The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

CCU - CETT

[COMMENT3] 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

[COMMENT4] 

CCUIMIN LEAT?, A. Irish, Air (3/8 time). E Flat Major. Standard tuning. AB. Petrie notes in pencil “Remember thee, yes while there’s life in this heart.” Source for notated version: Mary Madden [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1514, pg. 379.

                       

CE BHEADH SA TINE NACH N-EIREODH?  AKA and see "Sugradh na hOiche Areir," "Hush the cat from under the table," "Paddy be aisy," "Last Night's Fun [2]," "Miss Brown's Fancy [3]," "Wink and she'll follow you."

                       

CEAD BLIADHAIN O SHIN. Irish, Pipe Air. Ireland, County Donegal. Collected by Padriag Mac Aodh O’Neill in 1903 from the playing of fiddler Padraig Mac Suibhne and published in Songs of Uladh. Caoimhin Mac Aodh (1994) remarks that apparently this tune was used as an introduction to a longer descriptive piece called “Brian Boroimhe’s March.”

                          

CEAD LA BEALTEINE, AN. AKA and see "The First of May."

                          

CEAD LA MARTA, AN. AKA and see "The First of March."

                       

CEAD LA MI MEADON SAMRAID, AN. AKA and see "The First of June."

                       

CEAD MI SAMRAD, AN. AKA and see "The First Month of Summer."

                       

CEAD OIDCE ANN AMERICA, AN. AKA and see "The First Night in America."

           

C(H)EAD PHUNNANN, AN.  AKA and see “Jimmy Ward’s Jig.”

           

CEADBLIADAIN NUAD, AN. AKA and see "The New Century [2]."

                       

CEAN DE NA BUACAILLIB. AKA and see "One of the Boys."

                       

CEAN DUB DILÍR [1]. Irish, Air (6/8 time). Ireland, Londonderry. E Flat Major. Standard tuning. AAB. “Set in the county of Londonderry” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1061, pg. 269.

X:1

T:Cean Dub Dílir [1]

M:6/8

L:1/8

R:Air

B:Stanford/Petrie – Complete Collection, No. 1061  (1905)

Z:AK/Fiddler’s Companion

K:Eb

E/F/|GGE AGA|Bcd efe|_dBG A2 B/A/|GEE E2:||z|

BBc/d/ e2f|gfe dBB|ggG aaG|bc’/b/a/g/ ab/a/g/f/|gfe fed|

EEE E2F|GGE AGA|BB/c/d/e/ f/g/a/f/e/c/|_dB A/G/ AAB/A/|GEE E2||

 

CEAN DUB DILÍR [2]. Irish, Air (6/8 time). Ireland, Derry. E Flat Major. Standard tuning. AABB. “Set in the count of Derry” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1062, pg. 269.

X:1

T:Cean Dub Dílir [2]

M:6/8

L:1/8

N:”Allegretto”

R:Air

B:Stanford/Petrie – Complete Collection, No. 1062  (1905)

Z:AK/Fiddler’s Companion

K:Eb

z|eBB e2f|gag f2 e/d/|eBA/G/ A2 B/A/|GEE E2:|

|:E/F/|GGE AGA|Bcd efe|_dBG A2 B/A/|GEE E2:||

                       

CEANN AN FHEIDH. AKA and see "The Fraser Arms."

                       

CEAN DUB OILIR. AKA and see "Black‑Haired Dearie."

                       

CEANC AGAR COILEAC A D’IMTIG LÉ CÉILE. Irish, Air (6/8 or 12/8 time). G Major/Mixolydian: E Flat Major. Standard tuning. AB. Source for notated version: “From T. Mac Mahon” [Petrie]. Stanford/Petrie (Complete Collection), 1905; Nos. 1508-1509, pg. 377.

X:1

T:Ceanc Agar Coileac a D’imtig lé céile  [1]

M:6/8

L:1/8

N”From T. MacMahon”

B:Stanford/Petrie – Complete Collection , No. 1508 (1905)

Z:AK/Fiddler’s Companion

K:Eb

B|GFG EFG|AGA B2e|AFF GEE|AFF F2 B/A/|GFG EFG|

AGA B2e|dBB A2F|GEE E2||G/F/|EGB ede|fed e2c|

BBA GFG|AFF F2 B/A/|GFG EFG|AGA B2e|dBB A2F|GEE E2||

X:2

T:Ceanc Agar Coileac a D’imtig lé céile  [2]

M:12/8

L:1/8

N:”Gaily”

B:Stanford/Petrie – Complete Collection , No. 1509 (1905)

Z:AK/Fiddler’s Companion

K:G

d/c/|BGB cAG FGA cBc|dcd ecA ABc dd/c/|BGB cAG FGA cBc|

de=f ecA {GB}A>GG G2||G/A/|Bcd =fdc Bcd gfg|afd dcB AB^c dd/>=c/|

BGB cAG FGA cBc|de=f ecA {GB}AGG G||

                       


CEANGA(I)L NA RIBÍNÍ. AKA and see "Tie the Ribbons [1]."

                       

CEANGAL AN BOINEAD. AKA and see "Tie the Bonnet."

                       

CEANGAL AN COTA-MNA NIOS DAINGNE. AKA and see "Tie the Petticoat Tighter."

                       

CEANGAL NA RIBINI. AKA and see "Tie the Ribbons [2]."

           

CEANGULLA POLKA. AKA and see “Ceanngulla Polka.” Irish, Polka.

           

CEANN DUBH DILIS. AKA and see "Black Headed Dearie," "The Auld Jew."

                       

CEANN IS FEARR ANNSA MALA. AKA and see "The Best in the Bag."

                       

CEANN NA DROCHAID BIG (The Head of the Little Bridge). Scottish, Pipe Pibroch. This well-known pipe pibroch was likely composed by one of Montrose’s pipers, according to Francis Collinson (1975), in celebration for the victory at Inverlocy on February 2nd, 1645.  Montrose won by employing a stunning outflanking march in which he doubled-back across mountain passes in the depths of winter from Killcumin (now Fort Augustus) to Inverlochy, where he fell upon the flank of Argyll and his Campbells in a dawn attack.  During the attack not only did the trumpets sound the salute reserved for the royal standard (as Montrose had changed sides to become ‘the King’s Lieutenant’) but pipers played the Cameron pibroch “Sons of dogs, come and I will give you flesh.”

                       

CEANNABHÁIN BHÁNA, NA (The Little Fair Cannavans). AKA and see “The Cotton Grass Flowers.” Irish, Air or Slip Jig. D Major. Standard tuning. AABB. The melody was lilted as an infant-dawdling song, with appropriate lyrics, and was collected in Connemara from Colm Ó Caoidheáin by collector and piper Séamus Ennis in the 1940’s. The words are nonsense lyrics in Irish:

***

Gairm fhéin,gairm fhéin,gairm fhéin,
Gairm fhéin Micil is Máire
Gairm fhéin,gairm fhéin,gairm fhéin,
Seo iad na ceannabháin Bhana.

Cuirfidh mé,Cuirfidh mé,Cuirfidh mé,
Cuirfidh mé suas ag sadbh Sheáin thú
Cuirfidh mé,Cuirfidh mé,Cuirfidh mé,
Is Cuirfidh sí buirín sa ngleann ort.

***

Translated it goes something like this (according to the Cran album liner notes):

***

Good for you, Mical and Maire!
They are the white headed Canavans.

I will send you up to Sean's Sive
And she will put a spancel on you in the glen.

***

Tubridy (Irish Traditional Music, Book Two), 1999; pg. 41. Black Rose Records BRRCD003 Cran – “Lover’s Ghost” (2000). Comhaltas Records, Tommy Keane (1983. Learned from Seamus Ennis). CCF 30, Liam O'Flynn, Sean Keane & Matt Molloy – “The Fire Aflame.” Piping Pig Records PPPCD001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996).

X:1

T:Na Ceannabháin Bhána

L:1/8

M:9/8

R:Slip Jig

Z:Transcribed by Karen Lowe

K:G

BGG AGE GED|EGD DEG A2c|BGG AGE GED|EGD DEF G2c:|

Bdd edd BAG|Bdd edB A2c|Bdd edd BAG|GED DEF G3:|

                       

CEANN-RARA. AKA and see "Kinrara."

                       

CEANNGULLA POLKA, THE. AKA and see "Banks of Inverness." Irish, Polka. D Major. Standard tuning. AAB. The title is source O’Leary’s, named for a village located between the abodes of fiddlers Denis Murphy and Padraig O’Keeffe, as he could not remember from which he obtained the tune. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region), recorded in recital at Na Piobairi Uilleann, November, 1990 [Moylan].  Moylan (Johnny O’Leary), 1994; No. 166, pgs. 95-96.

                       

CEANNGULLA SLIDE. AKA and see “Baile Bheachain,” “Gleanntán Frolics [2].” Irish, Slide (12/8 time). Ireland, Sliabh Luachra, County Kerry. D Major. Standard tuning. AABB. This tune is the second in a set of three slides recorded by Seamus Ennos from the playing of Sliabh Luachra fiddle great Padraig O’Keeffe. Source for notated version: fiddler and fiddle-maker Andrew McCarthy via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; Nos. 308A&B, pgs. 177-178. RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe” (appears as “Gleanntan Frolics” [2]). Spin CD 1001, Eoghan O’Sullivan, Gary Harrington, Paul De Grae - “The Smoky Chimney” (1996. Appears as “Gleanntan Frolics”).

                       

CEANNUIDE SUGAC, AN. AKA and see "The Merry Merchant."

                       

CEANNUIGHE O'N EARNA, AN. See "The Merchant from the Erne."

                       

CEANNUIGHE/CEANNAIDHE SUGACH, AN AKA and see "The Jolly Pedlar."

                       


CEAPACH NA FASACH (Keppoch a Wilderness). Scottish, Slow Air (9/8 time). E Minor. Standard tuning. AA. "Ceapach na Fasach" was composed by the Reverend Patrick Macdonald of Kilmore, Argyllshire, who was the compiler of the first setting for Highland pipe tunes for the violin and piano (according to Josephine Macdonell), though his brother Joseph, who was also an accomplished musician, may have been responsible for the work. Neil (1991) relates the story the tune commemorates (also the theme of a poem entitled "Murt Na Ceapaich" by one Iain Lom), regarding an infamous 17th century murder in which the next in line of the family of Macdonell of Keppoch conspired to slay his two brothers, in order to inherit both lands and clan title. The title comes from the fact that the fields of Inverlair (the area the murderers inhabited) had their field sowed and harrowed, while the acreage of the murdered men in Keppoch lay fallow and desolate, there being none to manage. Iain Lom was a contemporary of the Highlandmen involved in the crime and was tireless in his pursuit of justice, resting only when the murderers were caught and executed. Another melody inspirated by the same poem was Simon Fraser's 1816 "Cheapuich Na Fasoch" (Keppoch Desolate), and Neil thinks both airs may have been written as the music for Lom's work. Neil (The Scots Fiddle), 1991; No. 159, pg. 205.

           

CEARBHALL BÁN MO CHROI. Irish, Slow Air. The tune to a ballad of the Rising of 1798, composed by Fenian poet John Keegan Casey (1846-1870), although Gearóid Ó hAllmhuráin (1999) thinks it may have been based on an older sean nós air.  The song tells the tale of a woman grieving for her lover, who has been executed by hanging for his part in the rebellion. It begins:

***

It was in the town of Wexford, they sentenced him to die,

And in the town of Wexford, they built his gallows high;

It being one summer’s morning, as beamed the gentle dawn,

Upon that cursed gibbet they hung my Cearbhall Bán.

***

Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from Ó hAllmhuráin’s father Francie, who had it from Killnamona fiddler Joe Commane in the 1940’s).

                                   

CEARC AGAR COILEAC A D’IMTIG LE CEILE. AKA and see “(A) Hen and a Cock Went Out Together.”

                       

CEARC AGUS COILLEACH A D-IMTHIGH LE CHEILE. AKA and see "(A) Hen and a Cock Went Out Together."

                       

CEARDCA UI CATAIL. AKA and see "Cahill's Workshop."

                       

CEART NA CINE DAONA. AKA and see "Rights of Man."

                       

CEASE NOT TO ROW BRAVE BOYS (Fhearaibh mo rùin na diultaibh iomairt). Scottish, Jig. C Major. Standard tuning. AAB. This tune "was acquired from Dr. Morison, formerly mentioned as a native of Lews; the words describe a boat or vessel in imminent hazzard, and the hands overpowered with fatigue, whilst one of the number strikes up this ditty to cheer them up, and keep time,‑‑ alluding to the knowledge and skill of their steersman, and the power of Providence to send them instant relief,‑‑ the sure way to obtain which, was by every man performing his duty" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 197, pg. 82.

X:1

T:Cease not to row, brave Boys

T:Fhearaibh mo rùin na diultaibh iomairt

M:6/8

L:1/8

R:Jig

S:Fraser Collection

Z:AK/Fiddler’s Companion

K:C

C|CEE E2G|(EG)F EDC|(CE)E E2c|B>A^G A2c|(CE)E E2G|E(GF) EDC|

CEE Ece|dcB A2c:|

c>eg ceg|(c/B/c/d/)e/f/ gec|cec’ (a/g/)f/e/d/c/|deg ~a2 c’|

c>eg ceg|(c/B/c/d/e/f/) gec|(f/e/)d/c/B/A/ GF/E/D/C/|DEG A2e|c>eg ceg|

(c/B/c/d/e/f/) gec|cec’ (a/g/)f/e/d/c/|deg ~a2c’|ceg (e<c)e|(d<B)d c>de|

(CE)E (EA)c|B>A^G A2c||

                       

CEASE, RUDE BOREAS. AKA and see "The Sailor's Complaint." Ritson states this song, to the tune of "The Sailor's Complaint" was written by G.A. Stevens.

                       

CEASE YOUR FUNNING [1]. AKA and see "Lofty Mountains," "Constant Billy." English, Air (6/8 time). The song appears in John Gay's Beggar's Opera (1729) and The Fashionable Lady (1730). Chappell reminds us that the tune is, as are all the tunes in Gay's famous work, older than the opera. Kidson (1922) dates the tune to the late 17th century where he finds it on half‑sheet music attached to the song "Constant Billy."  In fact, the air appears as "Constant Billy" in the third volume of Playford's Dancing Master. Sharp (1907) explores the relationship between “Constant Billy” and “Cease Your Funning,” and points out that Gay was not a musician himself and employed the services of a German, Pepusch, by name, to note down and arrange the airs which Gay sang to him. “It needs but a cursory examination of this opera to see that the airs are anything but faithful transcriptions of genuine peasant-tunes…” and concludes that Gay or Pepusch, or both, were guilty of alterations or ‘improvements.’ “The rhythm of the fine old melody ‘Constant Billy’ is changed that it might fit the metre of the new words of ‘Cease Your Funning’, and the tune adorned with a dominant modulation at the middle cadence.”

***

In the Beggar’s Opera the untitled lyric goes:

***

Cease your funning, Force or cunning,

Never shall my heart trepan;

All these sallies Are but malice

To seduce my constant man.

‘Tis most certain, But their flirting,

Women oft have envy shown;

Pleas’d to ruin Others’ wooing,

Never happy in their own.

***

There have been some claims that “Cease Your Funning” was derived (‘stolen’) from the Welsh tune “The Ash Grove,” despite the fact that the latter first appeared in print in the Bardic Museum of 1802. As above, it clearly derives from “Constant Billy,” and the claim for Welsh provenance has no merit, according to Kidson (Groves).

***

Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 119‑120. Raven (English Country Dance Tunes), 1984; pg. 61. Sharp (English Folk-Song), 1907; pg. 113.

X:1

T:Cease Your Funning [1]

L:1/8

M:6/8

S:Sharp – English Folk-Song (1907)

Z:AK/Fiddler’s Companion

K:Bb

B2f dB2|e2c AF2|d2B GE2|cFA B3|B2f dB2|e2c AF2|d2B GEG|cFA B3:|

||B2b b2f|B2g g2e|A2f fBA|Gf =e f3|B2f dB2|e2c AF2|d2B GEG|cFA B3||

 

CEASE YOUR FUNNING [2]. Scottish, Reel. B Flat Major. Standard tuning. AAB. This melody first appeared in Joseph Lowe's Collection of Reels, Strathspeys and Jigs, Book 5 (c. 1846). Source for notated version: J. Murdoch Henderson, 1902-1972 (Aberdeen, Scotland) [Hardie]. Hardie (Caledonian Companion), 1986; pg. 40.

                       

CEASUL DIN ROGOZ. AKA and see “The Rogoz Clock.”

                       

CECIL McEACHERN'S JIG. Canadian, Jig. D Major. Standard tuning. AABB. Composed by Canadian guitarist and fiddler Cecil “Cec” McEachern, who joined radio and TV fiddler Don Messer’s band in 1947. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 151, pg. 100.

X:1
T:Cecil McEachern's Jig
M:6/8
L:1/8
C:Cecil McEachern
R:Jig
Z:http://ca.geocities.com/cfalt@rogers.com/Fiddle/CFtunes1.abc
K:D
F/2G/2|"D"ABA "A7"GFE|"D"DFA d2f|"A7"Ace g2a|"D"Adf a2F/2G/2|!
ABA "A7"GFE|"D"DFA d2f|"A7"Ace gac|"D"d3 d2:|!
|:a|"A7"g2a e2g|"D"f2a d2f|"A7"e2g "F#7"c2e|"Bm"d2f B2c|!
"E7"d2e B2d|"A"c2e A2c|"E7"dB^G EFG|"A"A3 A2:|

           

CECILIA [1]. Irish, Air (?). G Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. III), 1808; pg. 24.

X:1

T:Cecilia

M:C

L:1/8

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

Z:AK/Fiddler’s Companion

K:G

GB | d>edB d>edB | G2 (ga) g3e | d>edB degB | B3 (A/B/) A3 (G/B/) |

d>edB d>edB | G2 g2 (ag)(fe) | de(fg) dB”tr”AB | G6 :: d |

fgfd fgfd | g2 gb ag(fe) | d>edB degB | B3G A2 (G/A/) |

(Bc)BG dedB |(cB)ce ag(fe) | db (a/g/)f/(g/4e/4) dB”tr”AB | G6 :|

 

CECLIA [2].  English, Country Dance Tune (cut time). A Minor. Standard tuning. AAB. The name of a dance composed by English collector, choreographer and folk dance teacher Pat Shaw. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 18.

                                   

CEDAR GAP. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: Owen “Snake” Chapman [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 45.

                       

CEDARS OF LEBANON, THE. Irish, Reel. Composed by County Tipperary fiddle player Seán Ryan (d. 1985), who lived much of his life in County Laois. Bulmer & Sharpley (Music from Ireland), vol. 4; 45 (appears as untitled reel). Ryan (The Hidden Ireland); 29. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007).

              

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

                                                  

CEILEABRAD CAOINE, AN (The Sad Lament). Irish, Air. From the Roche Collection Airs and Fantasies. Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993).

                       

CEILI BANDIT, THE. Irish, Hornpipe. A modern composition by Clodagh Warnock and Eoghan O’Brien. Green Linnet SIF 1173, Deanta – “Whisper of a Secret” (appears as part of “Paddy and the Bandit” set). 

                                                  

CEILI NA gCNOC. See “Ceo na gCnoc.”

 

CEILIDH TRAIL SCHOOL.  Canadian, Reel. Canada, Cape Breton. D 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. 82, pg. 33.

 

CEILIER, THE. Irish, Reel. G Major/Mixolydian. Standard tuning. AABB. A “double tonic” tune composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 17, pg. 18.

X:1

T:The Ceilier

M:2/2

L:1/8

C:Ed Reavy

R:Reel

N:He would come with his fiddle to "make his ceili."

N:And he would never come without a new tune or some new version of an

N:old tune he heard since his last visit. He could also tell an odd

N:good story or two.

Z:Joe Reavy

K:G

Bc | d<GBd c=Fac | BGBd gfdc | Bcde =fdeg | ^fdBd c=Fac |

BGGF GABc | d<GBd c2 Bc | dgfa gbag | fdcA G2 :||

|: Bc | dggf g2 gf | dgBg dcBc | de=fe f2 fe | d=fcf dcBc |

dggf gfga | (3bag (3agf gfde | =f2 fe fdeg | ^fdcA G2 :||

                       

CEIMSIOS PARAIS. AKA and see "The Downfall of Paris."

                       

CEIRTLÍN SNÁITHE IN AIMHRÉIDH, AN (The Ravelled Hank of Yarn). AKA and see “The Ravelled Hank of Yarn.”

                       

CEITHRE THURRAING, AN. AKA and see "The Four Shoves."

                       

CELEBRATED ALMACKS’ WALTZ, THE. English, Waltz. D Major. Standard tuning. AABBCCDDAABB. The melody can be found in George Saunders’ (a self-described “Professor of Music and Dancing”) violin tutor entitled New and Scientific Self-Instructing School for the Violin (Providence, Rhode Island, 1847, No. 32, pg. 28; reprinted by Oliver Ditson in the 1850’s). Although the origin of the tune’s name is unknown, it should be noted that Almack’s Assembly Rooms (popularly known as Almack’s), King Street, London, was one of the most exclusive establishments of Regency society, and a center for fashionable popular dancing and entertainments. The rules were strict and entry was as guarded as any exclusive modern nightclub—the doors were manned by the manager and a well-known doorkeeper, Willis, and they closed at eleven-thirty promptly. Admissions vouchers had to be shown upon entry (Thompson, Dancing Through Time, 1998, pg. 131). The name Almack’s derived from its owner, William Macall, who reversed the syllables of his last name because he thought his real name sounded too Scottish, and thus unfashionable. The rooms (which consisted of a ballroom, supper rooms and game rooms) opened in 1765 and continued to be a center of social life through the mid-19th century. The doors were finally closed in 1863.

X:1

T:Celebrated Almacks’ Waltz, The

M:3/4

L:1/8

R:Waltz

B:Saunders - New and Scientific Self-Instructing School for the Violin (Providence, Rhode Island, 1847, No. 32, pg. 28)

N:Play AABBCCDDAABB

Z:AK/Fiddler’s Companion

K:D

(A>A)|A2 z2 (A>A)|A2 z2 (fe|dcBAGF)|(A2G2) (A>A)|A2 z2 (A>A)|A2 z2 (gf|edcBAc)|d2z2:|
|:A2|A2 A>A A2|(cdec) A2|d2 (fedc)|(BAGF)(ED)|B2 B>B B2|(A2d2).F2|(EFGA)(Bc)|d2 z2:|
|:A2|{A}f4e2|(4dced (3cdB|A6|(F4A2)|{A}a4g2|(f3e)d2|e6|(e4 ^e2)|f4 f4|(g3f)e2|d4c2|B4e2|A4 A2|(A2B2).c2|(e6|d4):|

|:A2|{A}e4d2|.c2.B2.A2|f6|d4A2|e4 d2|.c2.B2.A2|f6|(dABc)(de)|f4 f2|(g3f)d2|d4c2|B4e2|A4 A2|(A2B2).c2|(e6|d2)z2:||

 

CELEBRATED GERMAN MINUET, THE.  Scottish, Slow Air (3/4 time). D Major. Standard tuning. AABCCDEEF. Gow notes the variation sets of the tune are by “the late Mr. Nisbet of Dirleton, and John Shaw Stewart Esquire.” The variations Gow prints were, in part, composed by Mr. William Nisbet of Dirleton. William (1747-1822) was an East Lothian  landowner and army officer, who married Mary Manners, daughter of Lord Robert Manners, and grand-daughter of the Duke of Rutland. Their only child and daughter was Mary Nisbet (b. 1778) of Dirleton, Countess of Elgin. In 1784 William acceded to the barony of Dirleton upon the death of his father, also William. The Nisbets were hugely wealthy, and at her birth Mary became one of the richest heiresses in the world. The family seat was the manor of Archerfield, in Dirleton, some eighteen miles east of Edinburgh. Father William was an amateur musician who was a member of the Edinburgh Musical Society for much of his life. Gow (Third Collection of Niel Gow’s Reels), 3rd ed., originally 1792; pgs. 34-35.

X:1

T:Celebrated German Minuet, The

M:3/4

L:1/8

R:Minuet or Slow Air

B:Gow – Third Collection of Niel Gow’s Reels (1792)

Z:AK/Fiddler’s Companion

K:D

A,2|[D4F4] [C2E2]|[B,2D2][A,2G2][A,2F2]|E>FGEFD|(FE)(DC)(B,A,)|[D4F4] [C2E2]|[B,2D2][A,2G2][A,2F2]|

(EG)(FB)AC|{C}D4:||(d>c)(de)(fd)|(fe)(dc)(B^A)|”tr”B^ABcdB|(dc)(BA)(GF)|”tr”G>FGABG|(BA)(GF)(ED)|

“tr”E>FGEFD|(FE)(DC)(B,A,)| |[D4F4] [C2E2]|[B,2D2][A,2G2][A,2F2]|”tr”(E>F)GEFD|(FE)(DC)(B,A,)|

|[D4F4] [C2E2]|[B,2D2][A,2G2][A,2F2]|(EG)(FB)AC|{C}D4||A,2|A,[DF][DF][DF] [CE][CE]|[B,D][B,D][A,G][A,G][A,F][A,F]|

“tr”E>F {A}GF/E/|(F/D/)(A/>F)|(FE)(DC)(B,A,)|A,[D/F/][.D/F/] [.D/F/][.D/F/][.D/F/][.D/F/] [.C/E/][.C/E/][.C/E/][.C/E/]|[.B,/D/][.B,/D/][.B,/D/][.B,/D/] [.A,/G/][.A,/G/][.A,/G/][.A,/G/] [.A,/F/][.A,/F/][.A,/F/][.A,F]|EGFBAC|{C}D4||A2|(d/e/)d/c/ (d/e/)f/d/ (g/f/)e/d/|(e/f/)(d/e/) (c/d/)(B/c/) ^A2|(B/c/).B/.A/ (B/c/).d/.c/ (e/d/).c/.B/|(c/d/)(B/c/) (A/B/)(G/A/) F2|

(G/A/)G/F/ (G/A/)B/A/ (c/B/)A/G/|(A/B/)(G/A/) (F/G/)(E/F/) D2|”tr”(E/D/)(E/F/) (G/A/)(E/G/) (F/A/)(D/F/)|(FE)(DC)(B,A,)||

(D/F/)(B/F/) (D/F/)(A/F/) (C/E/)(A/E/)|(B,/D/)(G/D/) (B,/D/)G/D/ A,/D/F/D/|”tr”(E/D/E/.F/ (G/A/)(E/A/) (F/A/)(D/A/)|(F/A/)(E/A/) (D/A/)(C/A/) (B,/G/)(A,/C/)|

.D/(F/A/B/) (A/F/”tr”E/D/) C/E/A/C/|[B,2D2][A,2G2][A,2F2]|(EG)(FB)(AC)|{C}D4||A2|(d/e/).d/.c/ (d/e/).f/.e/ (g/f/).e/.d/|(e/f/)d/e/ (c/d/)(B/c/) (^A/B/).c/.A/|

(B/c/).B/^.A/ (B/c/).d/.c/ (e/d/).c/.B/|(c/d/)(B/c/) (A/B/)(G/A/) (F/G/).A/.F/|(G/A/).G/.F/ (G/A/).B/.A/ (c/B/)/.A/.G/|(A/B/).G/.e/ (F/d/).E/.c/ (D/E/).F/.D/|

“tr”(E/D/).E/.F/ (G/e/)(E/G/) F/d/D/F/|(F/d/)(E/c/) D/B/C/A/ B,/G/.A,/.C/||

 

CELEBRATED OPERA REEL, THE. AKA and see “Doon Reel [3],” "Haye's Fancy," "Gleann Eoghain." Not to be confused with “Opera Reel.”

                       

CELEBRATED STRATHSPEY MINUET, THE. AKA and see "Mrs. Biggs  (of Newcastle's) Delight." Scottish, Dance Tune. A strathspey‑minuet was an 18th century creation in which a twosome danced to a strathspey. The tune appears in Watlen's collection of Celebrated Circus Tunes (1791), inscribed "The celebrated Strathspey Minuet as danced by Mr. Lassells and Mrs. Parker at the Royal Circus, London and Edinburgh."

                       

CELEBRATED STOP HORNPIPE. American, Hornpipe. B Flat major (Cole, Ryan): D Major (Miller). Standard tuning. AABB. Probably a late 19th century stage-hornpipe novelty. Cole (1000 Fiddle Tunes), 1940; pg. 86. Miller (Fiddler’s Throne), 2004; No. 280, pg. 168. Ryan’s Mammoth Collection, 1883; pg. 119.

X:1

T:Celebrated Stop Hornpipe

M:2/4

L:1/8

R:Hornpipe

N:The notes with the asterisk before them are to be held extra length,

N:as the dancer chooses.

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(F/E/) | D/d/c/B/ A/g/f/e/ | g/f/ *d2 f | (f/e/)(e/d/ (d/c/)(c/B/) | B/d/ *F2 (F/E/) |

D/d/c/B/ A/g/f/e/ | g/f/ *d2 (f/g/) | f/e/c/A/ .F(G/A/) | BdB :: b/g/ |

f/d/B/F/ D/F/B/d/ | e/c/A/F/ E/F/C/E/ | D/F/B/A/ G/B/e/d/ | c/=B/c/d/ .c(b>g) |

f/d/B/F/ D/F/B/d/ | e/c/A/F/ E/F/C/E/ | D/F/B/F/ G/e/c/A/ | BdB :|


                       

CELEBRATED TRUMPET TUNE, THE.  Scottish, Slow Air (3/4 time). A Major. Standard tuning. AABB. The Gows remark: “Very Old. Upon the Circuits in Scotland this Air is played by his Majesty’s Household Trumpeters attending the Lords of Justiciary, when that high (Solemn) Court has occasion to Exercise its most painful Duty.” In addition to his other talents, Nathaniel Gow was an accomplished trumpet player and taught the instrument in Edinburgh. Carlen (Gow Collection), 1986; No. 590. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 22.

X:1

T:Celebrated Trupet Tune, The

M:3/4

L:1/8

R:Air

N:”Very slow and pathetic”
N:”Very Old”

N:” Upon the Circuits in Scotland this Air is played by his

N: Majesty’s Household Trumpeters attending the Lords of Justiciary,

N: when that high (Solemn) Court has occasion to Exercise its most painful Duty.”

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:A

A>B|c>B c>B c>B|(A2E2) A>B|c2 dcBA|B4 ~A>B|c>B c>B c>B|(A2 E)z A>B|~c>d .e.c.d.B|A4 :|

|:~c>d|e2 (fedc)|d2 (edcB)|c2 (dcBA)|{c}B4 A>B|c>B c>B c>B|(A2E) A>B|~c>d .e.c.d.B.|A4:||

“2nd Trumpet part”

|:C>E|A>E A>E A>E C2 A,2 C>E|A2 BAEC|E4 C>E|A>E A>E A>E|C2 A,z C>E|~A>B .c.A.B.E|C4:|

|:A>B|c2 (dcBA)|B2 (cBAE)|A2 (BAEC)|E4 C>E|A>E A>E A>E|(C2 A,)z C>E|A>B .c.A.B.E|C4:||

 

CELIA CONNELLAN (Sigile Ni Conallain). AKA and see “My Love’s the Fairest Creature,” “My Only Joe and Dearie O.” Irish, Slow Air (2/4 time). D Minor/F Major (O’Neill): A Minor (Heymann). Standard tuning. AB. Bunting says the composer of this air is Irish harper Thomas Connellan (c. 1640-1700), and published two versions in his Ancient Music of Ireland (1840). A Scottish version is found as “My Only Jo(e) and Dearie O,” says Heymann, but the relationship (at least between O’Neill and Gow’s “My Only…”) seems distant at best. As “Shiely Ni Conolan” it was one of the tunes recorded in the Belfast Northern Star of July 15, 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. Heymann (Off the Record), 1990; pgs. 26-28. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 596, pg. 105. Clairseach Records 2381, Ann Heymann – “Ann’s Harp” (1981).

X:1

T:Celia Connellan

M:2/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 596

Z:AK/Fiddler’s Companion

K:Dmin

A/4B/4 A/G/|Ad dd/4e/4f/4e/4|{^c}d2 d=c/A/|{=B}c2 G/E/G/A/|

{=B}c2 d/c/ {A/B/}A/G/|Ad dd/4/e/4/f/4/e/4|{^c}d2 d=c/A/|{B}c2 E>D|

CA, CD/E/|F2 z||FG/A/ cA/4G/4F|E2 A/G/F/E/|D>E DA,|DE F/G/F/G/|

Ad/e/ fe|{^c}d2 d=c/A/|{B}c2 AG/E/|G/F/E/D/ D>D| D3||

                       

CELIA O'GARA (Sighile ni Ghadharadh). AKA and see "The Kilruddery Hunt," "The Irish Hunt," "Oh! Had We Some Bright Little Isle." Irish, Air (3/4 time). G Mixolydian/Major. Standard. AB. A song, "The Kilruddery Hunt," was written to this air in 1744 by Thomas Mozeen and Owen Bray of Loughlinstown, Co. Dublin. It soon became enormously popular, according to Grattan Flood (1906), and was called by Ritson "The Irish Hunt" (who incorrectly ascribed it to St. Leger). Kane O'Hara used the tune in his "Midas" in 1760.  The "Kilruddery Hunt," was a "prime favorite" of the Irish patriot Theobald Wolfe Tone, and Thomas Moore used the air in 1813 for his song "Oh had We some Bright Little Isle of our Own." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 366, pg. 63.

X:1

T:Celia O’Gara

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 366

Z:AK/Fiddler’s Companion

K:G

BA|G2B2B2|A2c2c2|G2B2B2|c4 BA|G2B2d2|c2A2d2|B2G2G2|g4||

D2|GABCde|=f4 ag|^f2d2B2|c4 BA|G2B2d2|g4 ag|f2d2f2|g4 BA|

G2B2B2|A2c2c2|G2B2B2|c2e2g2|ed cB AG|FG AB cA|B2G2G2|G4||

                       

CELINA LE BLANC. AKA and see "Flannigan's Polka." Canadian, Polka. Canada, British Columbia. C Major ('A' part) & G Major ('B' part). Standard tuning. AA'BB'. Source for notated version: Ned Landry (White Rock, British Columbia) via Joe Pancerzewski (northwestern USA) [Reiner & Anick]. Reiner & Anick (Old‑Time Fiddling Across America), 1989; pg. 150. Voyager VRLP‑306, Joe Pancerzewski ‑ "The Fiddling Engineer."

                       

CELLAR DOOR KEY, THE. English, Old Hornpipe? (3/4 time). England, Northumberland. G Mixolydian. Standard tuning. AABB. In Vickers' MS. the time signature was 6/8 but notes were grouped in 3/4 (Seattle). See also the closely related “Jack Lintel’s Jig.” Seattle (William Vickers), 1987, Part 2; No. 377.

                       

CELLO. American, March (?. 4/4 time). USA; Ohio, Michigan. A Minor ('A' part) & C Major ('B' part). Standard tuning. AAB. The title is pronounced with a soft 'C', as in "celebrity." Al Smitley collected the tune from an elderly fiddler by the name of Ray Shepard whom (in May, 2000) was still playing in his 80th decade. Smitley says: “Shepard grew up in southern Ohio and it was there that he learned the tune.  He moved to Michigan (south of Saline) when he was a young man.” Source for notated version: fiddler Al Smitley of Michigan’s Ruffwater Stringband [Johnson]. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), vol. 7, 1986‑87; pg. 12.

                       

CELTIC CEILIDH. Canadian, Reel. Canada, Cape Breton. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Atlantica Music 02 77657 50222 26, Carl MacKenzie - “Atlantic Fiddles” (1994). CLM Records, Carl MacKenzie - “Celtic Ceilidh” (1986). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

                       

CELTIC HUMOR. Irish? Jig. A Minor. Standard tuning. ABB. Harding’s All Round Collection, 1905; No. 104, pg. 33.

X:1

T:Celtic Humor

M:6/8

L:1/8

R:Jig

B:Harding’s All Round Collection, No. 104  (1905)

Z:AK/Fiddler’s Companion

K:Amin

c/d/|efe dBd|cBA ABc|dBc dBA|GAG Gef|gfe dBd|

e^f^g aba|gfe dBe|AAA Aef||gfe dBd|e^f^g aba|gfe dBe|ABA A2:|

                       

CELTIC SOCIETY'S QUICKSTEP, THE. Scottish, March (2/4 time). A Mixolydian. Standard tuning. AAB (Lerwick): AABB (Kerr). Kerr (Merry Melodies), Vol. 3 (c. 1885); No. 416, pg. 46. Lerwick (The Kilted Fiddler), 1985; pg. 67. Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983).

X:1

T:Celtic Society’s Quickstep, The

M:4/4

L:1/8

R:March

K:Amix

e2 | A2 AA c2 BA | c2 e2 e2 a2 | A2 AA c2 BA | dcBA GABG |\

A2 AA c2 BA | c2 e2 e2 g2 | B2 AB GABd | e2 A2 A2 :: e2 |\

a2 e2 c2 BA | c2 e2 e2 ^g2 | a2 e2 c2 BA | g2 B2 B2 g2 |1\

a2 e2 c2 BA | c2 e2 e2 g2 | B2 AB GABd | e2 A2 A2 :|2\

a2 ^gf g2 fe | f2 ed e2 dc | B2 AB GABd | e2 A2 A2 ||**

                       

CELINA REEL [1]. French Canadian, Reel. B Flat Major. Standard. AABB. Carlin (Master Collection), 1984; pg. 44, No. 59. Voyager 322, Louis Boudreault - "Old Time Fiddler of Chicoutimi, Québec" (1977-1993).

 

CELINA REEL [2]. French-Canadian, Reel. G Major. Standard. AABB. Source for notated version: Sara Hiebert via Dan Compton (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 47. “Québec Pure Laine.”

                       

CENNEAG MOR. Scottish, Country Dance Tune (4/4 time). D Major. Standard. AABB.

X:1
T:Cenneag Mor
D:Wick S.C.D., A Call From the North (1973)
O:Scotland
Z:Nigel Gatherer
L:1/8
M:4/4
K:D
z|f2 f>e d>BA>B|d2 e>d B2 A2|f2 f>e d>BA>B|d>BA>B d2 d:|
A|d2 e<f a>fe<f|a>fe<f e>dB<A|d2 e<f a>fe<f|a>Af>e d2 d:|

                       

CENTENARY, THE. Irish, Jig. D Major. Standard tuning. AABB. McNulty (Dance Music of Ireland), 1965; pg. 17.

                       

CENTENARY MARCH, THE. AKA and see “St. Patrick’s (March).” Irish, March (2/4 time). D Major. Standard tuning. AB. Sean Maguire’s recording of the melody popularized this tune for Ceili band sessions. However, it apparently was composed by one Arthur Kearney from Drumquin, County Tyrone, according to his grand-daughter Emma O’Neill, to commemorate the Christian Brothers having been in Omagh for 100 years. The march has become quite popular with East Anglia trad. musicians as well as elsewhere in Britain, according to Barry Callaghan (2007). The ‘A’ part has melodic similarities to that of “Bonaparte Crossing the Rhine,” ”An Comhra Donn” and ”Caledonian March,” and can be found in the British Isles and North America as well as Ireland. Callaghan (Hardcore English), 2007; pg. 31. O’Brien (The Golden Eagle). Sullivan (Dublin Banjos). Old Hat Music OH!02, "Old Hat Dance Band" (1992). Outlet OLP 1001, Tom McHaile (1969). Outlet SOLP 1031, Sean Maguire (1977). Gallowglass Ceili Band.

X:1

T:Centenary March, The

R:March

M:2/4

L:1/8

K:D

FG|A2 A>B|AF ED|f2-f>d|ed Bd|A2 A>B|AF ED|E2 E>F|E2 DF|!

A2 A>B|AF ED|f2-f>d|ed Bd|A2 d>e|fe dc|d2 d>e|d2||!

Ad|f>e fa|Ad fa|g2 f2|e2 f>g|af dA|FA GF|E2 E>F|E2 FG|!

AD FA|dF Ad|fa gf|ed cB|Aa ^ga|ge cA|d2 d>e|d2||

                       

CENTENNIAL, THE. AKA and see "The Home Town Band." USA, southwestern Pa.

                       

CENTENNIAL BREAKDOWN, THE. Canadian, Reel. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. Presumably composed in honor of the Canadian Centennial in 1967. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 17, pg. 16.

                       

CENTENNIAL HORNPIPE [1]. American, Hornpipe. B Flat major. Standard tuning. AABB. The title presumably honors the United States’ Centennial of 1876. “As performed by R. Tyson,” notes Ryan. "Can be used as a Clog." Cole (1000 Fiddle Tunes), 1940; pg. 99. Ryan’s Mammoth Collection, 1883; pg. 135.

X:1

T:Centennial Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(dc) | B>Fd>c B>Fd>c | B>Fe>d c2 (fe) | d>fB>d c>eA>c | B>ba>g f>ed>c |

B>Fd>c B>Fd>c | B>Fe>d c2 (fe) | d>f(Bd) c>eA>c | B2d2B2 :: (AB) |

c>f=e>g f2 (AB) | c>f=e>f f2 (AB) | c>=eg>b a>gf>e | f>=ef>g f2 (AB) | c>f=e>g f2 (AB) |

c>f=e>g f2 (AB) | c>=eg>b a>gf>=e |1 f2a2f2 :|2 {g}f>=ef>g f>_ed>c || 

 

CENTENNIAL HORNPIPE [2].  Canadian, Hornpipe. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989) in honor of the 1967 Canadian Centennial. John was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

                       

CENTENNIAL POLKA. Canadian, Polka. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989) in honor of the 1967 Canadian Centennial. John was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene fonr his compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

 

CENTENNIAL WALTZ. Canadian, Waltz. B Flat Major. Standard tuning. AABB. Composed by Maritime fiddler Don Messer (1909-1973), probably in honor of the Canadian Centennial in 1967. Messer was born in Tweedside, New Brunswick, and became widely popular throughout Canada as a result of his radio broadcasts and long-running television show, Don Messer’s Jubilee (which debuted in 1959). Fiddler Magazine, Winter 2005/06, vol. 12, No. 4; pg. 50. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 177, pg. 123. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994). Voyager 310, Gerry Robichaud‑‑"Down East Fiddling."

X:1

T:Centennial Waltz

M:3/4

L:1/8

R:Waltz

C:Don Messer

K:Bb

DE|F3d ^cd|B2F2D2|E3 G E/D/C|G,4 B,2|A,3G, A,C|F3 G/F/ =EF|1 G2F2e2|

d4 DE:||2 G2 “tr”F2A2|B4 de||f3b ab|d4 ed|c3g ec|(G4 G)G|“tr”F2A2c2|f3”tr”f =ef|

g2f2b2|d4 de|f2b2d2|f4 ed|c2e2c2|G4 G2|”tr”F2A2c2|f3 “tr”f =ef|g2g2A2|B6||

                       

CENTERVILLE [1]. American, March (2/4 time). USA, Pennsylvania. D Major. Standard tuning. AABB. This fife march is recognizable in the 'B' part to the 'B' part of version No. 2, which may be a variant. Source for notated version: Hoge MS, No. 24, 1944 [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 383, pg. 367.

 

CENTERVILLE [2]. Old‑Time, Breakdown. USA, Nebraska. A Major. Standard or ADae tunings. AABBCC. Source for notated version: Bob Walters (Burt County, Nebraska, 1951) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 15, pg. 12.

 

CENTURY HORNPIPE. American (?), Hornpipe. D Major. Standard tuning. AABB. In the music manuscripts of American painter William Sydney Mount (Long Island, New York), with the notation: “As played by my Uncle. Jan. 1st, 1802.”

X:1

T:Century Hornpipe

M:C

L:1/8

R:Hornpipe

S:William Sydney Mount music manuscripts

N:”As played by my Uncle. Jan. 1st, 1802.”

Z:AK/Fiddler’s Companion

K:D

(AG) | F2D4 EF | G2E4 FG | Adcd BAGF | G2E4 AG | F2D4EF |

G2E4A2 | BGBd cAce | d2d2d2 :: e2 | (fA).f.a (fA).f.a | (eA).e.g (eA).e.g |

(fA).f.a (fA).f.a | (fd).a.f e2 fg | (fA).f.a (fA).f.a | (eA).e.g (eA).e.g |

.f.d.c.B  AGFE | D2d2D2 ||

                       

CEO DRAOIGHEACHTA, AN. AKA and see “The Magic Mist.”

                       

CEO NA gCNOC. AKA – “Ceili na gCnoc.” Irish, Reel. A Dorian. Standard tuning. AA’BB’. The tune was collected in Connemara by Seamus Ennis and popularized by him. Piper Jimmy O’Brien-Moran also has a slightly different version.

X:1

T:Ceo na gCnoc

M:4/4

L:1/8

K:Ador
g|:eA~A2 efge|dG~G2 DGBd|eA~A2 efge|dBGA BAAg|

eA~A2 efge|1 dG~G2 (3BAG Bd|eA~A2 efge|dBGA BAAg:|
[2 dBGA BABd|eA~A2 efge|dBGA BABd||
|:ea~a2 agag|eaag e2dg|ea~a2 agaf|gedB GABd|
ea~a2 agag|eaaf ~g3a|agbg abga|1 edgd BAAd:|2 edgd BAA||

 

CEOL AN MALA. AKA – “Ceol a’ Mhála.” Irish, Single and Double Jig. G Major. Standard tuning. AABB. McNulty (Dance Music of Ireland), 1965; pg. 17. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 29.

X:1

T:Ceol a’ Mhála

L:1/8

M:6/8

K:G

A|BAB G2D|GAG GAG|BAB GDG|A2B c2A|BAB G2D|GAG GBc|ded dcB|A2B c2:|

|:A|B2d ded|ded ded|B2d ded|e2f g3|B2d ded|ded def|gfe dcB|A2B c2:|


                       

CEOL NA gCEARTAN (Music in the Forge). AKA and see “Irishman’s Love [2],” “Music in the Forge,” “My Sweetheart Jane,” "Peigin Leitir Mor," “The Pretty Girls of Mayo,” "Sweeney's Reel," "Sweet Biddy of Ballyvourney." Irish, Reel. G Major. Standard tuning. AB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 50, pg. 58.

                       

CEO NA gCNOC. Irish, Reel. Collected by piper Séamus Ennis from Pat Phatch Ó Ceannabháin. Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996).

                       

CEOL NA SEILGE. See "The Sport of the Chase."

           

CEOL SA CHISTIN (Music in the Kitchen).  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream); 10.

           

CEOLCHUMANN, AN (The Music Society). AKA and see “The Music Society.”

                       

CEÓLTA CRUIT (The melody of the Harp). Irish, Air (3/4 time). B Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 1066, pg. 270.

X:1

T:Ceólta Cruit

M:3/4

L:1/8

R:Air

B:Stanford/Petrie – Complete Collection, No. 1066 (1905)

Z:AK/Fiddler’s Companion

K:Bb

B/c/ dc|B2 AG F>D|F3 F GA|G2 GF GA|B3 B/>c/ dc|B2 AG FD|

F3 F GA|Ge d>c BA B3||B Bc|d3d ed|c3 c/d/ ef|B2 AG FD|
D3 B/c/ dc|B2 AG FD|F3 F G>A|Ge dc BA|B3||

                       

CEOLTÓIR FÁNACH, AN (The Wandering Minstrel). AKA and see “The Wandering Minstrel,” "Willy Walsh's Jig," "The Merry Maiden [1]," "The Dandy Scholar."

                       

CERES GREEN. Scottish, Strathspey. A Major. Standard tuning. AAB. MacDonald (The Skye Collection), 1887; pg. 19.

X:1

T:Ceres Green

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

E|A2 c>A e2 c>A|B>AB>c B2c2|A>2 c>A e2 c>A|B>A B>c A2 z:|

e2 e>c f2f2|d>f e>c B2B2|e2 e>c f2f2|a>g f>g a4|e2 e>c f2f2|e>f ec B2B2|

AA B>B c>c d>d|e>d c>B A4||

                       

CERVENY SATECEK (Red Handkerchief). Bohemian, Air. Frankie Yankovic remade this Bohemian tune as "Blue Shirt Waltz," which became a hit among ethnic music aficionados in the northern mid-west United States in the mid-20th century. 

                       

C'EST PAS LA PEINE TU BRAILLES (It's No Use for You to Cry). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. One part. A related song is fiddler Dennis McGee's "Bebe Creole." Francois (Yé Yaille Chère!), 1990; pgs. 350-351.

                       

CETTE-LA J'AIME (The One I Love). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning. One part. Source for notated version: Adam Hebert (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 352-353. Swallow Records SW-LP6065, Adam Hebert.

 

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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.