The Fiddler’s Companion

© 1996-2010 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]

 

 

 

C B C REEL. Canadian, Reel. Canada, Cape Breton, Nova Scotia. F Major. Standard tuning. AABB'. CBC = Canadain Broadcasting Corporation. A modern reel composed by Cape Breton fiddler Natalie MacMaster and Tracey Dares. Fiddler Magazine, vol. 3, No. 2, Summer, 1996; pg. 10.

 

C B C’s GLEN AND CARL. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AA’BB. Composed by the late Inverness, Cape Breton, fiddler Jerry Holland (1955-2009). Glen and Carl (Karl) are Glenn Meisner and Karl Falkenham, who work in Hallifax. Cranford (Jerry Holland’s), 1995; No. 116, pg. 34. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1999). Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

                       

C D STRATHSPEY, THE.  Scottish, Strathspey. Composed by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to a lecturer at the University of Aberdeen named Charles Davidson. Henderson (Flowers of Scottish Melody), 1935.

 

C. K. SHARPE ESQ. FAVOURITE. Scottish, Air (6/8 time). G Major. Standard tuning. ABCD. Nigel Gatherer found the tune in a manuscript letter in the possession of the Perth Library. It dates from 1834 and was written by a former employee of Nathaniel Gow,  the famous musician, bandleader, composer and music publisher. The letterwriter was a musician who had either sustained a financial setback or was trying to raise money to publish some of his compositions or both. He evidently sent out letters to many potential patrons asking for "...any mark of favor from your charitable goodness to inable me to publish the Book...any small sum you may please to give for these airs will be gratefully received..." The letter in the library was written to Charles K. Sharpe and contained two tunes, airs named "C K Sharpe's Favourite" and "Miss Sharpe's Delight".

X:1

T:C K Sharpe Esq Favourite

C:A Pirie

S:MS, Atholl Collection, Perth

Z:Nigel Gatherer

M:6/8

L:1/8

K:G

(3B/c/^c/|d2 B g2 D|b2 g gfg|afd def|gdB GBc|d2 B g2 d|

b2 g gfg|afd def|a3 g2||z|B2 c d2 e|d2 g b2 g|f2 e a2 g|

fge d2 c|B2 c d2 e|d2 g b2 g|fea def a3 g2||B|[G3B3e2] [B3^d3f3]|

g2 g gfe|^d2 b b2 a|agf e2 B|e3 B3|c2 A F2 c|b3 B^c^d|

e3 e2||(3B/c/^c/|d2 B g2 D|b2 g gfg|afd def|

gdB GBc|d2 B g2 d|b2 g gfg|afd def|a3 g2|]

                       

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

 

C. N. E. BREAKDOWN. Canadian, Breakdown. A Major (‘A’ part) & E Major (‘B’ part). Standard tuning. AABB. Composed by Ontario fiddler Ward Allen, who won numerous contests in the 1950’s and who carved out a successful career as a radio fiddler. GRT Records SP 203, “Ward Allen Presents Maple Leaf Hoedown, Vol. 1” (reissue). GRT Records 9230-1031, “The Best of Ward Allen” (1973).

X:1

T:C.N.E. Breakdown

C:Ward Allen

R:Breakdown

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:A

A2|CEAE FAEA|cAeA ceAc|GBeB ceBe|gebe gbge|

CEAE FAEA|cAeA ceAc|eagf edcB|A2c2 A2:|

K:E

c2|B4 -BcBA|GBef g2fg|a4 -agfa|gfeg fe^dc|

B4 -BcBA|GBef g2fg|a2fa bf^df|e2g2 e2:|

 

C T’S A MONKEY.  English, Country Dance Tune (cut time). G Minor. Standard. AB. Geoghegan gives the alternate title “Sleg’s Hornpipe.” Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 31.

X:1

T:C t’s a Monkey or Sleg’s Hornpipe

M:C|

L:1/8

R:Country Dance Tune

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

Z:AK/Fiddler’s Companion

K:G Minor

g4 (ba)(gf) | gedc fdcB | ecBA dBAG | gdc=B cbag | acBA Bag f | gBcB Agfe |

fABA Gced | cBAG G2^F2 || de f2 =Bc d2 | Gfed ed c2 | cd e2 AB c2 | Fedc BA B2 |

dBGE DBcd | e2c4B2 | cBAG FGAB | d2 B4 (g/a/b) | a2 c4BA | Bd g4 fe | dBAG D2E2 | G6 ||

 

CA b-FUAIR TU I? AKA and see "Where Did You Find Her?"

 

CA' HAWKIE (THROUGH THE WATER). AKA and see "Drive Hakky," "Lord Elphinston(e’s)." Scottish, English; Strathspey, Reel and/or Air (2/4 time). England, Northumberland. B Flat Major & G Minor (Bruce & Stokoe): A Minor (Athole, Kerr, Martin). Standard. AB (Bruce & Stokoe ): AABB (Martin): AABBCCDD (Kerr). Christine Martin (2002) explains that ‘Hawkie’ is pet name in Scots dialect for a cow with a white face.

***

Ca' Hawkie, ca' Hawkie,

Ca' Hawkie through the water,

Hawkie is a sweir beast,

And Hawkie winna wade the water.

Hawkie is a bonny cow,

Though she's loth to wade the water;

While she waits the work'll stand,

So ca' Hawkie through the water. (Bruce & Stokoe)

***

Source for notated version: fiddler and teacher Jean-Ann Callender (Aberdeen) [Martin]. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 121. Kerr (Merry Melodies), vol. 2; No. 70, pg. 10. Martin (Traditional Scottish Fiddling), 2002; pg. 12. Stewart-Robertson (The Athole Collection), 1884; pg. 54. Philo FI 2018, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner" (played as a reel).

X:1

T:Ca’ Hawkie Through the Water

T:Lord Elphinston

M:C|

L:1/8

R:Reel or Strathspey

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

Z:AK/Fiddler’s Companion

K:Aminor

a|g<e e>d c>de>a|g<e e<d c<A A>a|g<e e>d c>de>g|e<a a>^g a<A A:|

B|c2 c>e d2d>e|c2 c>e d>BG>B|c2 c>e d2 d>f|e<a a>^g a<A A>B|

c2 c>e d2 d>e|c2 c>e d>BG>B|c>ec>e d<gd<g|e<a a>^g aAA||

|:c|G<E E>D C>DE>A|G<E E>D C<A, A,>A|G<E E>D C>DE>G|

E<A A>^G A>A, A:|

B,|C2 C>E D2 D>E|C2 C>E D>B,G,>B,|C2 C>E D2 D>F|

E<A A>^G A<A, A,>B|c>ec>e d>ed>e|c>ec>e d>BG>B|

c>ec>e d>gd>g|e<a a>^g a<AA||

X:2

T:Ca’ Hawkie Through the Water

M:2/4

L:1/8

S: Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G Minor

B2 Bd|c2 ce|B2 Bd|(c/B/)(A/G/) FA|BB Bd|c2 ce|dg g^f|

gG GG||fd dB|cd e2|fd dB|cA AF|fd dB|cd ee|(dg) g^f|gG GG||

 

ÇA IRA. See “Downfall of Paris.” French, Air and March. The air, played as a march, was adopted by the West Yorkshire Regiment of the British army as their regimental march. David Murray, writing in Music of the Scottish Regiments (Edinburgh, 1994), gives this account:

***

At the Battle of Famars in May, 1793, the 14th Foot—

later the West Yorkshire Regiment—were being attacked

by the French, whose band was playing the revolutionary

song ‘Ça ira’:

“Ah, ça ira, ça ira, ça ira,

a la lanterne, les aristos!

Ah, ça ira, ça ira, ça ira,

Les aristocrats, on les pendra!”

The Commanding Officer of the 14th ordered his drummers to

strike up ‘Ça ira!’ and, turning to his men, cried, ‘We’ll beat

them to their won damned tune!” This the 14th did, and made

‘Ça ira’ their own.   (pg. 182).

***

The following passage is from A Contribution to the History of the Huguenots of South Carolina (1887) by Samuel Dubose and Frederick Porcher. It describes a country dance in Craven County, South Carolina in the early 1800’s:

***

Nothing can be imagined more simple or more fascinating that those Pineville balls.

Bear in mind, reader, that we are discussing old Pineville as it existed prior to 1836.

No love of display governed the preparations; no vain attempt to outshine a com-

petitor in the world of fashion. Refreshments were provided of the simplest character,

such only as the unusual exercise, and sitting beyond the usual hours of repose, would

fairly warrant. Nothing to tempt the pampered appetite. Cards were usually provided

to keep the elderly gentlemen quite, and the music was only that which the gentlemen’s

servants could produce. The company assembled early. No one ever though of

waiting until bedtime to dress for the ball; a country-dance always commenced the

entertainment. The lady who stood at the head of the dancers was entitled to call for

the figure, and the old airs, Ca Ira, Moneymusk, Haste to the Wedding, and La Belle

Catharine were popular and familiar in Pineville long after they had been forgotten, as

dances, everywhere else.

***

Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

 

CA RAbHAIS ANOIS A CAILIN bIG. Irish, Air. D Major. Standard tuning. AB. Roche Collection, 1982; vol. 3, pg. 6, No. 20.

           

CA THE EWES TO THE KNOWS. AKA - “Ca’ the Yowes.” Scottish, Air (2/4 time). B Minor. Standard tuning. AB. The title means ‘drive the ewes to the knolls’. The tune is composed virtually on a pentatonic or hexatonic scale (except for a passing note or two). As “Ca’ the Yowes” it is the title of a Robert Burns (1759-1796) song, first published in the Scots Musical Museum (1790), although he adapted it from an older song and claimed only the second and last verse as his own. The chorus goes:

***

Ca’the yowes to the knowes,

Ca’ them where the heather grows,

Ca’ them where the burnie rowes,

My bonie Dearie.

***

The original song (upon which Burns’ based his adaptation) was attributed to Isobel ‘Tibbie’ Pagan (c. 1741-1821), an old woman from Muirkirk, East Ayrshire, who bartered in unlicensed whiskey (and smuggled it to!), and who was known for the stories she told as she dispensed her wares to her customers from her private ale-house. In fact, Pagan, is said to have been illiterate and to have dictated her poems to an amanuensis, a tailor named William Gemmell (who, along with transcribing them probably altered their reputedly characteristic bawdiness for public consumption.) When her collection of poems and songs was published in Glasgow in 1805, however, “Ca’ the Yowes” was not included. Local lore has it that she was a friend of Burns’. See note for “Maid that Tends the Goats.”

***

O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 66.

X:1

T:Ca the Ewes to the Knows

M:2/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:Bmin

E>F B2 | A<F A2 | F>E Dd | c>d e2 | f>B B>B | A>d F2 | E2 F>A | B2 B ||

E>F B>B | A>F A2 | F>E D>d | c>d e2 | f<f B/BB/ | A>d F2 | E>EF>A | B2B2 ||

                       

CA' THE STIRKS FRAE OUT THE CORN. AKA and see "Lucky Can You Link Ony," "Mither Put Me to the Well [1]." Scottish, Strathspey. A Minor. Standard tuning. AABB. Said to be a very old Scottish air. Stirks = bullocks. Gatherer (Gatherer’s Musical Museum), 1987; pg. 37. Kerr (Merry Melodies), vol. 2; No. 68, pg. 10. Lowe (Lowe's Collection of Reels, Strathspeys and Jiggs", Book 5 (1844‑45). MacDonald (The Skye Collection), 1887; pg. 114. Stewart-Robertson (The Athole Collection), 1884; pg. 53.

X:1

T:Ca’ the Stirks

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Amin

a|A/A/A B>A B<d e2|d>gB>g a>G E2|D<G B>G A>GB>G|D/D/D E>G B>AA:|

|:g|a>b a<g b>a a2|g>ab>a g>ed>e|g>age d>e g2|e>gd>g B>AA:|

 


CA' THE WETHERS TO THE HILL. AKA and see “Glen Tilt Lodge,” "Glentilt." Scottish, Cape Breton; Strathspey. A Major. Standard or AEae tuning. AAB (Gow): AABB' (Dunlay & Reich, Kerr). This double-tonic melody appears in Stewart-Robertson's "Athole Collection" as "Glentilt" (in reel time) and in Alexander McGlashan’s A Collection of Reels (1786) as the “Duke of Athol’s Forest Lodge, Glen Tilt.” Source for notated version: John Campbell (Cape Breton) [Dunlay and Reich]. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 30. Gow (Complete Repository), Book 4, 1817; pg. 34. Kerr (Merry Melodies), vol. 3; No. 117, pg. 14. JC 124, John Campbell‑ "Cape Breton Violin" (1979. Appears as "Traditional Strathspey"); DMP 6‑27‑1, Doug MacPhee‑ "Cape Breton Piano III" (1981. Appears as "Traditional Strathspey"). RDRC 850, Raymond Ellis - “Dedicated to Mom and Dad” (1994). SA93130, Donny LeBlanc - “Rosining Up the Bow” (1993).

X:1

T:Ca’ the Wethers to the Hill

M:C|

L:1/8

R:Strathspey

S:Gow – 4th Repository   (1817)

Z:AK/Fiddler’s Companion

K:A

c|A(aa>)g feac|A(aa)c B>cdB|A(aa)g feac|dfec B2A:|

d|cAec A/A/A e2|dfec BcdB|cAec A/A/A e2|dfec B2 Ad|cAec A/A/A e2|

dfec B>cdB|Aaga faea|dfec B2A||

 

CA' THE YOWES. See “Ca the Ewes to the Knows.” Scottish, Song Air.

 

CAALD NIGHTS O WINTER. Shetland, Shetland Reel. Shetland; Nesting, Whalsay. A Mixolydian/D Major. Standard tuning. AB. A popular tune from Whalsay, notes Tom Anderson (1970).

***

Jack Campin found the following passage in the memoirs of Elizabeth Grant of Rothiemurchus. She grew up in a manor in the Highlands in the early 19th century, and here she writes about the year 1812, when at age fifteen she and her sister arose under the direction of her governess:

***

In winter we rose half an hour later, without candle, or fire,
or warm water.  Our clothes were all laid on a chair overnight
in readiness for being taken up in proper order.  My Mother
would not give us candles, and Miss Elphick insisted we should
get up.  We were not allowed hot water, and really in the high-
land winters, when the breath froze on the sheets, and the water
in the jugs became cakes of ice, washing was a cruel necessity,
the fingers were pinched enough.  As we could play our scales
well in the dark, the two pianofortes and the harp began the
day's work.  How very near crying the one whose turn set her at
the harp I will not speak of; the strings cut the poor cold
fingers so that the blisters often bled.  Martyr the second put
her poor blue hands on the keys of the grand-pianoforte in the
drawing room, for in those two rooms the fires were never lighted
till near nine o'clock - the grates were of bright steel, the
household was not early and so we had to bear our hard fate.

***

Source for notated version: A. Hutchinson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 25.

X:1

T:Da Caald Nights O Winter

M:4/4

L:1/8

Q:1/4=220

C:Trad Shetland

R:reel

Z:Chris Hoseaso

K:D

e|eaaf gefd|BBge d2 dd|eaaf gafd|efdf e2 e:|!

A|AAcA eAcA|BBge d2 df|eAcA eAce|efdf e2 e:|!

 

CABER FÉIDH (Deer's Antlers). AKA ‑ "Caber/Caper Fey/Fei/Feigh," "Caberfei,"  "The Cameronian(‘s) Rant," "The Copperplate," "The Deer's Horn(s)," “Jack Smith’s Favorite,” "Rakish Paddy."  Scottish, Canadian, Shetland; March, Reel and Country Dance. Canada, Cape Breton. C Major (most versions): D Major (Jean Carignan, Martin/2002, O’Farrell). Standard tuning. AB (most versions): AABB (Begin, Martin, O’Farrell). A particularly popular reel that has long been a mainstay of Scottish tradition and has been subsumed into the Irish. The earliest record of the tune is in Scottish musician David Young's MS. of 1734, called the Drummond Castle MS (because it was in the possession of the Earl of Ancaster at Drummond Castle) or The Duke of Perth MS, where it is set with variations. The MS is inscribed 'A Collection of the best Highland Reels written by David Young, W.M. & Accomptant." The melody also appears in Young's Bodlein MS (1740, named for the Bodlein Library, Oxford, where it is kept), the McLean Collection (published by James Johnson in Edinburgh in 1772), and in the McFarland MS of 1740 (where it is credited to David Young). In Robert Bremner’s 2nd Collection (1768) it is printed in four parts in the key of C (with both f sharp and f natural accidentals). Cooke prints the following words to the tune, collected in the Shetland islands:

***

Mary made away being good luck wi' Teddie

All grown doss (toss?) makin me a dock an piddie.

***

The piece is often played in Scotland as a medley with "The Bob of Fettercairn," and is the tune for the famous Highland Dance called the "Caber Feidh," in which the dancers symbolically simulate the shape of deer's antlers with arms and fingers. From time immemorial a march version has been the clan march, rallying call, and insignia of the MacKenzie clan, "and in the eighteenth and nineteenth centuries it was the official march used to signal the charge of Highland troops" (Cowdery). Pipers generally consider the strathspey, reel and even jig versions of the tune to be relatively recent adaptations; in point of fact, the strathspey version is by Pipe Major W. Ross (a member of the Scots Guards from 1896 to 1918) while the jig is by a modern musician, D. Johnstone. Cape Breton fiddler and editor Paul Stwart Cranford (1995), however, suspects that Bremner’s 1768 variations may have been a strathspey setting due to his particular grouping of sixteeth notes. Jean Carignan, taxi driver and famous Canadian fiddler from Montreal Canada, played the tune in the relatively rare (for this tune) key of D Major.

***

With adaptations made necessary (according to Paul Stewart Cranford) by the scale available to 19th century Irish pipes, the tune also entered into Irish tradition. Despite its Scottish origins, it is a member of the tune family Cowdery (1990) classifies under the Irish reel "Rakish Paddy."  See also "Rakish Paddy," "Padraig Reice," "Glastertown's Downfall," "The Castle Street Reel," "Copperplate," "Sporting Pat [1]," "Cameronian Rant." O’Neill (1922) remarks: “When first received with a batch of fine tunes noted down by our unselfish friend Francis E. Walsh from the playing of clever San Francisco musicians, the foregoing reel under a slightly different name was recognized as a variant of ‘Rakish Paddy’ previously printed in The Music of Ireland, and O'Neill's Dance Music of Ireland. Another variant named ‘Sporting Pat’ is to be found in O'Neill's Irish Music for Piano or Violin. Under the circumstances, another variant seemed superfluous, but coming from such a famous fiddler as John Kelly of Roscommon, it has been cheerfully welcomed to our pages. A favorite with all capable pipers and fiddlers of our acquaintance for many years, the tune under any of its recognized names does not appear in the Bunting, Petrie or Joyce publications. As ‘Caper Fey’ it was printed in Bremner's Second Collection of Scots Reels or Country Dances, London 1768; yet omitted from The Glen Collection of Scottish Dance Music, Edinburgh 1891. Most Highland Bagpipe note books include a suitable setting of the tune under the correct title as above, in Gaelic and English.”

***

Source for notated version: Mike MacDougal (Ingonish, Cape Breton, 1928-1982) via Jerry Holland (Invernesss, Cape Breton) [Cranford]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 25, pg. 38. Cranford (Jerry Holland’s), 1995; No. 20, pg. 6. Cranford (Winston Fitzgerald), 1997; No. 117, pg. 48. Hunter (Fiddle Music of Scotland), 1988; No. 186. Kerr (Merry Melodies), vol. 1; Set 23, No. 4, pg. 14. MacDonald (The Skye Collection), 1887; pg. 117. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 42. Martin (Traditional Scottish Fiddling), 2002; pg. 86. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 82 (appears as “Caper Fey”). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 252. Sannella, Balance and Swing (CDSS). Stewart-Robertson (The Athole Collection), 1884; pg. 60. Tolman (Nelson Music Collection), 1969; pg. 10. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40). Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

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:Cabar Féidh

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C Major

G|~c2ed ~c2GB|~c2GF ECCE|Ddd^c d2Ac|d2AG FDDB|

~c2ed ~c2GB|cGAF ECCE|DEFG ABcA|d2 AG FDD||

f|ecgc acgc|ecgc ecce|fdad bdad|fgag fddf|ecgc acgc|GAcd eccg|

afge fdf^c|d2AG FDD||

X:2

T:Cabar Feigh

T:Deer's Horns, The

M:4/4

L:1/8

S:setting by John Kelly, San Francisco

Z:Paul Kinder

R:Reel

K:G

A/2B/2|:c2 dB cGAB|cBAG EC C2|d2 ec d2 (3ABc|dABG ^FGAB|

c2 dB cGAB|cBAG ECCE|DE=FG ABce|dcAG FD D2:|

|:ecgc acgc|egfg ecce|fdad bdad|faga fddf|

ecgc acgc|egfg ecce|dcBc ABce|1dcAG FD D2:|2dcAG FGAB||

 

CABIN BUCK. See “Cavan Buck.”

 

CABIN CREEK [1]. See "Barlow Knife." “Cabin Creek” is Ed Haley’s (Ashland, Ky.) version of “Barlow Knife.” Rounder 1133, Ed Haley vol 2 – "Grey Eagle".

 

CABIN CREEK [2]. AKA and see "Salt River."

 

CABIN DOWN THE LANE. Scottish, Hornpipe. G Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 290, pg. 31.

X:1

T:Cabin Down the Lane

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 290  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(Bc)|d2 (ed) dBGA|BGEG D3B|c2 (cd) edcB|A2A2A2 (Bc)|

d2 (ed) dBGA|BGEG D3B|BdBG EcAF|G2G2G2||: (AB)|

cBcd c2 (Bc)|dBBG A2 (Bc)|d2 BG (ed)cB|A2A2A2 (Bc)|

dBec dBGA|BGEG D2 (GA)|BdBG AcAF|G2G2G2:|

 

CABIN HUNTER, THE (An Biadánaí). Irish, Reel. County Clare. E Minor. Standard tuning. AB. See also "Mearacan an Tailliura," "Seomra in Uachtar." Randy Miller (2006) notes that some have suggested the title refers to one who likes to collect gossip from door to door. The ‘A’ part is very similar to that of Charlie Lennon’s “The Road to Cashel,” though the ‘B’ parts differ. Breathnach (1963) thought this might have been a composite tune, with the first part derived from 'The Tailor's Thimble' (CRÉ I, 125) and that the turn [second part] from the second part of  The Upper Room” (CRÉ I, 130). It has been pointed out that the ‘B’ part of “Cabin Hunter” is also similar to the turn of “Pigeon on the Gate.” Reportedly, Lennon claims the tune as his composition, despite the differences between “Road to Cashel” and “Cabin Hunter.” Paul de Grae remarks that in 1998 Finbar Boyle recalled hearing John Kelly senior playing at a session more than twenty years previously, where he introduced "The Cabin Hunter" as "an old Clare reel". Kelly recorded the tune in 1968. It appears to have been part of the tradition predating Lennon’s “The Road to Cashel,” concludes de Grae. Sources for notated versions: Éamonn de Stabaltún/Ned Stapleton (Ireland) [Breathnach/CRE I]; John Kelly [Breathnach, CRÉ III]. Breathnach (CRÉ I), 1963; No. 190. Breathnach (CRÉ III), 1985; No. 143 (appears as “Gan ainm/No title”). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 18. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 54. Green Linnet 1052, Kevin Burke – “Up Close” (1984).

X:1

T:An Biadánaí

T:The Cabin Hunter

B:Breathnach, CRE I, no. 190

S:Ned Stapleton, flute

Z:Transcribed by Paul de Grae

R:reel

M:4/4

L:1/8

K:Edor

EF|(3GFE FE ~E3 F|GE ~E2 dAFD|(3GFE FD ~E3 F|DFAF DFAF|

(3GFE FE ~E3 F|GE ~E2 dAFD|(3GFE FD ~E3 F|DFAF DFAF||

Beed efed|Bdef {a}gfed|Beec dedB|AF ~F2 DFAF|

Beed efed|Bdef g2 fg|eg ~g2 efge|dcdB ADFA||

 

CABISTER HEAD. Shetland. Composed by Shetland fiddler Bobbie Peterson.

           

CABLE STITCH, THE.  Irish, Jig. A Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AABB’. Composed by fiddler and piano player Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. The title refers to a knitting stitch, common in Aran patterns (Keegan was also knitted as a hobby for some years). Keegan (The Keegan Tunes), 2002; pg.61.

                       

CABOT HORNPIPE. Canadian, Hornpipe. Canada, Cape Breton. D Major. Standard tuning. AA’BB. Composed by Cape Breton, Nova Scotia, fiddler Winston Fitzgerald (1914-1987). Cranford (Winston Fitzgerald), 1997; No. 30, pg. 11.

 


CABRI WALTZ. Canadian, American; Waltz. American, New England. G Major. Standard tuning. AB (Matthiesen): AA'BB' (Brody). Source for notated version: Fennig's All Stars (N.Y. State) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 60. Matthiesen (Waltz Book I), 1992; pg. 19. Front Hall 01, Fennig's All Stars‑ "The Hammered Dulcimer." Vermont Performing Arts League ‑ "A Vermont Sampler." Voyager 306‑S, Joe Pancerzewski‑ "The Fiddling Engineer."

X:1

T:Cabri Waltz

M:3/4

L:1/8

R:Waltz

K:G

zB,A,B, | “G”G,2B,3D | “G7”D3D (3B,A,G, | “C”C2E3G | “C#dim”E3G FE | “D”D>E F>G A>B |

“D7”(3c>dc B2A2 | “C” G3 A G>E | “D”D4 (3B,A,B, | “G”G,2B,3D | “G7”D4 (3DB,G, |

“C”C2E3G | “A”E3G FE | “D”D>E F>G A>B | “D7”c2B2A2 | “G”G2 G>A “C”G>F |

“G”G3A Bd || g4 (3gag | “D”f4 Ac | “C”e2 e>g ed | “G”B4 (3Bc^c | “D7”d3e d=c | A3D FA |

“G”G3A “C”A>G | “G” G4 ||

 

CABRIOLET, THE. English, Jig. England, Yorkshire. F 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. 59, pg. 43.

 

CABRIOLET, LE.  French, Country Dance (2/4 time). D Major. Standard tuning. AABBCC. 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. 31.

X:1

T:Cabriolet, Le

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 31

Z:AK/Fiddler’s Companion

K:D

DD/D/ FA | DD/D/ GB | DD/D/ fa | {g}fe/d/ {f}ed/c/ | DD/D/ FA | DD/D/ fa |

f/d/f/d/ e/c/e/c/ | dd/d/ d2 :: f>d f/d/f/d/ | e>c e/c/e/c/ | d>D F/D/F/D/ | AA/A/ A2 |

DD/D/ FA | DD/D/ fa | f/d/f/d/ e/c/e/c/ | dd/d/ d2 :: d>f a/f/a/f/ | c>e g/e/g/e |

d>f a/f/a/f/ | ee/e/ e2 | DD/D/ FA | DD/D/ fa | f/d/f/d/ e/c/e/c/ | dd/d/ d2 :|

 

CACHE TES FESSES (Hide Your Buttocks). AKA – “Reel St. Hubert.” French-Canadian, Jig (3/2 time). G Major. Standard tuning. AA’BB. A ‘crooked’ tune, probably derived from a traditional song. New Hampshire fiddler, accordion player and dance caller Dudley Laufman has recorded this tune as “Reel St. Hubert.” Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle Tunes), 1997; No. 18. Les Têtes de violon - “Le talencourt.” 30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998). Smithsonian Folkways Records SFW 40116, “Mademoiselle, voulez-vous danser?” (1999. Dudley Laufman. Various artists).

 

CACINA. AKA and see "Cacinameronian's Rant." Scottish, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 42.

X:1

T:Cacina

M:6/8

L:1/8

S:McGlashan – Collection of Scots Measures (c. 1780)
Z:AK/Fiddler’s Companion

K:G
B2A B2A|G2G GAB|c2 Bc2B|A2A A2B|c2c cde|edc Bcd|dcB AGA|G2G G3:|

|:d2d dBG|e2e e3|c2c cAF|d2d d3|G2D B2G|d2B g2d|edc BAG|AFD CB,A,:|

 

CACINAMERONIAN'S RANT. AKA and see "Hickity Crackity," "Cassino," "Cacina," "French March [2]," "Baltimore [1]," "Cotillon Oats Peas Beans." Scottish, English, American; Country Dance Tune (6/8 time). The melody, which is recognizable as the singing game "Oats, peas, beans and barley, oh!," appears in Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. I, No. 100.

 


CACKLIN' HEN [1].  See "Old Hen Cackle(d) [1]," "Old Hen She Cackled," "Hen Cackle(d)," "Cluck Old Hen [1]," "Cackling Pullet," "Chicken in the Barnyard," "Old Man Depression Get On Your Way." Bluegrass, Old Time; Breakdown. USA, widely known. G Major. Standard tuning. AABB (Brody, Ruth, Shumway); AA'BB (Phillips): ABBCDD (Thede). Many variants of this widely known tune appear under titles which include the adjective "cluck" or "cackling," often with the word "old" also appendaged (see alternate titles above).  It has been a fiddle contest standard, and is often still heard at fiddler's gatherings; for example, it is mentioned in a 1931 account of LaFollette, northeast Tenn., fiddlers' contest, and, in 1899 in a contest in Gallatin, Tenn., "Cackling Hen" was one of the 'catagory' tunes  (where each fiddler would play the same tune with the winning version winning a prize {Charles Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80}). The piece was reworked by the early 20th century Georgia group called the  Skillet Lickers, and was recorded by them in the early 30's as "Old Man Depression Get On Your Way." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, and it was in the repertoire of West Virginia fiddler Edden Hammons. Sources for notated versions: Chubby Wise (Brody), Jubal Anderson (Pottawatomie County, Ok.) [Thede]; Kenner C. Kartchner (Arizona) [Shumway]; Robert Wise [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 60. Ford (Traditional Music in America), 1940; pg. 92. Phillips (Traditional American Fiddle Tunes), 1994; pg. 43. Ruth (Pioneer Western Folk Tunes), 1948; No. 94, pg. 34. Shumway (Frontier Fiddler), 1990; pg. 266. Thede (The Fiddle Book), 1967; pg. 123. Briar 4206, "Scotty Stoneman." Chubby Dragon CD1008, Brad Leftwich, Bruce Molsky et al – “Mountairy.usa” (2001). Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, Vol. 1” (reissue). Flying Fish 102, New Lost City Ramblers‑ "20 Years Concert Performances" (1978. Learned from Joe Stewart's Folkways album). Folkways FA2314, Joe Stewart ‑ "American Banjo Scruggs Style." Kicking Mule, Reed Martin‑ "The Old‑Time Banjo in America." Rounder C11565, Fred Price (northeastern Tenn.) ‑ "Rounder Fiddle" (1990). Rounder 0009, Clint Howard, Fred Price & Sons ‑ "The Ballad of Finley Preston." Rounder CD 0383, Mike Seegar and Paul Brown - “Down in North Carolina.” Stoneway 104, Chubby Wise‑ "Chubby Wise and His Fiddle." Stoneway 148, Chubby Wise‑ "Fiddle Hoedown." Martin, Bogen and Armstrong‑ "Barnyard Dance." Recorded for OKeh in 1925 by Dedrick Harris (b. 1868) {Tenn., Asheville N.C.}, one of only two fiddle solos he made. Edden Hammons Collection, Disc 2.

 

CACKLING HEN [2]. AKA and see "Cackling Rooster."

 

CACKLING HEN [3]. AKA and see “The Hen’s March to/o’er the Midden.”

 

CACKLING HEN AND ROOSTER TOO. Old‑Time, Breakdown. USA, north Georgia. Norm Cohen says the tune is at best only distantly related to the "Cackling Hen" tune variants. County 506, "The Skillet Lickers: Old Time Tunes Recorded 1927‑1931."

 

CACKLING OF THE HENS, THE. AKA and see "Hen's March to/o’er the Midden." English, Scottish. D Major. Standard tuning. AABB. This title appears in Walsh's Third Book (c. 1730) a collection of Lancashire tunes, although it is perhaps better known as “The Hen’s March to the Midden.”

X:1

T:Cackling of the Hens

B:Walsh

M:4/4

L:1/8

K:D

d2 A2 defg| a2 gf efde| A3 A dcde| fgfg g3 g | a4 agfa| gfeg fede| A4 dcde|\

fagf e4| d8::~d2 ~d2 ~d2 ~d~d|f3 a ~d2 ~d~d2 |f3 a defg|f3 a ~d2 ~d2|\

b g3 ~d2 ~d~d|f3 a ~d2 ~d~d|b g3 ~d2 ~d~d|f3 a ~d2 ~d~d|a4 agfa|gfeg fede|\

A3 A d2 de|fagf e2|d8:|

 

CACKLING PULLET. AKA and see "Cackling Hen."

 

CACKLING ROOSTER, THE. AKA and see "Cacklin' Hen [2]." Amercian, Reel. G Mixolydian. Standard tuning. AABB (Bayard, 324A): AABBCC (Bayard, 324B). Bayard (1981) was not able to find any antecedents for this tune. Sources for notated versions: Mary Ann (Pierson) Rogers (elderly fiddler from Greene County, Pa., 1930's) and fifer James Taylor (W.Va. and Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 324, pg. 289‑290.

 

CACODEMON, THE. Irish, Reel. Composed by Cork accordion player Jackie Daly. Cacodemon means ‘ill-fated’. Arcady – “After the Ball” (appears as one of “Jacie Daly’s Reels”). Wild Geese - “In Full Flight.”

X:1

T:Jackie Daly's Reel

T:Cacodemon, The

M:4/4

L:1/8

R:Reel

D:Arcady, After the Ball

D:Kathryn Tickell Band No. 1

K:Em

GF|EGB,^C DEFD|E2 B^c dBAF|EGB,^C D2 CD|B,^CDE FAGF|

EBGE DAFD|CGEC B,2 CB,|A,B,CE DEFB|1AFDF E2:|2AFDF E3 A||

Bceg fede|fagf edBA|~G3 A BABc|d^cde dBA=c|

BcBG ABAF|GAGE F2 (3A,A,A,|A,B,CE DEFB|AFDF E4:|

 


CAD FATH NACH NDEINFADH NA BOICHT. AKA and see "Why Should Not Poor Folk?"

 

CADAM WOODS [1]. Scottish, Reel. Composed by Scottish violinist J. Scott Skinner (1843-1927). Philo 10‑‑, Boys of the Lough ‑ "Good Friends, Good Music" (1977). Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

 

CADDAM WOODS [2]. Scottish, Polka. A Major ( Martin): G Major (Sweet). Standard tuning. AA'B. Composed by Adam Rennie and John Y. Cameron. The melody is sometimes played in G Major. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 40 (listed as a reel). Sweet (Fifer’s Delight), 1964; pg. 62.

X:1

T:Caddam Wood [2]

M:2/4

L:1/8

R:Polka

Z:AK/Fiddler’s Companion

K:G

d/d/d/d/ ^cd | ed B2 | D/D/D/D/ GB | ed c2 | c/c/c/c/ Bc | fe c2 |1 fe cA | ed B2 :|2 f/e/d/c/ BA | G2G2 ||

d/d/d/d/ BB | d/d/d/d/ BB | d2 e>d | dc c2 | c/d/c/B/ AA | c/d/c/B/ AA | f>e f>e | {f}ed ed | d2 d/e/d/c/ |

BB B2 | d2 e>d | dc c2 | c2 c/d/c/B/ | AA A2 | d/d/d/d/ ef | g2g2 ||

 

CADEAU'S JIG. French‑Canadain, Jig. B Flat Major. Standard tuning. AA'BB'. Source for notated version: Jerry Robichaud (Canada) [Hinds]. Hinds/Hébert (Growling Old Woman), 1981; pg. 28. Alcazar Dance Series 201 or Fretless 201, Jerry Robichaud‑‑"Maritime Dance Party" (1978). Mariposa 1189M, Rudy Meeks ‑ "Canadian Fiddle."

 

CADER IDRIS (Arthur’s Chair). AKA and see “Jenny Jones,” “Sweet Jenny Jones,” “Widow on the Train.” Welsh, Harp Air. A composition of the 19th century harper John Parry, ‘Bardd Alaw’, and named by him after the mountain in Meirionnydd, Wales. Parry did much to promote and popularize Welsh music in England in both music hall and fashionable society settings.

***

Cader Idris, by Richard Wilson (1713-1782), a Welsh painter born on the side of the mountain. A photograph of the view is to the right.

***

Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp” (1996).

X:1

T:Cader Idris

T:Arthur's Chair

M:3/4

L:1/4

A:Welsh

N:"Arthur" in the translated title refers to King Arthur

Z:Kevin Gow

K:D

A|dAF|D>EF|GBe|cAc|dAF|G>AB|Adc|d2:|!

d/2e/2|fdf|ecA|BB/2c/2 d/2e/2|cAA|fdf|ecA|dcB|A2B/2c/2|!

dAF|D>EF|GBe|cAc|dAF|G>AB|Adc|d2||

 

CADGER O' CRIEFF, THE. Scottish, Reel and Country Dance Tune. A cadger is a carrier, originally a person who ferried customers about in sedan chairs (see note for "Cadgers of Cannongate") though later the word came to be a euphemism for a begger. Crieff is a town in Perthshire. The tune appears in the Bodleian Manuscript (1740), which resides 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." The melody also appears in Young's Duke of Perth (the personage to whom it was inscribed to), also called the Drummond Castle Manuscript (1734).

 

CADGERS OF THE CANNONGATE.  Scottish; Strathspey, Fling or Reel. G Major. Standard tuning. AABB' (Carlin, Kerr): AAB (Bremner, Gow, Neil, Skye). The Cannongate is a famous street of some antiquity in Edinburgh which links the Castle and Holyrood Place. Robin Williamson (1976) explains that a 'cadger' was originally a word for a 'carrier', or one who whose job it was to ferry about customers in sedan chairs. He suggests the word may have derived from the tinker's cant word 'gadgie', meaning a man, and notes that in more recent times it has come to mean a beggar or someone who wheedles or sponges something. There was atone time a country dance of the same name, written down in 1752 for his students by one John McGill, at the time a dancing master in Girvan  (Alburger). Glen (1891) finds the tune first published in Robert Bremner's collection (1757, pg. 51), though it also appears in Lowe's Collection of Reels, Strathspeys and Jigs. London publishers Charles and Samuelt Thompson included it in their Compleat Collection of 200 Favourite Country Dances, vol. 1, also published in 1757 (as “Codger’s in the Cannongate”). Source for notated version: Bobby McLeod [Williamson]. Bremner (Scots Reels), 1757; pg. 51. Carlin (Master Collection), 1984; pg. 106, No. 183. Gow (Complete Repository), Part 1, 1799; pg. 12. Kerr (Merry Melodies), vol. 4; No. 106, pg. 13. Neil (The Scots Fiddle), 1991; No. 6, pg. 8. MacDonald (The Skye Collection), 1887; pg. 78. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 29. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; Pg. 66. Beltona BL 260 (78 RPM), Bobby McLeod's Highland Dance Band.

X:1

T:Cadgers of the Cannongate

M:C

L:1/8

R:Strathspey, Fling or Reel

K:G

B|GBGB (de/f/) ge|dBgB A/A/A (AB)|GBGB (d/e/f) ge|dBgB G/G/G G:|

g|b>age g>edB|GBgB A/A/A Aa|b>age g>edB|G/G/G Gg|

b>age g>edB|GBgB A/A/A Aa|bgae gdeB|dBgB G/G/G G||

X:2

T:Codger’s in the Cannongate

M:C|

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

GBGB de/f/ ge|dBgB A/A/A A2|GBGB de/f/ ge|dBgB G/G/G G2:|

|:bagf gedc|GBgB A/A/A A2|b/a/f a/g/e g/f/d e/d/B|GBgB G/G/G G2:||

..............

CADY LADDIE. AKA – “Cady Laddy.” AKA and see “Mount Your Baggage.” Scottish, Triple Hornpipe (3/2 time). The tune appears with dance instructions in Walsh’s Caledonian Country Dances, vol. 2 (London, 1737), Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 3 (London, 1744, as “Cady Laddy, The New Way”), and again in Walsh’s volume 6 (and last) of The Compleat Country Dancing Master series (London, 1754). “Cady Laddie” also appears in the 1790 music manuscript collection of London musician Thomas Hammersley. See also versions under the title “Mount Your Baggage [2]” (or “Mount My Baggage”) and the Gow’s derivative melody “Dalry House.”

X:1

T:Cady Laddy

M:3/2

L:1/8

R:Triple Hornpipe

B:Walsh – Caledonian Country Dances, vol. 2

K:G

E2|G2B2d4G2d2|edcB c4 A2B2|G2B2de2G2g2|f2e2d2 B4||

g2|f2e2 g4B2d2|edcB c2A4g2|f2e2 g4 B2d2|e2g2d2 B4 ga|

bagf g4 B2d2|edcB c2A4B2|G2B2 d4 G2g2|f2e2d2A B4||

..............

CAEN KEAN, A LOGHAN. An Irish song about a Catherine Ogie, different that the Scottish/English song “Catharine Oggle” or “Katherine Ogie,” appearing in J. M’Creery’s A Selection from the Ancient Music of Ireland (1824).

..........................                        


CAERDROEA. AKA and see "Waterfall Waltz." Welsh, Air or Waltz. D Major. Standard tuning. AAB.

X:1

T:Caerdroea

M:3/4

L:1/8

R:Air or Waltz

K:D

d2|A2 AB AG|F2A2D2|G2 GA GF|E4 d2|A2 AB AG|

F2A2D2|G2F2E2|D4:||D2|F3E FG|A3A A2|F3E FG|

A4A2|d3 c de|c3B A2|d2 df eg|f4 e2|d3 c Bd|

c3B A2|d2F2^G2|A4 d2|A2 AB AG|F2A2D2|G2F2E2|D4||

                       

CAESAR'S WALTZ. American, Waltz. E Minor. Standard tuning. AA'BB'. Composed by Marty Somberg (Dexter, MI) in 1992. The tune is named after a character named Caesar, one of two Cuban musician brothers, in the book and motion picture "The Mambo Kings Play Songs of Love," by Oscar Hijuellos. Somberg says the story is one of "passion and longing and I tried to capture that feeling in the tune." Matthiesen (Waltz Book II), 1995; pg. 8.

                       

CAFFLER'S COURTSHIP, THE (Suirige an Áilteora). Irish, Double Jig. G. Standard tuning. AABB. See also related tunes "Boys of Thomastown” (Buachaillí Bhaile Mhic Anndáin), "Away to the Bogs," and "Carraig an tSoip." Breathnach (1963) complained that Roche got the ending of this tune wrong. Roche Collection, 1982; vol. 3, pg, 27, No. 90.

                       

CAGE, THE. English, Hornpipe. G Major (Callaghan): A Major (Dixon/Hill). Standard tuning. AABB. The composition is credited to 19th century Tyneside, Newcastle, fiddler James Hill (c. 1815-c. 1860) in Kohler’s Violin Repository (Edinburgh, 1881-1885). The title is perhaps the name of a pub, as Hill titled many of his tunes after such establishments. Pete Loud voices the idea that ‘The Cage’ refers to the enclosed platform that is used to lower coal-miners into the pit. Hill, about whom little is definitively known, was born in Scotland, but lived most of his life in Gateshead, Northumberland. He was known as the ‘Paganini of the hornpipe’ for his many famous hornpipe compositions and appears to have been a popular tavern fiddler. He may also have been a sometime publican, and he appears to have been a sports enthusiast. “The Cage” is usually played in the key of ‘A’, the key it was composed in. The tune found its way into a few Northumbrian musicians’ manuscripts, such as that of John Baty (Bethel, Northumberland) of.around 1840-1860, William Hall Lister/Robert Lister (East Boldon, Northumberland, near Newcastle) from the same time period as Baty, and the later John Robson manuscript (1874). Callaghan (Hardcore English), 2007; pg. 14. Dixon (The Lads Like Beer: Fiddle Music of James Hill), 1987.   Old Bridge Music OBMCD 04, Tom McConville – “Fiddler’s Fancy.”

X:1

T:Cage, The

C:James Hill

M:4/4

L:1/8

E:10

Z:Transcribed by Rob Say

K:A

|:A>B|c>Bd>c B>Ac>B|A>+EC++EC+>+EC+ +E2C2+ F>G|A>FB>A c>Ad>c|B>A>G>A B2 e>d|\

c>Bd>c B>Ac>B|A>FB>A G>FE>D|C>EA>E F>ecA|+B2G2+ A2 A2::(3efg|a>Ace a>gb>a|\

g>fa>g f2 (3agf|e>EG>B e>cf<e|d>ca>c B2 A>B|c>Bd>c B>Ac>B|A>FB>A G>FE>D|\

C>EA>E F>ecA|+B2G2+ A2 A2:|**

X:2

T:Cadge [sic], The

M:4/4

L:1/8

R:Hornpipe

S:William Hall Lister/Robert Lister manuscript (c. 1840-1860), East Boldon, Northumberland

Z:AK/Fiddler’s Companion

K:A

AB|cBdc BAcB|A2E2E2FG|AGBA cBdc|BABc B2AB|cBdc BAcB|

A2E2E2FG|AGBAFdBG|B2A2A2::eg|aAce agba|gfag fagf|

eEGB e^dfe|=dced c2ed|cBdc BAcB|AGBA GFED|CEAd cBAG|B2A2A2:|

                       

CAHAN O’HARA. Irish, Air (3/4 time). G Major. Standard tuning. One part. Stanford/Petrie, 1905; No. 749, pg. 187.

X:1

T:Cahan O’Hara

M:3/8

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 749

Z:AK/Fiddler’s Companion

K:G

G>E | D2E2 (3GAB | AG E2 GE | D2E2 (3GAB | A4 GA |

B2d2 (3efg | ed cB AG | G2B2d2 | e4 dc | B2d2 (3efg | ed cB AG |

G2 Bd eg | g4f2 | ed B2 AG | AG E2 GE | DE (3GAB A>G | G4 ||

                       

CAHER RUA. Irish, Reel. Bulmer & Sharpley (Music from Ireland), vol. 1, No. 49. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 3; 13.

                       

CAHERLISTRANE.  Irish, Jig. Caherlistrane is a town in Galway, home of the musical Keane family. Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999. Learned from Cork accordion player Jackie Daly). 

                       

CAHILL'S COURTSHIP (Suiride Uí Catail). Irish, Reel. D Major. Standard tuning. AB (O'Neill/1850): AABB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 115. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1303, pg. 244. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 567, pg. 105

X:1

T:Cahill’s Courtship

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 567

Z:AK/Fiddler’s Companion

K:D

A,2|D2 FD EDCA,|D2 FD dBAF|D2 FD EDB,B|AGFE DGFE|D2 FD EDCA,|

D2 FD dBAF|D2 FD EDB,B|AGFE D2||(3ABc|dAFA BAFA|dAFD EDB,A,|

DAFA BAFB|AGFE D2 (3ABc|dAFA BAFA|dAFD EDB,A,|DEFG AdcB|AGFE DGFE||

 

CAHILL'S WORKSHOP (Ceardca Uí Catail). Irish, Single Jig. A Minor/G Dorian. Standard tuning. AA'BB'. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 408, pg. 81.

X:1

T:Cahill’s Workshop

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 408

Z:AK/Fiddler’s Companion

K:A Minor

A3 AGE|G2E E3|A3 Bcd|ecA A2B|A4 AGE|

G2E G2E D2E G2A|1 B2G G2B:|2 B2A A2c||

|:B2d d2B|G2E E3|c2A Bcd|ecA A2c|B2d d2B|

G2E G2E|D2E G2A|1 B2G G2c:|2 B2A A2B||

 

CAHIRAMEE (Catair-na-Mide). AKA – “Cathair na Midhe.” Irish, Slip Jig. G Major. Standard tuning. AB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 445, pg. 87.

X:1

T:Cahiramee

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 445

Z:AK/Fiddler’s Companion

K:G

(D|D2) (GG2) AB3|A2A) (A2B c3|BcB B2A G3|ABA A2G F2D|D2(G G2)B c3|

ded d2c B2G|ABA A2F G2||

z|B2(d d2)d d3|e2(e e2)f g3|d2(d d2)c B2G|ABA A2G F2D|B2(d d2)d d3|

e2(e e2)f g3|ded d2c B2G|ABA A2F G2||

 

CAHIRCIVEEN. AKA and see "The Old Shady Bohereen," "The Cumberland's Crew," "Kerry For Me." Irish, Slow Air (6/8 time). G Major. Standard tuning. AB. Cazden (et al, 1982) collected a minor key variant of this tune from New York's Catskill Mountains called "The Cumberland Crew," which O'Neill lists as an alternate title. The air was known as “Cahirciveen” around Northwest Cork, according to Sergeant Michael Hartnett (of the Chicago police, and one of O’Neill’s sources), though O’Neill learned the tune as a boy in Bantry, west Cork. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 98, pg. 18.

X:1

T:Cahirciveen

M:6/8

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 98

Z:AK/Fiddler’s Companion

K:G

D | G>AG (FGA) | B>AG AD>E | FED (CB,C) | DG{B}A G2D | G>AG (FGA) |

BAG AD>E | FED “tr”(CB,C) | DGA G2 || (B/c/) | dBd cBA | GAG F<D (B/c/) |

DBd cBA | “tr”(GFG) B2A | G>AG FGA | B>AG AD>E | FED “tr”CB,C | DGA G2 ||

 

CAIDE SIN DO'N TE SIN NACH mBAINEANN SIN DO (What is that to him whom it does not concern). Irish, Air (6/8 time). G Major. Standard tuning. AB. A hexatonic tune. Source for notated version: Irish collector Edward Bunting gives his source as the harper Denis Hempson. O'Sullivan/Bunting, 1983; No. 153, pgs. 210-211.

 

CAIDIL GU LA. AKA and see "Sleep (On) Till Day."

 

CAIDIL MO GHAOIL (Sleep my Love).  AKA and see “Sleep, Dearie, Sleep.”

 

CAILEACA O TUAID. Irish, Slip Jig. D Major. Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 3, pg. 107.

X:1

T:Caileaca O Tuaid

M:9/8

L:1/8

R:Slip Jig

S:Mulvihill – 1st Collection (1986)

K:D

ABd efe edB|AFA faf e2d|ABd efe edB|ABc dAF E2D:|

|:FED FAD FAD|FED FAF E2D|FED FAD FAD|ABc dAF E2D:|

 

CAILEAGAN A' BHAILE MHOIR. AKA and see  "Inverness Lasses."

 


CAILÍN A BRIS MO CROIDE, AN. AKA and see "The Girl Who Broke My Heart."

 

CAILÍN A MUISEAN. AKA and see "The Primrose Lass(es)."

 

CAILÍN A TIG MOIR, AN. AKA and see "The Girl of the Big House."

 

CAILÍN AN GHÚNA UAINE. AKA and see "The Green-Gowned Lass."

 

CAILÍN AN MARGAID. AKA and see "The Market Girl."

 

CAILÍN AN MHUILLEORA. AKA and see "The Miller's Maid."

 

CAILÍN AN ÓSTA. AKA and see "The Barmaid."

 

CAILÍN AN STAIN-EARRADA. AKA and see "The Tinware Lass."

 

CAILÍN AN TÍ MHÓIR (The Girl of the Big House). AKA and see "The Housekeeper," "The Girl of the (Big) House." Irish, Double Jig.

 

CAILÍN AN TUIRNE. AKA and see "Cailleach an Tuirne."

 

CAILÍN BAN, AN. See "Mary Mavourneen," AKA‑ “Cooleen Bawn,” "The Fair Young Girl”

 

CAILÍN BEAG MO CHROIDHE. AKA and see “The Little Girl of My Heart.”

 

CAILÍN BHAILE AN tSRATHA (The Lass of Ballintray). AKA and see “The Lass of Ballintray.”

 

CAILÍN DEAR. AKA and see "A Lovely Nun/Lass to the Friar Came."

 

CAILÍN DEAS, AN. See "The Pretty Girl."

 

CAILÍN DEAS CHUM BRATHAR TAINIC. AKA and see "Lovely Nun/Lass to the Friar Came, A."

 

CAILÍN DEAS CRÚIDTE NA mBÓ. Irish, Air (9/8). E Minor. Standard tuning. AB. 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). Roche Collection, 1982; vol. 3, pg. 12, No. 43. Tara Records 2002, Christy Moore ‑ "The Iron Behind the Velvet" (1978. Learned from the late Uilleann piper Leo Rowsome).

 

CAILÍN DEAS DONN [1], AN. AKA and see “My Pretty Fair Maid,” "The Pretty Brown Girl [2]." Irish, Jig. G Major. Standard tuning. AABB. See also similar melodic material from strains of “The Big Bow Wow.” Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 14, pg. 6.

X:1

T:Cailin Deas Donn [1]

M:6/8

L:1/8

R:Jig

K:G

B2g cAA|BGG AFD|B2g cAA|BGG G2d:|

|:gee fdd| ecc dBG|gag fdd|ecc d2a|bag fed|ded dBG|B2g cAA|BGG G2:|

 


CAILÍN DEAS DONN [2] (A Pretty Brown-Haired Maid). AKA and see "Pretty Brown Maid/Girl [3]," "Bobby in Bed." Irish, Air (12/8 time). F Minor. Standard tuning. One part. Does not seem to be related to version #1. Source for notated version: the index to the Irish collector Edward Bunting's 1840 collection gives that the tune was noted at "Deel Castle, Ballina, in 1792," though a note in Bunting's MS version states it was taken from the harper "Charles Byrne. Also called 'Bobby in Bed.'" See also “Move Up to Me,” “Did You See My Man Looking for Me? [1]” O'Sullivan/Bunting, 1983; No. 53, pgs. 82-83.

 

CAILÍN DEAS MIN, AN. See "The Handsome Mild Young Girl."

 

CAILÍN DEAS MODHAMHUIL, AN. See "The Mild Pretty Girl."

 

CAILÍN DEAS RUAD(H), AN. AKA and see "The Pretty Red Haired Girl," "The Pretty Red Girl."

 

CAILÍN DÉIRÍ, AN. AKA and see “The Dairy Maid [5].”

 

CAILÍN DO CUIMNIGIM I GCOMNUIDE, AN. AKA and see "The Maid I Ne'er Forgot."

 

CAILÍN DONN/DHONN, AN (The Brown-Haired Girl). See "The Brown‑Haired Girl." AKA and see "Collendoon," "The Banks of (the) Claudy." Irish, Air (3/4 time). G Major. Standard tuning. AB. The tune was recorded in the Belfast Northern Star of July 15th, 1792, as having been played by ten Irish harp masters at the last great harp convocation, the Belfast Harp Festival, held that week. The melody is a variant of the once-popular "Banks of Claudy." See also "The Blackhaired Lass," "The Dark Gate Girl," and "The Dark Haired Girl [2]." Source for notated version: the 1861 manuscript collection of James Goodman, an Anglican cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 18, pg. 11.

X:1

T:Cailin Donn, An (The Brown-Haired Girl)

M:3/4
L:1/8

N:”With expression”

S:Joyce – Old Irish Folk Music and Song (1909), No. 711

Z:AK/Fiddler’s Companion

K:Emin

EF | G2F2E2 | d2e2 dc | B2E2 BA | AG E2 GA | B2g2f2 | e3 dBA | B2e2d2 | e4 || e>f |

g2f2c2 | d2e2 dc | B2E2 BA | AG E2 GA | B2g2 fd | e>dBAGB | AG E2E2 | E4 ||

 

CAILÍN DUBH I bhFEISTEAS GORM, AN. AKA and see "The Dark Girl (Dressed) in Blue."

 

CAILÍN FIONN, AN. AKA and see "The College Grove," "The New Demense [1]," "The New Domain," "The Green Jacket," "The Connacht Reel [1]," "The Old Locks and Quays of Galway," "The Milestone [1]," "The Millstone [1]," "Whiskey in the Jar/Jug."

 

CAILÍN GAELACH/GAEDEALAC, AN. AKA and see "The Irish Girl."

 

CAILÍN GAN CHIALL (A girl without sense).  Irish, Jig. A Minor. Standard tuning. AABB. A close variant of “Bryan O’Lynn [1].” The melody appears under this title in the mid-19th century music manuscripts of Church of Ireland cleric James Goodman (1828-1896). Goodman was an Irish speaker and an uilleann piper who collected from tradition in Cork and elsewhere in Munster, although he obtained tunes from manuscripts and printed sources as well. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 398.

X:1

T:Cailin Gan Chiall

M:6/8

L:1/8

R:Jig

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

K:Amin

cBc A2G|Ecc c2d|cBc A2G|Edd ded|cBc A2G|

Ecc cde|fed dfd|cAA A3::egg egg|edc c2d|

eaa eaa|edd d3|egg egg|edc cde|fed dfd|cAA A3:|

 

CAILIN LASA SAL ROC. AKA and see "Dublin Streets," "The Dublin Boys," "Humours of Bottle Hill," "Gurgling of the Churn", "Milk the Churn," "The Night of the Fun [2]," "The Splashing of the Churn [2]," "The Old Dutch Churn," "A Fig for a Kiss [1]," "Two in a Gig," "She is fit for a kiss."

 

CAILÍN LEIS NA MIOGSUILE, AN. AKA and see "The Girl with the Laughing Eyes."

 


CAILIN MO RUN-SA. Scottish, Slow Air (3/4 time). G Major. Standard tuning. One part. Composed by D. Ross. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 25.

 

CAILÍN NA GRUAIGE BUÍ (The Girl with the Yellow Hair). AKA and see "My Love with the yellow locks." Irish, Slip Jig. E Minor/G Major. Standard tuning. AABB. The tune was untitled from Limerick fiddler McEnery, although Breathnach found it under this title in a manuscript from the area (which also gave the name as “My Love with the Yellow Locks”). Source for notated version: James McEnery, 1965 (Castlemahon, Co. Limerick, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 94, pg. 51.

 

CAILÍN NA GRUAIGE DOINNE. Irish, Slow Air (4/4 time). G Major. Standard tuning. AAB. Ó Canainn (Traditional Slow Airs of Ireland), 1995; pg. 15.

 

CAILÍN NA GRUAIGE DUIBHE. AKA and see "The Black Haired Girl/Lass." See also "The Dark Gate Girl," "The Dark Haired Girl [2]," “Girl of the Brown Hair.”

 

CAILÍN NA LEATHCHRÓNACH. AKA and see "The Two‑ and Six‑Penny Girl."

 

CAILÍN NA SAMHAIRCÍNÍ. AKA and see "The Primrose Girl."

 

CAILÍN O CHOIS tSIUIRE (ME). AKA and see “Cailin og a Stuair Me,” “Callino Casturame,” "The Croppy Boy," "The Robber," "Charlie Reilly," "Newlyn Town."

 

CAILÍN OG A STUAIR ME ("Little Girl of My Heart for Ever and Ever" or "Young Girl, My Treasure"). AKA and see "Cal(l)ino Casturame," "Colleen Oge Astore," "Calen o custure me," “Charlie Reilly,” “The Croppy Boy [2],” "I am a Girl from the River Suir," “Newlyn Town,” “The Robber,” "An Irish Tune." Irish, English; Air (6/4 time). C Major (Flood): D Major (Kines): A Major (Chappell). Standard tuning. One Part (Flood, Kines): AB (Chappell). Flood (1905, 1906) traces the air's history, asserting that the tune was originally an Irish harp melody of c. 1570. Tomas Ó Canainn (1978) writes that this was the “very first genuinely Irish tune” in collections. Chappell (1859) demurs as to the national origin, and quotes Sir Robert Stewart who, writing on Irish music in Grove's Dictionary, remarks that the piece "seems deficient in the characteristic features of Irish melody." A ballad with this title was entered on the books of the Stationers Company in 1581‑82 (an early attempt at copyrighting), and the song to which it is sung was published in Robinson's A Handful of Pleasant Ditties of 1584, in the Anglicized form "Calen o custure me." It appears in the Fitzwilliam Virginal Book (c. 1610, set by the famous early English musician and composer William Byrde) and in William Ballet's Lute Book (c. 1590) under the Latinized title (“Callino Casturame”). It was quoted by Shakespeare in Henry V (act ii, sc. 4) where Pistol addresses the French Soldier:

Quality! Calen o custure me.  

In A Handful of Pleasant Delites (1584) the words "Caleno Custurame" are interpolated as a refrain between every line of the poem "When as I view", which begins:

***

When as I view your comely grace,

Caleno custurame;

Your golden haires, your angel's face,

Caleno custurame.  (Kines)

***

Almost a century after the tune was composed it appears again in Playford's Musical Companion of 1673 set in four parts and titled "An Irish Tune." Some writers (Fuld, for example) note a similarity with the French tune "Malbrouk." Hoffman (1877) published the melody in his arrangement of tunes mostly from the George Petrie collection. Source for notated versions: The Fitzwilliam Virginal Book, c. 1610 [Chappell, Flood]. Chappell (Popular Music of the Olden Times), 1856; pg. 84. Flood (The Story of the Harp), 1905; pg. 81. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 56.

X:1

T:Cailín og a Stuair Me

T:Callino Casturame

L:1/8

M:6/4

B:Chappel – Popular Music of the Olden Times

Z:AK/Fiddler’s Companion

K:A

A2|c4 c2 c3B c2|d4 d2 c6|B4 B2 B3c d2|c3B c2 B4||B2|

C3d e2 e2c2A2|G3A B2 B2G2E2|E2 A4 A3Bc2|B3A B2 A6||

 

CAILÍN RUADH [1], AN. See "The Red‑Haired Girl" (3/4 time).

 

CAILÍN RUADH/RUA [2], AN. See "The Red‑Haired Girl."

 

CAILÍN TIGHE MOIR. AKA and see “Captain O’Kane.” Irish, Air. The melody appears under this title in The Bunting Manuscripts in the library of Queen’s University. Bunting wrote in pencil alongside the air, “A good set of the ‘Wounded Huzzar’”, a reference to Thomas Campbell’s song “The Wounded Hussar” which was sung to a variant of the tune.

 

CAILÍNÍ ADTUAID, NA. AKA and see "The Northern Lasses."

 

CAILÍNÍ AN DRUMMAN. AKA and see "The Drummond Lasses."

 

CAILÍNÍ IN FHACTORY (The Girls of the Factory). Irish. At Chieftains’ piper Paddy Moloney’s wedding, the music was performed by Seán Ó Riada, who arrived late carrying the wedding present of a huge rug. Paddy had asked Ó Riada to play the organ and had paid off the church’s regular organist in anticipation, and despite the lateness Ó Riada sat down to play as the bride was escorted into the church by her father to the rousing strains of…not the “Wedding March” but “Cailíní in Fhactory” (The Girl of the Factory). Moloney was the only one who knew the title, and said of Ó Riada, “That terrible man just looked at me and winked” (Glatt, The Chieftains, 1996).

 

CAILÍNÍ AN TOGFAD SIB E, AN?  AKA and see "Girls Will You Take Him?"

 

CAILÍNÍ AONTROMA. AKA and see "The Antrim Lasses."

 

CAILÍNÍ ARD A’ RATHA. AKA and see “Lord Lyndoch.” Irish, Highland. Ireland, Donegal. The tune is a variant of the Scottish strathspey “Lord Lyndoch.” The tune was obtained from Anthony Helferty, an old fiddler of the Inishowen, Donegal, area who died around 1882, who taught it to John Boyle of Tullycleave (b. 1871) who lived to almost 102 years of age. John taught it to his son, John Patrick Boyle (b. 1920), who still resides on the family farm [Caoimhin Mac Aoidh, 1994].

 

CAILÍNÍ BAILE-ATA-CLIAT. AKA and see "The Dublin Lasses."

 

CAILÍNÍ BEANTRAIGE. AKA and see "The Bantry Lasses."

 

CAILÍNÍ BELFEIRSTE. AKA and see "The Belfast Lasses."

 


CAILÍNÍ DEASA MHUIGHEO (The Pretty Girls of Mayo). AKA and see “The Pretty Girls of Mayo.”

 

CAILÍNÍ DROICIOD-ATA. AKA and see "The Drogheda Lasses."

 

CAILÍNÍ DUINSE. AKA and see "The Lasses of Dunse."

 

CAILÍNÍ LOCA GCARMAN. AKA and see "The Wexford Lasses."

 

CAILÍNÍ LONDAN. AKA and see "The London Lasses [1]."

 

CAILÍNÍ LUNGDUIN. AKA and see "The London Lasses."

 

CAILÍNÍ MAG-CROMPA. AKA and see "The Macroom Lasses."

 

CAILÍNÍ O DUN-NA-MBEANN BUIDE, NA. AKA and see "Dunmanway Lasses."

 

CAILINÍ ON IARTAR, NA. AKA and see "The Western Lasses."

 

CAILÍNÍ PHORT LÁIRGE. AKA and see “Waterford Girls.”

 

CAILÍNÍ SLIGIG. AKA and see "The Sligo Lasses."

 

CAILÍNÍ SGIOBIRIN. AKA and see "The Skibbereen Lasses."

 

CAILÍNÍ UA BAILE-NA-CEAROCA, NA. AKA and see "The Maids of Ballinacarty."

 

CAILÍNÍ UA CALLANN, NA. AKA and see "The Callan Lasses."

 

CAILÍNÍ UA CILL-A'-SEAN-RATA. AKA and see "The Killashandra Lasses."

 

CAILÍNÍ UA DROICIOD-NA-BANNA. AKA and see "The Girls of Banbridge."

 

CAILINI(DE) UA FEARA-MUIGE, NA. AKA and see "The Fermoy Lasses."

 

CAILLACH LIATH RASAR (The Grey Old Lady of Raasay). Scottish, Reel. A Mixolydian. Standard tuning. AABB'. A pipe tune. MacDonald (The Skye Collection), 1887; pg. 116.

X:1

T:Grey Old Lady of Raasay, The

T:Caillach Liath Rasar

L:1/8

M:C

S:MacDonald - Skye Collection

Z:AK/Fiddler’s Companion

K:A Mix

e|AA g2 aeef|g2 ag fdde|cc g2 aeeg|fdec BBB:|

a|cAAA ecce|f2 AA ecca|1 cAAA ecce|fdec BBB:|2 cA d2 ecce|fAec BBB||

 

CAILLEAC RUAD, AN. AKA and see "The Redhaired Hag."

 

CAILLEACH A SHÚSA (The old woman in the settle-bed).  AKA and see "Snug in a/the Blanket,” "Collough a thusa," "Hag in the  Blanket." AKA – “Calloch a Theusa.” Irish, Jig. A Dorian. Standard tuning. AABB (Shields/Goodman): ABC (Stanford/Petrie): AABBCC (O’Farrell). The melody appears in the mid-19th century music manuscript collection of Church of Ireland cleric James Goodman (1828-1896). Goodman, who spoke Irish and played the uilleann pipes, collected from tradition in Cork and elsewhere in Munster, and obtained tunes from manuscripts and printed sources as well. Goodman translates the title as “the old woman in the settle-bed.” O’Farrell’s and Petrie’s tunes are identical, save for the repeats. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 113 (appears as “Calloch a Theusa”). Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 196, pg. 81. Stanford/Petrie (Complete Collection), 1905; No. 1363, pg. 341 (appears as “Cailleac an t-Rura”). Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001. Learned from a recording of Dublin fiddler and concertina player John Kelly, Sr., originally from West Clare).

X:1

T:Calloch a Theusa [1]

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:G

G | A2B cBc | EFE c2A | B2G AFD | GAG BAG | A2B cBc | EFE c2A |

BdB cAF | G3 BAG :: FGA AFd | AFd AFd | FGA AEd | GAF BAG |

FGA AFd | AFd ABc | BdB cAF | G3 BAG :: FGA AFD | DED AFD |

FGA AFD | GAG BAG | FGA AFD | DED ABc | BdB cBA | G3 BAG :|

 

CAILLEACH AN t-SÚSA [2] (The old woman in the settle-bed).  Irish, Jig. G Mixolydian???  Standard tuning. AABB. The melody appears in the mid-19th century music manuscript collection of Church of Ireland cleric James Goodman (1828-1896). Goodman, who spoke Irish and played the uilleann pipes, collected from tradition in Cork and elsewhere in Munster, and obtained tunes from manuscripts and printed sources as well. This version is labeled “the new” by Goodman to distinguish it from “Caillach an t-Súsa [1]” (the old). Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 197, pg. 81.

X:1

T:Cailleach an t- Súsa [2]

M:6/8

L:1/8

R:Jig

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

K:C

EGE EFG|EGE EFG|FDF EDE|DED GED|EGE EFG|

EGE EFG|FAF GED|DED GED::G3 GFG|EFE EFG|

FDF EDE|DED GED|G3 GFG|EFE EFG|FAF GED|DED GED:|

 

CAILLEAC AN t-RURA [3].  Irish, Air or Jig. A Major. Standard. AB. Another setting of the “Cailleach an t-Súsa” family in the Petrie collection. Stanford/Petrie (Complete Collection), 1905; No. 1364, pg. 342.

X:1

T:Cailleac an t-Rura [3]

M:3/8

L:1/8

R:Air or Jig

S:Stanford/Petrie – Complete Collection, No. 1364  (1905)

Z:AK/Fiddler’s Companion

K:A

ABc|dzd|czc|dzB|cdc|BcB|ABA|czA|

ABc|dzd|czc|dzB|Ace|dcB|ABA|czA||

GzB|BGE|GzB|BGE|cdc|BcB|ABA|czA|

GzB|BGE|BGE|BGE|Ace|dcB|ABA|czA||

 

CAILLEAC(H) AN AIRGID. AKA and see "The Hag with the Money."

 


CAILLEACH AN TÚIRNE (The Hag of the Spinning Wheel). AKA and see “The Maid at/of the Spinning Wheel.”

           

CAILLEACH NA BEINNE BRICE (The Witch of the Varicolored Hill).  Scottish, Slow Air. The melody appears in D. Campbell’s 1862 collection. Henderson (Flowers of Scottish Melody), 1935. 

                       

CAILLEAC NA TEINE. AKA and see "The Hag by the Fire."

 

CAILLEACH ODHAR. See "Caillich Odhar."

 

CAILLEACH ‘SA MHAISTRIM. See “Hag at the Churn.”

                       

CAILLACH OIDCHE. AKA - “An Cailleach Oiche.” AKA and see "Chailleach Oidhche," "Miss MacKenzie of Gairloch." Irish, Reel. Caoimhin Mac Aoidh (1994) explains the title directly translates as “The Night Hag” but literally means “The Owl.” The usage is derived from the belief that witches (i.e. hag) had the ability to transform themselves into the form of an owl to help conduct their nocturnal business.

                       

CAILLEACH O THUAIDH. Irish, Slip Jig. D Major. Standard tuning. AABB. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. pg. (appears as untitled slip jig). Mulvihill (First Collection of Irish Traditional Music), 1986; No. 3, pg. 107 (appears as “Cailleaca o Tuaid”).

X:5
T:Cailleach o Thuaidh
M:9/8
L:1/8
R:Slip Jig
S:Levey - Dance Music of Ireland, 2nd Collection (1873)

N:Appears as untitled slip jig in Levey
Z:AK/Fiddler's Companion
K:D Major
(ABd) (efe) (edB) | (AFA) (faf) (e2d) | (ABd) (efe) (edB) | ABc dAF (E2D) :|
|: FED FAD FAD | FED FAF (E2D) | FED FAD FAD | ABc dAF (E2D) :|

                       

CAILLICH/CAILLEACH ODHAR [1] (“The Sallow-faced Hag”, or “The Dark or Somber Old Woman”). AKA and see “Sir Charles Douglas.” Scottish, Strathspey. D Major. Standard tuning. AABB' (Skye). MacDonald (The Skye Collection), 1887; pg. 46.

X:1

T:Caillich Odher

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

d | A>FD>F A<D D>B | A<DF>D F/G/A d2 | A>DF>A D<AF<A | G<B A>F E/E/E B2 :|

A<d d>f e>dc>A | A<d d>f ef/g/ f>e |1 A>dd>f e>dc>A | B>dA>d E/E/E B2 :|2

f<a e>f d>fB>d | A>cF>d E/E/E B2 ||

 

CAILLICH ODHAR [2]. Scottish, March (cut time). D Mixolydian. Standard tuning. AABB (and variations). Appears as in David Young's (c. 1707‑c.1770) McFarlane MS of 1740 (as "Cailleach Ouer," attributed to him though actually only the variations are his), and in the McLean Collection of 1772 published by James Johnson in Edinburgh. David Johnson (1983) thinks the tune may perhaps be of bagpipe origin, from the 17th century. Johnson (Scottish Fiddle Music in the 18th Century), 1983; No. 28, pgs. 79‑80 (tune and variations from Young's McFarlane MS.).

                       

CAILTLIN NI UALLACHAIN (Kitty/Katty Nowlan). Irish, Air (3/4 time) D Minor. Standard. AB (Stanford/Petrie): AABB (O’Sullivan/Bunting). Petrie's Music of Ireland (1892, pg. 8) contains two variants of this tune along with six verses and notes. Sources for notated versions: the Irish collector Edward Bunting noted the tune from the harper Charles Byrne (Co. Leitrim) in 1806; “From P. Coneely,” the Galway piper [Stanford/Petrie]. O'Sullivan/Bunting, 1983; No. 97, pg. 141. Stanford/Petrie (Complete Collection), 1905; No. 481, pg. 121.

                       

CAIN O HARA. Irish, Air (3/4 time). G Major. Standard. One part. Kane O’Hara (1712-1782) was a noted dramatist, musician, and author of many comic operas, including the burlettas Midas (1761) and Tom Thumb, altered from Fielding. The following quotation in Bartlett, attributed to O’Hara, is from Midas (Act i, Sc. 4):

***

Pray, Goody, please to moderate the rancour of your tongue!
Why flash those sparks of fury from your eyes?
Remember, when the judgment ’s weak the prejudice is strong.

***

 O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 18.

X:1

T:Cain O Hara

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:G

G>E | D2 (3DEG (3GAB | AG E2 GE | D2 D(E/G/) GA/B/ | A4 G>A |

B2d2 (e/f/)g | (ed)(cB)(AG) | G2 {GA}B2d2 | e4 dc | B2d2 (e/f/)g |

ed(cB)AG | G2 Bd (eg) | g4 f2 | ed B2 (AG) | (AG) E2 GE | D>E G{A}B AG | G4 ||

                       

CAIOP AN CUIL AIRD. AKA and see "High-Caul Cap."

                       

CAIORA, AN. Scottish, Slow Air (3/4 time). E Minor. Standard. One part. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 25.

                       

CAIPIN ANAIRT, AN. AKA and see "The Linen Cap."

           

CAIPTÍN SULTMHAR, AN.  AKA and see “The Rollicking Skipper.”

           

CAIRDING O'T, THE. AKA and see "Queensbury's Scots Measure,” “Salt Fish and Dumplings," “Shepherd’s Hornpipe.” Scottish, Country Dance or Scots Measure. A Major (Howe, Kerr, Songer): G Major (Hunter). Standard tuning. AB (Kerr, Hunter): AABB (Howe, Songer). The melody has been set as a reel, pipe march, Scots measure and an air. The title refers to the carding (in Scots dialect ‘cairding’) of wool, or the labor of straightening and ordering with a carding comb. Hunter (1988) finds the earliest appearance of the tune in print in Margaret Sinkler's Manuscript (c. 1710), where it is called "Queensbury's Scots Measure." James Aird published it (in his Selections, 1788) under the title “Salt Fish and Dumplings;” referenced by Stenhouse notes to his 1839 republishing of the Scots Musical Museum, who called it “a lively old Scotch measure…” See also O’Farrell’s hornpipe setting “Shepherd’s Hornpipe.” As an air it can be found as the vehicle for the words “Come Taste the Cup,” and the Robert Burns song (“The Cardin O’t,” Number 437 in Part 5 of James Johnson’s Scots Musical Museum c. 1796) which goes:

***

The cardin o’t, the spinnin o’t,

The warpin o’t, the winnin o’t;

***

Source for notated version: Aird’s Selections of Scotch, English, Irish and Foreign Airs (Glasgow, 1788) [Henderson]. Henderson (Flowers of Scottish Melody), 1935. Howe (1000 Jigs and Reels), c. 1867; pg. 146. Hunter (Fiddle Music of Scotland), 1988; No. 308. Kerr (Merry Melodies), vol. 2; No. 4, pg. 3. Songer (Portland Collection), 1997; pg. 44 (appears mistakenly as “The Cairin’ O’t”). Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983). “James F. Dickie’s Delights” (1976).

X:1

T:Carding O’t, The

M:4/4

L:1/8

R:Country Dance Tune

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

Z:AK/Fiddler’s Companion

K:A

cB | A3B cBcd | e2 af ecBA | d3f ecBA | GABc B3c | dcde fgaf | ecBA AGFE |

AcBd ceBd | c2A2A2 :: af | ecAc e3f | ecAc {f}e2 dc | dcde fgab | g2e2e2 dc |

dcde fgaf | ecBA AGFE | AcBd ceBd | c2A2A2 :| 

                       

CAIRELL'S BELL. AKA and see "Gille Choirill."

                       

CAIRISTIONA CHAIMBEL (Christy Campbell). AKA‑ "The Miller of Drone" (for which authorship was claimed in 1801 by John Pringle and in 1802 by Nathanial Gow. A tune by the same name but in 6/8 time is listed in the contents of the Bodleian Manuscript (1740)). Cape Breton, Strathspey. A Major. Standard, AEae, ADae. AABB'. Source for notated version: Carl MacKenzie (Cape Breton, Nova Scotia) [Dunlay and Reich]. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 29.  Topic 12TS354, John Willie Campbell‑ "Cape Breton Scottish Fiddle" (various artists); WRCI‑1548, Carl MacKenzie‑ "And His Sound is Cape Breton."

 

CAIRNEY BURN. AKA and see "Bog o' Gight."

 

CAIRNEY MOUNT. AKA and see "The Bonny Highland Laddie."

 

CAIRNGORM, THE.  Scottish, Reel. G Minor. Standard. One part. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927), who explains that the cairngorm was “a gold scarf pin presented to the composer by an enthusiastic Perthshire amateur.” Skinner (Harp and Claymore), 1904; pg. 127.

X:1

T:Cairngorm, The

M:2/4

L:1/8

R:Reel

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:G Minor

(d/ | .B/).G/.A/.^F/ .G/.B/.d/.g/ | ^f/d/_e/^c/ d/^f/a/({d}A/) | .B/.d/.g/.a/ .b/.g/.d/.B/ | .c/.B/.A/.G/ .^F/.D/d/c/ |

B/G/A/^F/ G/B/d/g/ | ^f/d/_e/^c/ d/^f/a/A/ | B/d/g/a/ b/g/d/B/ | c/e/d/^f/ ({a}g/)G/B/d/ | g/d/b/g/ a/^f/g/_e/ |

d/=e/=f/^f/ g/d/g/a/ | b/f/g/e/ =e/f/d/B/ | c/B/A/G/ ^F/D/d/c/ | ^f/d/_e/^c/ d/^f/a/A/ | B/d/g/a/ b/g/d/B/ |

c/e/d/^f/ [G,3D3B3g3] ||

 

CAIRNGORM BROOCH. AKA and see “The Old Reel.” Scottish, Reel. A Dorian. Standard. AABB. A Scottish variant of the “Flowers of Limerick,” “Bunch of Keys [1]” tune family. Cranford (Brenda Stubbert’s), 1994; No. 34, pg. 12.

 

CAIRNGORUM. AKA – “Cairngorm.” AKA and see "Leap Year [2]," “The Cheap Meal,” "The Dear Meal (is cheap again)," "Lucy Campbell [2]."  Scottish, Reel. D Major. Standard. AB. Kerr (Merry Melodies), vol. 1; Set 20, No. 4, pg. 13. Surenne (Dance Music of Scotland), 1852; pg. 163.

X:1

T:Cairngorm

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 163   (1852)

Z:AK/Fiddler’s Companion

K:D

B | AFED dFED | EBBA BEEB | AFED dg({g}f)e | dBAF ADDB | AFED dFED |

EBBA BEEB | AFED dg({g}f)e | dBAF ADD || f | abaf defd | e<eba beef |

abaf dg({g}f)e | dBAF ADDf | abaf defd | e<eba beef | abaf dg({g}f)e | cBAF ADD ||

 

CAIRNGORUM MOUNTAIN [1] (An carn gorm). AKA and see “Hibernian Jig,” “The Highlander’s Lament,” “(An) Irish Jigg,” Scottish, Slow Air (6/8 time). "A very old Gaelic air" (Gow). A Major (Gow): G Major (Fraser). Standard tuning. AAB (Fraser): AABB (Gow). The Gaelic title, “An carn gorm” translates as ‘the blue-green rocky mountain’. "The editor inserts this air, given in excellent style by Mr. Gow, as it is called an Irish air, by the Reverend Patrick Macdonald, who published a very inferior set of it. He had not, however, traversed that part of the country to which it belonged, but had he called for John MacPherson, for a long time fox‑hunter betwixt the braes of Mar and Cairngorm, extending to parts of the forests of Gordon, Fife, Airdy, Seafield, Invercauld, Rothiemarchus, and Invereshire estates, and heard him sing the 'Pursuit of the Deer' to this air, he would have been delighted, and would instantly recognise it as a native, as well as thank the editor for reclaiming it. John MacPherson died but lately, and for the few last years of his life resided within a couple of miles of the editor's house; he had been a universal sportsman and angler, and the editor often had pleasure in bringing him into his angling boat to row and sing this air" (Fraser). James Aird prints the tune in his Selections under the title “An Irish Jigg,” and it appears in Kerr as “The Highlander’s Lament.” O’Neill prints versions as “Hibernian Jig” and “A Clan March.” Carlin (The Gow Collection), 1986; No. 324. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 154, pg. 62 (appears as "Cairngorm Mountain," under the Gaelic title). Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 11.

X:1

T:Cairngorm Mountain [1]

T:An carn gorm

M:6/8

L:1/8

R:Slow Air

S:Fraser Collection (1874)

Z:AK/Fiddler’s Companion

K:G

(3G/F/E/|DB,D DB,D|DB,C D2 G/>F/|(EGF) E>D/E/F/|G>AB B2 (A/G/)|

ABd e>f/g/e/|dBG G>A/B/c/|Bed B>A/B/A/|GEE [G,2E2]:|

(B/c/)|~d>ed dBd|e>ge e2 (d/c/)|B2 (A/G/) g(fe)|B2 A G2 (e/f/)|g>fe edB|

dBA B2G|ABd e>^de|GEE E2 (B/c/)|~d>ed d<Bd|d<Bd d2 (g/f/)|

(eg)f e>d/e/f/|g2f e2g|(G>A/B/c/4d/4e/4f/4 g2) (f/e/)|d<BA G>(A/B/c/)|B<ed B>A/B/A/|GEE E2||

X:2

T:Cairngoram Mountain [1]

M:6/8

L:1/8

R:Air

N:”Very Slow”

N:”A Very Old Gaelic Air”

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

Z:AK/Fiddler’s Companion

K:A

E|(E>C)E E>CE|ECE E2 A/G/|”tr”F>GF (FE).F|A>Bc c2c|(Bc).e (fa).f|

ecB ABc|cfe c2B|(cA).F F::e|e>fe ece|”tr”f>gf “tr”f2e|ece “tr”f>ed|

{d}c2B A2 f/g/|(af).e (fe).c|(ec).B {d}cBA|Bce (fc).B|AFF F2:|

 

CAIRNGORUM MOUNTAIN [2]. Scottish, Jig. A Aeolian. Standard tuning. AAB. Similar to version #1, set in a minor key. Carlin (Master Collection), 1984; pg. 94, No. 159.


 

CAIRNTOUL. Scottish, Reel. G Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 177, pg. 61.

 

CAIRO. See "Karo," "Goin Down to Cairo."

 

CAIRO WALTZ. Old‑Time, Waltz. Composed by Norman Blake (Rising Fawn, Ga.). Rounder C‑11565, Norman & Nancy Blake ‑ "Rounder Fiddle" (1990). Rounder 0144, Norman Blake and the Rising Fawn String Ensemble ‑ "Full Moon on the Farm" (198?)

 

CAISEAL MHUMHAN (Cashel of Munster). AKA - “Caiseal Mumhan.” AKA and see “The Bog-Deal Board,” “Cois na Brighde,” "The Soft Deal Board." Irish, Air (4/4 time). D Major. Standard. One part.

 

Caiseal Mhumhan

***

Phósfainn thú gan bha gan phunt gan áireamh spré,
agus phógfainn thú maidin drúchta le bánú an lae.
'S é mo ghalar dubhach gan mé is tú, a dhaiaghrá,
i gCaiseal Mumhan is gan de leaaba fúinn ach clár     bog déil.

***

Siúil, a chogair, is tar a chodladh liom féin sa    

    ghleann:
gheobhaidh túfoscadh, leaba fhlocias is aer cois     

    abhann;
beidh na srutha ag gabháil thariainn faoi ghéaga

    crann;
beidh an londubh inábhfochair, is an chéirseach

    dhonn.

***

Searc mo chléibh a thug mé féin duit is grá tri rún,
's go dtaga sé de chor sa tsaol dom bheith lá 'gus tú
is ceangal cléire eadriann aroan is an fáinne dlúth;
is dá bhfeicfinn féin mo shearc ag aon fheaar gheobhainn bás le cumha.

***

 

Cashel in Munster

***

I would wed you without cattle, without money or a       counted dowry:
I would kiss you on a dewy morning of the     

     lightening day.
I am sick with sadness not to be with you, beloved,
in Cashel in Munster - were our bed but a board of bog deal.

***

Come to the valley, my love: come lie with me;
shelter you'll find there, a flock bed, fresh air by the     river;
the streams will flow beside us under tree branches;
the blackbird will be our neighbour, and the brown song-thrush.

***

The love of my heart I give you, my secret devotion.
May that day come, in life's course, when you and I
have the holy bond between us, and the steadfast ring -
for if I saw my love with another I would die of sorrow.

Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 20, pg. 24.

 

CAISIDEACH BAN, AN (Fair Cassidy). Irish, Air (3/4 time). D Mixolydian/Major. Standard. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 11, pg. 17.

                                   

CAISLEÁN AN ÓIR/CAISLEÁN NA nOR (The Castle of Gold). AKA and see “The Golden Castle.” Irish, Hornpipe. G Dorian. Standard. AABB. Composed by West Clare fiddler Martin “Junior” Crehan (b. 1908). Peter Woods (in his book The Living Note: the Heartbeat of Irish Music, 1996) relates Crehan's story about how they got the tune. It seems that at one time a crowd of men were digging a grave for a fiddler at a location that overlooked a place called Caislean Oir. An old man happened by on the road and asked whether the group had made the sign of the cross before they dug, and was assured they had. The old man then proceeded to tell them, in Gaelic, the story of a priest who had taken a wife and was banished to live above the Cliffs of Moher (County Clare), and then he sang them a song in Irish known as "The Priest's Lament." The air of the song stayed with then and formed the basis of the hornpipe "Caisleán an Óir," named for the prominent feature where they heard the melody. Sources for notated versions: fiddler Junior Crehan (West Clare, Ireland) [Breathnach]; Martin Hayes [Fiddler Magazine]. Breathnach (CRÉ III), 1985; No. 223, pg. 102. Ceol, (II, (1) pg. 50. Fiddler Magazine, Spring 1994; pg. 11. ACM Records, Mick O’Brien - “May Morning Dew.” Comhaltas Ceoltoiri Eireann CL17, Junior Crehan ‑ "Ceol an Chlair, Vol. 1." Green Linnet SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978. Learned from Martin Rochford of Bodyke, Co. Clare). Green Linnet SIF1127, “Martin Hayes” (appears as “The Golden Castle”).

                                   

CAISLEÁN DHÚN GUAIRE. Irish, Fling. Claddagh 4CC 39, “The Pipering of Willie Clancy Vol. 2” (1983).

                                   

CAISLEÁN TUAIM-GREINE. AKA and see "Tomgraney Castle."

                                   


CAISLEÁN UÍ CHEALLAIGH (Castle Kelly). AKA and see "Castle Kelly."

 

CAISLEÁN UÍ DONNABAIN. AKA and see "Castle Donovan [1]."

 

CAISLEÁN UÍ NEILL. AKA and see “O’Neill’s Castle.”

 

CAISTEAL A GHLINNE (Castle in the Glen). Scottish, Slow Air (6/8 time). E Flat Major. Standard. One part. Neil (The Scots Fiddle), 1991; No. 151, ppg. 194.

 

CAISTEAL CHUIMRI. Scottish, Strathspey. G Major. Standard. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 165.

X:1

T:Caisteal Chuimri

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G

(3d/e/f/|g>d d>e e/d/^c/d/ B>d|e>Gd>G F<A A(3d/e/f/|

g>d d>e e/d/^c/d/ B>G|EF/G/ F>E D<GG:|

B|GA/B/ E>G D>GB,>G|G/A/B A>G F<A A>B|GA/B/ E>G D>GB,>G|

E/F/G F>E D>GG>B|GA/B/ E>G D>GB,>G|G/A/B/c/ d>G F<A A>B|

G>B,C>D E>FG>e|d<G F>E D>GG||

 

CAISTEAL DHUNROBAINN. AKA and see "Dunrobin Castle."

 

CAISTEAL DUNAIDH. AKA and see "Beaufort Castle."

 

CAISTEAL INBHER-AORA. AKA and see "Inverary Castle."

 

CAISTEAL URCHUDAINN. AKA and see "Castle Urquhart," "Urquhart Castle."

 

_______________________________

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