The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

CHER - CHURN

[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] 

CHER 'TIT MONDE. See "Aimer et Perdre."

                       

CHERCHEUSE D’OISEAUX, LA. French, Country Dance (2/4 time). A Minor. Standard tuning. AB. 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. 25.

X:1

T:Chercheuse d’Oiseaux, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 25

Z:AK/Fiddler’s Companion

K:A Minor

A(AA)B | ccBA | ffe^d | e2e2e | ddbd | {d}c2 {B}A2 | cBA^G | A2 A,2 ||

ee{b}ae | {e}^d4 | =ddbd | ^c4 | =cc{b}ac | c2A2 | cBA^G | A4 :|

                       


CHÈRE ALICE (Dear Alice). AKA - "Valse a' 'Tit 'Dam Hanks" (Little Adam Hank's Waltz). Cajun Waltz. USA, southwestern Louisiana. A Major. Standard. AAB(Vocal)AAAA(Vocal)AA. Related songs, according to Raymond Francois (1990), are Austin Pitre's "Rainbow Waltz," Lawrence Walker's "Country Waltz [1],"  Angelas LeJeune's "Valse a' 'Tit 'Dam Hanks" and Moise Robin's and Leo Soileau's "Valse de Josephine." Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 70-72. La Louisiane Records LL-LP126, Lawrence Walker. 

                       

CHÈRE BASSETTE (Dear Bassette). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard. AABB(Vocal)AABB(Vocal)AABB. The song was originally recorded by J.B. Fusilier, who composed it for his wife. Source for notated version: Balfa Brothers (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 354-355. Old Timey Records OT-110, J.B. Fusilier. Swallow Records SW-LP6019, The Balfa Brothers.

                       

CHERE BEBE CREOLE. From Louisiana fiddler Dennis McGee. The tune has the feeling of 6/4 time.

                       

CHÈRE CHERIE (Dear Darling). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard. One part. The song was composed and first recorded by Oran "Doc" Guidry and Leroy "Happy Fats" LeBlanc. Source for notated version: Vin (Ervin) Bruce (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 356-357. Swallow Records SW-LP6002, Vin (Ervin) Bruce.

                       

CHÈRE ICI, CHERE LA BAS. See "Jolie Catin [2].”

                       

CHÈRE JOULES ROSES. Cajun, Waltz. USA, Louisiana. A/ A Mixolydian ('A' part), C ('B' part). Standard. ABB. Greenblatt (Cajun Fiddle Book), 1985; pg. 34.

                       

CHÈRE LISA. See "Pauv' 'Hobo.'"

                       

CHÈRE MAM' (Dear Mom). Cajun, Two-Step?  USA, Louisiana. D Major. Standard. AA(Vocal)AABB(Vocal)AABB(Vocal)BBAA. According to Raymond Francois (1990), Amede Breaux is credited with composing this song, first recorded by Mayuse LaFleur and Leo Soileau in 1928. Related songs include Mayuse LaFleur's "Mama, Where You At?" and Amede Breaux's "He, Mom." Source for notated version: Gervais Quibodeaux and Ambrose Thibodeaux (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 73-74. La Louisiane Records LL-143, Ambrose Thibodeaux.

 

CHÈRE MAMA CREOLE (Dear Creole Mom). Cajun, Waltz (3/4 time). D Major. Standard. ABC. Source for notated version: Wallace 'Cheese' Read (Louisianna) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 156. Arhoolie 5021, Wallace 'Cheese' Read ‑ "Cajun Dance Party".

 

CHÈRE MEON. Cajun. Arhoolie 5027, Harry Choates ‑ "The Fiddle King of Cajun Swing ‑ Original Recordings 1946‑1949."

 

CHÈRE PETITE (Dear Little One). Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard tuning. One part. The song was composed and first recorded by Chuck Guilory in the 1940's. It was also recorded under the title "La Valse Que J'aime" by Ambrose Thibodeaux. Source for notated version: Clarence Alleman; Aldus Roger & Preston Manuel; Ambrose Thibodeaux (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 358-359. La Louisiane Records LL-LP122, Aldus Roger.

 

CHÈRE TOUT-TOUTE (Dear Everything). AKA - "Chere Toutou." Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. AA(Vocal)BBAA(Vocal)AAAA. A popular Cajun tune recorded many times, though first by J.B. Fusilier, who named the song for his daughter ("Tout-Toute" being a nickname meaning "my everything"). Raymond Francois (1990) notes that this is often the opening song played by a Cajun band because it is so familiar as to be effortless and therefore confidence-building, and that it helps to make sure the instruments are tuned properly. Many of the older violin players, he says, play the first three measures of the turn an octave higher. Source for notated version: Preston Manuel (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 79-80. La Louisiane Records LL-112, Ambrose Thibodeaux. Old Timey Records OT-110, J.B. Fusilier.

                       

CHERES JOUES ROSES. See "Jolies Joues Roses."

                       

CHERISH THE LADIES (Alltri Na Mna). AKA and see “Capper’s Jig,” “Humors of Cappa [2].” Irish, Double Jig. D Major. Standard tuning. AABB (Allan, Roche): AABB' (Joyce): ABC (Stanford/Petrie): AABBCA (Cole): AABBCC (Williamson): AABBCD (Mitchell): AABBCCDD (Kennedy): AABBCDDEE (Brody): AABBCCDDEE (O'Neill/Krassen): ABBCDDEE (Moylan): AABBCCDDEEFF (O'Neill/1850 & 1001). "A popular jig" (Williamson). O’Neill (Irish Folk Music, pg. 94) says: “Dr. Petrie refers to it as a Munster jig, yet none whom the writer heard play it in any style were natives of that province. In its original form of two strains it was one of Jackson’s jigs, and Dr. Petrie’s opinion receives corroboration by finding a simple version of the tune in Dr. Joyce’s Old Irish Folk Airs and Songs, just published.” O’Neill remarks again in Irish Minstrels and Musicians (1913, pg. 183) the tune had been ascribed to the famous 18th century County Limerick composer Walker ‘Piper’ Jackson. Goodman (vol. iv, pg. 2) prints a tune called “Thought” attributed to Jackson which is a version of “Cherish,” and this may be the source of attributions to that musician (see note for “Thought” for the several alternate and related titles). County Sligo/New York City fiddler Michael Coleman made a much-admired 78 RPM recording of this tune in the 1930's. Paddy Glackin recorded a three-part version, of which the first and last sections correspond to the ‘A’ and ‘B’ sections in Joyce. “The Pathway to the Well” uses some of the same melodic material and is similar in character, though an independent tune. Sources for notated versions: "Taken down from the playing of Ned Goggin the Glenosheen fiddler" [Joyce]; from the manuscript collection of retired businessman and Irish music enthusiast John Gillan, collected from musicians in his home county of Longford and the adjoining Leitrim [O’Neill]; accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded at a recital at Na Píobairí Uilleann, February, 1981 [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell];  “A Munster jig. From Mrs. Close”  [Stanford/Petrie]. Allan's Irish Fiddler, No. 24, pg. 6. Brody (Fiddler’s Fakebook), 1983; pg. 64. Cole (1000 Fiddle Tunes), 1940; pg. 72. Joyce (Old Irish Folk Music and Song), 1909; No. 25, pg. 15. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 18, pg. 6. Mitchell (Dance Music of Willie Clancy), 1993; No. 94, pgs. 82-83. Moylan (Johnny O’Leary), 1994; No. 36, pgs. 21-22. O'Neill (Krassen), 1976; pg. 19. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 730, pg. 136. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 29, pg. 21. Roche Collection, 1982; vol. 1, pg. 39, No. 88. Ryan’s Mammoth Collection, 1883; pg. 102. Stanford/Petrie (Complete Collection), 1905; No. 921, pg. 234. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 80. Claddagh CC14, Chieftains- "Chieftains 4" (1972). Gael-Linn CEF060, “Paddy Glackin.” Shanachie 79024, "Chieftains 4" (1983).

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:Cherish the Ladies

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

dFF AFF|DFA AGF|GEE BEE|GBA GFE|dFF AFF|DFA AGF|ABd efg|fdd d3:|

|:d3 fed|afd fed|c>de/f/ gfg|ece gfe|fga bag|agf edc|dcB AGF|GEF GFE:|

X:2

T:Cherish the Ladies

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 29

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/|dFF AFF|DFA AGF|BEE GEE|GBA GFE|dFF AFF|DFA AFA|Bcd efg|fdd d2:|

|:(3A/B/c/|dfd cec|dfd AGF|BEE GEE|GBA GFE|dfd cec|dfd AGF|Bcd efg|fdd d2:|

|:A|dfd cec dfd AGF|BzE GzE|GBA GFE|dGd cFc|dGd A2G|A>Bc/d/ efg|fdd d2:|

|:B|Add fdd|add fdd|A/B/cd gfg|ece gfe|agf bge|afd cBA|(3f/g/a/ B2 AGF|GEF GFE:|

|:f2f afd|fed cde|g2g gfg|ece gfe|agf bge|afd cBA|fdB AGF|GEF GFE:|

|:DFA dAF|DFA BGE|DFA dAF|GEF GFE|DFA DGB|DFA d2e|fdB AGF|GEF GFE:|

                       


CHEROKEE POLKA. Old-Time, Polka. USA, Kentucky. C Major. Standard tuning. AABBCCDD. The first two sections of the tune are related to the better-known "Texas Quickstep [1]." Source for notated version: Ed Hayley (east Kentucky) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 339. Rounder 1010, Ed Hayley - "Parkersburg Landing" (1976).

                       

CHEROKEE SHUFFLE. Old‑Time, Bluegrass; Breakdown. USA. A Major (Phillips) or D Major. Standard or ADae tuning. AAB (Brody): AABB (Phillips/1989): AABB' (Phillips/1994): AABC (Kuntz). Banjo player Howard Bursen, fiddler Kerry Blech and others, identify the tune as a West Coast version of "Lonesome Indian," and that it was derived from fiddler Tommy Magness who recorded the “Indian” tune in the 1930’s. Tommy Jackson is generally credited with transforming Magness’s “Lonesome Indian” (in the key of ‘D’) into “Cherokee Shuffle” (in the key of ‘A’). Jackson also added a distinctive second part. The Magness tune also became known as “Lost Indian” subsequently, says Kerry Blech, especially among older fiddlers in North Carolina and Virginia—“Some of these folks even took Tommy Jackson's addition and stuck it onto the Magness tune, after transposing, of course.” To add to the confusion between the two tunes, “Cherokee Shuffle” is also sometimes played in the key of ‘D’, although the ‘A’ version seems more common. Regarding the form of the tune, there appears to be two versions of “Cherokee Suffle” in current circulation, one “square” (with the ‘A’ and ‘B’ parts the same length) and one not. Along with "Lonesome Indian" (or "Lost Indian [3]" as it is sometimes  known), the melody "Colored Aristocracy" bears some resemblance to "Cherokee Shuffle." Sources for notated versions: Old Reliable String Band [Brody]; Liz Slade (Yorktown, New York) [Kuntz]. Brody (Fiddler’s Fakebook), 1983; pg. 65. Kuntz, Private Collection. Phillips (Fiddlecase Tunebook), 1989; pg. 9. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 47. Adelphi AD 2004, Delaware Water Gap‑ "String Band Music." Folk Legacy FSI-74, Howard Bursen - "Cider in the Kitchen" (1980). Folkways FA 2475, "Old Reliable String Band." Front Hall Records 05, Fennigs All Stars‑ "Saturday Night in the Provinces." Global Village Records C‑302 ‑ Snakelips ‑ "New York City's 1st Annual String Band Contest ‑ 1984." Rounder 0122, Norman Blake‑ "The Rising Fawn String Ensemble."

X:1

T:Cherokee Shuffle

L:1/8

M:2/4

N:ADae tuning

S:Liz Slade

Z:Transcribed by Andrew Kuntz

K:D

(D|D)D/D/ FF|D/E/D/G,/ A,/G,/A,/G,/|D/C/D/E/ FA|B>A B/A/B/A/|

B/A/B/B/ d/A/B|A/F/E D(F|F/)E/F/D/ E/D/E|D/ D D/ D:|

(e|f/)e/f/(f/ a)(a|a/)b/a/e/ (f/e/)d/(e/|f/e/)f/d/ e/(A/d/)(A/|B>)B B>(A|

B/)A/B/(B/ d)B/F/|A/F/E D(F|F/)E/F/D/ E/D/E|D/ D D/ D||

A|B/A/B/B/ d/A/B/A/|A/B/A/D/ F>A|B/A/B/B/ de|f>(e f>)A|

B/A/B/B/ dB/A/|A/B/A/D/ F/F/A/A/|B/B/A/D/ F/F/A|(A/ B) (A/ B/)A/B/(B/|

d/)A/B/(B/ A/)F/E|D/ D D/ D||

X:2

T:Cherokee Shuffle

M:4/4

L:1/4

K:A

F/2G/2|"A"AA/2B/2 AA/2B/2|"A"c/2B/2A "D"FE/2F/2|"A"AA/2B/2c/2d/2e|\

"F#m"f/2e/2f/2g/2 ff/2g/2|"D"aa/2b/2 aa/2f/2|"A"e/2f/2e/2d/2c/2B/2A|

"F#m"F/2G/2A/2c/2 "E7"B/2A/2G|"A"A3\

::e|"D"f/2e/2f/2g/2 a/2e/2f/2e/2|"A"c/2d/2e/2f/2 ee|"D"f/2e/2f/2g/2 "A"a/2e/2f|\

"E"e3"(A7)"e|"D"f/2e/2f/2g/2 a/2e/2f/2e/2|"A"c/2d/2e/2f/2ef/2g/2|\

"D"a/2e/2g/2f/2 "E7"e/2d/2c/2B/2|"A"AA/2B/2 A:|

 

CHEROKEE WALTZ [1]. AKA and see "Valse des Cherokis."

 

CHEROKEE WALTZ [2]. Old-Time, Waltz. D Major ('A' part) & G Major ('B' part). Standard tuning. AA'B. Source for notated version: Scotty Stoneman [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 245.

 

CHERRY AND MERRY.  English, Jig. G Major. Standard tuning. AABB. This tune is unique to publishers Charles and Samuel Thompson’s third country dance collection (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 43.

X:1

T:Cherry and Merry

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

g2d BGB|e2c AFA|d2B GBG|EAG FED|g2d BGB|e2c AFA|

dcB ABG|DGF G3::g2g bge|f2f afd|B2g fe(d|d>)e^c d2=f|ecc ege|

dBB dgd|cBA edc|BAG FED|EcE cEc|DBD BDB|ABG FDe|BcA G3:||

 

CHERRY BLOSSOMS.  Old-Time, Breakdown. G Major. Standard tuning. AA’BB’CC’DD’. Drew Beisswenger (2008) notes that source Fred Stoneking learned the tune on the contest circuit from a fiddler in California. Source for notated version: Fred Stoneking (b. 1933, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 137. Rounder CD 0381, Fred Stoneking – “Saddle Old Paint” (1996).

 

CHERRY CHEEK'D LASS, THE. English, Reel. England, Northumberland. F Major. Standard tuning. AABB'. Source for notated version: the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom, unfortunately, nothing is known [Seattle]. Seattle (William Vickers), 1987, Part 2; No. 224.

X:1

T:Cherry Cheak’d Lass, The

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscript (1770, Northumberland)

Z:AK/Fiddler’s Companion

K:F

B2 dc/B/ cAFA|fafd g2c2|B2 dc/B/ Acde|fcdB A2F2:|

|:fccf fagf|gece g2b2|fccf fagf|fcdB A2F2|

fccf fagf|gece g2b2|afge fdcB|BdcB A2F2:|

 

CHERRY GARDEN. AKA and see "Ham House."

                       

CHERRY GROVE JIG. Irish, Jig. A Minor. Standard tuning. AB. See also "An Ghaoth Aniar Andeas," "Coffee and Tea [2]," "Jimmy the Tailor," "Aineen's Double," "Banish Misfortune [2]," "Bacach na Cleithe.” O’Neill’s “The Last of the Lot” is a close variant. Joyce (Old Irish Folk Music and Song), 1909; No. 799, pg. 389.

X:1

T:Cherry Grove Jig

M:6/8

L:1/8

R:Jig

S:Joyce – Old Irish Folk Music and Song (1909), No. 799

Z:AK/Fiddler’s Companion

K:Amin

eaa aga | egg ged | BAA BGG | BAA ABc | daa aga | egg ged |

BAA BGG | BAA A2 || A/4B/4c/4d/4 | efe dBd | ege dBA | G>AB/c/ dBA |

edB dBd | efe dBd | ege dBA | G>AB/c/ dBG | BAA A2 ||

                       

CHERRY RIPE QUADRILLE, PART 4. English, Jig. G Major. Standard tuning. ABC. Source for notated version: the c. 1845-47 music manuscript collection of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 21.

                       

CHERRY RIVER RAG. Old‑Time, Country Rag. USA, northeastern Ky/W.Va. C Major. Standard tuning. AA'BB'. Apparently Ed Hayley was the only one to record this tune (at least prior to John Hartford), named for the Cherry River, part of the Kanawha-New River drainage basin of West Virginia. There are two forks of the Cherry, North and South, parts of which today are a prime recreation area. A shift to the second or third position on the violin will facilitate this tune. Source for notated versions: Ed Haley (northeastern Ky.) [Phillips, Reiner & Anick]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 30. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 97. Jim Martin Productions JMP201, Gerry Milnes (et al) – “Gandydancer.” Rounder 1010, Ed Haley ‑ "Parkersburg Landing" (1976. Orig. rec. 1946). Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard)” (1996).


                       

CHERRY TREE [1], THE. AKA and see "Austin Tierney's," "Down with the Tea Tacklings," "Farewell to Erin [1]," "The Flags of Dublin."

 

CHERRY TREE REEL [2]. American, Reel. A Dorian. Standard tuning. AABBCCDD. Composed by fiddler Arvid Lundin of Spokane, Washington. The third and fourth parts are octave variants. Songer (Portland Collection), 1997; pg. 48. The Lundberg Brothers - “Joined at the Ear.”

                       

CHERRYBURN.  English, Waltz. G Major. Standard tuning. AB. Composed by Derek Hobbs, who named it for wood engraver and musician Thomas Bewick’s birthplace in Northumberland [Miller]. Miller (Fiddler’s Throne), 2004; No. 364, pg. 214. Rossleigh Music CD, Derek Hobbs – “Bewick’s Footsteps: A Garland of New Tunes” (1995).

 

CHESAPEAKE BAY. Old‑Time, Breakdown. “Chesapeake Bay” was recorded in 1929 by Lowe Stokes and his North Georgian’s band, which included fiddlers Clayton McMichen and Bert Layne. It was later recorded in 1937 by Walter Couch and the Wilkes Ramblers. The name Chesapeake is derived from the Algonquin phrase chi sepi ook, ‘at the big river’ (Matthews, 1972). Document 8045, “Lowe Stokes, Vol. 1: 1927-1930” (reissue). Marimac 9111, "Goin' Up Town: Old Time String Bands, Vol. 2."

                       

CHESHIRE ALLEY. English. The tune appears in the 11th edition of Playford’s English Dancing Master (1701), marking the taking over of the series by Henry Playford from John Playford.

                       

CHESHIRE ROLLING HORNPIPE. English, (Old) Hornpipe (6/4 time). F Major. Standard tuning. AABBCC. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jigs, Hornpipe, Joaks, etc.) published around the year 1730.

X:1

T:Cheshire Rolling Hornpipe

B:Walsh

M:6/4

L:1/8

K:F

F2 D2 F2 E2 ^C2 E2| D3 E FD E2 C2 c2| C4 F2 EF G2 E2| F2 D2 F2 E2 ^C2 E2|\

D6 A3 G FE| D4 F2 EF G2 E2:: A2 F2 D2 d3 c =B2| c6 G3 F ED| C4 F2 EF G2 E2|\

D3 d ^c2 =B2 e2 dc| d6 A3 G FE| D4 F2 EF G2 E2:: f2 a2 f2 e2 g2 e2 |\

c2 e2 g2 c2 A2 F2| C4 F2 EF G2 E2| agfe d2 gfed ^c2| d6 A2 F2 D2|\

DE F2 D2 EF G2 E2 :|

                       

CHESHIRE ROUNDS [1]. English, “Old” Hornpipe (3/4 time). D Major. Standard tuning. AB (Thompson): AABB (Chappell, Raven): AABBCCDD (Callaghan, Plain Brown). The name Cheshire is an ancient contraction of Chestershire. This melody appears in Henry Playford's Dancing Master (11th edition of 1701 and subsequent editions through the 18th, in 1728), Walsh's Compleat Country Dancing Master (editions of 1718, 1731 and 1754), Johnson’s Wrights Compleat Collection of Celebrated Country Dances, vol. 2 (London, 1742), and Gay's Polly (1729) and other ballad operas. It was included in the music manuscript copybooks of London musician Thomas Hammersley (1790) and American musician Ebenezer Parkman (Cambridge, Mass., 1721). There are many variations of this popular and widespread melody. The Cheshire Rounds was also a once‑popular dance, and Chappell (1859) found several references to its performance:

***

In Bartholomew Fiar, at the Coach‑house on the pav'd

stones at Hosier‑Lane end, you will see a Black that dances

the Cheshire Rounds to the admiration of all spectators."

(Play‑bill by Dogget, 1691. In fact, the only known portrait

of Dogget shows him dancing the Cheshire Round.)

***

John Sleepe now keeps the Whelp and Bacon in Smithfield

Rounds, where are to be seen a young lad that dances a

Cheshire Round to the admiration of all people." (Playbill)

***

It is one of the tunes called for by "the hobnailed fellows"

in A Second Tale of a Tub (8vo, 1715).

***

An early version appears in the music manuscript book of Henry Atkinson (Morpeth, Northumberland, 1694). See also the melody “Our Cat Has Kitted” from the Joseph Kershaw manuscript for a 19th century version from North West England. Callaghan (Hardcore English), 2007; pg. 76. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 167. Plain Brown Tune Book, 1997; pg. 5 (Chappell’s setting, preceded by two other parts). Raven (English Country Dance Tunes), 1984; pg. 15. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 188. BGOCD 354, Albion Country Band – “Battle of the Field (1997 reissue of 1976 Island recording). Island Records HELP25, Albion Country Band – “Battle of the Field” (1976).

X:1

T:Cheshire Rounds [1]

M:3/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:D

fe/f/ g/f/e/d/ f/g/a|b e2 d cA|fe/f/ g/f/e/d/ f/g/a|A d2 A FD:|

|:BA/B/ =c/B/A/G/ F2|E e2 d ^cB/A/|BA/B/ =c/B/A/G/ F>E|D d2 A FD:||

X:2

T:Cheshire Rounds [1]

M:3/2

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

f2 (ef) (gf)(ed) (fg)a2|b2 e4 d2c2A2|f2 (ef) gfed (fg) a2|A2 d4 A2F2D2||

B2 (AB) (=cB) (AG) F4|E2 e4 d2c2A2|B2 (AB) =cB (AG) F3E|D2 d4 A2F2D2||

 

CHESHIRE ROUND [2], A. English, “Old Hornpipe” (3/2 time). C Major. Standard tuning. AABBCC. A different tune than “Cheshire Rounds [1]." The melody was published in Walsh’s third collection of Lancashire tunes (Lancashire Jiggs, Hornpipes, Joaks, etc.) around the year 1730. Source for notated version: Edward Jones’ 1798 publication Popular Cheshire Melodies. Knowles (A Northern Lass), 1995; pg. 8.

X:1

T:Cheshire Round [2]

B:Walsh

M:3/2

L:1/8

K:C

c4 B4 A4| A2 d4 A2 BcdB| c4 B4 A4| G2 c4 A2 BcdB::e2 g4 B2 A4| A2 a4 A2 BcdB|\

d2 g2 B2 g2 A4| G2 c4 A2 BcdB::cdec BcdB ABcA| A2 d4 A2 BcdB| c2 g4 B2 ABcA|\ G2 c4 A2 BcdB:|

                       

CHESHIRE WALTZ.  English, Waltz (3/8 time). D Major. Standard tuning. AABBCCDD. Source Gibbons (1778-1871) was a papermaker and musician who lived in Tealby, near Market Rasen in the Lincolnshire Wolds. The original key in the manuscript was ‘C’ major. Source for notated version: Joshua Gibbons manuscript (1823-26, Lincolnshire) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 2. Fellside Records FECD192, Spiers & Boden – “Tunes” (2005).

 

CHESHIRE'S MARCH. English, March. D Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 194.


                       

CHESLATTA LAKE RAG. Canadian, Country Rag (cut time). D Major. Standard tuning. ABB'. "Composed by Max Sexsmith during 1963 and 1964. It is in the style of early 20th century dance hits that are now accepted in the old‑time repertory. The tune is based on the tonic, dominant, and subdominant triads of the major mode, the harmonic basis of old‑time music. The syncopated rhythm has jazz roots" (Gibbons). Gibbons (As It Comes: Folk Fiddling from British Columbia), 1982; No. 13, pg. 30.

                       

CHESTER.  American, Air (4/4 time). G Major. Standard tuning. AABB. A hymn tune composed by William Billings (1746-1800), employed as a march by Alstead, New Hampshire, fiddler Randy Miller. Billings was a tanner by trade and a friend to Boston patriots such as Paul Revere and Samuel Adams. He is considered the foremost American composer of his era, and his “Chester,” a patriotic song, became the unofficial national anthem of the American Revolution. It begins:

***

Let tyrants shake their iron rods,

And Slav’ry clank her galling chains.

We fear them not, we trust in God,

New England’s God forever reigns.

***

Miller (Fiddler’s Throne), 2004; No. 331, pg. 195.

X:1

T:Chester

M:C|

L:1/8

K:F

c4d2e2|f4c4|d2f2e2d2|c8|c4c2c2|

c2d2cBA2|B2A2G2F2|G8|c4d2d2|c4 d2e2|

f2c2d2e2|f8|f2e2d2c2|dcBA G2c2|F2B2A2G2|F8||

 

CHESTER ASSEMBLY.  English, Country Dance Tune. J. Johnson (A Choice Collection of 200 Favourite Country Dances, vol. 5), 1750; No. 2.

 

CHESTER CASTLE [1]. AKA and see "New Hornpipe," "Grant's Rant." English, Reel; Scottish, Scots Measure. England, North‑West. G Major (Hardings): D Major (Aird): F Major (McGlashan). Standard tuning. AABB. The name Chester (Cheshire) is an Anglo-Saxon form (ceaster) of the roman word castra, or camp. The Romans founded a fortress at Chester, called Deva, home to the XXth Legion. It later was a Saxon stronghold and the last major town to fall to the Normans, in 1071. The castle itself was originally a motte type built by William the Conqueror soon after. It was improved over the years, but finally was largely replaced between 1788 and 1822 with neo-Classical buildings by Thomas Harrison. Charles I sought refuge in the city during the English Civil War, and from the city wall saw his troops defeated at the battle of Rowton. Aird (Selections), Vol. II, 1782; No. 19, pg. 7. Hardings All Round Collection, 1905; No. 76, pg. 23. Knowles (Northern Frisk), 1988; No. 11. McGlashan (Collection of Scots Measures), c. 1780; pg. 18.

X:1

T:Chester Castle

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:F

A/B/|c>d c/A/F/A/|c>d c/A/F/A/|B/d/B/G/ A/c/A/F/|GG G2 B/c/|c>d c/A/F/A/|

A/F/A/c/ fe/d/|d/e/d/c/ d/f/d/=B/|cc c:|

|:e/f/|g>a g/e/c/e/|g>a g/e/c/e/|f/a/f/d/ e/g/e/c/|dd dd/e/|f/e/d/c/ B/A/G/F/|

E/G/c/e/ g/f/e/d/|d/c/B/A/ c/B/A/G/|FF F:|

 

CHESTER CASTLE [2]. AKA and see "McCarthy's Hornpipe." Irish, Hornpipe.

                       

CHESTER JIG. English, Jig (6/4 time). C Major. Standard tuning. AB. The melody was originally published in Wright’s Compleat Collection of Celebrated Country Dances both Old and New. The name Chester (Cheshire) is an Anglo-Saxon form (ceaster) of the roman word castra, or camp. A fortress was founded by the Romans at Chester, which they called Deva, home to the XXth Legion. It later was a Saxon stronghold and the last major town to fall to the Normans, in 1071. Charles I sought refuge in the city during the English Civil War, and from the city wall saw his troops defeated at the battle of Rowton. Knowles (A Northern Lass), 1995; pg. 2.

                       

CHESTER LADIES.  English, Country Dance Tune (cut time). D Major. Standard tuning. AAB. The melody was composed by dancing master Nathaniel Kynaston (1683-1757). Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and dances over several publications. The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 19.

 

CHESTER RACES. English, Reel. England, North‑West. A Major. Standard tuning. AABBCC. The name Chester (Cheshire) is an Anglo-Saxon form (ceaster) of the roman word castra, or camp. A fortress was founded by the Romans at Chester, which they called Deva, home to the XXth Legion. It later was a Saxon stronghold and the last major town to fall to the Normans, in 1071. Charles I sought refuge in the city during the English Civil War, and from the city wall saw his troops defeated at the battle of Rowton. This from William Andrews’ Historic Byways and Highways of Old England (pgs. 223-224):

***

Chester races are regarded as the oldest in England, and an order relating to them, dated

January 10th, 1571, provides for the Saddlers’ ball, which was of silk, being changed for a

silver bell of the value of 3s. 4d. as the prize of the winning horse. In 1610 three cups were

substituted for the bell, and in 1623, “one faire silver cuppe,” valued at £8, in place of

three smaller cups.

***

Knowles (Northern Frisk), 1988; No. 10.

                       

CHESTER WAITS. English, Country Dance Tune (4/4 time). F Major. Standard tuning. ABC. The town waits, or waights, were musicians employed by a municipality to provide music at ceremonial or other functions; many waits groups had their own tunes, for example "London Waits," "Colchester Waits" and "Bristol Waits." The term waits seems to have been derived from the fact that these musicians were functionally descendent from night‑watchmen, whose duty it was to remain awake through the night an perhaps play short tunes at appointed times of the night. Merryweather (1989) notes that waits may also have been employed to 'wait' through the night to give musical wake‑up calls to personages who hired them for this purpose. The name Chester (Cheshire) is an Anglo-Saxon form (ceaster) of the roman word castra, or camp. A fortress was founded by the Romans at Chester, which they called Deva, home to the XXth Legion. It later was a Saxon stronghold and the last major town to fall to the Normans, in 1071. Charles I sought refuge in the city during the English Civil War, and from the city wall saw his troops defeated at the battle of Rowton. This tune appears in Walsh's Compleat Country Dancing Master (iii. 36.). Samuel Bayard (in his article “A Miscellany of Tune Notes,” Studies in Folklore, pg. 171) finds a Welsh set in Edward Jones’s Cambro-British Melodies (1820, pg. 5, the third volume of his Relicks), with the “Chester Waits” title simply rendered in Welsh, a set almost identical with Chappell’s. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 11‑12. Knowles (A Northern Lass), 1995; pg. 40.

                       

CHESTNUT. AKA and see "Dove's Figary." English, Country Dance Tune (2/2 time). A Minor. Standard tuning. ABB. The tune was first published by John Playford in his English Dancing Master (1651), although it disappears after the 8th edition in 1690. Playford gave the title as “Chestnut” in his initial volume, but then printed it as “Dove’s Figary” in subsequent editions, with “Chestnut” moving to an alternate title position. It also was published in Daniel Wright’s Complete Collection of Celebrated Country Dances (printed by Johnson, London, c. 1740), where it appears as “Dove’s Figary”. Samuel Bayard (in his article “A Miscellany of Tune Notes,” in Studies in Folklore, pgs. 160-162) finds that it was long part of the Welsh harpers’ repertoire under various titles, including “Hyd y Ffrwynen” (Length of the Rushes), “Y Vrwynen Las” (The Green Rush), and “Llanciau y Dyffryn” (The Lads of the Valley). He found it hard to determine whether the melody was originally Welsh or English, but noted that it has been in traditional Welsh repertoire for some time. No early song words survive with the exception of a West-English carol set to the tune. Printings can be found in British Harmony (1781, 22, No. 17), Bingley’s Sixty of the Most Admired Welsh Airs (c. 1803 or 1810, pg. 23), Parry’s The Welsh Harper (II, 1848, 47) and Bennett’s Alawon fy Ngwlad {Lays of My Land} (I, 1896, 61). Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 45.

X:1

T:Chestnut

L:1/8

M:C

S:Playford

K:Amin

A2 e2 d2 c2|B3A ^G2 E2|A2 B2 c2 c2|d2 cd e4||

e2 ef g2 fe|d2 de f2 ed|e2 e2 e2 dc|d3f c4|e2 fe fedc|

d2 ed edcB|c2 A2 A2 d2|B3c A4||

X:2

T:Chestnut

L:1/8

M:C

S:British Harmony

K:Amin

A2 e2 e2 dc | B3A A2 ^G2 | A2 B2 c2 d2 | edef (e2e2) :| e2 ef g2 e2 | d2 de f2 ed |

e2 f2 g2 fe | d2 c2 B4 | cd e2 e2 dc | Bc d2 d2 cB | c2 BA e2 dc | B3A A4 ||

                       

CHESTNUT TREE, THE.  Canadian, Jig. D Major. Standard tuning. AABB. Composed by Mabou, Cape Breton, fiddler and composer Donald Angus Beaton (1912-1982), one of the great dance fiddlers of his generation. His son Kinnon Beaton told Randy Miller that the tune was named after a tree his father had planted on his property, “which grew quite nicely.”  Miller (Fiddler’s Throne), 2004; pg. 24.

           


CHETICAMP JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AA’BB’. Composed by Cape Breton fiddler Elmer Briand (1922-1992, Cheticamp, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 197, pg. 57. Atlantica Music 02 77657 50222 26, Tara Lynn Touesnard - “Atlantic Fiddles” (1994).

X:1

T:Cheticamp Jig

M:6/8

L:1/8

Q:290

Z: transcribed by John Erdman from a recording by a Micmac Indian fiddler, Lee Cremo

K:A Major

a |: c'2 a e2 c | A3 AzC | A,CE Aca | g3 gag |

f2 d B2 A | G3 G3 |1 GFE GFE | C2z a2 b :|2 EFE EFG | A3 A2 ||

C/2B,/2 |: A,2 C E2 A | c3 c2 e | cAe cAc | B3 BGF |

E2 G B2 c | d3 fa2 | gfe dcB |1 c3 c2z :|2 A3 A3 ||

                       

CHETICAMP REEL. Canadian, Reel and Set Dance Tune. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. AABB. Cheitcamp is a French village on the west coast of Cape Breton island where most of the island’s Acadien population lives. According to Susan Songer, the tune is presently well-known by Alaska contra dance musicians. Sources for notated versions: Cape Breton fiddlers Angus Chisolm via Arthur Muise to Howie MacDonald [Dunlay and Reich]; Sterling Baker (b. mid-1940's, Morell, North-East Kings County, Prince Edward Island; now resident of Montague) [Perlman]; fiddler Diane McIntyre (who moved from Portland, Oregon, to Alaska) [Songer]. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 65. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 149. Songer (Portland Collection), 1997; pg. 49. RC2000, George Wilson – “Royal Circus” (2000). SAR‑A‑017, Howie MacDonald‑ "And His Cape Breton Fiddle."

                       

CHETSWORTH HOUSE. English, Jig. G Major. Standard tuning. ABC. Editor Ashman presumes the title should read 'Chatsworth House'. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 98a, pg. 39.

                       

CHEVIOT WALTZ. AKA and see "Memories of Dick Fleming." Scottish, Waltz. The original title of Ron Purvis's "Memories of Dick Fleming," named for the Border range called the Cheviot Hills.

                       


CHEVY CHASE. English, Air (3/4 time). England, Northumberland. G Major. Standard tuning. One part. The ballad is referred to as far back as Elizabethan times. As to the 'correct' music for "Chevy Chase," Chappell (1859) states that several tunes were printed to the ballad of that name; these tunes themselves had alternate names in many cases, and, further confusing the issue, later ballads were directed to be sung to the tune of "Chevy Chase" so that often it is not known exactly which of the many tunes is being referred to. See Chappell's note for the tune for a detailed explanation. A "Chevy Chase" air was published by John Gay in his The Beggar's Opera (1729).  Williamson's recorded version is from a mid‑17th century manuscript from the Edinburgh University Library, printed by Ritson, 1783 (Williamson repeats each half of the printed melody, as it seemed to him a more likely fit for the ballad tune). Historically, Chevy Chase refers to the Battle of Otterburn (1388), the scene of a Border affray between Percy, Lord of Newcastle and the Border chieftain Douglas, in which Percy was defeated. The battle is also called the Chase of the Cheviot, because the plunder raid on England which Douglas jokingly described as a hunt (or chase) involved crossing the Cheviot Hills in northern England, hence the title.  "This melody has been played by Northumbrian small‑pipe players from time immemorial as the air to which the old ballads of Chevy Chase were sung. It is regarded as 'the gathering tune' of the ancient and noble house of Perry, and is played by the Duke of Northumberland's piper on all public and festive occasions. Tradition is certainly in its favour as the correct Chevy Chase melody and an original small‑pipe tune" (Bruce & Stokoe).  Raven (English Country Dance Tunes), 1984; pg. 69. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 145. Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

X:1

T:Chevy Chase

M:3/4

L:1/8

R:Air
S:Bruce & Stokoe – Northumbrian Minstelsy  (1882)

Z:AK/Fiddler’s Companion

N:”Slowly and smoothly”

K:G

zA|BA G3A|BA G3B|ce d3B|B2A2 zB|ce d3B|dB G3d|eg B3A|G4||

X:2

T:Chevy Chase

L:1/8

M:6/8

S:D'Urfey - Pills to Purge Melancholy

B:Chappell - Popular Music of the Olden Times  (1859)

Z:AK/Fiddler's Companion

K:G

d|c2B A2D|F2G A2B|c2d e2d|(c3 c2) c|B2A B2c|ded A2B|c2d B2A|(G3G3)||

                       

CHEYENNE. Bluegrass, Breakdown. G Minor & B Flat Major. Standard tuning. Composed by Bill Monroe (Ky.) and Bobby Hicks (N.C). Rounder C11565, Bobby Hicks ‑ "Rounder Fiddle" (1990). Rounder 0210, Bobby Hicks ‑ "Bluegrass Album, volume 4."

                       

CHEYENNE VARSOUVIANNA. American, Varsovienne (3/4 time). D Major. Standard tuning. AA’B. Shaw (Cowboy Dances), 1943; pg. 392.

X:1

T:Cheyenne Varsouvianna

M:3/4

L:1/8

S:Shaw – Cowboy Dances  (1943)

Z:AK/Fiddler’s Companion

K:D

A2|A>f [A2f2] A2| A>f [A2f2] A2|A>d f2g2|[G4e4] A2|[G>A>]e e2A2|

[G>A>]e e2A2|[G>A>]c [G2e2] [A2f2]|[F6d6]|[A>f>]e d>e f>d|[G6e6]|

e>d c>d e>A|[A6f6]|f>e d>e f>d|[G6e6]|g>e b>a g>e|1 d4:|2 d3A B>A||

F2A4|F2A4|G3F EF|G6|G2B4|G2B4|A3G FG|A6|A2d4|^A2d4|E3^D EG|

B6|d2B4|d2A4|B3A GE|D2 d2||

                       

CHEYNE. Canadian, Strathspey. Canada, Cape Breton. C Major. Standard tuning. AB. Composed February 18, 1953, by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 15.

                       

CHEZ JUTIER. French, Bourree a Deux Temps (2/4 time). G Major/A Dorian. Standard tuning. AABB. Composed by Frederic Paris. Stevens (Massif Central), 1987, vol. 1; No. 96.

                       

CHEZ LA MERE ANTOINE. French, Scottish (2/4 time). C Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 10.

                       

CHI MI NA MOR-BHEANNA (I will see the great mountains). AKA - The Mist Covered Mountains {of Home}). Scottish, Slow Air or Slow March (3/4 time). A Dorian. Standard tuning. One part. The popular Gaelic song appears in Alfred Moffat's volume Minstrelsy of the Scottish Highlands (translated and versified by Malcolm MacFarlane). It tells of a longed-for homecoming, how the protagonist yearns to see the sights of home and how he wishes to hear the sounds of his birth language.  According to Helen Creighton and Calum MacLeod (Gaelic Songs in Nova Scotia, 1979, pg. 13) the tune was a favorite of King George VI and was played at his funeral, and it was similarly played as a lament for President John F. Kennedy’s funeral. The authors state the original Gaelic words were written in 1856 by John Cameron of Ballachulish, Scotland, although the title was first "Dùil ri Baile Chaolais fhaicinn" (Hoping to see Ballachulish), set to an air adapted from the English tune "Johnny stays long at the Fair."

***

O chi, chi mi na mor-bheanna,

O chi, chi mi na corr-bheanna,

O chi, chi mi na coireachan, Chi mi na sgoran fo cheo.

***

Chi mi gun dail an t-aite 'san d'rugadh mi,

Cuirear orm failte 'sa' channain a thuigeas mi,

Gheibh mi ann aoibh agus gradh 'nuair ruigeam

Nach reicinn air tunnachan oir.

***

Chi mi na coilltean, chi mi na doireachan,

Chi mi na maghan, bana is toraiche,

Chi mi na feidh air lar nan coirreachan

Falaicht' an trusgan de cheo.

***

Fagaidh mi ubraid, surd agus glagarsaich,

Dh'Fhaicinn an fhuinn anns an cluinnteadh a' chagarsaich,

Fagaidh mi cuirtean duint' agus salach

A dh'amharc air gleannaibh nam bo.

***

Martin (Ceol na Fidhle), vol. 1, 1991; pg. 13. Scots Guards, Standard Settings of Pipe Music; pg. 242. Green Linnet GLCD1133, Johnny Cunningham - "Celtic Fiddle Festival" (appears as the first half of "The Mist Covered Mountains of Home"). Patty Furlong –“Traditional Irish Music on Button Accordion” (1999. Appears as “Snow Capped Mountain”).

X:1
T:Mist Covered Mountains, The
T:Chi Mi Na Morbheanna
B:Scots Guards Standard Settings V.1
N:Transposed from Bm for comparison
Z:Nigel Gatherer
L:1/8
M:6/8
K:Am
A3 A3|e2 e  e>dB|G3 G3|B>AB A>GA|
c3 d3|e>fg B>AG|A>Be d>cB|A3 A3:|
e3 e3|d>eg e>dB|G2 G d2 B|e2 e  d>cB|
A3 c3|e>fg B>AG|A>Be d>cB|A3 A3:|

                       

CHICAGO GLIDE. American, Dance Tune (2/4 and 3/4 time). F Major. Standard tuning. One part. Appears to develop into a waltz. Chicago takes its name from the Native American word chicagou, or the onion place, a hollow where wild garlic grew at the southern tip of Lake Michigan. Source for notated version: Kenner C. Kartchner (Arizona) [Shumway]. Ruth (Pioneer Western Folk Tunes), 1948; No. 135, pg. 48. Shumway (Frontier Fiddler), 1990; pg. 267.

X:1

T:Chicago Glide

M:4/4

L:1/8

S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:D

|:A>FA>f e>de>f|1 a2a2a2z2:|2

M:3/4

L:1/8

A3z2 (f/g/)||(a2^g2a2)|(b2a2f2)|(g2f2g2)|A2 z2 (ef)|

(g2f2g2)|(c’2b2a2)|(f2e2f2)|A4 (FG)|A3 (FAd)|(f2e2d2)|

B3 (_B=Bd)|(g2f2e2)|A>Bc>de>f|(g2f2g2)|(b2a2f2)|A3 (FAd)|

(f2e2e2)|B3 (_B=Bd)|(g2f2e2)|A>Bc>de>f|(g2f2g2)|(b2a2f2)|(g2B2c2)|d4 z2||

                       

CHICAGO JIG. Irish, Jig. G Major. Standard tuning. AABB.

X: 1

T: Chicago Jig

M: 6/8

L: 1/8

R: jig

N: from Terry “Cuz” Teahan via Liz Carroll & Seamus Egan

Z: Transcribed by Bill Black

K: G

A/2G/2 | F2 D D2 A/2G/2 | F2 D D2 A/2G/2 | F2 D DED | C2 A, A,2 A/2G/2 |

F2 D D2 A/2G/2 |  F2 D D2 A | BAB cAF | AGF G2 :|

A | BAB cBc | d2 d ABc | B2 G GAG | F2 D D2 A |

BAB cBc | d2 d ABc |  BAB cAF | AGF G2 :|

                       


CHICAGO REEL, THE (Cor Catair Sicaigo). Irish, American; Reel. C Major/A Dorian. Standard tuning. AB (O'Neill/1001): AABB (Alewine, Mallinson, O'Neill/Krassen, Vallely). The American name Chicago takes its name from the Native American word chicagou, or the onion place, a hollow where wild garlic grew at the southern tip of Lake Michigan. Since the tune first appears in O’Neill’s 1907 Dance Music of Ireland (it did not appear in his 1903 Music of Ireland) one can surmise the tune was a product of some member of the Irish Music Club in Chicago of that time, O’Neill’s primary sources for tunes. Source for notated version: set dance music recorded at Na Píobairí Uilleann, in the 1980’s [Taylor]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 12. Mallinson (Essential), 1995; No. 68, pg. 29. O'Neill (Krassen), 1976; pg. 90. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 797, pg. 138. Taylor (Music for the Sets: Yellow Book), 1995; pg. 14. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 28, pg. 15. Chieftains - “Chieftains 9" (Appears as part of “Boil the Breakfast Early” set). Green Linnet GLCD 1027, Mick Moloney – “Strings Attached.” Green Linnet GLCD 1058, Matt Molloy & Sean Keane – “Contentment is Wealth” (1985). Paddy Glackin – “In Full Spate” (1991). Séamus Egan – “In Your Ear.”

X:1

T:Chicago Reel, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 797

Z:AK/Fiddler’s Companion

K:Ador

AB|c2 ed cAGE|GFGA GAcd|ecgc acgc|edcd efge|c2 ed c2 AF|GFGA GBcd|

eaag efdB|(3cBA BG A2||AB|cdef g2 ef|gage dBGB|cdef gagf|baag aged|

cdef g2 fg|abaf gbag|fefd efed|(3cBA BG A2||

X:2

T:Chicago Reel

S:As played by Oisin

Z:Nigel Gatherer

M:4/4

L:1/8

K:Ador

B|c2 cB cAGE|G2 GE GAcd|ecgc acgc|eaag eged|

cded cAGE|G2 GE GAcd|eaag eged|cABG A3:|]

B|cdef g2 ef|g2 gd BGGB|cdef ge c2|eaag aged|

cdef g2 fg|a3 f g ag|f3 d (3efg ed|cABG A3:|]

                       

CHICANEUSE, LA.  AKA and see “Growling Old Man and (Grumbling Old) Woman.” French-Canadian, Reel. A chicaneuse is a litigious or quarrelsome woman. See also the similar “Moineau Lamoureux” of Gaspesie fiddler Yvon Mimeault.

 

CHICHESTER. American, Quadrille (6/8 time). G Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AA’BB’. Shaw (Cowboy Dances), 1943; pg. 379.

X:1

T:Chichester

M:6/8

L:1/8

S:Shaw – Cowboy Dances (1943)

Z:AK/Fiddler’s Companion

K:G

B|:d2e d2e|d2e d2B|cAF DFA|ed^c d2B|d2e d2e|c2c E2G|

FGA DEF|1 G3 G3B:|2 G3 G2 f/g/||

K:D

|:afd Adf|a^ga f2f|gec Ace|ba^g af=g|afd Adf|bab g2f|

gec Aca|1 d3 d2 (f/g/):|2 d3 d2B||

                       

CHICKADEE'S POLKA, THE. American, Polka. USA, New Hampshire. G Major. Standard tuning. AB. Composed by Peterborough, New Hampshire, accordion and piano player Bob McQuillen, October, 1975. McQuillen is one of the modern founding fathers of the contra-dance revival. Miller & Perron (101 Polkas), 1978; No. 79. McQuillen (Bob’s Notebooks), vol. 2; No. or pg. 44. Alcazar Dance Series FR 203, "New England Chestnuts" (1980).

 

CHICKEN AND DUMPLINGS. Old‑Time, Breakdown. USA, Southwest. G Major. Standard tuning. AB (Ruth): AABB (Christeson). R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 89. Ruth (Pioneer Western Folk Tunes), 1948; No. 79, pg. 29.

X:1

T:Chicken and Dumpling

L:1/8

M:2/4

S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:G

d>g g/f/g/a/|bb/c’/ b/a/f/g/|aa/b/ a/g/e/f/|g/a/g/e/ d/c/B/c/|

d>g g/f/g/a/|bb/c’/ b/a/f/g/|a/b/a/g/ f/d/e/f/|g>a g2||

D>[GB] [G/B/][G/c/][G/B/]G/| D>[GB] [G/B/][G/c/][G/B/]G/|

E>[Ec] [E/c/][E/d/][E/c/]G/| E>[Ec] [E/c/][E/d/][E/c/]G/|

D>[GB] [G/B/][G/c/][G/B/]G/|A/B/A/G/ F/E/D/C/|D<G A<G|

D>[GB] [G/B/][G/c/][G/B/]G/| D>[GB] [G/B/][G/c/][G/B/]G/|

E>[Ec] [E/c/][E/d/][E/c/]G/| E>[Ec] [E/c/][E/d/][E/c/]G/|

D>[GB] [G/B/][G/c/][G/B/]G/| D>[GB] [G/B/][G/c/][G/B/]G/|

A/B/A/G/ F/D/E/F/|G>A G2||

                       

CHICKEN-FOOT AND SPARROW-GRASS. AKA and see "Dandy Jim from/of Caroline [1]," "Dandy Jim [1]," "Old Aunt Jenny," "American Air" (Kerr). American, Reel. USA, southwestern Pa. E Flat Major. Standard tuning. AB. The tune is better known by the first two alternate titles, the first of which is the title minstrel composer Dan Emmett gave the tune. The 'B' part has also been collected in play party traditions. Source for notated version: Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to Fiddle), 1981; No. 326 B, pg. 291.

                       

CHICKEN IN THE BARNYARD. AKA and see "Cacklin' Hen [1]," "Old Hen Cackle(d) [1]." Old‑Time, Breakdown. USA; Arkansas, West Virginia. G Major. Standard tuning. AABB (Phillips): AABBCC (Thede): AA'BB'CD. The tune is perhaps best known under the titles "Cackling Hen," "Old Hen Cackled" or "Cluck Old Hen," and, in fact, the tune features accented notes meant to imitate a chicken's squawk. The ditty sung to it goes, in part:

***

Old hen she cackled, cackled in the lot,

Next time she cackled, cackled in the pot.

***

Sources for notated version: Glines Bowden (Arkanses) [Thede]; Clark Kessinger (West Virginia) [Phillips, Reiner & Anick]. Phillips (Traditional American Fiddle Tunes, vol.1), 1994; pg. 47. Reiner & Anick (Old‑Time Fiddling Across America), 1989; pg. 80. Thede (The Fiddle Book), 1967; pg. 124. County 733, "The Legend of Clark Kessinger."

                       

CHICKEN IN THE BREAD TRAY. Old‑Time, Breakdown. Sometimes an alternate title for "Soldier's Joy." However, this tune particular tune is similar to “Sally was a Poor Girl,” another tune in source Munsey Gaultney’s repertoire, played more slowly and ‘with a few different notes’. Gaultney was a fiddler from Ashe County, North Carolina, recorded by Blanton Owen in 1973, and known for his shuffle bowing and timing. Also in his repertoire was “Turkey Buzzard” and “Walls of Jericho.” Rounder 0058, Munsey Gaultney ‑ "Old Originals, vol. 2" (1978).

                       

CHICKEN IN THE SNOWBANK. Old‑Time, Breakdown. Rounder 0215, James Bryan ‑ "The First of May."

                       

CHICKEN OH CHICKEN. AKA – “Chicken Don’t Roost Too High.” Old-Time, Song Air. The ragtime song from which this tune was derived was published in 1899, credited to Bob Cole and J. Rosamund Johnson, who called it “Chicken Don’t Roost Too High.”  Rounder 0442, John Hartford – “Hamilton Ironworks” (2001. Learned from Pop Dillard).

 


CHICKEN PIE. Old‑Time, Breakdown. USA; Arkansas, Oklahoma. A Major. AEae tuning. AABB. The title appears in a list of traditional fiddle tunes of the Ozark Mountains, compiled by musicologist/folklorist Vance Randolph, published in 1954. A tune by this title was also recorded in 1939 by Herbert Halpert for the Library of Congress from the playing of Mississippi fiddler W.E. Claunch. A Missouri tune called “Chicken Pie” is a variant of “Dixie Blossoms” but it does not appear to be this tune. Source for notated verison: Roy Bissell (Latimer County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 126.

                       

CHICKEN POLKA. American, Polka. The melody was in the repertoire of northwest Pennsylvania fiddler Jehile Kirkhuff.

 


CHICKEN REEL [1]. Old‑Time, Breakdown. USA, Widely known. D Major. Standard or ADae tunings. AABB (Brody, Ford, Phillips, Ruth, Spandaro, Sweet, Thede): AABBC (Bayard {Ireland}): AABBAACC (Krassen {Higgins}): AABBCDDAABBC'C' (Krassen {Summers}). A popular fiddler’s piece that some feel is imitative of the fowl. The first published version under the above title was a piano composition in 1910 by Joseph M. Daly, a nineteen year old from Boston, who may have either recorded an existing folk melody or "composed" it from folk strains (Fuld, 1966, 1971). Regarding those folk strains, Bayard (1981) vaguely states that the tune may have been of Scottish or Irish in origin, and makes general reference to tunes in O'Neill without citing them. Though the tune is usually played in two parts several fiddlers have added variations. Miles Krassen states Indiana fiddler John Summers, whose roots were in the northern (US) tradition, had B and C parts which were probably composed by him and identifies the latter as a strain commonly found in hornpipes. Bayard collected another 'C' part from southwestern Pa. fiddler Walter Ireland and generally found the versions from that area of the country had little of the pronounced sliding that accompany the tune in the South. The melody was in the repertoire of Arizona fiddler Kenner C. Kartchner since the early 20th century and Bronner (1987) notes it was commonly played for dances in New York state at that time (often in combination with the tune "Black Cat"). It was also known to mid‑20th century Pa. dance fiddler Harry Daddario (Buffalo Valley, Pa.) and was in the repertiore of African-American fiddler Cuje Bertram (Cumberland Plateau region, Ky.), recorded by him on a 1970 home recording, made for his family. The tune was recorded from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph for the Library of Congress in the early 1940's. Bronner (1987) states that the tune was a favorite in New York because of its instant recognizability and by the fact that it was easily used in combination with other tunes for variety or added length for dance sets. Beside dance band sources, the tune was used by martial bands in Pennsylvania and brass bands in central New York. Melodic material from the first strain appears in the first parts of the Canadian “Reel Lindbergh” and the Arkansas “Searcy County Rag.” Sources for notated versions: Charlie Higgins (Grayson County, Va.) [Krassen]; John Summers (Indiana) [Krassen]; George Unger (Oklahoma County, Oklahoma) [Thede]; Hornellsville Hillbillies (New York State) [Bronner]; Walter Ireland, Hogg, Amasiah Thomas, Marion Yoders (southwestern Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 327A‑D, pgs. 292‑293. Brody (Fiddler’s Fakebook), 1983; pg. 66. Bronner (Old-Time Music Makers of New York State), 1987; No. 21, pg. 91. Cazden (Dances from Woodland), 1945; pg. 21. Cazden (Folk Songs of the Catskills), 1955; pg. 37. Ford (Traditional Music in America), 1940; pg. 41. Krassen (Masters of Old Time Fiddling), 1983; pg. 39‑40 and 133‑136. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 48. Ruth (Pioneer Western Folk Tunes), 1948; No. 117, pg. 39. Spandaro (10 Cents a Dance), 1980; pg. 13. Sweet (Fifer’s Delight), 1964/1981; pg. 66. Thede (The Fiddle Book), 1967; pg. 116. American Heritage 19A, Loyd Wanzer‑ "Plain and Fancy Fiddlin.'" County 538, Charlie Monroe‑ "On the Noonday Jamboree." Edison 50653 (78 RPM), Joseph Samuels (appears as 2nd tune of "Devil's Dream Medley"). Folkways FA 2381, "The Hammered Dulcimer Played by Chet Parker" (1966). Gennett 7110 (78 RPM), Doc Roberts. Gennett (78 RPM), Tweedy Brothers (W.Va., 1924). Kicking Mule 206, The Cental Park Sheiks‑ "Kicking Mule's Flat Picking Guitar Festival." Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home Rag." Point Records P‑229, J.O. La Madeleine ‑ "Canadian Jigs and Reels." Rounder 0194, John W. Summers ‑ "Indiana Fiddler" (1984). String 801, The Tune Wranglers‑ "Beer Parlor Jive."

X:1

T:Chicken Reel [1]

M:C|

L:1/8
K:D

(=f|^f)dAF DFBF|AABF A3 (=f|^f)dAF DFBB|Addc d4:|

|:a>faf d3d|f2f2 e4|afaf dcBA|Addc d4:|

 

CHICKEN REEL [2]. Old-Time, Breakdown. USA, West Virginia. West Virginia, Clay County. Wilson Douglas says the piece is "different from the one they play in Kentucky; its an old Clay County (W.Va.) tune; its played a lot. Well, its been in this country for as long as I can remember." Rounder 0047, Wilson Douglas ‑ "The Right Hand Fork of Rush's Creek" (1975).

 

CHICKENS DON'T ROOST TOO HIGH. Old-Time, Country Blues. C Major. Standard tuning. AB. A popular tune in the South in the second decade of the 20th century. It was, for example, in the repertoire of north Georgia fiddler Lowe Stokes. Source for notated version: Leonard Keith [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 30.

                       

CHICOUTIMI REEL [1] (Reel de Chicoutimi). See “Reel de Chicoutimi.”

 

CHICOUTIMI REEL [2]. AKA and see "Hill Lilly," "New York Reel," "Western Gem Reel." Canadian, Reel. A Major ('A' part) & E Major ('B' part). Chicoutimi is a town in the Province of Quebec. MCA Records MCAD 4037, “The Very Best of Don Messer” (1994. Appears as “Hill Lilly”).

                       

CHIEF O' BEMERSYDE (A WAR SERMON). AKA and see "Earl Haig [The Laird o' Bemersyde]."

                       

CHIEF O'NEILL'S FANCY. See "Chief O'Neill's Favorite."

                       


CHIEF O'NEILL'S FAVORITE (Roga an Taoisaig Uí Niall). AKA ‑ "Chief O'Neill's Fancy." AKA and see “The Flowers of Ardigne,” “The Flowers of Adrigole.” Irish, Hornpipe. D Major (Moylan, Mulvihill): D Major/D Mixolydian (Brody, Cranitch, Williamson). Standard tuning. AABB. Captain Francis O'Neill was Chief of Police of Chicago in the early years of the 20th Century, and  a flute player who compiled several extremely important collections of tunes from the Irish immigrant population who lived and visited the city. He obtained this tune from Edward Cronin, a fiddler originally from County Tipperary, who had no name for it and christened it after the Chief. O’Neill admired Cronin, who was a weaver and a machinest as well as a musician and composer, and obtained many tunes from him, including two originals (“The Bantry” and “Caroline O’Neill’s Hornpipe”) that he printed in Music of Ireland (1903). O’Neill says: “…he would play for hours at a time such tunes as memory presented, his features while so engaged remaining as set and impassive as the sphinx…It was his open boast that he never forgot nor forgave an injury…”

***

Some modern versions feature an ‘f’ and ‘c’ natural note in the second part, and it is played this way by older musicians in County Kerry, for example (Paul de Grae). Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded at a recital at Na Píobairí Uilleann, February, 1981 [Moylan]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Barney McKinner {ed. probably Barney McKenna} (Williamson). Brody (Fiddler’s Fakebook), 1983; pg. 66. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 81. Cranitch (The Irish Fiddle Book), 1996; pg. 77. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 40. Moylan (Johnny O’Leary), 1994; No. 34, pg. 20. Mulvihill (1st Collection), 1986; No. 28, pg. 97. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 349, pg. 171. O'Neill (Krassen), 1976; pg. 164. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1556, pg. 288. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 806, pg. 140. Peoples (Fifty Irish Fiddle Tunes), 1986; 21. Taylor (Music for the Sets: Yellow Book), 1995; pg. 19. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 69. Claddagh 4CC 39, “The Pipering of Willie Clancy Vol. 2” (1983). Gael‑Linn CEF 069, Sean Keane‑ "An Fhidil Sraith II." Green Linnet 1022, Garrai Eoin II Ceili Band‑ "Irish Music: The Living Tradition, Vol. 2." Kicking Mule 209, Andy Cahan‑ "Melodic Clawhammer Banjo."  Outlet 1031, Sean McGuire‑ "Ireland's Champion Traditional Fiddler." Revonah RS‑932, The West Orrtanna String Band ‑ "An Orrtanna Home Companion" (1978. Learned from the recording by Andy Cahan and the version printed in O'Neill). Transatlantic 341, Dave Swarbrick‑ "Swarbrick 2." Paddy Glackin - “In Full Spate.” Brendan Begley et al – “Music for the Sets: Pay the Piper” (1987).

X:1

T:Chief O’Neill’s Favorite

M:C|

L:1/8
R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 806

Z:AK/Fiddler’s Companion

K:D

de|fefg afge|fdec dcAG|FEFD FGAB|cAdc A2 de|

fefg afge|fdec dcAG|FEFD GBAG|F2D2D2:|

|:DE|FEFD FGAB|cAdB cAGB|Adde fded|cAdc A2 de|

fefg afge|fdec dcAG|FEFD GBAG|F2 D2D2||

“variation B part”

DE | =FEFG AGAB | =cBcd cAGc | Ad d2 fded | ^cAdc A2 ...

                       

CHIEF O'NEILL'S VISIT. AKA and see “The Cambridge (Hornpipe) [2].” Irish, Hornpipe. A Major. Standard tuning. AABB (O’Neill): AABB’ (Mulvihill). Compiler Francis O'Neill was a Chicago police chief and musician around the turn of the 20th century. Edward Cronin, a fiddler from County Tipperary who playing was held in high esteem by O’Neill, was the source for many tune in Music of Ireland. Not having names for a few, he dubbed them on the spot after the Chief. The tune is known to Scottish and Shetland musicians under the title “The Cambridge (Hornpipe).” A reel setting of the melody appears in Ryan’s Mammoth Collection (1883) as the “Pacific Slope [1].” Source for notated version: Edward Cronin [O’Neill]. Mulvihill (1st Collection), 1986; No. 29, pg. 97 (appears as “Chief O’Neill’s No. 2"). O'Neill (Krassen), 1976; pg. 198. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1705, pg. 317.

X:1

T:Chief O’Neill’s Visit

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1705

Z:AK/Fiddler’s Companion

K:A

(3EFG | A3 B Ac (3efg | a2 ag aece | fdBA GABc | dBcA GEFG |

ABAG Ac (3efg | agab aece | fdBA GABc | defg a2 :|

|: cd | eaag fece | dbbg efge | gbeg begb | agab agfg | agfe fece |

fdBf ecAc | B2 gf edcB | Aagb a2 :|

                       

CHIEF SITTING BULL. AKA and see “Big Chief Sitting Bull,” "Big Chief Sitting in the Rain,” “Hell Among the Moonshiners." Old-Time, Breakdown. C Major ('A' part), C Minor ('B' part) & G Major ('C' part). Standard tuning. AA'BB'CC'A"A". Source for notated version: Dale Morris and Gary Lee Moore [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 48.

                       

CHIEFS OF OLD TIMES [1], THE. Irish, Slow Air. D Minor. Standard tuning. AB. Source for notated version: Phil Gleeson (of Coolfree near Ballyorgan, Co. Limerick, c. 1852. Gleeson was a noted singer and whistler.) [Joyce]. Joyce (Old Irish Folk Music and Song), 1909; No. 161, pg. 81.            

              

CHIEFS OF OLD TIMES [2], THE. Irish, Slow Air (4/4 time). F Major. Standard tuning. AB. Joyce (Old Irish Folk Music and Songs), 1909; No. 157, pgs. 79-80.

X:1

T:Chiefs of Old Times, The

M:C

L:1/8

R:Slow Air

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

Z:AK/Fiddler’s Companion

K:F

F/G/|A>BAF G>A G/F/D/E/|F F/E/4F/4 GF/G/ A3 d/e/|

f>e e/d/c/d/ e>d d/c/A/G/|A=B/c/ dd d3 f/e/|d>cAG c>A G/E/C/E/|

FF/E/4F/4 GF/G/ A3 f/e/|d>cAG A=B/c/ dc/A/|G>F DD D3||D/E/|

F>E F/G/A/=B/ c>A d/c/A/G/|Afef d3 f/e/|d>cAG F>EFG|A>=B cc c3 A/G/|

F>E F/G/A/=B/ c>A A/G/F/G/|Afef d3 f/e/|d>c AG Ad f/d/c/A/|G>F DD D2||

                       

CHIEFTAIN, THE. Irish, Air (4/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 206, pg. 36.

X:1

T:Chieftain, The

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 206

Z:AK/Fiddler’s Companion

K:G

(3DEF | G3A GFED | d3 {f}e d2 Bd | e2 dB G2 A2 | (E4 E)z (3DEF |

G3A GFED | d3 {f}e d2 Bd | e2 dB G2 A2 | (G4 G)z || (3Bcd |

e3f edBA | G3B d2 gf | e2 dB G2 A2 | (E4 E)z (3DEF | G3A GFED |

d3 {f}e d2 Bd | e2 dB G2 A2 | (G4 G)z ||

                       

CHIEFTAIN'S LAMENT, THE (Do chinneadh bhi gun cheann). Scottish, Slow Air (4/4 time). G Minor. Standard tuning. AABB. "This air has verses to the colonel of Glengarry's regiment in Prince Charles' army, who was killed by a random shot from one of his own men on the street of Falkirk in 1745, an event which much deranged their proceedings. There are words also on Lord Lovat's decapitation" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 18, pg. 7.

X:1

T:Chieftain’s Lament, The

T:Do chinneadh bhi gun cheann

M:C

L:1/8

R:Air

N:”Solemnly Slow”
S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Gmin

D|G>AB>c A>GG=B|c>BA>G ^F zD|G>AB>c A>G GB/2A/2B/2c/2|d>cB>A G3:|

A|B>cd>e d>cB>d|c>BA>G ^F2 zB/2A/2B/2c/2|d>cB>A G>^FD>F|G>^FG>A G2 zA|

B>cd>g d>cB>d|c>BA>G ^F2 zB/2A/2B/2c/2|d>cB>A G>^FD>F|G>^FG>A G3||

                       

CHIEFTAIN’S PRIDE HIGHLAND FLING, THE. Scottish? American?, Highland Fling. G Major. Standard tuning. AAB. White’s Unique Collection, 1896; No. 160, pg. 29.

X:1

T:Chieftain’s Pride Highland Fling

M:C|

L:1/8

R:Highland Fling

S:White’s Unique Collection (1896), No. 160

Z:AK/Fiddler’s Companion

K:G

(G,>.G) G2 (G,>.G) G2|A>BA>G F>DE>F|G>FG>D E>G c>e|d>Bc>A (B<G) G2:|

(3bag  (d<g) (B<g) (d<g)|(3bag (d<g) (e<a) a2|(3bag (d<g) (B<g) (d<g) |c>ed>c (B<G) G2|

(3bag (d<g) (B<g) (d<g)|(3bag (d<g) (e<a) a2|(3bag (d<g) (B<g) (d<g)|c>ed>c (B<G) G2||

                       

CHIHUAHUA TWO-STEP. Canadian, Two‑Step. D Major ('A' part) & A Major ('B' part). Standard tuning. AABB. Composed by Don Messer. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 189, pg. 134‑135.

                       

CHILD OF MY HEART. Irish, Single Jig. A Aeolian. Standard tuning. AABB. Source for notated version: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare, who had it from a Chicago session, a 'pet tune' of a nameless player who was reluctant to allow it to be collected. [O’Neill]. O'Neill (Krassen), 1976; pg. 69. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1095, pg. 206. O’Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 395, pg. 79.

X:1

T:Child of My Heart

M:6/8

L:1/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 395

Z:AK/Fiddler’s Companion

K:Amin

c|e2d c2A|GEE c2d|e2d c2A|GEA GED|e2d c2A|GEE c2d|edc dcA|GEA GED:|

|:ABA AGE|c3 DED|ABA AGE|GED DED|ABA AGE|c3 c2d|edc dcA|GEA GED:|


                       

CHILDGROVE (Child Grove). English, American; Air, March or Country Dance Tune (2/2 time). USA; New England, Northwest. D Dorian or D Minor. Standard tuning. AABB. The tune, still popular at country dances, dates to around 1701 and appears in many English country dance collections, including Playford’s English Dancing Master. Barnes (English Country Dance Tunes), 1986. Brody (Fiddler’s Fakebook), 1983; pg. 67. Carlin (English Concertina), 1977; pgs. 44‑45. Fleming‑Williams (English Dance Airs; Popular Selection, Book 1), 1965; pg. 10. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991 (revised); pg. 9. Karpeles (100 English Country Dance Airs), 1951; pg. 22. Raven (English Country Dance Tunes), 1984; pg. 23. Sharp (Country Dance Tunes), 1909/1994; pg. 71. Songer (Portland Collection), 1997; pg. 49. Spandaro (10 Cents a Dance), 1980; pg. 5. Bristlecone CO1, Bonnie Carol & Doug Berch‑ "New Brew for Hammer Dulcimer." Country Dance and Song Society CDS‑9, Claremont Country Dance Band‑ "Juice of Barley." Front Hall 01, Fennig's All Stars‑ "The Hammered Dulcimer."  R.P. Hale‑ "Garden Roses" (privately issued, Concord N.H.). Harmonia Mundi 907101, The King's Noyse - "The King's Delight: 17c. Ballads for Voice and Violin Band" (1992). Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T: Childgrove

M:C

L:1/8

K: Dm

A2| "Dm"A2d2d2e2|f4 e2d2|"Gm"g2f2e2d2|"Am"e3d cBA2|"Dm"A2d2d2e2|

F4 e2a2|"Gm"g2f2 "A7"efed|"Dm"d6:: fg|"F"a2f2f2a2|"C"g2e2e2g2|"Dm"f2d2 defd|

"A7"e2A4 fg|"F"a2g2f2a2|"C"g3f efge|"Dm"f2ed "A7"e2d^c| "Dm"d6:|

                                   

CHILDLIKE STAR, THE. AKA and see “An Peltan Leanbac.”

                       

CHILDREN IN THE WOOD, THE. AKA and see "Now Ponder Well, Ye Parents Dear." English, Air (6/4 time). G Major. Standard tuning. One part. A ballad written in 1595, whose lyrics tell the tale of "The Norfolk gent his will and Testament and how he Commytted the Keepinge of his children to his owne brother who delte moste wickedly with them and howe God plagued him for it" (Merryweather, 1989). Like Hansel and Gretel, the children were abandoned to die in the woods. It was included by John Gay in his ballad opera The Beggar's Opera (1728) under the title "Oh ponder well, be not secure," and, under a different name in Pills to Purge Melancholy (1709). Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 34.

                       

CHILDREN OF LIR, THE. Irish, Air. The melody was classified by Edward Bunting as “very ancient,” by which he meant pre-Christian.

                       


CHILDREN OF THE LITTLE DANCING BUSH. AKA and see “Páistí Sceichín a’Rince.”

                       

CHILDREN’S REEL. Strathspey. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992).

                       

CHILLICOTHE BEAUTY. Old-Time, Breakdown. D Major. The tune is reminiscent of a cakewalk or early ragtime piece. It has been recorded by Buddy Thomas and Roger Cooper. The original source appears to be Forest Pick.

                       

CHILLICOTHE TWO-STEP. Old-Time, Waltz. G Major. Standard tuning. AABB. Source Lonnie Seymour is from the tri-state region of Kentucky, Ohio and West Virginia. Source for notated version: Lonnie Seymour [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 246.

                       

CHILLY WIND(S). Old‑Time, Song and Breakdown. USA; Arkansas, Virginia, North Carolina. G Major. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, but it can be found in tradition in several variants throughout the South. Mt. Airy, North Carolina, fiddler and banjo player Tommy Jarrell learned the tune in early in the 20th century and played it in AEae tuning. He related to Mike Seegar:

***

Carlie Holder and me was playing for a dance when I was about

fifteen or sixteen years old‑‑I was just beginning to play the fiddle

...back then you didn't have over six or eight girls, you know, and

they'd get tired and want to rest a while. While they was a‑resting,

why Carlie, he got to playing that tune, the first time I ever heard it.

Then I got him to play it right smart little bit, maybe over two or

three times and I learned it right there. I was young then, I could

listen to a fellow play a tune, you know, and it would go in my

head and stay...I thought it was the prettiest thing I ever heard.

And I used to know a lot of words to it but I forgot 'em cause I

quit making music for about forty years there. I didn't play none

much and I forgot some of them songs.

***

Mike Yates (2002) records that Independence, Virginia, banjo player Wade Ward considered “Chilly Winds” “to be his calling card.” Yates identifies the tune as a version of “Lonesome Road Blues,” recorded by Ward on a 78 RPM for OKeh records, but not released. He finds two further variants from African-American banjo-song tradition in John Snipe’s “Going Where I’ve Never Gone Before” (Smithsonian Folkways SF CD 40079) and Georgia based Sidney Stripling’s “Oh Lawdy Me, Oh Lawdy My” (Rounder 1828). Alcazar Dance Series ALC 202, Sandy Bradley ‑ "Potluck & Dance Tonite!" (1979). Atlantic 7 82496-2, Wade Ward. Carryon 005, "The Renegades" (1993). County 778, Tommy Jarrell ‑ "Pickin' on Tommy's Porch" (1984?. Learned from Carlie Holder). Heritage XXIV, Tommy Jarrell ‑ "Music of North Carolina" (Bradywine, 1978). Marimac 9009, John Cohen ‑ "Old Time Friends" (1987). Musical Traditions MTCD321-2, Charlie Woods (et al) – “Far on the Mountain, Vols. 1&2” (2002). Reed Island Rounders - “Wolves in the Wood” (1997). Rounder 0132, Bob Carlin ‑ "Fiddle Tunes for Clawhammer Banjo" (1980. Learned from revival musicians in New York in the early 1970's). Rounder CD 0383, Mike Seegar and Paul Brown - “Down in North Carolina.” Rounder CD 0395, Blanche Coldiron. Yazoo 2029, Ernest Stoneman & Kahle Brewers (reissue).

           

CHILLY WITHERS. Old‑Time, Fiddle tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

CHIMES.  American, March (4/4 time). G Major. Standard tuning. AABB. The melody appears in the c. 1785 American flute manuscript of Henry Beck.

X:1

T:Chimes

M:C

L:1/8

S:Henry Beck manuscript (1785)

Z:AK/Fiddler’s Companion

K:G

GA|B2 BB Bc/d/ cB|A2AA A2Bc|d2cB Ac BA|G2 G>G G2:|

|:gf|e2d>d d2 (3GBd|c2BB B2gf|e2dd d2cB|AG AB D2dc|

B2BB B<g dB|A2A>A AB cd|eg dB Ac BA|G2G>G G2 :|

 

CHIMES OF DUNKIRK, THE. New England, Contra Dance Tune (4/4 time). D Major. Standard tuning. AABB. Source for notated version: Joe Ryan [Laufman]. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 7.


                       

CHINA ORANGE HORNPIPE, THE. AKA and see "Fisher's Hornpipe." English, Hornpipe. England, Shropshire. D Major. Standard tuning. AABB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 18, pg. 4.

                       

CHINABALL BLUES. See "'Tit Maurice."

                       

CHINESE BREAKDOWN [1]. AKA – “Chinese Rag.” AKA and see “Beaver Valley Breakdown,” "Georgia Bust‑Down," "Georgia Breakdown,” “Tiger Rag." Old‑Time, Breakdown; Canadian, Reel. USA; New Hampshire, Virginia, Georgia., Alabama, Arkansas.  D Major. Standard tuning. AB (Silberberg): AABB (Messer): AA'BB' (Miskoe & Paul). The origins of this tune are unclear, although it is widespread from the South to Midwest, the American North and Canada and even to England and Scotland. “Chinese Breakdown” was first recorded by the “Dixie String Band” in 1925, followed a recording in Atlanta in 1927 by the Scottdale String Band, a group named in honor of the mill village of Scottdale, near Atlanta, and home to the band members (Wayne W. Daniel, Pickin’ on Peachtree, 1990). Their first recording was made for the OKeh studios on October 28, 1926, and between that date and 1932 the group recorded nearly thirty sides (all but two—released by Paramount—for OKeh). Bill Rattray wrote about the group in Old Time Music magazine (“Scottdale Boys,” OTM, Summer, 1971) and said the group’s records sold “well, or at least fairly well,” and that “their instrumentation was profoundly different from that of the other, more well-known Georgia bands like the Skillet-Lickers and Clayton McMichen’s band, and gave their music a more sophisticated sound that that of the ‘rough North Georgia’ school.” The group’s repertoire varied more than usual for string bands from the region, and included “a wider range of material including tunes used chiefly by the jazz bands…the more traditional breakdowns, songs and ballads are hardly featured at all.” [quoted by Daniel]. It is possible that the tune was composed by Fred Roe of the Walker Mt. String Band (Joel Shimberg). “Chinese Breakdown” was recorded from Ozark Mountain fiddlers by musicologist/folklorist Vance Randolph for the Library of Congress in the early 1940's.

***

Sources for notated versions: Kyle Creed (southwestern Va.) [Brody]; Lyman Enloe (Oklahoma), who had it from a friend of his father’s, Lee Carpenter (Eldon, Missouri) [Beisswenger & McCann, Phillips]; Arthur Mitchell (Concord, N.H.) via Omer Marcoux [Miskoe & Paul]; Vivian Williams (Seattle) [Silberberg].

***

Print Collections: Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 28. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 19, pg. 20. Miskoe & Paul (Omer Marcoux), 1994; pg. 22. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 49. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 21.

***

Recordings: Alcazar Dance Series ALC 202, Sandy Bradley ‑ "Potluck and Dance Tonite!" (1979).  Brunswick 221 (78 RPM), Jack Reedy & His Walker Mountain String Band (reissued on “Music From The Lost Provinces”). County 762 or CD-2707, Lyman Enloe‑ "Fiddle Tunes I Recall." Decca 5069 (78 RPM) {1934}, The Stripling Brothers (Ala.). Document Records 8021, The Spooney Five – “Georgia Fiddle Bands, vol. 1” (Reissue). Folkways FA 2492, The New Lost City Ramblers‑ "String Band Instrumentals" (1964. Learned from Earl Scrugg's older brother, Junie, and altered from then). Fretless 136, The Arm and Hammer String Band‑ "Stay on the Farm." Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986. "Inspired by an old McGee Brothers record"). Okeh 45103 (78 RPM), Scottdale String Band. QRS 9010, Hoke Rice. Rebel 1545, Curly Ray Cline‑ "Why Me Ralph?"  Rural Records RRCF 252 (1970), Curly Fox (Ga.). Romeo 5345/Conqueror 8241 (78 RPM), Carolina Ramblers String Band. Rounder 1133/1134, Ed Hayley – “Grey Eagle, vol. 2” (a four-part version). Voyager 340, Jim Herd - "Old Time Ozark Fiddling." Victor Records (78 RPM), the Skillet Lickers (1934).

See also listing at:

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

((()))  George T. Jones & Matt Darnell, Poughkeesie, Ark. 1961. “Chinese Breakdown”

X:1

T:Chinese Breakdown [1]

R:Reel

Q:232

M:2/4

L:1/8

K:D

((3A1/2B1/2c1/2) |dA BA FF1/2F1/2 F ((3A1/2B1/2c1/2) |dA BA GG1/2G1/2 GA1/2B1/2|

cA BA cc1/2c1/2 cA1/2B1/2|cA BA FF1/2F1/2 F ((3A1/2B1/2c1/2) |dA BA FF1/2F1/2 FF1/2E1/2|

DF EF GG1/2G1/2 Gc1/2d1/2|ee1/2e1/2 e1/2f1/2e1/2d1/2 cc1/2c1/2 c1/2d1/2c1/2B1/2|AA1/2A1/2 B1/2A1/2c1/2A1/2 dd1/2d1/2 dz|

A|df fA df fA|df ed e2 e^g|aa1/2a1/2 ab1/2a1/2 gg1/2g1/2 g1/2a1/2g1/2f1/2|e^d e=f ^f3 A|df fA df fA|df gf B4|

ee1/2e1/2 e1/2f1/2e1/2d1/2 cc1/2c1/2 c1/2d1/2c1/2B1/2|AA1/2A1/2 B1/2A1/2c1/2A1/2 dd1/2d1/2 dz||

 

CHINESE BREAKDOWN [2]. Old-Time, Breakdown. USA, Va. C Major. Standard tuning. AA’BB’. A recognizable version of “Chinese Breakdown [1],” especially in the structure of the tune. Brody (Fiddler’s Fakebook), 1983; pg. 67. Mountain 301, Kyle Creed‑ "Blue Ridge Style Square Dance Time."

 

CHINESE BREAKDOWN [3]. French Canadian, Reel. A Major ('A' part) & E Major ('B' part). Standard tuning. AABB (2nd B is irregular in last measure). Composed by Alfred Montmarquette.  Carlin (Master Collection), 1984; pg. 66, No. 107.

 

CHINESE DANCE. Scottish, Country Dance Tune (2/4 time). A Major. Standard tuning. AABBAA. Kerr (Merry Melodies), vol. 1; No. 11, pg. 29.

X:1

T:Chinese Dance

M:2/4

L:1/8

S:Kerr – Merry Melodies, vol. 1, pg. 29  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

c/B/|Aagf|e/f/e/d/ ce|cece|dBB (c/B/)|Aagf|e/f/e/d/ ce|

ce d/c/d/B/|AcA::(B/A/)|GBGB|GB d/c/d/B/|AcAc|

Ac e(f/g/)|aae (f/g/)|aae (f/g/)|aedc|B/A/B/c/ B/d/c/B/:||

           

CHINESE FESTIVAL, THE.  English, Country Dance Tune (cut time). F Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 148.

X:1

T:Chinese Festival, The

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:F

f2 (3cde f2 (3cde|gbag “tr”g2f2|f2 (3cde f2 (3cBA|BdcB “tr”B2 A2:|
|:g2 (3cde gbag|afbg “tr”fe f2|c2 “tr”BA BdcB|AGFE F2 f2:||

 

CHINESE POLKA. French-Canadian, Polka. D Major (‘A’ part) & A Mixolydian (‘B’ part). Standard tuning. AABB’. Raz de Maree/Tidal Wave.

X:1

T:Chinese Polka

M:2/4

L:1/8

R:Polka

O:French-Canadian

K:D

d/B/A/F/ DD/D/ | B,/D/D/B,/ DD/D/ | B,/D/D/B,/ DD/D/ | F/A/A/F/ E2 | A/A/A/F/ DD/D/ |

B,/D/D/B,/ DD/D/ | F/A/A/A/ B/A/F/D/ | F/4E/4D/E/C/ D2 :: E/E/E/E/ E/A/A/A/ |

B/B/A/B/ cA | E/E/E/E/ E/d/d/d/ |1 c/B/c/B/ A2:|2 c/B/c/B/ A2B2 ||

                       

CHINESE RAG. AKA and see “Chinese Breakdown [1].” Old‑Time. USA, Ga. (c. 1922). A version of "Chinese Breakdown."

 

CHINKAPIN HUNTING. See "Chinquapin Hunting."

 


CHINKY PIN. AKA and see “Big Muddy,” "Big Town Fling,” "Buffalo Nickel [1]," "Chinquapin/Chinquipin," "Darling Child," "Farmer Had a Dog," "Fourth of July," "Hair in the Butter," "I am My Mamma's Darling (Child)," "Lead Out," "Love Somebody [2]," "Midnight Serenade [1]," “Missouri Mule,” "My Love is/She's But a Lassie Yet [1]," "Old Kingdom," “Richmond Blues," "Sweet Sixteen," "Ten Nights in a Bar Room," "Too Young to Marry [1]" "Yellow Eyed Cat." Old‑Time, Breakdown. USA, West Virginia. D Major. Standard tuning. AABB. The melody was directly derived from a traditional fiddle and bagpipe piece in the British Isles, "My Love She's But a Lassie Yet," having myriad titles and variants. Chinquapins are a type of mountain chestnut, but the name also refers to its edible nuts. Clark Kessinger was the first to record the melody under the “Chinquapin” title, and played it at break-neck speed. Charles Wolfe {1997} states that the name “Chinky Pin” on the record label represents some Brunswick clerks mangling of the name of the type of chestnut called the chinquapin. Bob Palesek, however, suggests another meaning. He was informed by a friend named Art Deems, a West Virginia native, that chinky pin is a term for the company script sometimes given to miners as part of their wages. He still had some samples and lent Palesek some coins to scan, saying: “These came from Davis, West Virginia. Back in the 1920’s. This is 1920 to 1938. Well really 19--, when Roosevelt came in—is when they startet to—the first year Roosevelt was in was in ’32, and then in 1940 they outlawed all jinky-pin, what we called jinky-pin money.  We could go to the store and change that for 80 cents cash and go the next town and spend it. But at home, when you used that in a company store, it was face value…” [Fiddle-L]. Sources for notated versions: Clark Kessinger (W.Va.) [Phillips]; Dean Johnston (1919-2007, Lamar, Barton County, Mo.), learned from his father (who called it “Love Somebody”) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 74. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 50. Recorded by Kanawha County, W.Va., fiddler Clark Kessinger in 1929 for Brunswick Records. County 733, "The Legend of Clark Kessinger." Rounder 0436, Dean Johnston – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain” (2000). Voyager 340, Jim Herd - "Old Time Ozark Fiddling."

See also listing at:

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

                       

CHINQUAPIN/CHINQUIPIN. AKA and see "Too Young to Marry," "Sail Away Ladies [3]." Old‑Time, Breakdown. USA, Virginia. G Major. Standard tuning. AABB. The tune is known to fiddlers Roscoe Parish (Galax, Va.) as "Chinquapin," while Tommy Jarrell (Mt. Airy, N.C.) has recorded it as "Sail Away Ladies" (it is not related to the tunes that usually go by that title). Source for notated version: Roscoe Parrish (Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 31. Heritage V, Roscoe Parish. Rounder 0320, Bob Carlin & John Hartford - "The Fun of Open Discussion."

                       

CHINQUAPIN HUNTING [1]. AKA – “Chinquapin,” "Chinqui Pin Hunting." Old-Time, Breakdown. USA, Kentucky. A Major. AEae tuning. AA’BB’ (Silberberg): AA'BCC (Phillips). A different tune than the similarly titled “Chinky Pin” or “Chinquapin.” Jeff Titon (2001) says that Stamper’s tune appears to be unique, and that Stamper himself felt the tune was at least as old as the American Civil War. Sources for notated versions: Chad Crumm with the Chicken Chokers (Mass.) [Phillips]; Hiram Stamper (Hindman, Knott County, Ky., 1977) [Titon]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 49. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 22 (appears as “Chinquapin”). Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 23, pg. 58.

See also listing at:

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

X:1

T:Chinquapin Hunting [1]

M:C

L:1/8

R:Reel

N:AEae tuning

S:Bruce Molsky, based on the Norman Edmonds version

N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:A

“A”e3(e “D”fe)[Ed]f | “A”(ef)e(e “D”fe)[Ed]f | “A”e3(e “D”fe)(fg) | afaf e2e2 |

M:2/4

L:1/8

(3cdc A2 |

M:C

L:1/8

“A”A3(e “D”fe)df | “A”e(fe)(e “D”fe)df | “A”e3(e “D”fe)fg | (af)(af) e2e2 |

M:2/4

L:1/8

(3cdc A2 ||

M:C

L:1/8

“A”A3B A2A2 | “D”(FE)DD (ED)F2 | “A”A3B A2 AF | “E”A,2 A,B, “A”C2E2 |

A3B A2A2 | “D”(FED)D (ED)F2 | “A”A3B A2 AF | “E”A,2 A,B, “A”C(E E2) ||

“D”F2 {E}F3 F ED | “E”B,2 EB, “A”C2 EC | “D”F2 {E}F3 F ED | “E”B2 [EA]B, “A”C2 [EA]C|

“D”F2 {E}F3F ED | “E”B2 EB, “A”C2 EC | “D”F2 {E}F3F ED | “E”B,2 ED “A”C(A, A,2) ||

 

CHINQUAPIN HUNTING [2]. Old-Time, Breakdown. USA, Ky. D Major. Standard tuning. A version of Hiram Stamper’s “Chinquapin Hunting [1]," by his son Art, albeit in the key of ‘D’ and in standard tuning. County 779, Art Stamper – “The Lost Fiddler” (1982). County CD2712, Art Stamper (Ky.) - "The Lost Fiddler" (CD resissue of the 1982 album. Very different than the Norman Edmonds cross-tuned piece of the same name).

                       

CHINQUAPIN PIE. AKA and see “Chinky Pin.” Old‑Time. Folk Legacy Records FSA‑17, Hobart Smith ‑ "America's Greatest Folk Instrumentalist" (appears as 3rd tune of "Banjo Group #1").

                       

CHIP AND RANT. English, 'Old' Hornpipe (3/2 time). G Major. Standard tuning. AABBCC. The tune is contained in the 19th century Joseph Kershaw Manuscript. Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles. A rant is a type of dance. Knowles (The Joseph Kershaw Manuscript), 1993; No. 36. Offord (John of the Greeny Cheshire Way), 1985. Big Chain BC 101, Cooper & Bolton – “Turning Point.”

X:1

T:Chip and Rant

M:3/2

L:1/8

K:G

gdBd gfgd cBAG|gdBd gabg agfe|gdBd gfgd cBAG|ABcd ecBA BdBG:|

|:gaba gfed cBAG|gabg afed efg2|gaba gfed cBAG|ABcd ecBA BdBG:|

|:g2 fe dBBGB dBGB|gfge dBGB ABcd|g2 fe dBGB dBGB|ABcd ecBA BdBG:|

                       

CHIPPY GET YOUR HAIR CUT. AKA and see “Gippie/Johnny/Hippie Get Your Hair Cut.” Old‑Time, Breakdown. USA, Mississippi. C Major or A Major. The tune was recorded for the Library of Congress by collector Herbert Halpert in 1939 from the playing of eighty year old Lauderdale County, Mississippi, fiddler Stephen B. Tucker. The ‘A’ major tune often features pizzicato notes on the ‘E’ string. The melody belongs to the “Fire on the Mountain”/”Hog-eye Man”/”Sally in the Garden”/”Granny, Will Your Dog Bite?” family of tunes.

 

CHIPS AND SHAVENS. AKA and see “Blind Man’s Ramble,” “Jackey’s Fancy.” English, Reel. England, Northumberland. D Major. Standard tuning. AAB (Hall & Stafford): AABB (Callaghan): AABBCC (William Vickers). A popular reel in England, judging by its inclusion in a number of 19th century musicians’ manuscripts, although not appearing in period printed works. Barry Callaghan (2007) finds “Chips and Shavins” in the music manuscripts of H.S.J. Jackson (1823, Wyresdale, Lancashire), Joshua Jackson (1798, Harrogate, north Yorkshire), George Spencer (1831, Leeds, west Yorkshire), William Vickers (1770, Northumberland), James Biggins (1779, Leeds, west Yorkshire, appearing as “Blind Man’s Ramble”), the Browne family manuscripts (Troutbeck, Cumbria), James Winder (1835, Wyresdale, Lancashire), and William Hall Lister (mid-19th century, East Boldon, near Newcastle, appearing as “Jackey’s Fancy”). Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 8. Callaghan (Hardcore English), 2007; pg. 31. Raven (English Country Dance Tunes), 1984; pg. 182.

X:1

T:Chips and Shavins or Blind Man’s Ramble

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscript book, Northumberland  (1770)

Z:AK/Fiddler’s Companion

K:D

AB/4c/4|dAFD G2 FE|D/E/F/G/ AF GEEB|dAFD G2 FE|A/B/c/d/ AG FDD:||

|:B|ABAG F2 DF|ABAF GEEB|ABAG F2 ED|B/c/d AG FDD:||

|:A|dfaf g2 fe|dfaf beef/g/|afge fdec|dBAG FDD:||

                       

CHI-RI-VUS. Scottish, Air (3/4 time). G Major. Standard tuning. One part. Howe notes: “A North Highland Air.” Howe (1000 Jigs and Reels), c. 1867), pg. 156.

X:1

T:Chi-ri-vus

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

e2e4 | g3f gf/e/ | b3 b3a | {a}g3f e2 | {f}ed/e/ d4 | ed/e/ d2 B/d/ | cB/c/ g3f/e/ |

{e}d2B4 | BA/G/ A>B c2 | g2dB d2 | e>e g3 d/B/ | BA/G/ G4 ||

                       

CHIRKS HORNPIPE. Northumbrian. One of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript.

 


CHIRPING OF THE LARK, THE. AKA and see "Muscadin," "Kemp's Morris." English, Air (4/4 time). D Dorian. Standard tuning. AABB. The air appears in Playford's English Dancing Master (1650) and his Introduction, it also appears in Nederlandtsche Gedenck‑Clanck (1628). Chappell (Popular Music of the Olden Times), 1856; pg. 277. Raven (English Country Dance Tunes), 1984; pg. 39.

X:1

T:Chirping of the Lark, The

M:C

L:1/8

S:Chappell – Popular Music of the Olden Times (1856)

Z:AK/Fiddler’s Companion

K:D Dorian

d2 | f3f efge | f2d2d2e2 | c2_B2A2G2 | F6 :|

|: d2 | f3f e2^c2 | dfed ^c2A2 | B2d2d2^c2 | d6 :|

                       

CHIRPING OF THE NIGHTENGALE. English, Country Dance. From Playford, The English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 43.

                       

CHISHOLM, THE ('Stoigh leam fein an Siosalach). Scottish, Strathspey. F Major. Standard tuning. AB. "Though the editor has applied the name of the Laird of Chisholm to this air, he is not positive but it may belong to some other branch of his family, probably a handsome young fellow, killed in Culloden, whose widow composes an air to his memory, introduced in this work" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 117, pg. 46. Stewart-Robertson (The Athole Collection), 1884; pg. 215.

X:1

T:Chisholm, The

T:’S Toigh Leam Fhéin an t-Siosalach

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

A|F<F F2 F>Ac>A|F<F FA d>DD>E|F<F F2 F>Ac>A|G>B A<^c d>D D>A|

F<F F>Ac>A|F<F F>A d>D D<A|F<F F2 F>Ac>A|B>G A<^c d>DD||

a|f>ga>g f>c A<F|A<f f>g a>d d<e|f>ga>g f<cA<F|G>B A>^c d>D D<a|

f>ga>g f>c A<F|A<f f>g a<d d>f|(3agf (3efg (3fed (3cBA|(3BAG (3AB^c d<DD||

                       

CHIU-RI-RUO. Scottish, Air (3/4 time). G Major. Standard tuning. AA. Originally an ancient Scots harp tune. Neil (The Scots Fiddle), 1991; No. 121, pg. 160.

                       

CHLEITH BHUI, AN. AKA and see "The Yellow Wattle."

                       

CHLOCH AOIL, AN (Limestone Rock). AKA and see “Limestone Rock,” "Tit for Tat [1]."

                       

CHLOCH SA nGARRAÍ, AN (The Stone in the Field). AKA and see “The Stone in the Field.”

                       

CHLOE'S DREAM. English, Reel. D Major. Standard tuning. AABB. The tune first appeared in John Hinton’s periodical Universal Magazine of Knowledge and Pleasure (London, 1758). It was included by William Vickers in his 1770 Northumbrian dance tune manuscript (as "Cloehs Dream"). Seattle (William Vickers), 1987, Part 3; No. 559. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 39.

X:1

T:Chloe’s Dream

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

A|D>AF>A|D>AF>A|G>Bd>F|E/E/E E2|D>AF>A|Dade|fdec|d/d/d d:|

|:e|fdec|BGAF|G>Bd>F|EEEe|fdec|BGAF|G>BA>F|D/D/D D:||

X:2

T:Cloeh’s [sic] Dream

M:C|

L:1/8

S:William Vickers’ music manuscript collection (Nothumberland, 1770)

Z:AK/Fiddler’s Companion

K:D

A|DAFA DAFA|GBdF E/E/E E2|ADFA DFde|fdec d/d/d d2:|

|:fdec BGAF|GBdF E/E/E E2|fdec BGAF|GBdF D/D/D D2:||

                       

CHLOE’S PASSION. Scottish, Pipe Tune. Composed by Dr. Angus MacDonald, named after a 19th century life-size painting of a nude Chloe hanging over a bar in Melbourne, Australia. MacDonald said, “She had her eye on Gaelic singer W. John MacAulay the moment he walked in the bar!” Culburnie COL 113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999).

                       

CHLUAIN, AN. AKA and see "The Cloon."

                       

CHOCOLATE HEART, THE. French-Canadian, Waltz. G Major ('A' part) & G Minor ('B' part). Standard tuning. AA'B. Composed by Andre Marchand (Notre-Dame-des-Prairies, Quebec) in 1991. Soon afterwards, it was learned by editor Matthiesen at the Ashokan (New York) fiddle and dance camp where Marchand was a teaching staff member. Matthiesen (Waltz Book II), 1995; pg. 12.  

                       

CHOCOLATE POT, THE.  English, Country Dance Tune (cut time). G Minor. Standard tuning. AAB. The Chocolate Pot (c. 1745) by Jean-Étienne Liotard (1702-1789). Chocolate was introduced to Europe by the Spanish, who brought it back from Mexico. A special pot was designed to facilitate the drink: the ingredients were placed in a cup, then a stirrer (molinillo) was added, after which a special cover was placed over the molinillo so that no liquied could escape. The chocolate was prepared by rubbing the milinillo between one’s hands until the liquid is frothed and then it is poured. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 29.

X:1

T:Chocolate Pot, The

M:C|

L:1/8

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

Z:AK/Fiddler’s Companion

K:Gmin

GABc d2 ge | d2 gd c2 BA | GABc d2 ge | d2 BG d4 :| Bcde f2 ef | g2 fg a2 ga |

Bfed gABD | C2A2B4 | Bdeb bg a2 | Acfa af g2 | e^c d2 BAGc | B2A2 G4 ||

 

CHOCTAW. Old-Time, Breakdown. A Minor ('A' part) & C Major ('B' part). Standard tuning. AABB. An interesting footnote to the Irish faminie of 1847, communicated by Jeffery Erickson, is this from Andrew Carroll’s Letters of a Nation:

***

Having learned of the famine taking place in Ireland, and well

aware of the suffering caused by hunger, [a group of Choctaw Indians]

managed to raise among their small number about $170 -- worth several

thousand in today's dollars.  Col. G. W. Clarke, who had witnessed their

efforts, later wrote of the to the Arkansas Intelligencer, challenging its

readers to match the Choctaws' generosity.

***

Interestingly, this incidence of generosity was revisited in the present day. The Irish group the Chieftains were made honorary chiefs of the Oklahoma Choctaw Nation at a special ceremony at SMY in Dallas, Texas, according to the authorized biorgraphy of the group. The honor, never before bestowed to a non-American Indian group, came about when piper and Chieftains leader Paddy Moloney heard of the original Choctaw gift and contacted the tribe to thank them. "Even Queen Victoria wouldn't lift a finger to help but the Choctaws did," said Moloney, “It was a great honour for them to make me an honorary chief." Moloney appears to be referencing the circulating story that the Queen donated £5.00 towards famine relief, but gave the same amount to the Battersea Dogs Home, lest anyone take the gesture as overly sympathetic. The story is just that, however, and is not true. Source for notated version: Mark O'Connor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 50.

                       

CHOCTAW BILL. Old-Time, Breakdown. C Major. Standard tuning. AA'BB. The tune was recorded by both Bob Douglas and Blaine Smith. Source for notated version: Bob Douglas [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 50.

                       

CHOCTAW COUNTY RAG. The Ray Brothers were fiddler Will Ray with his brother Vardman on guitar. Document 8028, The Ray Brothers – “Mississippi String Bands, vol. 2” (reissue).

                       


CHOICE WIFE, THE. AKA and see “An Phis Fhliuch.” Irish, Slip Jig.

                       

CHOIS TINN, AN (The Sick Leg/Foot). AKA and see “The Sore Foot.”

                       

CHÓISIR, AN (The House Party). AKA and see “The House Party,” “The Toormore Slide.” Irish, Slide. Derived from the song “An Chóisir.” CEF 165, Máire O’Keefe - “Chosir” (learned from Sliabh Luachra accordion player Johnny O’Leary).

           

CHOLLA MO RÙN (The Piper’s Warning).  Scottish, Pipe Piobroch. There are two main versions of the tune. See note for “Duntroon Castle.”

           

CHOMDHÁIL, AN. AKA and see “The Congress Reel.”

                       

CHOPPING WOOD IN KANSAS. Old‑Time, Fiddle tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

CHOPSTICKS. American (?), Two-Step. A Major. Standard tuning. AB. Not beginning-piano ditty every six year old learns, but an unknown two-step to which the name became attached. Source for notated version: fiddler Omer Marcoux (Concord, N.H.) learned the tune "from that fella, May, the printer, in Concord--way, way back" [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 6.

                       

CHORLEY MAUL. English, Jig. G Major. Standard tuning. AABB. Composed by Dave Roberts.

X:1
T:The Chorley Maul
C:Dave Roberts
Z:Anahata (anahata@treewind.co.uk)
M:6/8

L:1/8
K:G
FE | "D"DFD ADc | "C"edc "G"BAG | "D"DFD ADc |"D"BcA "G"GFE |
"D"DFD ADc | "C"edc "G"BAG | "C"c>cc "Am"edc | "D"BcA "G"G :|
|: AB | "C"c>cc edc | "G"BdB GFG | "D"AFD DEF | "Em"G2 "D"A2 "G"B2 |
"C"c>cc edc | "G"BdB GFG | "D"AFD DEF | "G"G3 G :|

                       


CHORUS JIG [1]. AKA - “The Chorus Reel.” AKA and see “The Glen Road to Carrick,” “On the Road [2].” English, Irish, Scottish, American; Reel. USA, New England. D Mixolydian (Miller & Perron/1977 & 2006): D Major & G Major (Brody, Burchenal, Miller & Perron/1983, Silberberg): G Major {Miller & Perron}: D Major ('A' & 'C' parts) & G Major ('B' part/Phillips: 'B' and 'D' parts/Sweet}. Standard tuning. One part (Burchenal): AB (Silberberg): ABCC or ABAC (ending on the A or B part)[Brody]: AABC (Miller & Perron/1977): ABCD (Sweet): AABCCB (Kaufman): AA'BCC'B (Phillips): AABCCD (Miller & Perron/1983): AABCC'DD (O'Neill). Despite the title, the tune is a reel, with long histories both in Ireland and the United States. Linscott (1948) explains: "The 'Chorus Jig' has always been a favorite with pipers. It is an Irish melody whose author and date are unknown. Jigs were originally tunes sung after a play by the clowns. During the 17th century everyone sang them, and the dances were performed by persons of all ranks. They are generally thought of as Irish, but jigs were common in England and Scotland. The word 'jig' applied to a form of rhyme and is of uncertain derivation.” Perlman (1996) suggests the contra-dance reel called “Chorus Jig” originated from the jig form of the tune (see “Chrorus Jig [3]"). In non-modal versions (as Randy Miller points out) it is the companion tune for a country dance of the same name in New England, and although the tune is Irish, the dance figures seem English according to experts. It was commonly included in dance and tune books by the 1850's, and can be found in an 1822 American collection called The Musical Cabinet (Charlestown, Mass.) and, earlier, in skeletal form in a 1793 manuscript of George Otis (according to Tony Parkes & Steve Woodruff). Howe (c. 1867) prints dance instructions with the melody, which he includes in his section of Contra Dances. It was one of the tunes appearing in a repertoire list (and recorded by) of Maine fiddler Mellie Dunham, who was Henry Ford's champion fiddler in the late 1920's.

***

The tune was known as one of the three Doon reels learned from fiddler Cal Callaghan, of Doon, Kerry, popular with Sliabh Luachra musicians. See also “The Doon Reel [3]” and “Gleann Eoghain.” In County Donegal a version is played under the title “Glen Road to Carrick.” Sources for notated versions: Edson H. Cole (Freedom, N.H.) [Linscott]; Alan Block (N.H.) [Phillips]; Laurie Andres [Silberberg]; a 1968 recording of fiddlers Con Curtin, Dinis McMahon & Julia Clifford [Miller & Perron]. Brody (Fiddler’s Fakebook), 19d83; pg. 68. Burchenal (American Country Dances, vol. 1), 1917; pg. 25. Feldman & O’Doherty (Northern Fiddler), 1978; pg. 167. Howe (1000 Jigs and Reels), c. 1867; pg. 75. Kaufman (Beginning Old Time Fiddle), 1977; pgs. 78‑79. Linscott (Folk Songs of Old New England), 1939; pg. 72. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol.1, No. 53 (appears as "Chorus Reel"). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 55 (appears as “Chorus Reel”). Miller & Perron (New England Fiddlers Repertoire), 1983; No. 96. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 500, pg. 95 (appears as "Chorus Reel"). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 51. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 22. Sweet (Fifer’s Delight), 1964/1981; pg. 43. Vallely (Play 50 Reels with the Armagh Pipers Club), 1982; 13. Alcazar Dance Series FR 203, "New England Chestnuts" (1980). F&W Records 3, "Canterbury Dance Orchestra." Green Linnet SIF‑104, Jerry O'Sullivan ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑1074, Jerry O'Sullivan ‑ "The Invasion" (1987). June Appal 003, John McCutcheon ‑ "How Can I Keep From Singing" (1975). Meadowlands Records MS1, "Allan Block and Ralph Lee Smith." North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.” Topic Records, Julia Clifford with Con Curtin and Denis McMahon - “Paddy in the Smoke.” Transatlantic 337, Dave Swarbarick‑ "Swarbrick 2." "Trapezoid." Victor 40121 (78 RPM), Mellie Dunham, 1926.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Chorus Jig [1]

M:C|

L:1/8

R:Reel

K:D

AG|F2DF AB AG|FA DF A2d2|D3F AB AF|GF EF G2:|\

K:G

||Bc|dB cA BG FG|Ad ^cd A2b=c|dB cA BG FG|Ac BA G2Bc|

dB cA BG FG|AB cd ef ge|dB cA BG FG|Ac BA G2||\

K:D

|:ag|fd dd fd dd|fd fg ab ag|fd dd fd dd|=cd ef g2:|\

K:G

||Bc|dB cA BG FG|Ad ^cd A2 B=c|dB cA BG FG|Ac BA G2Bc|

d2 (3cdc BG FG|AB cd ef ge|dB cA BG FG|Ac BA G2|]

 

CHORUS JIG [2]. Scottish, Irish; Reel. D Mixolydian. Standard tuning. AABCCDD (Skye): AABCC'DD (O'Neill). Source for notated version: Chicago fiddler James Kennedy who had the tune from his father, a celebrated local fiddler from Ballinamore, County Leitrim [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1223, pg. 230 (appears as "Chorus Reel"). MacDonald (The Skye Collection), 1887; pg. 58.

X:1

T:Chorus Jig [2]

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A|(GF)DD FADD|(GF)DD FABA|(GF)DD FADD|FD=cc EG E:|

F(Dd)d BAGF|E(Dd)d BA A2|(Dd)dB AGFD|E=cc[EB] G2 E2|

(Dd)dB AGFE|DddB A2A2|BcdB cABG|AFE=c cEGE||g|(fd)df af d2|

(gf)dd faba|(gf)dd fafd|fede fg e:|

|:g|fdec dBAF|DddB A2A2|gfde cdBG|FE=cc [EB]GE:|

 

CHORUS JIG [3]. Irish, Scottish, Canadian; Jig or Strathspey (in 6/8 time ‑ this is another rhythmic variant illustrating the intentional and unintentional variation of folk melodies between triple and duple time). Canada; Cape Breton, Prince Edward Island. D Mixolydian (Gow, Cranford, Kerr, MacDonald): D Mixolydian/Major (Aird, Kennedy, O’Farrell, Perlman). Standard tuning. AABBCC (Kerr): AABB’C (Kennedy): ABCD (Johnson): AABBCCDD (Aird, Gow, Skye): AA’BB’CC’DD’ (Cranford, Perlman): AABBCCDDEE (O’Farrell). Gow and Kerr list the tune as “Irish” and McGlashan says it is an “Irish country dance.” Perlman (1996) suggests the contra-dance reel called “Chorus Jig” originated from this jig. See also the closely related Irish “Kilfenora Jig [1].” Source for notated version: Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 131, pg. 48. Carlin (The Gow Collection), 1986; No. 520. Cranford (Winston Fitzgerald), 1997; No. 191, pg. 75. Gow (Complete Repository), Part 2, 1802; pg. 35. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 7. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 19, pg. 7. Kerr (Merry Melodies), vol. 4; No. 190, pg. 22. MacDonald (The Skye Collection), 1887; pg. 58. McGlashan (Collection of Scots Measures), c. 1780; pg. 30. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 138. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 133.

X:1

T:Chorus Jig, The [3]

M:6/8

L:1/8

R:Jig

N:”An Irish Country Dance.”

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

Z:AK/Fiddler’s Companion

K:D

B|A2D DED|A2G FED|A2D DED|A3 BAG|A2D DED|A2G FED|E2=c cBc|G3 GFE:|

|:F2(d d)cd|F2(A A)GA|A3 BAG|F2(d d)cd|F2(A A)GF|E2=c cBc|1 G3 GFE:|2 G3 efg||

|:f2(d d)fd|afd efg|f2(d d)fd|a3 bag|f2(d d)fd|afd dfd|e2(=c c)ef|1 g3 gfe:|2 g3 ABc||

|:dBd cAc|BGB AGF|E2d dcd|A3 ABc|dBd cAc|BGB AGF|E2=c cBc|(G3 G)FE:|

X:2

T:Chorus Jig, The
M:6/8
L:1/8
C:trad.
S:As played by Natalie MacMaster, Trad. Music from Cape Breton Island

Z:Transcribed by Jerome Colburn
R:jig
K:D
G|F2D DED|AFD ABd|F2D DED|A3 A2G|!
F2D DED|AFD DE=F|E2=c ccE|G3 GBA:|]!
F2d dcd|ABG FGE|D2d dcd|A3 A2G|!
F2d dcd|ABG FED|E2 =c cGE|G3 GBA|!
F2d dcd|ABG FGE|D2d dcd|A3 ABc|!
dBd =cAc|BGB AFD|E2 =c cGE|G3 Gag|]!
f2d dfd|afd dfa|f2d dfg|a3 a2g|!
f2d dfg|afd de=f|e2=c cef|1g3 gag:|2g3 g2e|]!
fdf ece|dcd AFD|F2d dAF|A3 ABc|!
dBd =cAc|BGB AFD|E2=c cGE|1G3 Gag:|2G3||

 

CHORUS JIG [4]. Irish, Jig. D Mixolydian. Standard tuning. AABCC. A variation of version #3. "A great favourite with pipers. Written from memory. There is a different air with this name‑‑called a 'jig'‑‑in Bunting's 1840 collection" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 67, pg. 36.

X:1

T:Chorus Jig [4]

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:Dmix

A2D D2d|AFD FED|A2D D2d|A3 BGE|A2D D2d|AFD FED|E/F/GE cAG| G3 GFE:|

F2d dFd|F2A AFA|F2d dFd|A3 BGE|F2d dFd|F2A AGF|E/F/GE cAF|

G3 GFE|F2d dFd|F2A AFA|F2d dFd|A3 ABc|d/c/B/c/d/B/ c/B/A/B/c/A/|

B/A/G/A/B/G/ AFD|E/F/GE cAF|G3 GFE||:FEF D/E/FD|AFD FED|FEF D/E/FD|

ABc dAG|FEF D/E/FD|AFD FED| E/F/GE cAF|G3 GFE:|

 

CHORUS JIG [5] (Port Na Luinneoige). Irish, Double Jig. D Major. Standard tuning. AABB'CC'. A variant of the jig printed in Joyce's collection (version #4), not related to Bunting's version. See also the related “Is Fearr Paidir ná Port.” Holden (Old Established Tunes), vol. I, pg. 24. Murphy (Irish Airs and Jigs), pg. 15. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 342, pg. 71.

X:1

T:Chorus Jig [5]

M:6/8

L:1/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 342

Z:AK/Fiddler’s Companion

K:D

FAD DEF|AFD FED|FAD DFG|A2A BGE|FAD DEF|AFD FED|

E2E d/c/AF|G3 GFE:||:D2d dcd|F2A AFA|D2d dcd|1 A2A BGE|

D2d dcd|F2A AFA|B/c/dB cAF|G3 GFE:|2 ABA ABc|dcB cBA|BAG AGF|

E2E d/c/AF|G3 GFE|||:FED FAF|GBG FAG|FED FAF|1 A2A BGE|FED FAF|

GBG FAF|E2E d/c/AF|G3 GFE:|2 A3 ABc|dBd cAc|B/c/dB AGF|E2E d/c/AF|G3 GFE||

 

CHORUS JIG [6] (Damhsa Loineach). Irish, Reel (2/4 time). G Major. Standard tuning. AABBCCB'B'. The melody is dissimilar to other tunes with this title and O’Neill (1910) says it is a version of the “Rocks of Cashel.” Although the tune is labled a reel it converts easily into a 6/8 form with only a slight rhythmic alteration (as O'Sullivan {1983} says, "if the rhythm is 'swung' slightly the meter changes to 12/8 time and the piece takes on the movement of a single jig"). Source for notated version: the Irish collector Edward Bunting noted the tune from "Macdonnell, the piper in 1797." O'Sullivan/Bunting, 1983; No. 103, pgs. 149-150.

                       


CHORUS REEL (Cor Na Luinneoige). See "Chorus Jig [1], [2],” “The Glen Road to Carrick.”

                       

CHOUPIQUE ONE-STEP. AKA and see "One-Step de Choupique."

                       

CHOUPIQUE TWO-STEP. Cajun, Two-Step (4/4 time). USA, Louisiana. A Major. Standard tuning. One part. A Cajun standard, not to be confused with Dennis McGee's "One-Step de Choupique." A related tune, identifies Raymond Francois (1990), is Alphonse "Bois Sec" Ardoin's "Jolie Catin [1]." Source for notated version: accordion player Nathan Abshire (Basile, La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 85-86. Swallow Records SW-LP6023, Nathan Abshire. Swallow SW-6131, Tracy Schwarz Trio - “Mes Amis!”

                       

CHRIS DRONEY’S REEL. Irish, Reel. A Dorian. Standard tuning. AB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 74, pg. 19.

                       

CHRIST CHILD'S LULLABY. AKA and see "Taladh Chriosta."

                       

CHRIST CHURCH. Irish, Reel. G Major. Standard tuning. AABB. Composed by fiddler John Sheahan of the group The Dubliners.

X:1

T:Christ Church

R:reel

C:John Sheahan

D:Dubliners: "Dubliners' Dublin"

Z:Jeff Lindqvist

M:C|

L:1/8

Q:1/2=80

K:G

BABc d2G2|G2A2 F2G2|EFG2 D2G2|c2BG B2A2|

BABc d2G2|G2A2 F2G2|EFG2 D2G2|GAF2 G4:|

|:FEFG A2D2|D2A2 A2G2|BABc d2G2|c2BG B2A2|

BABc d2G2|G2A2 F2G2|EFG2 D2G2|GAF2 G4:|

                       

CHRISTCHURCH BELLS. English, Country Dance Tune (2/2 time). C Major. Standard tuning. ABC. The tune was first published in 1686 by Playford. Barnes (English Country Dance Tunes), 1986. Karpeles, 1951; pg. 19. Sharp (Country Dance Tunes), 1909/1994; pg. 52.

X:1

T:Christchurch Bells

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:C

c3c c2c2|c2c2 c2e2|d2c2B2A2|G3G G2G2\E2G2C2G2|c2 F2G2 gf|e2a2 de f2|e3d c4||

e3e e2e2|e2e2e2g2|f2 ef d2c2|d2G2d2d2|e2d2e2d2|e2d2 d2 cB|c2A2d2B2|c3d e4||

gggg g2 gg|g2 gg g2 G2|A3A B2c2|B6 AB|c2B2c2B2|c2e2 B2 AG|A2F2 G3G|C6z2||

                       

CHRISTENING [1], THE (An Baisteadh). AKA and see "The Spout Reel." Irish, Reel. D Major. Standard tuning. AB (O'Neill): AABB (Breathnach). Source for notated version: flutist Michael Tubridy/Michael Ó Tiobraide (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 155, pg. 61. O'Neill (Krassen), 1976; pg. 111. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1286, pg. 241. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 551, pg. 102.

X:1

T:Christening, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 551

Z:AK/Fiddler’s Companion

K:D

(3ABc|d3B BAFA|BcdB BAFA|BEED EFGe|fgec dcBc|d>D (3DDD FDFA|

Bcdc BAFA|BEED EFGe|fgec d2||(3ABc|d2 fd Adfd|Adfd cdec|d2 fd Adfd|

fgaf gfec|d2 fd Adfd|Adfd cdeg|f4 e4|a3f gfec||

 

CHRISTENING [2], THE (An Baisteadh). English (?), Reel. C Major. Standard tuning. AABB. Does not appear to be related to version #1. Hardings All-Round Collection, 1905; No. 44, pg. 13.

X:1

T:Christening, The [2]

M:2/4

L:1/8

R:Reel

B:Harding’s All-Round Collection, No. 44 (1905)

Z:AK/Fiddler’s Companion

K:C

(3G/A/B/|ce/c/ g(f/e/)|d/c/d/e/ cc/d/|e/c/f/e/ d/c/B/c/|d/g/^f/g/ GA/B/|

ce/c/ gf/e/|d/c/d/e/ cc/B/|A/a/g/f/ e/d/c/B/|cec:|

|:e/f/|gf/e/ f/d/B/d/|fe/d/ e/c/G/c/|e/c/f/e/ d/c/B/c/|d/g/^f/g/ Ge/=f/|

gf/e/ f/d/B/d/|fe/d/ e/c/G/c/|A/a/g/f/ e/d/c/B/|cec:|

 

CHRISTENING [3], THE (An Baisteadh). Irish, Double Jig. A Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 952, pg. 177.

X:1

T:Christening, The [3]

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 952

Z:AK/Fiddler’s Companion

K:A

a | cAA cAA | BGG d2B | cAA cAA | cAA g2e |

dBB cAA | BGG d2B | c/d/ec d2B | cAA A2 :|

|: e| d2e g2a | BGB d2B | d2e g2a | gfe g2e |

dBB cAA | BGG d2B | c/d/ec d2B | cAA A2 :|

 

CHRISTENING [4], THE. Irish, Jig. Composed by button accordion player Dónal Murphy of the band Sliabh Notes, on the occasion of his son Eoin’s christening. The beginning of the tune came to him as they were leaving for the ceremony, and he stalled just long enough to produce the tune. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).

 

CHRISTENING [5], THE.  English, Slip Jig. G Minor. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 40.

X:1

T:Christening, The

M:9/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:Gmin

A|BAG edc d2A|BAG dBG A^FD|BAG edc d2^f|gce dBA G2:|
|:B/c/|dcB fed cAF|cAF dBG A^FD|gdg bag ^fga|gce dBA G2:||

                       

CHRISTENMISS DAY IN THE MORNING. AKA and see "Christmas Day in the Morning [2].”

                       


CHRISTI(E)/CHRISTY CAMPBELL. Canadian, Strathspey or Reel. Canada, Cape Breton. A Major. AEae or Standard tunings. AB (Dunlay/Hughie and Mary MacDonald): AAB (Dunlay/MacKenzie): AABB’ (Dunlay/Campbell). The tune is usually played in ‘high bass’ (AEae) tuning on Cape Breton and is a favorite of fiddlers on the island. Dunlay & Greenberg call this the Gaelic version of “The Miller of Drone,” and, indeed, many have noted the striking similarity (although Mark Wilson notes that many Cape Breton fiddlers play both and consider them separate tunes). Two verses of mouth music for “Cairistiona Chaimbeul” (Christie Campbell) can be found in John Shaw’s booklet accompanying Topic 12T354 (“Cape Breton Scottish Fiddle”). Sources for notated versions: Hughie MacDonald, John Willie Campbell, Carl MacKenzie and Mary MacDonald (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pgs. 122-123. ACC-49191, Tara Lynne Touesnard - “Fiddle Fingers” (1990). ACC-49398, Brenda Stubbert - “House Sessions” (1992).  Atlantica Music 02 77657 50222 26, Kyle & Lucy MacNeil - “Atlantic Fiddles” (1994). Barra Music Co., The Barra MacNeils - “Rock in the Stream” (1989). Celtic CX 22, Donald MacLellan. CLM 1001, Carl MacKenzie - “And His Sound is Cape Breton” (1981). Celtic CX 017, Dan J. Campbell. EMI E4 80683, John Morris Rankin - “North Country” (1993). NMAS 1972, Natalie MacMaster - “Fit as a Fiddle” (1993). NQD-5447, Doug MacPhee - “Cape Breton Master of the Keyboard.” Rodeo RLP 107, RBS 1248, Joe MacLean - “And his Old Time Scottish Fiddle” (c. 1967). Rounder 7003, John Campbell - “Cape Breton Violin Music” (1976). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005). Sea-Cape Music ACR4-12940, Buddy MacMaster - Judique on the Floor” (1989). Topic 12T354, John Willie Campbell - “Cape Breton Scottish Fiddle” (1978).

                                   

CHRISTIE’S SISTER. AKA and see “Arthur Murray’s Reel.”

           

CHRISTINE, LA.  French, Country Dance (2/4 time). G 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. 9.

X:1

T:Christine, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 9

Z:AK/Fiddler’s Companion

K:G

G2 Bd | GFED | G2 Bd | G2 Bd | (gfg)d | (cB)(AG) | (BA)(GF) | G2 G,2 :|

|: d2 dd | edef | (gfg)e | f2d2 | AGAB | cBcA | B2 AG | d2 dd | edef | (gfg)e |

f2d2 | B2 dB | AGAB cAGF | G2 G,2 :: D2 FG | DEFG | D2 dc | B2A2 |

D2 FA | D2 DB | AGFE | F2 (ED) | A2 AA | BAB^c | d^cdB |

^c2A2 | F2 AF | EDEF | GED^C | D4 | G2 Bd | GFED | G2 Bd | G2 Bd |

(gfg)d | (cB)(AG) | (BA)(GF) | G4 :|  

                       

CHRISTINE TAYLOR’S JIG. English, Jig. G Major. Standard tuning. AABBCCDD. Composed by Borders fiddler Willy Taylor.

X: 1
T:Christine Taylor's Jig
M:6/8
L:1/8
C:Will Taylor
S:WillTaylor ms.
K:G
dc |: BAB GDD | DGB edd | cBc DFA | AedB2d/2c/2 | BAB GDD |

DGB edd | cBc Afe | dAF G2d :: gfg dBG | gdB cAA |

cBc DFA | edc B2d | gfg dBG | gdB cAA | DFA fed | cAFG2 :|

|: B/2c/2 | ded BGB | ded cAA | cBc DFA | edc B2B/2c/2 |

ded BGB | ded cAA | DFA fed | cAFG2d :: gfg agf | gdc BAG |

DFA AFD | edc B2d | gfg agf | gdc BAG | DFA fed | cAFG2 :|

                                               

CHRISTMAS AT THE MAHERS. Irish, Slip Jig. G Major. Standard tuning. AB. Composed by Falmouth, Massachusetts, musician and writer Bill Black for Boston fiddler Aidan Maher and his wife Gerry, both originally from Dublin. Black (Music’s the Very Best Thing), 1996; No. 288, pg. 155. 

X:1

T: Christmas at the Mahers'

C: © B. Black

Q: 325

R: Slip jig

M: 9/8

L: 1/8

K: G

E | DGB Adc BGG | DGB ded A2 E | DBG Adc BGD | ECE DEF G2 :|

e | gdg ece dBG | gfg efg a2 e | gdg ecA BGE | DGB AFA G2 :|

                                   

CHRISTMAS CALICO. See “Old Hen Cackle(d) [1].” See also note for “Brownlow’s Dream.” This was the title for the tune around Mt. Sterling, Kentucky.

                       

CHRISTMAS CAROUSING/CAROUSAL. See "A Mhisg a Chur an Nolig Oirn."

                       

CHRISTMAS COMES BUT ONCE A YEAR. AKA and see "I'm a Silly Old Man." English, Air (6/8 time). G Minor. Standard tuning. AB. Howe (1000 Jigs and Reels), c. 1867; pg. 161.

X:1

T:Christmas Comes but Once a Year

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G Minor

A | B2B (Bcd) | (cAF) (FGA) | B2G (GAB) | (A^FD) D2A | B2B (Bcd) | (cAF) (FGA) | BAG AG^F | G3G2 ||

(d/e/) | f2f (fed) | cAF F2f | g2g (bag) | ^fdd d2_e | (=f>gf) f(ed) | (cAF) (FGA) | BAG AG^F | G3G2 ||

                       


CHRISTMAS DAY IDA MORNIN' [1]. AKA and see "Da Day Dawn." Shetland, Air (12/8 or 6/8 time). D Major. Standard tuning. AABB. A listening tune from the Shetland Island of Unst. Patrick Shuldham‑Shaw collected the tune from John Stickle of Unst, whose ancestor Friedemann Stickle was famous as a fiddler in the eighteenth and early 19th century. Although some think Stickle composed it, Pat Shuldham‑Shaw though it might have been older. Friedemann was paid to play this tune every year on Christmas morning in the hall of his laird, the Laird of Muness {or Buness}.” The late Shetland fiddler, collector and teacher Tom Anderson stated that Feidemann had composed the tune on the road from his croft at Burrafirth to Buness and also remembered that Stickle was called ‘Stumpie’ because he walked with a limp. It is possible that the tune’s rhythm reflects the rhythm of Stickle’s walk. Anderson also maintained the words “Christmas Day ida Mournin’” can be heard at the end of the tune. Source for notated version: Tom Anderson (Shetland) via Boys of the Lough [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 68. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 55. Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Familiar Records 59, Pyewackett - "This Crazy Paradise" (1986). Kicking Mule 205, Delaware Water Gap‑ "From the Rivers of Babylon to the Land of Jazz.” Rounder 3006, Boys of the Lough‑ "Second Album" (1974).

X:1

T:Christmas Day Ida Mornin’ [1]

M:6/8

L:1/8

K:D Major

f2 d f3 | e2 d c2 A | B2 G d2 c | B2 G G3 | e2 f g2 f | e2 d c2 B |

A2 A ABc | d3 d3 :||: e3 (4edef | g3 B3 | A3 A A3 A | B3 c d3 B |

e3 (4edef | g3 B3 | A3 e d3 B | +E3A3+ +E3A3+ :||

 

CHRISTMAS DAY IN THE MORNING [2]. English, Jig and Air. England, Northumberland. C Major (Vickers): G Major (Bruce & Stokoe). Standard tuning. AB (Bruce & Stokoe): AABB (Vickers). Originally "Christenmiss Day In the Morning."

***

Dame get up and bake your pies,

Bake your pies, bake your pies;

Dame get up and bake your pies,

On Christmas Day in the morning. (Bruce & Stokoe)

***

Choicest Scots Tunes/Bagpipe, pg. 12. Seattle (William Vickers), 1987, Part 2; No. 266. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 111.

X:1

T:Christmas Day in the Mornin’ [2]

M:6/8

L:1/8

S: Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

G2G G2e|d2c B3|A>Bc B2G|A>Bc B3|G2G G2e|d2c B2d|

edc BAG|A3 G2||d|B>AB G2d|B>AB G2B|c>Bc A2B|

c>Bc A2c|B>AB G2d|B>AB G2d|edc BAG|A3 G2||

 

CHRISTMAS DAY IN THE MORNING [3]. See Barr na Feirste,” “Behind the Haystack [1],” “(An) Bhláthach Mhuimhneach,” “Munster Buttermilk [4],” "The Sports of Multyfarnham," “Squeeze Your Thighs,” “Take Her or Leave Her.”

                                   

CHRISTMAS EVE [1] (Tratnona Nodlaig). AKA and see “Battle of Cremona,” "The Fearless Boys," "Here's a Health to Our Leader," "(My) Ain Kind Dearie (O)," "Our President." Irish, Air (4/4 time). G Major. Standard tuning. AB. Generally a marching tune under various titles. See Bayard's (1981) note to "Hell Broke Loose in Georgia" (No. 106, pg. 61) for more information on these and related tunes. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 494, pg. 86.

X:1

T:Christmas Eve

M:C

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 494

Q:100

K:G Major

BA| G3E D2EG|A2A2 Bdge|d3c BAGA|B2E2E2 BA|

GEDE G2 GA|B2d2 efge|d2B2A2 GA|B2G2G2||

Bc|d3c BAGA|B2d2 egfa|g3e d3B|A2E2 EcBA|

G3E D2 EG|A2A2 Bdge|d3c BAGA| B2G2G2||

 

CHRISTMAS EVE [2]. AKA and see "Tommy Coen's Reel." Irish, Reel. G Major. Standard tuning. AABB: AABBCC (Harker/Rafferty, Mallinson, Taylor, Tubridy). A popular session tune composed by Urrachree, Aughrim, East County Galway, fiddler Tommy Coen (1910-1974). Coen, who later lived in Salthill, was a conductor for Connemara buses during the day. A story about the title that has been circulating is that Coen’s tune was called “Christmas Eve” by the leader of a ceilidh band from Coen’s area who had been having a fight or dispute with the fiddler. He was invited with his band to play for a radio show in Dublin just before the Yule, and when introducing the tune names they were to play he choose not to mention Coen, but said the name of the reel was “Christmas Eve” because of the proximity of the holiday and to irk Coen. No one seems to know if the composer himself had a title for it. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ II), 1976; No. 140. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 10. Harker (300 Tunes from Mike Rafferty), 2005; No. 163, pg. 50. Mallinson (Essential), 1995; No. 52, pg. 23. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 32. Taylor (Music for the Sets: Blue Book), 1995; pg. 14. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 24. Flying Fish FF‑409, Robin Williamson ‑ "Winter's Turning" (1986).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Christmas Eve

R:Reel

S:Noted from the playing of Brian Conway

Z:AK/Fiddler’s Companion

M:C

L:1/8

K:G

DB,DE ~G3A|B2dB ABGA|BAGE DB,DE|G2BG ABGE|

DB,DE ~G3A|B2dB ABGA|BAGE G2BG|1 ABGE ~G3E:|2 ABGE ~G3A||

|:BABd edeg|a2ge g2eg|a2ge ~g3e|dedB A2GA|

BABd edeg|bage g2eg|a2ge dBGB|ABGE ~G3A:|

|:BG~G2 DGBd|eg~g2 egdc|BG~G2 DGBG|EA (3AAA EAAc|

BG~G2 DGBd|eg~g2 dega|bgaf gedB|1 ABGE ~G3A:|2 ABGE ~G3E||

 

CHRISTMAS EVE [3] (Oiche Nollag). AKA – “Christmas Night.” AKA and see “Oíche Nollag.” Irish, Single Jig. D Major. Standard tuning. AAB. See note for “Mullin’s Fancy.” See also the related reels “Boys of Ballinahinch” and “Strawberry Blossom [1].” Source for notated version: piper Seosamh Breathnach (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 60, pg. 26.

X:1

T:Christmas Eve [3]

M:6/8

L:1/8

R:Single Jig

K:D Major

|:g|f2A d2f|e2d B2g|f2A d2f|{a}g3 a2g|

f2A d2f| e2d B2c|d2A B2G|E2F D:|: f/2g/2|

a2b a2f|d3‑d2f|g2f e2d|B3 A f/2g/2|a2b a2f|d2f g2f|e2d c2e|a3‑a2:||

 

CHRISTMAS EVE [4]. AKA and see “Weevily Wheat,” “Willy and Evil.” Old-Time, Breakdown. USA, Kentucky. D Major. Standard or ADae. AABB (Monday/Titon): ABBCC’ (Bowles/Titon): AABB'CC' (Bowles/Phillips). The tune, played slower than a normal breakdown, was learned by south-central Kentucky fiddler Jim Bowles (b. 1903) from local musicians--it was not widely known outside the area. Phillips notates the 'A' part as irregular, with a measure of 3/4 and a measure of 2/4 time in an otherwise cut time piece. Titon notates Bowles’ version entirely in 2/2, with no irregular measure. The melody was also in the repertoire of Isham Monday, who like Bowles played it in ADae although he tuned his fiddle low, sounding below standard ‘C’. Titon (2001) finds variants of “Christmas Eve” in “Weevily Wheat” and “Willy and Evil.” Bruce Greene says “Christmas Eve” dates to pre-Civil War era. The melody was also in the repertoire of African-American fiddler John Lusk (Ky.), who recorded the melody (along with musicians Murph Gribble and Albert York) for the Library of Congress (AFS 8511). Sources for notated versions: Jim Bowles (Rockbridge, Monroe County, Ky., 1959) [Phillips, Titon]; Isham Monday (Tompkinsveille, Monroe County, Ky., 1959) [Titon]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 31. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 24A & B, pg. 59. Cartunes 105, Bruce Molsky and Bob Carlin – “Take Me as I Am” (2004. Sourced to Isham Monday and Murph Gribble, John Lusk and Albert York). County 2730, Rafe Stefanini – “Glory on the Big String.” Marimac 9060, Jim Bowles - "Railroading Through the Rocky Mountains." Marimac 9023, Bruce Molsky & Bob Carlin – “Take Me as I Am.” Meriweather Records, Isham Monday – “I Kind of Believe it’s a Gift.”

                       

CHRISTMAS HOLIDAY. Old-Time, Breakdown. USA, Virginia. Mike Yates recorded the tune from the playing of L.G. “Pug” Allen, of Stuart’s Draft, Augusta County, Virginia. Allen sang the following lines to the tune, all he could remember of what were once several verses:

***

Come on down  to your house,

It’s a Christmas holiday.

***

Yates says related tunes are “Christmas Morning” (Melvin Wine) and “Old Christmas Morning” (French Carpenter/Wilson Douglas), as well as “What Did the Buzzard Say to the Crow” (Hobart Smith). Musical Traditions MTCD321-2, Pug Allen (et al.) – “Far on the Mountain: Vol’s. 1 & 2” (re-release, 2002).

                       

CHRISTMAS HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. Elias Howe (c. 1867) prints contra-dance directions along with the tune. Cole (1000 Fiddle Tunes), 1940; pg. 116. Ford (Traditional Music in America), 1940; pg. 63. Howe (1000 Jigs and Reels), c. 1867; pg. 89. Ryan’s Mammoth Collection, 1883; pg. 153. White’s Unique Collection, 1986; No. 103, pg. 18.

X:1

T:Christmas Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896), No. 99

Z:AK/Fiddler’s Companion

K:Bb

(F/E/) | D/F/ [DB] (F/E/) | D/F/ [B,D] (F/D/) | C/E/ (c c/).d/.c/.B/ | A/c/ [A,F] (c/d/) |

(e/d/).e/.f/ (g/e/).b/.g/ | (d/c/).d/.e/ (f/d/).b/.f/ | e/g/c/e/ A/c/F/A/ | Bd [DB] :|

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

(A/c/)(B/G/) .F(F/G/) | A/G/A/B/ c/=B/c/d/ | e/d/e/f/ g (3f/e/d/ | .f/.b/.d/.g/ (f/e/)(c/A/) | .B/.F/.d/.c/ [DB] :|

                       

CHRISTMAS JIG. AKA and see “Blackthorn Stick [5],” “Maid at the Well,” “Maids of Glenroe,” “The Milkmaid [2],” “The Silver Tip [2].”

           

CHRISTMAS NIGHT.  See “Christmas Eve [3].”

           

CHRISTMAS POLKA, THE (Polca na Nollag). Irish, Polka. G Major. Standard tuning. AABB. Composed by County Cork button accordion player Jackie Daly. Gael Linn CEF 176, Jackie Daly - “Many’s the Wild Night.”

X:1

T:Christmas Polka, The

M:2/4

C:Jackie Daly

L:1/8

R:Polka

Q:240

K:G

GA|:B2 G2|D2 B,2|C2 E2|ED C2|B,2 D2|G2 AB|c2 B2|A2 GA|

B2 G2|D2 B,2|C2 E2|D3 C |B,2 D2|G2 AB|A2 G2|G3 A:|

|B2 d2|d2 G2|c2 d2|e2 d2|B2 d2|G3 A |B2 A2|A2 GA|

BA Bc|d2 G2|c2 d2|e2 d2|B2 d2|AB cA|B2 G2|G2 GA:||

                       

CHRISTMAS RUM, THE. AKA and see “The Old Man and the Old Woman [1].”

                       

CHRISTMAS TIME IN THE MORNING. Old‑Time, Breakdown. USA, Mississippi. A Major. AEae tuning. A version of John Carson's "Christmas Time Will Soon Be Over," with the coarse strain being the song melody and the fine part a more modal‑sounding melody than Carson's string band version. Tom Rankin (1985) believes the 2nd part to be "closer to the high part heard in "The Cuckoo's Nest" as, for example, played by Ed Hayley from Logan County, West Virginia."  Mississippi Department of Archives and History AH‑002, Stephen Tucker (1939) ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985).

                       


CHRISTMAS TIME WILL SOON BE OVER. AKA and see "Christmas Time in the Morning." Old‑Time, Breakdown. USA, north Georgia. A Major ('A' part) & A Mixolydian ('B' part). Standard, AEae or ADae tunings. AAB. A bluegrass song derivative of John Carson’s is fiddler Tex Logan’s “Christmas Time’s a-Comin’”, although the chorus seems based on the ‘B’ part of “Mississippi Sawyer.” Source for notated version: Fiddlin' John Carson and Earl Johnson (Kuntz, Phillips).

***

Christmas Time Will Soon Be Over, (x3)

Then we'll join the band.

Come on gals, lets go up the river, (x3)

Then we'll join the band.

***

Kuntz (Ragged but Right), 1987; pg. 312. Phillips (Traditional American Fiddle Tunes), 1994; pg. 51. County 514, Fiddlin' John Carson and the Virginia Reelers‑ "Hell Broke Loose in Georgia" (originally recorded 1927). Victor Vi45273 (78 RPM), Fiddling John Carson and the Virginia Reelers (1927).

X:1

T:Christmas time will soon be over

L:1/8

M:2/4

B:Kuntz – Ragged but Right

K:A

A/B/|cc AA/A/|c/B/c/d/ e/f/e/c/|B/c/B/A/ GG/A/|B/cc/ d/e/d/B/|c/B/c/B/ AA/B/|

c/B/c/d/ e/f/e/c/|B/c/B/A/ G/F/E|A>B A:|c/d/|ea a(a|a/)b/a/=g/ ec/d/|e/d/e/f/ =g(g|

=g/)a/g/f/ e/d/c/d/|ea a(a|a/)b/a/=g/ e/d/c/d/|e/f/e/d/ c/B/A/B/|AA/A/ A||

                       

CHRIST'S KIRK. Scottish, Air. The melody, mentioned in literature, dates from the early 16th century.

                       

CHRISTY BARRY’S [1]. AKA and see “Sean Coughlin’s [1].” Irish, Jig. G Major. Standard tuning. AABB. Christy Barry is a flute player from Munster who lived for some time in New York, then Chicago, before returning to Ireland. Green Linnet SIF 1162, Kevin Crawford – “The D Flute Album.”

X:1

T:Christy Barry's [1]

R:double jig

S:Kevin Crawford, _D Flute Album_

M:6/8

L:1/8

K:G

|:~G3 BAG|A2B d2e|ged BGG|~A3 BGE|

DGG BAG|A2B d2e|ged BGG|1 AGF G2D:|2 AGF GBd||

|:~g3 gfg|abg d2e|ged BGG|~A3 BGE|

DGG BAG|A2B d2e|ged BGG|1 AGF GBd:|2 AGF G2D||

 

CHRISTY BARRY’S [2]. AKA and see “The Butlers of Glen Avenue.” Irish, Jig. G Major. Standard. AA’BB’. The tune was composed by banjo player Tony “Sully” Sullivan as “The Butlers of Glen Avenue.” Green Linnet SIF 1162, Kevin Crawford – “The D Flute Album.”

X:1

T:Christy Barry's [2]

R:jig

S:Kevin Crawford, _D Flute Album_

M:6/8

L:1/8

K:G

|: EDG EDG|DEG B3|DEG B2e|dBe dBG|

EDG EDG|DEG B3|dBd gfe|1 dBA G3:|2 dBa g3||

|: gab age|deg B3|gab gab|dBd e2d|

gab age|deg B3|dBd gfe|1 dBa g3:|2 dBA G3||

                       

CHRISTY CAMPBELL. See “Christie Campbell,” "Cairistiona Chaimbeul."

                       

CHRISTY’S FINE CUP OF TEA. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 234, pg. 68. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

                       

CHRÚBACH, AN. Irish, Air (6/4 time). C Mixolydian. Standard tuning. One part. Jerome Colburne sees a resemblance between this tune and Steeleye Span’s “A Calling-On Song,” recorded in 1970 on “Hark, the Village Wait.”

X:1
T:An Chrúbach
S:Skara Brae, track 9
Z:Jerome Colburn
C:Trad. Arr. Michea/l O/ Domhnaill, Tri/ona Ni/ Dhomhnaill, Maighread Ni/
Dhomhnaill, Da/ithi/Sproule
M:6/4
L:1/4
K:CMix
B2A | G>FG C>G,A, | B,C2-C2 D | E>DE C<EG | F3 B2A |\
G>FG C>G,A, | B,C2-C2 C/D/ | E>FG D<CC | C3-C2 \
C/D/ | E>FG A<BA | AG2-G2 G/F/ | E>DE CEG | F3 B2A |\
G>FG CG,A, | B,C2-C2 C/D/ | E>FG DC>C | C3-C2 :|**

                                               

CHRUIB PÉIRSÍ, AN. AKA and see "The Crib of Perches."

           

CHUACHAG LAGHACH THU (My Gentle Milk Maid).  AKA and seeMo Chuachag Laghach.” Scottish, Pipe Reel. See note for “Jock Wilson’s Ball.” William Ross, Book 2 (1928).

           

CHUAICHIN MHAISEACH, AN. AKA and see "The Bonny Cuckoo."

                       

CHUBBY'S HORNPIPE. Canadian, Hornpipe. Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont."

                       

CHUCK IN THE BUSH [1]. AKA – “Shuckin’ the Bush.” Old-Time, Breakdown. D Major. Standard tuning. ABBCCDD (Silberberg): AABBCCD (Phillips). Composition of the tune has been attributed to the father of Bryan Houston, with the original name being “Bush in the Shucks.” Benny Thommasson’s “Bush in the Shucks/Chuck in the Bush” is considered by many a different tune, however. Source Hartz can be heard playing the tune on the 1995 Weiser contest recording. Silberberg and Phillips have the parts in different order. Sources for notated versions: James Chancellor and Matthew Hartz (Meridian, Idaho) [Phillips]; Carthy Sisco [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 52. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 23. Chancellor Records (PO Box 6058, Richardson, TX  75080), Jim Chancelor {AKA Texas Shorty}--"Best of Texas Shorty" (originally recorded in the late 50's, early 60's on a 45 RPM). Gillian Music (Rt. 3, Box 39, Chandler, OK, 74834)--"Benny Thomasson , volumes 1 and 2."

 

CHUCK IN THE BUSH [2]. AKA and see “Bush in the Shucks.” Old-Time, Breakdown. D Major. Standard tuning. AABB. Recognizably a version of #1. This tune, however, is considered a composition of Luke Thomasson, the father of influential Texas fiddler Benny Thomasson. Source for notated versions: Stuart Williams (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 52. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 22.

           

CHUCKALUCK.  AKA – “Chuck a Luck.”  Old-Time, Breakdown. G Major. From fiddler Carthy Sisco, born in 1921 and raised in Carroll County, northwest Arkansas. Chuckaluck (also ‘Chuck’ or ‘Chucker Luck’) is a game of chance, derived from the medieval game of Hazard (as is modern Craps). It’s also known as Bird Cage due to the mechanism of play in which an operator twirls three standard dice in an hourglass shaped wire cage. In England it was known as Sweat Cloth and the variant Crown and Anchor (which employs dice with symbols—the four card suits plus a crown and anchor—in the place of dots). It was a favourite game in speakeasies in the 1920’s, as the odds are well in favour of the operator (house) even without loaded dice, and for this reason it is mostly found today in carnivals and charity events. Interestingly, a cone shaped chute that was sometimes employed as an alternate to the wire hourglass, especially in small stakes, hastily improvised games. The chute was made of leather, or sometimes of the cheaper tin, giving rise to the phrase “tinhorn gambler” from the shape and material of the device. Source for notated version: Sam McCracken [Devil’s Box]. The Devil’s Box, vol. 18, No. 2, 1984; pg. 47. Alabama Folklife Association, Sam McCracken – “Possum Up a Gum Stump: Home, Commercial and Field Recordings of Alabama Fiddlers” (1988/1995). Voyager Records VRCD 362, Carthy Sisco – “Rugged Road.” Whoop it Up Records 101, Red Mountain White Trash – “Fire in the Dumpster” (1995).

                       


CHUGAD A’GADAIDHE FRÍD A’MÓNAIDH. AKA and see “Burns’s March,” “Huggad de gadda freed a mony” (“Chugad a’gadaidhe fríd a’mónaidh”), “´Im Bó agus Um Bó,” “Pretty Peggy [4]," Steal a Cow and Eat a Cow.” Irish, Air (4/4 time).

                       

CHUIG NA GLÚINE I nGAINEAMH THÚ.  AKA and see "Up to Your Knees in Sand."

                       

CHUILFHIONN, AN (The Fair-Haired One). AKA and see "The Coolun/Coolin," “The Fair-Haired Beauty.”

                       

CHUIMHNE AN PHIOBAIRE (The Piper Remembered). Irish, Slow Air. A modern composition by Chieftains piper Seán Potts, in memory of his grandfather, John Potts, a Dublin piper. Columbia 35612, "The Chieftains" (1978).

                       

CHUIR/CUIR I GLÙN AIR A BHODACH (She put her knee on the old man). Scottish, Reel. A Dorian. Standard tuning. AAB. "Very old." Popular in both Scotland and Cape Breton, often rendered an octave lower for variation (playing on the “back strings”, says Christine Martin). MacDonald (The Skye Collection", 1887; pg. 119. Martin (Traditional Scottish Fiddling), 2002; pg. 78. Stewart-Robertson (The Athole Collection), 1884; pg. 45.

X:1

T:Chuir I Glùn Air a’ Bhodach

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Aminor

A>B d2 Bde2|A>B d2 e>dBG|ABd<d B>d e2|dBB2 A>BAG:|

e>^f g2 f>g a2|e>^f g2 a>gfd|e>^f g2 f>g a2|e>d B2 A>GA>G|

e>^f g2 f>g a2|e>^f g2 agfd|e>^fge fd e2|d>B B2 A>GAG||

                       

CHUIR MÉ FEISTEAS AR MO THEACHSA (I Furnished Up My House). AKA and see “Bobby Casey’s Hornpipe,” "The Humours of Tullycreen/Tullycrine." Irish, Hornpipe. A Dorian. Standard tuning. AAB (Moyland): AABB (Breathnach). Breathnach prints these words, from source John Kelly, with the air:

***

I furnished up my house as well as I was able,

With a three‑legged stool and a fine old table.

That wouldn't do I had to get the cradle

And look for the bottle in the morning.

***

Sources for notated versions: fiddler John Kelly/Seán O'Kelly (Ireland) [Breathnach]; Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) {Moylan quotes O’Leary saying:

***

And do you know where we got it? I was along with Denis

Murphy behind playing in the Jug of Punch bar where Lil’s

sister is married in Killarney. And myself and Denis Murphy

that opened the bar, I suppose about twenty-six years ago and

Mike Sullivan, a man from Kilcummin, a fairly old heavy lad,

a great set dancer, he walked up and came out with that hornpipe,

we never had it heard. Denis held at it till he got it and I got it

from Denis then and ‘Mike Sullivan’s’ we called it. He usen’t

to play at all but he had every tune under the rising sun in his head.  [Moylan].

***

Breathnach (CRÉ I), 1963; No. 205, pg. 83. Moylan (Johnny O’Leary), 1994; No. 77, pg. 44. Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978. Appears as “Bobby Casey’s Hornpipe,” learned from Co. Clare musician Bobby Casey). Topic 12T357, Johnny O’Leary - “Music for the Sets” (1977. Appears as the first of two hornpipes called “Mike Sullivan’s”).

           

CHUMS.  Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by friends Dougie MacDonald and Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 93, pg. 37. Gael Linn, Máire O’Keeffe – “An Coisir”.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

Alan Ng’s Irishtune.info

           

CHUNNAIC MI ON DAMH DONN ‘S NA HEILDEAN (I saw the brown stag on the hills).  Scottish, Air (4/4 time). D Major. Standard tuning. AB. Morison (Highland Airs and Quicksteps, vol. 1), No. 5, pg. 3.

X:1

T:Chunnaic mi on damh donn ‘s na heildean

T:I saw the brown stag on the hills
M:C

L:1/8

R:Air

N:”In moderate time”

S:Morison – Highland Airs and Quicksteps, vol. 1

Z:AK/Fiddler’s Companion

K:D

(FD) (EF) B>A FF | (d2 A>)A BA/>F/ (FE) | (FD) (EF) B>A FF | F>F Fd B>B BA ||

F>F A>B d>d de | f>f fe d>c B>A | B>c dB A>F F<E | FD EF B>A F>F ||

 

CHURCH HILL [1] (Cnoc an Teampall). Irish, Double Jig. D Major. Standard tuning. AABB. Source for notated version: Chicago policeman and fiddler Timothy Dillon [O’Neill]. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 343, pg. 71.

X:1

T:Church Hill [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 343

Z:AK/Fiddler’s Companion

K:D

dcA A2D | FAD FED | dcA A2B | dcA GED|

dcA A2D | FAD FED | dcA ABc | dcA GED:|

|: DED c2A | ded c2c | DED c2e | dcA GED |

DED cBc | ded cde | f/e/df e/d/ce | dcA GED:|

 

CHURCH HILL [2], THE (Cnocán an Teampaill). AKA and see "Kitty the rag, I'm in love with you," "Mhairseail Alasdruim," "">Cath Chnoc na nDos." Irish, Double Jig. A Dorian/E Minor. Standard tuning. AABB. A variation of O'Neill's version. Breathnach (1976) reports that Kerry fiddler Dennis Murphy’s title for the tune was “Kitty the rag, I’m in love with you.” He also says it is the “last part” of “MacAlisdrum’s March” or “Máirseáil Alasdruim” (Alasdruim’s March) or “Cath Chnoc na nDos” (literally ‘the battle of the bushy hill’). See also "Hag at the Churn." Source for notated version: fiddler Mrs. Murphy, 1967 (Glencollins, Co. Cork, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 54. Ceol, iii, pg. 83.

           

CHURCH OF CLEGGAN, THE. Irish, Air or March (4/4 time). G Major. Standard tuning. AB. Darley and McCall note there was an old Gaelic song enititled "The Clay of the Church of Creggan". The tune was played by uilleann piper Dan Markey of Castleblayney at the Feis Coel held in Belfast in 1898, recorded on an Edison cylider. Brendan Breathnach, writing in the publication Ceol (VIII, 1986) says that the authors (and probably Darley) took some liberties with the transcriptions as compared to the recorded music:

***

Occasionally the line of the melody is altered for no obvious reason.

‘The Church of Cleggan’ besides the verbal error in the title shows

radical changes in the melody which are not supported by the recording.

***

Source of notated version: piper Daniel Markey (Drogheda, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Music), 1914; No. 22, pg. 9.

X:1

T:Church of Cleggan, The

M:C

L:1/8

R:Air

N:”Slowly”

S:Feis Ceoil Collection of Irish Airs (1914)

Z:AK/Fiddler’s Companion

K:G

(3DEF | G3G AGED | D6 (3EFG | A3A BGAF | G3G G2 (3DEF |

G3G AGED | D6 (3EFG | A3A BGAF | G6 || d2 | BA (G2G2) AG | FD (D2D2) (3EFG |

A4 BAGE | D6 (3EGA | B4 B2 AG | Bd (d2d2) BA | A3A BGAF | G6 ||

           

CHURCH OF DROMORE, THE. AKA and see “A Lilt from Home.” Irish, Air (6/8 time). A Dorian. Standard tuning. AB. O’Neill printed the melody as “A Lilt from Home” in his later Waifs and Strays of Gaelic Melody (1922). O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 270, pg. 47.

X:1

T:Church of Dromore, The

M:6/8

L:1/8

N:”Moderate”

R:Air

S:O’Neill – Music of Ireland (1903), No. 270

Z:AK/Fiddler’s Companion

K:A Minor

D | EAA ABc | BAB G2A | Bee dBA | BAB GED | EAA ABc |

BAB G2A | Bee dBG | BAA A2 || d | g^fg edB | BAA A2d |

g^fg edc | BAB GED | EAA ABc | BAB G2A | Bee dBG | BAA A2 ||

           

CHURCH ON THE HILL. Irish, Jig. A composition of the late Seán Ryan. Ryan (The Hidden Ireland).

 

CHURCH POINT BREAKDOWN. Cajun, Two-Step??  USA, Louisiana. D Major. Standard tuning. AA(Vocal)BBA(Vocal)BBA(Vocal)BBA. Church Point, Louisiana, supplies the title of the song, which Raymond Francois believes must have originated around there. Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille Chere!), 1990; pgs. 87-88. Goldband Records GB-LP7740, Iry LeJeune.

                       

CHURCH POINT TWO-STEP. See "Creole Stomp."

                       

CHURCH STREET (POLKA) [1]. AKA and see “Flanagan’s (Polka),” “Gurteen Cross,” “St. Mary’s.” Irish, Polka. Ireland, west Kerry. G Major. Standard. AABB. The correct title of this tune is “St. Mary’s Polka” but became associated with “Church Street Polka” after the two were paired on the Chieftains first record. The tune was first recorded by Paddy Killoran’s Irish Orchestra in New York in 1937. Carlin (Master Collection), 1984; pg. 156; No. 277. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 21, pg. 20 (appears as “Gan Ainm” {untitled}). Front Hall FHR‑010, Bill Spence & Fennig's All Stars ‑ "The Hammered Dulcimer Strikes Again" (1977). Old Hat Music OH!02, "The Old Hat Dance Band" (1992). Wild Goose WGS 320, Old Swan Band – “Swan-Upmanship” (2004).

X:1

T:St. Mary’s Polka

T:Church Street [1]

T:Gurkin Cross

R:polka

D:Ben Lennon, The Natural Bridge

Z:Jeff Myers

M:2/4

L:1/8

K:G

D/|GB AB/A/|Gg e/f/g/e/|dB AG/A/|B-B/A/ G/F/E/D/|

GB AB/A/|Gg e/f/g/e/|dBAG/A/|BG G-G/:|

A/|Bd g-g/A/|Bd g-g/A/|Bd ge|f-f/g/ fg|ag e/f/g/e/|dB AG/A/|

Be d/B/A/B/|G2{B}G-G/:||

 

CHURCH STREET (POLKA) [2]. AKA and see “Killoran’s Polka [3],” “Memories of Ballymote,” “Pete’s Polka.” Irish, Polka. G Major. Standard tuning. AAB (Moylan): AABB' (Callaghan, Mallinson, Phillips). This tune appears on the Chieftains first record, paired with “St. Mary’s Polka.” Source O’Leary associated this tune with west Kerry fiddler Julia Clifford. The tune (and “St. Mary’s Polka”) was probably named for the St. Mary’s Society or club, later called the Church Street Club, formed in 1956 around a core of Sligo/Leitrim musicians who had moved to Dublin, including flute player John Egan, John Brennan, Dessie O'Connor, Tom Mulligan, Bill Harte, John Ryan, John Kelly, Sonny Brogan and John Clarke. The session helped nurture younger players such as Tommy Peoples and Tony McMahon and was a haven for nearly every traditional musician of the time who was in or visited Dublin. The session eventually moved to Hughes's Pub in Chancery Street, where it still continues under the leadership of Pearl O'Shaughnessy. Boston button accordion great Joe Derrane says the tune was a favourite in Irish-American music halls in the 20th century, and it has present currency among New England contra dance musicians. Barry Callagahn (2007) notes the popularity of the polka among English trad. musicians, and believes it was absorbed into “revival” repertoire following the recordings by the Chieftains in the 1960’s or Paddy Killoran in 1937 (under the title “Memories of Ballymote”). Sources for notated versions: fiddler Pete Sutherland (Vt.) [Phillips]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 69. Callaghan (Hardcore English), 2007; pg. 32. Mallinson (100 Polkas), 1997; No. 90, pg. 35. Moylan (Johnny O’Leary), 1994; No. 321, pg. 183. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 338. Claddagh 83324-2, “The Chieftains” (1964). EFDSSCD13, All Blacked Up – “Hardcore English” (2007. Various artists). Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004). Wild Goose Records, The Old Swan Band – “Swan Upmanship.”

X:1

T:Church Street [2]

M:2/4

L:1/8

R:Polka

K:G

d/c/|:BG D>D|Ec cA/B/|cE F>E|Dd d/e/d/c/|

BG D>D|Ec cA/B/|c/B/A/G/ F/D/E/F/|1 GB Gd/c/:|2 GB GB/d/||

|:gg ff|c7/2 e/|ee dd|B3 B/c/|

d>e dB|A2 AB/A/|1 G>A Bc|d2 de/f/:|2 Gg fa|g2 g||


                       

CHURCHILL BARRIERS, THE. Scottish. Scotland, Orkney Islands. A composition of Orkney fiddler Ronnie Aim (1919‑1982).

           

CHURNING BUTTER. Canadian, Polka. G Major ('A' part) & C Major ('B' part). Standard tuning. AAB. Source for notated version: Hugh Farr and Ed Newman [Phillips]. Messer (Way Down East), 1948; No. 12. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 32, pg. 28. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 340.

X:1

T:Churning Butter

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:G

Bd|b2fa g2fe|d2Bd g2AB|c2Ad f2fe|d2Bd g2Bd|

b2fa g2fe|d2Bd g2AB|cBAB cdfa|g2b2 g2:|

K:C

z2|g4 e2c2|G6AB|c4 a4|g4 fefg|

a4 f2d2|B4-BcBA|GABc defg|g2ga gec2|

g4 e2c2|G6AB|c4 _b4|a2g2 a4|

GABc a2g2|GABc g2c2|Bcdf g2B2|c6:|

 

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