as such. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949.

X:1

T:Castlebar Races

M:6/8

L:1/8

R:Jig

S:Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:E Dorian

g/e/|dBA GBA|GAG Gge|dBA GBA|GBd ege|

dBA GBA|GAG GBd|gfe fdB|GBd e2:|

|:d|gfg bge|fdf afd|gfg bge|fed (3ege d|

gfg bge|fdf afd|gfe fdB|GBd e2:|

           

CASTLEBAR TRAVELLER, THE. AKA and see "Spence's Reel [1]," "The Showman's Reel," "The Reel of Bogie," "The West Gale," "The Yeoman's Reel," "The Laurel Bush," "The Humours of Loughrea," "Tuehey's Reel," "Lough Aisles Return," "The Gossan that beat his father." Irish, Reel. A Dorian. Standard tuning. AABB. The tune was recorded in 1927 as the last in a medley (along with “Dumore Lasses” and “Manchester Reel [3]”) by North Galway flute player Tom Morrison (1889-1958). Treoir. Rounder CD-1087, Tom Morrison – “From Galway to Dublin” (1992. Reissue of 1927 original).

X: 1

T: Castlebar Traveller

S: Treoir

M: 4/4

L: 1/8

Q: 350

R: reel

Z: Transcribed by Bill Black

K: Ador

a2 ag e2 dc | BG G2 BABd | eaag e2 dc | BAGA BA A2 |

eaag e2 dc | BG G2 BABd | edef g2 af | gedB BA A2 :|

eaag e2 dB | BG G2 BABd | eaag A2 ga | baga ba a2 |

abag eBdc | BG G2 BABd | edef gbaf | gedB BA A2 :|

           

CASTLEBLANEY BESOMS, THE. Irish, Air. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997).

           


CASTLEBLANEY PIPER, THE. Irish, Double Jig. D Major. Standard tuning. AABB’. Composed by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988). Castleblaney is in County Monaghan, where Reavy’s mother once resided with her family. The young Reavy would visit relatives in the area and remembered the region for its great pipers. Reavy (The Collected Compositions of Ed Reavy), No. 81, pg. 89.

X: 1

T:The Castleblaney Piper

R:jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:Ed said that this was a great place for pipers

N:in his day. Ed is not a great lover of the pipes,

N:but he had a special feeling for these great pipers

N:of his childhood days when he visited the Hamills

N:and family friends in County Monaghan.

K:D

A/2G/2 | FDF ABc | dfd AGF | GBG EFG | FDF GFE | FDF ABc |

dfd cde | faf gec | edc d2 :|| e || fed gfe | fed cAF | GBG FGA |

BGE E3 | f2 d g2 e | fed cde | faf gec | edc d2 e || fed gfe | fed cAF |

GBG FGA | BGE EFG | FDF ABc | dfd cde | faf gec | edc d2 ||

           

CASTLECOMER LASSES, THE. AKA and see "Down the Groves," "Erin's Groves," "The Gay Fellow's Favourite," "The Good Fluter," "The Green Fields of Erin [1]," “The Green Groves of Erin [1],” "The Groves of Erin," "The Heather Breeze," “The Low Highland,” "Mary in the Mall," "Miss Shaw's Reel," “Miss Stewart of Grantully [2],” “Padaí Bhilli na Rópaí’s Highland,” "The Queenstown Lasses."

           

CASTLECONNELL LASSES. Irish, Reel. D Major ('A' part) & B Minor ('B' part). Standard tuning. AB. Castleconnell is near the city of Limerick. It is mentioned in the memoirs of blind harper Arthur O’Neill (1734-1818), originally from County Tyrone, who as a young man first toured Ireland in the late 1750’s. “I met a Counsellor Macnamara, then Recorder of Limerick, who invited me to his house about five miles distant, called Castleconnell, where I was very well received. He had a house in Limerick in which was the skeleton of Brian Boru’s harp, and in consequence of the national esteem I held for its owner I new strung it and then tuned it. It was made of cedar. It was not strung for upwards of two hundred years before; which when done Counsellor Macnamara requested me to strap it around my neck and play it through that hospitable city, which I agreed to do, being then young and hearty and had no care, as at that period I was not very rebunxious among the women….I was followed by a procession of upwards of five hundred people, both gentle and simple, as they seemed to be every one imbibed with a national spirit when they heard it was the instrument that our celebrated Irish monarch played upon before he leathered the Danes at Clontarf out of poor Erin.” Source for notated version: From one of "two very old well‑written manuscripts lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 233, pg. 113.

X:1

T:Castleconnell Lasses

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

d2 fd a2 fd|d2 fd ecAc|d2 fd adfd|ecAc cBB2|d2 fd adfd|

d2 fd ecAc|defg agaf|ecAc cB B2||

fBdB f2 dB|ABcd ecAc|f2 dB fBdB|ecAc cB B2|

fBdB fBdB|ABcd ecAc|dcdB ceaf|ecAc cBB2||

                                   

CASTLEKELLY. See "Castle Kelly."

                       

CASTLEHYDE. Irish, Air (3/4 time). C Major (Joyce). Standard tuning. AB. "A collection of Irish Folk Songs would be incomplete without this celebrated composition. The words have been published already more than once: but there is no need for me to copy from anyone, inasmuch as I remember the song‑‑every word‑‑from my boyhood days, by hearing people sing it; for it was a general favorite. The song is commonly regarded as a type of the absurd English songs composed by some of the Irish peasant bards who knew English only imperfectly; and it certainly contains several ludicrous expressions. But passing by there, and looking on the song as a whole, it is well conceived and very spirited. The poet had a true conception of what a song should be, but had to express it imperfectly in what was to him a foreign language. Of all this every reader can judge for himself, as I give the song entire...In 'The Irish Minstrel' by R.A. Smith, the air given for this song is the same as 'The Groves of Blarney' (Moore's 'The Last Rose of Summer'); and another air for it is given in Stanford‑Petrie (No. 831), which is a version of my 'An Gadaighe Grana', given above (p. 11). I find by an entry in the Forde MS. that it was also sometimes sung to 'Youghal Harbour'. But in Limerick and Cork it was universally sung to the air I give here from memory‑‑and not hitherto printed‑‑which indeed I could hardly help learning, as it was constantly sung by the people all around me" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 395, pg. 203‑204.

           


CASTLELAN RACES. AKA and see “The Black Hoe,” “Castlebar Jig,” “Morrison’s Fancy,” “The Rakes of Castlebar,” “The Thrush in the Straw,” “The Thrush on the Strand.” Irish, Jig. The tune was recorded in New York under this title by County Sligo fiddler James Morrison on Okeh 21009 (78RPM).

           

CASTLEMAHON LASSES (Gearrchailí Chaisleáin Maí Tamhnach).  Irish, Reel. G Major. Standard tuning. AABB’. Composed by James McEnery (Castlemahon, County Limerick). Breathnach (CRÉ V), 1999; No. 123, pg. 63. Marcus Hernon & Padraic Coyne – “Feenish Legacy.”

 

CASTLERING. English, Morris Dance Tune (2/4 time). G Major. Standard tuning. AB,AB,AB,AAB. From the village of Lichfield, Staffordshire, England. Bacon (The Morris Ring), 1974; pg. 240. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 33, pg. 22.

           

CASTLES IN THE AIR. AKA and see "Wee Willie Winkie/Winkle." English, Scottish, Irish; Reel, Schottische or Slow Strathspey. A Major (Roche): G Major (Raven): E Flat Major (Hardie). Standard tuning. AB (Hardie, Kennedy): ABB (Roche): AABB (Cole). The tune is associated with the children's rhyme "Wee Willie Winkie/Winkle." James Dickie transformed the song into a slow strathspey, printed in Hardie's Beauties of the North. Source for notated version: James F. Dickie (Scotland) [Hardie]. Cole (1000 Fiddle Tunes), 1940; pg. 81 (mistakenly listed in the 'Jig' section). Hardie (Caledonian Companion), 1986; pg. 44 (strathspey version). Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 44, pg. 22. Raven (English Country Dance Tunes), 1984; pg. 176. Roche Collection, 1982; Vol. 3, pg. 47, No. 145. Ryan’s Mammoth Collection, 1883; pg. 114. Fretless Records 119, Rodney and Randy Miller‑‑"Castles in the Air."

X:1

T:Castles in the Air

M:C|

L:1/8

R:Reel

K:G

(3DEF | G2 GB D2 (3DEF | GFGA B2 BG | cBce dBAG | ABAG E2D2 |

G2 GB D2 (3DEF | GFGA B2 BG | cBce dBGA | BcBA G2 || (3Bcd |

e2 eg d2B2 | cBcd B2 GB | cBce dBAG | ABAG EcBA | G2 GB D2 (3DEF |

GFGA B2 BG | cBce dBGA | BcBA G2 ||

           

CASTLETON "GARLAND." English, North‑West Morris Tune (4/4 time). G Major. Standard tuning. AAB. A polka step tune. Wade (Mally’s North West Morris Book), 1988; pg. 5.

                       

CASTLETON WAKE. English, Jig. England, North‑West. A Major. Standard tuning. AABB. Knowles  (Northern Frisk), 1988; No. 26.

                       

CASTLETOWN CONNERS [1] (Baile-Caislean Uí Concobair). AKA – “Castletown Connors.” AKA and see “Condon’s Frolics,” “Digging for Gold,” “Paddy Carty’s Jig,” “The Thatcher,” “Walsh’s Jig [2].” Irish, Double Jig. E Dorian. Standard tuning. AABB. Named for a town in Limerick. O’Neill (Irish Folk Music) says the tune was “unpublished and new to us.” Sometimes the parts are reversed from the abc’s below. Sources for notated versions: John Carey, a native of Limerick [O’Neill]; Jim McElhone (County Derry) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 10, pg. 66. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 324, pg. 68. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 34. Mulligan LUN 207, Martin O’Connor – “The Connaughtman’s Rambles.” Kells Music 9502, Dervish – “Harmony Hill.” Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999).

X:1

T:Castletown Conners

M:6/8

L:1/8

K:Edor

BEF G2A|BAG FED|BEF G2A|B2A Bed|BEF G2A|BAG FEF|DFA dAF|EFE E2:|

|:A|Bee Bcd|ABG FED|GG AGA|B2A Bcd|Bee Bcd|ABG FEF|DFA dAF|EFE E2:|

 

CASTLETOWN CONNERS [2]. AKA and see “O’Carolan’s Fancy [2],” “Tommy Mulhaire’s Jig.” Irish, Jig. G Major. Standard tuning. AAB. Alan & John Kelly – “

X:1

T:Castletown Conners [2]

T:Tommy Mulhaire’s

M:6/8

L:1/8

R:Jig

K:G

F|EDE G2A|Bde dBd|edB GAB|~A3 AGF|EDE G2A|B2B dBd|edB GAB|AGF G2:||

B|ded def|gfe fdB|~A3 ABd|egf e2f|g2e fed|edB ~g3|edB GAB|AGF G2B|

ded def|g2a fdB|~A3 ABd|egf e2f|gfe fed|edB g2z|edB GAB|AGF G2||

           

CASUDH AN tSÚGAN ("Twisting the Hay Rope" or "The Twisting of the Rope"). AKA and see "The Twisting of the Rope."

 

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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.