The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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

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

 

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

 

 

 

COLM AR AN nGEATA, AN. AKA and see "The Pigeon on the Gate."

                       

COLM DANAGHER’S. AKA and see “Jim Keeffe’s (Polka) [2],” “Michael Murphy’s Slide,” “Rachael Finch’s Fancy,” “Siobhán Hurl’s.” Irish, Slide.

                       

COLM O’DONNELL’S. Irish, Reel. E Minor. Standard tuning. AA’BB’. Source for notated version: Colm O’Donnell (b. 1962, outside Aclare, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 16(b) (appears as “Unknown”).

                       

COLONEL [1]. Irish, Reel. D Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 4; No. 161, pg. 19.

X:1

T:Colonel [1]

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 161  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

cA A/A/A (fd)ec | dEEF GABd | cA A/A/A (fd)ec | defg aAAd :|

|| A2 (ag) fedc | B2 (ba) gfed | c2 (ag) fedc | defg aAAd |

Aaag fedc | Bbba gfed | c/c/c (Ac) dBBc | defg afed ||

 

COLONEL [2], THE. AKA and see “The Bucket.” Scottish, Country Dance Tune (9/8 time). The air along with dance instructions appears in the Bodleian Manuscript (kept at Bodleian Library, Oxford), entitled "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740."

                       

COLONEL BAIRD [1]. Scottish, Jig. F Major. Standard tuning. AABB. Composed by “the late Mrs. Oswald of Auchicruive,” for more on whom see "Miss Johnston of Hilton's Fancy". Carlin (The Gow Collection), 1986; No. 326. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 18.

X:1

T:Colonel Baird [1]

M:6/8

L:1/8

R:Jig

N:”Slowish”

B:Gow – Fourth Collection of Strathspey Dances (1800)

Z:AK/Fiddler’s Companion

K:F

c|(cf).c (cf).d|c2c ~c2d|(cA).F (BG).E|F2F ~F2c|(cf).c (cf).d|c2c ~c2d|(cA).F (BG).E|F3 F2:|

|:B|{A/B/}c2c AFA|{c}B2B GEG|(FG).A (FG).A|{c}B2A G2B|{A/B/}c2c AFA|”tr”B2B GEG|~F>GA (BG)E|F3 F2:|

 

COLONEL BAIRD [2]. Scottish, Strathspey. E Minor. Standard tuning. AB. Stewart-Robertson (The Athole Collection), 1884; pg. 247.

X:1

T:Colonel Baird [2]

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Emin

e>EE>F G>A B<G|F>d A<B G>A F<D|e>EE>F G>A B<f|g>e f<^d B<e e2|

e>EE>F G>AB>G|F<d A>d G>A F<D|E<GF<A G>B A<c|B>G B/A/G/F/ G<E E>B||

e>f g<e B<bg<e|f>e d<g f/g/a/f/ d>f|e>f g<e B<bA<a|g>ef>^d B<ee<B|e>f g<e B<bg<e|

f>e d<g f/g/a/f/ df|g<ef<^d e>B A<F|G>A B/A/G/F/ G>EE>B||

                                      

COLONEL BOYLE OF SHEWALTON.  Scottish, Jig. B Flat Major. Standard tuning. ABB. Composed by Nathaniel Gow (1763-1831). Colonel John Boyle, a country gentleman from the estate of Shewalton, Ayrshire, was brother to David Boyle, an advocate and Lord Justice-General. He was Colonel of the Ayrshire militia, and died unmarried in 1837. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 9.

X:1

T:Col. Boyle of Shewalton

M:6/8

L:1/8

R:Jig

N:”Slow”

C:Nathaniel Gow (1763-1831)

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:Bb

(3A/B/G/|~F>GF {Bc}d2 c/B/|~G>AG {AB}c>BA/G/|F>GF {Bc}d2 B/A/|G>BA B2 (3A/B/G/|F>GF {Bc} d2 c/B/|

G>AG {AB}c>BA/G/|~F>GF {Bc}d2 B/A/|G>BA B2||:f|f>gf {ga}b>ag|f>gf fdB|f>gf {ba}b>ag|

{b}fed {d}c2F|~F>GF {Bc}d2 c/B/|G>AG {AB}c>BA/G/|~F>GF {Bc}d2 B/A/|G>BA B2:||

 

COLONEL BYNG'S FAVORITE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831). “In playing this Tune the 2nd Strain is to be played 8 notes higher alternately.” Carlin (The Gow Collection), 1986; No. 24. Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 34.

X:1

T:Colonel Byng’s Favorite

M:C
L:1/8

R:Strathspey

C:Nathaniel Gow (1763-1831)

B:Gow – Fourth Collection of Strathspey Dances (1800)

Z:AK/Fiddler’s Companion

K:D

d|(d/c/)B/A/ {c}d>A FDDF|GE {E}e>d cAA{c)d|(d/c/).B/.A/ {c}d>A FDDF|G>E{E}A>F D3:||

G|(FD) A<D FD~D>F|(GE) B>E GE~E>G|(F<D) A>D FDD>F|{F}G<E {E}A>F D3G|

(FD) A>D FD~D>F|(GE) B>E GEE>G|F>DA>F B>GA>F|{F}G>E {E}A>F D3||

                                      

COLONEL CALL'S. Scottish, Strathspey. A Major. Standard tuning. AB. Composed by Alexander Walker in honor of Colonel Call of the 3rd Bombay Regiment of Light Infantry, Her Majesty's Indian Army. A note in Walker (1866) says "this reel inserted by request as it was the subject of some discussion in the Banffshire Journel in 1864 and was never before published." Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 27, pg. 10.

                                      

COLONEL CAMPBELL OF MONZIE’S FAVORITE.  Scottish, Strathspey. C Aeolian. Standard tuning. AB. Glen (1981) finds the tune first in print in Joshua Campbell's 1778 collection (pg. 68). The title may refer to Colonel Robert Campbell of Finab and Monzie, M.P. for Argyllshire who purchased the estate of Inverawe House in 1765. He died in 1790 and was succeeded by his son, Lieutenant-General Alexander Campbell. Carlin (The Gow Collection), 1986; No. 25. Gow (Third Collection of Niel Gow’s Reels), 1792; pgs. 8-9 (3rd ed.).

X:1

T:Colonel Campbell of Monzie’s Favorite

M:C

L:1/8

R:Strathspey

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 8  (orig. 1792)

Z:AK/Fiddler’s Companion

K:Cmin

G|cccG A3F|GGGE (F/E/)D/C/ B,D|”tr”(C/B,/)C/D/ “tr”(E/D/)E/F/ “tr”G/F/G/=A/ BG|G<DB>D {D}C3G|

cccG A3F|GGGE (F/E/D/C/) B,D|”tr”(E/D/E/).F/ “tr”(G/F/G/).=A B>dB>e|dBfd {=B}c2 c/d/e/f/||

g<c”tr”g>f gccd|f>gfd B>cd>f|gc”tr”g>f gcce|dBfd {d}c2 c/d/e/f/|

gc”tr”g>f gccd|(f/g/=a/)b/ (f/e/d/)c/ “tr”B>cdf|g>bf>g dfGc|BG(G/F/)E/D/ {D}C2C||

                                      

COLONEL CATHCART. Scottish. John Glen (1891) finds the tune first in print in John Riddell's 1782 collection (pg. 59).

                                      

COL(L)ONEL CRAFURD'S REEL. AKA and see "The Earl of Dalkeith('s Reel)." Scottish, Strathspey. F Major. Standard tuning. AAB. Glen (1891) finds the tune earliest in print in Robert Bremner’s 1757 collection (under the above title), although it later appeared in Gow's Third Collection, 1792 (pg. 20), under the title of "The Earl of Dalkeith's Reel." Glen (Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 12.

X:1

T:Collonel Crafurd’s Reel (sic)

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)

Z:AK/Fiddler’s Companion

K:F

A | F>CA,C F/F/F A>F | G/G/G B>A GDDE | F>CA,C F/F/F cf | dfcf “tr”A>GF:|

e | f>gag fefc | d/d/d b>a gdde | f>gag fefc | dfcf “tr”A>GFe | f>gag fefc |

d/d/d ba gdde | fca(g f)(cd)(A | B)GcB “tr”A>GF ||

                                      


COLONEL CROCKET. AKA and see "The Route," "Jenny on the Railroad." Old-time, Breakdown. A Dorian. Standard tuning. AABB. From the playing of Ky. fiddler Bruce Greene. Jim Taylor (et al) – “The Civil War Collection, vol. 2.”

X:1

T:Colonel Crockett  [2]

M:C

L:1/8

R:Reel

S:Bruce Greene

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

Z:AK/Fiddler’s Companion

K:Ador

A2 AB cABA | cABA e2 EF | G2 GA BGAG | BGAG EAAB |

A2 AB cABA | cABA e2 EF | G2 GA BGAG | BGAG EAAB :|

|: A2A2 ABcd | efge dBGB | d2 ef gefd | cBAG EAAB |

A2A2 ABcd | efge dBGB | d2 ef gefd | cBAG EAAB :||

                                      

COLONEL CROKETT [2].  American, Reel. The melody appears under this title in George P. Knauff's Virginia Reels, volume III (Baltimore, 1839). Colonel David “Davy” Crockett was a famous frontiersman and statesman, who perished at the Alamo in March, 1836. He was elected to the Tennessee state legislature in 1821 and subsequently represented the state in three terms in the United States Congress. When he was defeated in the election of 1835 he decamped from the state to seek a fresh start in Texas. The tune appeared in print some three years after his death—already a legend. Crockett apparently was also a skilled fiddler and buck dancer—a fiddle said to have been possessed by him, dated 1819, is in the possession of Jacinto Museum of History. He took in a minstrel show while in Philadelphia, and wrote: “The fiddling was pretty good. I do not think, however, from all I saw that the people enjoyed themselves better than we do at a country frolic, where we dance til daylight, and pay off the score by giving one in our turn.”

X:1

T:Colonel Crockett [1]

M:2/4

L:1/8

R:reel

B:George P. Knauff’s Virginia Reels, vol. 3 (Baltimore, 1839)

Z:AK/Fiddler’s Companion

K:C

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

(e/c/B/c/) (G/c/B/c/)|(e/c/g/e/) c(f/g/)|(a/f/g/e/) (f/d/e/c/)|(G/c/B/d/) c:|
|:(g/f/)|e/f/g e/f/g|(e/f/g/e/) c2|f/g/a f/g/a|(f/g/a/f/) d2|

e/f/g e/f/g|(e/f/g/e/) (c/e/f/g/)|(a/f/g/e/) (f/d/e/c/)|(G/c/B/d/) c:||

                          

COLONEL DAVID STEWART OF GARTH'S REEL. AKA and see "This is no my ain House." Scottish, Reel. A Major. Standard tuning. AB. Composed by renowned Perthshire fiddler-composer Niel Gow (1727-1807). The tune appears twice in Gow's publications; in the Sixth Collection (1822), and, under the original title, in the First Collection (1784). John Glen (1895) sees it as simply a transformation of the older Scots tune "This is no my ain House.” The melody has also been described as a set of “De’il Stick the/da Minister.” Colonel David Stewart of Garth (1772-1829) was a career army office, who, late in life wrote an account of Highlanders and Highland customs that did much to romanticize the militant nature of the Highlanders (for more on whom see “Lieutenant Colonel David Stewart” and David Stewart). Stewart composed as well; at least one tune of his made it to the Gow collections, “An Original Gallic Air.” Gow (Sixth Collection of Strathspey Reels), 1822; pg. 4.

X:1
T:Colonel David Stewart of Garth’s Reel

M:C
L:1/8

R:Reel

C:Niel Gow (1727-1807)

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:A

a|e2 Ac/d/ eAcA|d<fe>c B/B/B Ba|{f}e2 Ac/d/ eAcA|dfec A/A/A Aa|{f}e2 Ac/d/ eAcA|

d<fe>c B/B/B Ba|{f}e2 Ac/d/ eAcA|dfec A/A/A A||d|c(ee)a face|d<f”tr”e>c B/B/B B>d|

c(ee>)a faec|dfec A/A/A A>d|c(ee>)a face|d<f”tr”e>c B/B/B B>d|ceae faec|d<f”tr”e>c A/A/A A||

                                      

COLONEL FARQUHARSON OF INVERCAULD. Scottish, Strathspey. D Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 98, pg. 34.

                       

COLONEL FORBES' QUICKSTEP. Similarities in the 'A' part and less so in the 'B' part to Bayard's "General Taylor's March." Riley (Flute Melodies), 1814, vol. 1; No. 72.

                       

COLONEL FRASER (An Ardtaoiseac Fraser). AKA – “Colonel Frazer.” AKA and see “The Donaghmore,” “Malloy’s Favorite,” “Molloy’s Favourite [2],” "The Green Fields of Ireland." Irish, Reel. G Major ('B' and 'D' parts) and G Mixolydian ('A' and 'C' parts) [O'Neill/Krassen & 1915]: G Major (‘A’, ‘B’ & ‘D’ parts) & G Major/Mixolydian (‘C’ part) [Miller]: G Major (Mitchell, O'Neill/1850 & 1001). Standard tuning. AABCD (Miller): ABCDE (Mitchell): ABCC'DE (O'Neill/Krassen): AA'BCD (O'Neill/1915, 1001 & 1850): AABBCCDDEE (Taylor). The tune is a favorite of uilleann pipers, and is known as one of the ‘big’ piping tunes. Versions vary from all-major tonality to one or more parts in the Mixolydian mode. It was first recorded on a wax cylinder by Irish-American piper Patsy Touhey (1865-1923), whom Francis O’Neill said was a “genial, obliging and unaffected wizard of the Irish pipes.” Seán Keane identifies it a reel from the north Midlands and Sligo areas. The title appears in a list of tunes in the repertoire of Philip Goodman, the last professional and traditional piper in Farney, Louth, made at the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). A two-part version “Colonel Fraser” is also to be found in the c. 1880’s County Leitrim collection of fiddler and piper Stephen Grier of Farnaght. Petrie published a four-part setting under the title “Green Fields of Ireland,” and Breathnach (1985) finds “Colonel Fraser” related to “Malloy’s Favourite.” See also the related “Duke of Leinster’s Wife.”

***

Patsy and Mae Tuohey around 1900.

***

Flute player Seamus Tansey relates that Colonel Fraser was an English landlord in Leinster, a man of good temperament who was kind to his tenantry and to travelling pipers. He bought one piper a set of new pipes and had this tune composed for him in gratitude. Tansey said the piper was inspired by the sight of the Colonel galloping on his horse to the hunt, “It's like the ‘Fox Chase’, but different." In 1959 Kerry fiddler Denis Murphy (1910-1974) recorded it in Dublin in a medley with “The Steampacket” and “The Kerry Reel [1].” Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; “Based on the playing of (Kerry fiddler) Paddy Cronin” [Miller]. Lyth (Bowing Styles in Irish Fiddle Playing), vol. 1, 1981; 78. Miller (Fiddler’s Throne), 2004; No. 137, pg. 90. Mitchell (The Dance Music of Willie Clancy), 1993; No. 87, pgs. 78-79. O'Neill (Krassen), 1976; pg. 104. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1246, pg. 234. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 520, pg. 98. O’Neill (O’Neill’s Irish Music), 1915; No. 243, pg. 128. Taylor (Music for the Sets: Blue Book), 1995; pg. 28. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 3; 21. Claddagh Records CC17, Seán Keane ‑ "Gusty's Frolics" (1975). Drumlin Records, Brian McNamara – “A Piper’s Dream.” Gael-Linn CEF 045, “Paddy Keenan” (1975). Green Linnet GLCD 1074, Jerry O’Sullivan – “The Invasion” (1987). Rounder CD 1087, Denis Murphy – “From Galway to Dublin” (1992). Shaskeen Records OS‑360, Joe Burke, Andy McGann, Felix Dolan ‑ "A Tribute to Michael Coleman" (c. 1965). Conal O’Grada – “The Top of Coom.” Tara CD3034, Liam O’Flynn – “The Given Note” (learned from Leo Rowsome). Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

X:1

T:Colonel Fraser

M:C|

L:1/8

R:Reel

S:O’Neill – 1001 Gems (1907), No. 520

Z:AK/Fiddler’s Companion

R:Reel

K:G

dc|:BGAF D>G (A}(3GFG|AFcF dFcF|BGAF DGGg|1 fdcA d2 cA:|2 (3fed cA BG G2||

dggf g2 bg|fdcB ABcA|Gg{a}gf gbag|fdcA BG G2|gfge d2 dc|(3Bcd BG ABcA|

GBAc (3Bcd eg|fdcA BG G2||B>d (3ddd BGdG|AFcF (3ABc AF|B>c (3ddd BGdG|

cAFG AG G2|B>d (3ddd BGdG|AFcF (3ABc AF|(3GAB (3ABc (3Bcd eg|fdcA BG G2||

(3BcB GB (3BdB GB|(3ABA FA (3AcA FA|(3BcB GB (3BdB  GB|{d}cAFG AG G2|

(3BcB GB GBGB|(3ABA FA FAFA|GBAc (3Bcd eg|fdcA D2 cA||

                                               

COLONEL FRASER OF KNOCKY. Scottish, Strathspey. G Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 171.

X:1

T:Colonel Fraser of Knocky

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G

c|d2 B>d G>Gd>B|d>e B<d e<AA>e|d2 B>d G>Gd>B|c>ed>A B<GG:|

c|B>GB>d c>ed>B|c>eB>d e>AA>c|B>GB>d c>ed>B|c>eB>g B>GG>c|

B>GB>d c>ed>B|c>eB>d e>AA>c|B>G (3Bcd (3def g>B|c>ed>A B<GG||

                       

COLONEL G.S. (SCOTTY) MORRISON. AKA – “Col. G.S. (Scotty) Morrison.” Canadian, Pipe March (6/8 time). D Major. Standard tuning. AA’BB’CCDD’. Composed by Pipe Major Don Carrigan for a former Colonel of the Black Watch, Royal Highlanders of Canada. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 36.

 

COLONEL GARDEN’S BIRTHDAY.  Scottish, Strathspey. G Major. Standard tuning. AAB. Composed by Kirkmichael, Perthshire, fiddler and composer Robert Petrie. He included it in his Second Collection of Strathspey Reels and Country Dances (1796, pg. 15), one of several tunes named in honor of the Garden family. The whole volume is dedicated to Petrie’s patron and employer, Mrs. Garden of Troup.

X:1

T:Col. Garden's Birth day

C:R. Petrie

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 15

L:1/8

M:C

R:Strathspey

K:G

B|G>AB<G c>AB<G|c<AB<G E<AF<D|G>AB<G c<AB<G|d>Bc<A G2G:|

B|d>eg<d e<gd<B|c<aB<g A>GF<D|d>eg<d e<gd<B|c<Ad>B G2GB|

d<eg<d e<gd<B|c<aB<g A>GF<D|d<gb<g d<gd<B|c<Ad>B G2G|]

                       

COLONEL GLENN. Irish, Reel. G Major. Standard tuning. AB. Named for astronaut and senator John Glenn of Ohio (?). Composed by uilleann piper Andy Conroy, of New York, originally from Lough Glynn and Dublin. Source for notated version: Andy Conroy [Breathnach]. Breathnach (Ceol II, 1), 1965; No. 4. Breathnach (The Man and His Music), 1997; No. 4, pg. 8.

X:1

T:Colonel Glenn

C:Andy Conroy

L:1/8

M:C

K:G

ge|dB B2 AG G2|Bd d2 edge|dB B2 AG G2|edgB A2 Bc|dedB AG G2|

Bd d2 edge|dB B2 gedB|AGAB G2||ga|bg g2 ag g2|eB B2 AG G2|

DB B2 AG G2|edgB A2 ga|bg g2 ag g2|eB B2 AG G2|dB B2 gedB| AGAB G2||

                       

COLONEL H.F. CAMPBELL. Scottish, Strathspey. G Major. Standard tuning. AAB. The melody appears in Misses White's 1797 collection. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 16.

X:1

T:Colonel H.F. Campbell

M:C

L:1/8

R:Strathspey

S:Glen Collection, Vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:G

G2d2 d>Bdg | egdg AFDF | G2d2 d>Bdg | egfa g2g :| g>ab>a gddg | egdg AFDF |

g>ab>a gddg | egfa g2g2 | f>ab>a gddg | egdg AFDF | G2d2 d>Bdg | egfa g2g2 ||


                       

COLONEL HAMILTON OF PENCAITLAND'S STRATHSPEY. Scottish, Strathspey ("slow"). C Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831), son of the famous fiddler Niel, and adjudged by many the better and more accomplished musician due to a superior education (he played the trumpet and cello in addition to the violin). Nathaniel was a most successful orchestra leader and music publisher but was not as shrewd as his father in business matters, for he bankrupted ultimately.  Nevertheless, he was patronized by the Scottish nobility and the Gentlemen of the Caledonian Hunt, and even received pensions from various sources, including king George IV.

***

Colonel John Hamilton, painted by Henry Raeburn

***

Colonel John Hamilton of Pencaitland (1751-1804), to whom Nathaniel dedicated the tune, was laird of Pencaitland  House, East Lothian, and a colonel of the East Lothian Fencibles, a regiment who exercised their horses above Wintonhill Farm. Winton House was owned by Hamilton and was restored by him as a second residence, although not finished before his death. He was described by William Tait (1848) in Tait’s Edinburgh Magazine as “a country gentleman, much beloved by all who knew him, and whose hospitalities were so great as to render this house remarkable in the county.” John married Janet Dundas, a daughter of the ruling political family of the time, of the nearby estate of Arniston. Both are remembered with plaques in Pencaitland Kirk, a manifestation of the degree of affection held for them within the locality. He is also known for being the owner of an ox of enormous proportions, sold to a Shropshire butcher at the end of the 18th century. The animal was reputed to have been some 16 feet long, and stood more that 5 feet, 8 inches tall. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 13 (3rd edition). Neil (The Scots Fiddle), 1991; No. 101, pg. 137. Scottish Records 33 SR 135, Ron Gonnella – “Scottish Violin Music from the Gow Collections” (1973).

X:1

T:Colonel Hamilton of Pencaitland’s Strathspey

M:C

L:1/8

R:Strathspey

C:Nathaniel Gow (1763-1831)

B:Gow – 2nd Collection of Niel Gow’s Reels, pg.13, 3rd ed.  (orig. 1788)

Z:AK/Fiddler’s Companion

K:C

“tr”E/>D/|Cc (d/c/).B/.A/ (A/G/).F/.E/ {E}c2|Cc “tr”cB/A/ Bdd>e|(f>e)dc {c}B2 AG|(A/B/c/B/) (d/c/)B/A/ Gcc:||

e/d/|c>g (e/f/g/a/) gc (a/g/f/e/)|”tr”fa/g/ (f/e/).d/.c/ “tr”Bd de/d/|”tr”c>d”tr”e>f gefa|ge (f/e/).d/.c/ Gc ce/d/|

cg (e/f/g/a/) gc (a/g/f/e/)|”tr”fa/g/ (f/e/)d/c/ Bd dg/f/|{f}”tr”e>d{d}”tr”c>A G.E.F.G|(A/B/).c/.B/ (d/c/).B/.A/ G[Ec][Ec]||

                                   

COLONEL HAMILTON OF PENCAITLAND’S WELCOME HOME.  Scottish, Air (9/8 time). B Flat Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831), son of the famous Perthshire fiddler-composer Niel, who also composed “Colonel Hamilton of Pencaitland’s Strathspey.” Gow (Fourth Collection of Strathspey Dances), 2nd ed., originally 1800; pg. 32.

X:1

T:Colonel Hamilton of Pencaitland’s Welcome Home

M:9/8

L:1/8

R:Air

C:Nathaniel Gow (1763-1831)

B:Gow – Fourth Collection of Strathspey Dances (1800)

Z:AK/Fiddler’s Companion

K:Bb

D|B,2(F F)DB {B}A2C|B,2(F F)DF GAB|dcB .F(.D.B) {B}A2C|B,DF BFD B,2:||

e|”tr”d2(f f)df e2c|d2(f f)df “tr”g>ab|”tr”d2(f f)df e2c|”tr”d>ef ecA B2e|
”tr”d2(f f)df e2c|”tr”d>ef ecA B2e|”tr”d2(f f)df gab|f2 g/a/ bfd gec|fdB ecA B3||

           

COLONEL HAMILTON'S DELIGHT. AKA and see "Hamilton House [1]." Scottish, Jig. G Major. Standard tuning. AABBCC'. Composed by Joseph Reinagle (1762‑1836) around 1783 or earlier. Joseph was the English-born son of an Austrian trumpet player who lived in Portsmouth, and first gained prowess on horns. He gave them up French Horn and trumpet, according to Groves Dictionary of Music and Musicians, due to his brother’s skill on them, but, later returned to them after the death of his sibling. He transferred his skill to the violin and cello, and gained great fame as a teacher and performer on those instruments. It was Reinagle who taught Nathaniel Gow the cello, and he became leader of St. Cecelia’s Hall, Edinburgh. the theatre band. After a two-year stay in Dublin, Reinagle moved to London and became a prominent cellist with orchestras there, and even a principal player for the Haydn and Salomon concerts. The tune appears in Niel Gow's Strathspey Reels, the Sharpe Manuscript, and Davie's Caledonian Repository. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 87, pg. 230. Neil (The Scots Fiddle), 1991; No. 3, pg. 6 (appears as "Hamilton House").

 

COLONEL HOPKINS (An Ardtaoiseac Opcins). Irish, Reel. G Major. Standard tuning. AAB (O'Neill/Krassen): AA'B (O'Neill/1850). O'Neill (Krassen), 1976; pg. 107. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1260, pg. 237.

X:1

T:Colonel Hopkins

M:4/4

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1260

Z:AK/Fiddler’s Companion

K:G

ge|dBGB d2 ef|g2 af gfed|bgaf gfed|1 BedB A2:|2 egfa g2||GA|B2 dB A2 BA|

GABG AGFD|B2 dB A2 BA|GABG A2 ge|dBGB d2 ef|g2 af gfed|bgaf gfed|egfa g2||

                       

COLONEL IRWIN. AKA and see “Planxty Irwin.”

                       

COLONEL JOHN IRWIN. AKA and see "Planxty Irwin."

                       

COLONEL LENNOX’S LOVE.  AKA and see “Lennox Love to Blantyre.” Scottish, Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 25, pg. 8. 

 

COLONEL MACBEAN. AKA and see "Colonel McBain's."

                       

COLONEL MACDONELL’S STRATHSPEY. Scottish, Strathspey. E Dorian. Standard tuning. AABB. McGlashan (A Collection of Reels), c. 1786; pg. 6.

X:1

T:Colonel MacDonell’s Strathspey

M:C|

L:1/8

R:Strathspey

S:McGlashan – Reels  (c. 1786)

Z:AK/Fiddler’s Companion

K:Edor

e| G<E E2 D>G G<B| A/A/A e<A c>A e<A| G<E E2 D>G G<B| c>AB>G A/A/A e:|

|:f| g<g a/g/f/e/ d/c/B/A/ G<B| c/d/e A>Bc>d e>f| g<g a/g/f/e/ d/c/B/A/ G<B| c>AB>G A/A/A e:|

                       

COLONEL MANUS O'DONNELL. Irish, Planxty (6/8 time). A Dorian. Standard tuning. One part. Composed by blind Irish harpter Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 126, pg. 90‑91.

                       

COLONEL McBAIN'S (An Ardtaoiseac Mic Baeitine). AKA – “Colonel McBean.” AKA and see "Boston Rattlers'," "Brian Boru’s March [1]," "Dan Sullivan's Reel," "The Devonshire Reel [1]," "The Duke of Clarence Reel," "General McBean," "Hobb's Favorite," “Johnny’s Wedding,” "Miss Abercrombie's Reel," “Mother’s Delight,” "Seán Frank," “Sporting Paddy [3],” "Sporting Molly." Scottish (originally), Irish; Reel. G Minor (most versions): E Minor (O'Neill). Standard tuning. AB (Howe, O'Neill, Surenne): AAB (Gow, Honeyman, Hunter, McGlashan): AABB (Cole). Glen (1891) finds the earliest publication of the tune in Robert Bremner's 1768 2nd collection (pg. 101). O’Neill (1922) remarks: “’Col. McBain's Reel’ first appeared in print in Bremner's 2nd Collection of Scots Reels, or Country Dances, London 1768, and reprinted in McGoun's Repository of Scots and Irish Strathspeys, Reels, etc., Glasgow 1803. Its popularity was not confined to Scotland for we find it named ‘Duke of Clarence Reel’ in Lavenu's New Country Dances for the Year 1798, published at London. A setting of this noted reel as played by the experts of the Irish Music Club of Chicago may be found on page 116 of O'Neill's Dance Music of Ireland. In composition and fluency of rhythm the variant above presented compares very favorably with the original especially when given expression on the fiddle in the inimitable style of the genial Paddy Stack from whom the manuscript was obtained.” The tune was first recorded by Galway melodeon player Peter Conlon in 1921, under the title "McBan's Reel" (thought the different spelling may be due to an error by the record company). Irish versions are in E Minor, Scottish in G Minor. Paul Cranford (1997) remarks that he has heard a strathspey setting (in G) of “Colonel McBain’s” played by Cape Breton fiddler Johnny Wilmot who learned it from his uncle Joe Confiant. “Johnny’s Wedding” and “Seán Frank” are related tunes. Sources for notated versions: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. Cole (1000 Fiddle Tunes), 1940; pg. 31. Cranford (Winston Fitzgerald), 1997; No. 162, pg. 64. Gow (Complete Repository), Part 1, 1799; pg. 8. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 29. Howe (1000 Jigs and Reels), c. 1867; pg. 131. Hunter (Fiddle Music of Scotland), 1988; No. 265. McGlashan (A Collection of Reels), c. 1786; pg. 18 (appears as “Colonel Macbean’s Reel”). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1403, pg. 261. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 645, pg. 116. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 262. Ryan’s Mammoth Collection, 1883; pg. 57. Stewart-Robertson (The Athole Collection), 1884; pg. 185 (appears as "Colonel MacBean"). Surenne (Dance Music of Scotland), 1852; pg. 6 (appears as “Colonel M’Bain”). Gael-Linn Records CEF 165, Máire O’Keeffe - “An Coisir.” MKM 7590, Mike McHale – “The Schoolmaster’s House” (2000. Learned from his father and grandfather, County Roscommon).

X:1

T:Colonel MacBean

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Gmin

c|B/c/d Gd BGdG|A/B/c Fc AFcA|B/c/d Gd BGdG|^F/G/A DF G2G:|

A|~(B2 B)f B/B/B fd|cdcB ABcA|G(gg)a bag^f|g/a/b a^f ~g2 ga|

g/a/b fd ~Bdfd|cdcB ABcA|Bdg^f gdce|dBcA G2G||

X:2

T:Colonel McBain

M:C|

L:1/8

R:Reel

B:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 645

Z:AK/Fiddler’s Companion

K:Emin

EF|GBEF GEBE|FADE FDAD|GBEF GEBE|FADF E2 EF|

GBEF GEBE|FADE FDAD|G2 GF GBdB|AFDF E2||EF|

G2 GF GBdB|ABAG FAAF|Eee^d ef|gefd Beef|gfge dedB|

ABAG FGAF|Beed BcdB|AFDF E2||

X:3

T:Colonel McBain's Reel

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:E Dorian

EF|GEBE GABG|FDAD FGAF|GEBE GABc|dBAF E2 EF|

GEBE GABG|FDAD FGAF|GEBE GABc|dBAF E2||

ef|gefd edBc|dBAG FD D2|gfed edBA|Beed e2 ef|

gefd edBc|dBAG FD D2|EFGA B2 Bc|dBAF E2||

X:4

T:Col. Macbean's Reel

C:R. Petrie

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 14

L:1/8

M:C|

R:Reel

K:Gm

c|(B/c/d) (Gd) BGdG |(A/B/c) (Fc) AFcF|(B/c/d) (Gd) BGdG |^F/G/A DF G2 G, :|

A|B3f B/B/B (fd)|cdcB ABcA|G(gga) bag^f|gba^f g2 (ga)|

(g/a/b) (fd) Bdfd|cdcB ABcA|Bdg^f gdce |dBcA G2G |]

                       

COLONEL McBAIN’S FANCY. AKA – “Colonel MacBain’s Fancy.” AKA and see “Mrs. Gordon of Cairness.” Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard tuning. AABBA’A’B’B’ (Dunlay & Greenberg): ABC (Shears). This melody apparently was originally a pipe tune, for Barry Shears finds it in David Glen’s bagpipe Tutor, Part 2 (1876-1901) in a two-part reel and a three-part strathspey setting (which is perhaps the original). The fiddle version adapts the reel setting plus the third part of the strathspey setting, according to Dunlay & Greenberg. Source for notated version: Donald Angus Beaton and Kinnon Beaton (Mabou, Cape Breton) [Dunlay & Greenberg]. Dunlay & Reich (Celtic Fiddle Music from Cape Breton), 1986 (appears as “Traditional Reel”). Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; ph. 48. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 52 (pipe setting). DAB4-1985, Donald Angus Beaton - “A Musical Legacy” (1985). JAD-1, Jackie Dunn - “Dunn to a T” (1995. Appears as “Mrs. Gordan of Cairness”). RDRC 850, Raymond Ellis - “Dedicated to Mom and Dad” (1994. Appears as 2nd “Traditional Reel”). Rodeo RLP 107, Joe MacLean - “And His Old Time Scottish Fiddle”(c. 1967. Appears as 2nd reel after “Ca’ the Stirks”). Rounder 7011, Donald Angus and Kinnon Beaton - “The Beatons of Mabou” (1978. Appears as 1st of “Two Traditional Reels” after “Chiste Mhor”).

X:1

T:Colonel McBain’s Fancy

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:Amix

a | A2 ec e2 ea | f2 af feea | A2 ec e2 ea | cdec BABc | A2 ec e2 ea | f2 af feef |

a2 af e2 ae | cdec BABc || a2 af e2 ae | f2 af feef | a2 af e2 ae | cdec BABc |

a2 af e2 ae | f2 af feef | agaf e2 ae | cdec BABc || A2 eA A2 fe | A2 af feea |

A2 eA A2 fe | cdec BABc | A2 eA A2 fe | A2 af feef | a2 af e2 ae | cdec BABc ||

                                      

COLONEL McDONALD OF LOCHGARIE’S. Scottish, Strathspey. A Major. Standard tuning. AAB. The melody appears in Malcolm MacDonald of Dunkeld’s 2nd Collection, dedicated to the Earl of Breadalbane. MacDonald (A Second Collection of Strathspey Reels), 1789; pgs. 5-6.

X:1

T:Colonel McDonald of Lochgarie’s

M:C

L:1/8

R:Strathspey

S:MacDonald – Second Collection of Strathspey Reels (1789)

Z:AK/Fiddler’s Companion

K:A

E | G/B/B B>c e>fgf | e>cBG F/F/F “tr”F2 {E/F/} | G/B/B B>c  e>fgf | e>cB>G E/E/E E :|

a | {g/a/}b>geg {g/a/}b>geg | ab/a/ ga/g/ “tr”f>efa | {g/a/}b>geg {g/a/}b>geg | a>fb>g e/e/e eg/a/ |

{g/a/}b>geg bgeg | ab/a/ ga/g/ “tr”f>efg | e>f {e/f/}g>f e>cB>e | “tr”c>B e>G E/E/E E ||

                                                  

COLONEL McKAY. Scottish, Reel. C Major. Standard tuning. AAB. John Glen (1891) finds the earliest printings of the tune in Robert Bremner's 1768 2nd collection (pg. 112) and Daniel Dow's c. 1775 collection (pg. 12). Petrie (2nd Collection of Strathspey Reels and Country Dances), 1796; pg. 22.

X:1

T:Col. Mackay's Reel

C:R. Petrie

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 22

% No listing for this tune in Gore's Index

L:1/8

M:C

R:Reel

K:C

e|c(CCE) G3_B|AFEC DF_B,D|(C/D/E/F/ G)E G2 (cG)|A(agf) ecc:|

e|(c/d/e/f/ g)c acgc|ecgc f(dde)|(c/d/e/f/ g)c acgc|fdec G(cce)|

(c/d/e/f/ g)c acgc|fdec (B/A/B/c/ d)e|cGEC FAG_B|A(aTgf) ecc|]

                                      

COLONEL MERCER OF ALDIE’S.  Scottish, Strathspey. D Mixolydian. Standard tuning. AAB. The tune was printed by Malcolm MacDonald of Dunkeld in his 2nd Collection, dedicated to the Earl of Breadalbane. MacDonald (A Second Collection of Strathspey Reels), 1789; pg. 9.

X:1

T:Colonel Mercer of Aldie’s

M:C

L:1/8

R:Strathspey

S:MacDonald – 2nd Collection of Strathspey Reels (1789)

Z:AK/Fiddler’s Companion

K:Dmix

A | D/D/D (A>F) A>BAF | C/C/C C2 C>E c>E | D/D/D A>F A>BAG | F>D d>^c d>D D :|

f | d/d/d f>d e>dfd | c/c/c c>e gece | d/d/d f>d e>df>d | d>BA>G F>DD>f |

d/d/d f>d e>dfd | c/c/c (c>e) g>ecg | a>fge f>de^c | B<d”tr”AG F>D D ||

                          

COLONEL MIKE. American?, Reel. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABBAA. Harding’s All-Round Collection), 1905; No. 67, pg. 21.

X:1

T:Colonel Mike

M:2/4

L:1/8

R:Reel

S:Harding’s All Round Collection, No. 67 (1905)

Z:AK/Fiddler’s Companion

K:G

Gz ^dz|z/e/c/e/ d/B/A/G/|dz Fz|z/G/e/B/ d/e/g/b/|gz ^dz|z/e/c/e/ d/B/A/G/|

dz Fz|z/D/C/A,/ G,z::E/B/G/E/ B/G/E/B/|c/A/E/c/ A/E/c/z/|F/B/A/F/ B/A/F/c/|B/G/E/F/ (G/F/E/)z/:|

                                      

COLONEL MONTGOMERY. Scottish, Strathspey. D Major. Standard tuning. AAB (Gow): AABB' (Athole). Composed perhaps for Hugh Montgomerie (1739-1819) of Coilsfield, the 12th Earl of Eglinton. Montgomerie (or Montgomery) was a successful soldier who served in America, and later a Member of Parliament for Ayrshire and an Inspector of Roads. He became the 12th Earl of Eglinton in 1796 at age 57, succeeding his cousin, and continued improvements to the family estates. He already had built Coilsfield House, but commissioned architect John Paterson to build Eglinton Castle. However, the two had a falling out and Paterson was forced to sue the earl for recovery of fees—the castle is today a stately ruin. Unfortunately, Eglinton’s improvements were costly and perhaps overly ambitious (including the Glasgow, Paisley and Johnstone Canal) and added significantly to the family debt. Montgomerie was ‘sodger Hugh’ of Robert Burns’ “The Poets Earnest Cry and Prayer.” He sent ten guineas to Burns on his arrival in Edinburgh as a subscription for two copies of the Edinburgh Edition of Burns’ Poems. Replying on 11th January 1787, Burns said:  “Your Munificence, my Lord, certainly deserved my very grateful acknowledgements, but your Patronage is a bounty peculiarly suited to my feelings.”

***

Hugh Montgomery, 12th Earl of Eglinton (1739-1813), in the uniform of the Black Watch.

***

Carlin (The Gow Collection), 1986; No. 26. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 14. Stewart-Robertson (The Athole Collection), 1884; pg. 91.

X:1

T:Colonel Montgomery

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

d>BA>F E>DEF|d>BA>F E>D B,2|d>BA>F E>DE>g|f>e d<f ef d2:|

A<d f>d g>ef>d|A<d f>d e>d B2|1 A>d f>d g>ef>d|e>fa>f ef d2:|2 A<d f>d g>ef>d|e/d/e/f/ a>f ef d2||

                       

COLONEL MONTGOMERY'S WELCOME HAME. Scottish. Glen (1891) finds the earliest printing of the tune to be in Robert Riddell's 1787 collection (pg. 19).

                       

COLONEL O’HARA. Irish, Planxty. F Major. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Donal O’Sullivan believes the title may refer to Sir Charles O’Hara of County Mayo, made Baron Tyrawly in 1706, who had a distinguished career as a military officer in Spain. The tune was played by County Leitrim harper Charles Fanning (1736-c. 1809) at the 1792 Belfast Harp Festival, where it was noted by Edward Bunting (appearing in his MS 33, book 3). Fanning was an excellent harper and won not only the Belfast but the three Granard harp competitions as well. Fanning was groomed for a life of entertaining the gentry by a County Tyrone patroness, but lost her patronage and support when he married her kitchenmaid.  He was rescued by another patron, the Reverend Sir Henry Harvy Bruce, Bishop of Derry (who also patronized harper Denis Hampson), although the good bishop apparently could not or did not see fit to keep him very well. Fanning complained to another harper, Arthur O’Neill, who was passing through the area and inquired as to Fanning’s health, that he was so poor and thin that a goose quill could be blown through his cheek!  Fanning tired of this meagre existence and finally found a patron in Mr. Pratt of King’s Court, County Cavan, who gave the harper a house and garden, a few acres of land, and grazing for four cows in the demesne. The grant was proofed by a letter he gave to Fanning. Unfortunately for the unlucky man, Pratt died and his son refused to honor his father’s bequest to the harper; moreover, Fanning lost the letter to an unscrupulous or incompetent lawyer he had engaged to help. Complete Collection of Carolan's Irish Tunes, 1984; No. 129, pg. 92‑93. Heymann (Legacy of the 1792 Belfast Harp Festival), 1992; pgs. 18-20. Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993).

                       

COLONEL PICKERING’S MARCH TO LEXINGTON. See “The Black Sloven.”

                       

COLONEL REID’S MARCH.  American (?), March. The melody appears in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

 

COLONEL RENTON'S FAVOURITE. AKA and see "Lamberton Races."

                       

COLONEL RIDLEY'S QUICKSTEP. Scottish, March (6/8 time). A Minor. Standard tuning. AB. Composed by Abraham MacIntosh. The original version was in A Major, and set in minor by Nigel Gatherer. Gatherer (Gatherer’s Musical Museum), 1987; pg. 20.

 


COLONEL ROBERTSON [1]. AKA and see “The Massacre of Glencoe [2].” Scottish, Canadian; March (6/8 time). D Major (Miller & Perron, Perlman, Sweet): G Major (Sweet). Standard tuning. AA’B (Miller & Perron, 2nd Ed.): AABB' (Miller & Perron): AABB’CC (Perlman): AA'BB'CC' (Sweet). Composed by L. Beaton and dedicated to a Colonel of the Toronto Highlanders, a battalion of the Canadian Army. Source for notated version: Jimmy Halliday (b. 1924, Eldon, Queen’s County, Prince Edward Island) [Perlman]. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 13. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 51. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 19. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 138. Sweet (Fifer’s Delight), 1964/1981; pg. 40 (two versions in different keys). Philo 1042, Boys of the Lough ‑ "The Piper's Broken Finger" (1976).

X:1

T:Colonel Robertson [1]

M:6/8

L:1/8

R:March

K:D

a | fed A2d | BGB A2a | fed A2d | c2e e2a | fed A2d | BGB A2d |

BGd cAe | d3 z2 :| f/g/ | afd f2a | fef def | gfg ecA |1 gfg efg | afd f2a |

fef d2A | BGd cAe | d3 z2 :|2 gfg e2A | dfA ece | faf d2A | BGd cAe | d3 z2 ||

 

COLONEL ROBERTSON [2]. Scottish, Strathspey. E Minor. Standard tuning. AAB. The melody is attributed to Niel Gow in the Gow’s 2nd Collection (1788). The title may refer to Colonel Alexander Robertson (see “Colonel Robertson of Strewan’s Welcome Home” below, for more), like Gow from Perthshire. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 12 (3rd edition). Stewart-Robertson (The Athole Collection), 1884; pg. 156.

X:1

T:Colonel Robertson

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Edor

B2 B>A B>EE>F|A>d B/A/G/F/ D/E/F/G/ A>d | B2 B>A B>de>f | d>B d/B/A/F/ E2 E2 :|

e>fe>d B/A/B/d/ e2|d>ed>B A/F/A/B/ d>f | e>fe>d e/d/e/f/ g>e | d>B d/B/A/F/ E2 E>d |

e>fe>d B/A/B/d/ e2|d>ed>B A/F/A/B/ d>f | g>ef>d e>Bd>A|d>A B/A/G/F/ B2E2 ||

                                      

COLONEL ROBERTSON OF LAWERS STRATHSPEY.  Scottish, Strathspey. D Major. Standard tuning. AAB. The melody appears in the 4th collection of Malcolm MacDonald of Dunkeld, a volume dedicated to the Countess of Breadalbane. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 8.

X:1

T:Colonel Robertson of Lawers

M:C

L:1/8

R:Strathspey

S:MacDonald – 4th Collection of Strathspey Reels (1797)

Z:AK/Fiddler’s Companion

K:D

F/E/ | D>A, D<F D>A, D<F | “tr”E>DEF F<A A2 | B>AdA (B/c/d) A<F | “tr”E>DEF D2D :|

(A/4B/4c/) | d>AF>A d>e {g}fe/d/ | B<ed<f e2 eg | f<a “tr”a>f gfed | (B/c/d) AF D2 D(A/4B/4c/) |

d>AFA d>e g/f/e/d/ | B<ed<f e2 e>f | d>dA B<d AF | “tr”E>DEF D2D ||

              

COLONEL ROBERTSON OF STREWAN’S WELCOME HOME. AKA and see “Wearmouth Lads.” Scottish, Jig. E Dorian. Standard tuning. AAB. Composed by the great Perthshire fiddler Niel Gow (1727-1807) in honor of Colonel Alexander Robertson of Struan (also Strowan) in Perthshire. Many of the Robertson lands in Perthshire had been annexed as a result of the family’s involvement in the Rising of 1745, and the remainder eventually devolved upon Alexander, who obtained a restitution of the Strowan in 1784. This was perhaps in part due to his service in the 82nd Hamilton Regiment. The 82nd was raised in 1778 by the 8th Duke of Hamilton for service in the war in North America (the American Revolution). Landing at Halifax, Nova Scotia, the force was detailed to build a fort on the Penobscot River, Maine, to interrupt Boston shipping and to protect the loyalists to the north. Paul Revere led an attack on the fort which laid siege for several weeks before being driven off by British reinforcements. The fort, however, was a loss and was abandoned by the Redcoats. The 82nd next saw service in the Carolinas assisting Cornwallis at Yorktown, and, after the surrender, the troops returned to Halifax. As part of the pay-out of the regiment the 82nd received a large land grant in Pictou County, Nova Scotia, which was divided up into lots. Many soldiers sold their lots, while others visited them—only to promptly return to Halifax to re-enlist. Some fifty actually decided to settle in the county. Colonel Robertson did not, however, although Robertson Island, Pictou County, Nova Scotia (also known as Big Merigornish Island), is named for him since it was his share of the grant. He did sent relatives and other settlers to the island and caused a large house to be built on it (called Struan House). Alexander instead resided in the Barracks at the West End of Loch Rannoch, and although he built a large mansion at Mount Alexander, he never occupied it. Colonel Alexander Robertson died unmarried in November, 1822, and the estate and Chief-ship passed to another Robertson branch.

***

The news of the return of the Robertson estates in 1784 must have struck a responsive chord in Perthshire, as evidenced by Gow’s composition and the song below, by poetess Maighriread NicGriogair of Struan (whose brothers settled in New York before the American Revolution). The last stanza goes:

 

‘S èibhinn naidheachd ri chluinntinn

Gun d’ fhuair gach oighre am fearann

Nix o thionndaidh a’ chuibhle

‘S gun deach ‘n t-aonta ud thairis

Sàr-cheann fine bha cliùiteach

As fhiach a chuir siud an aithris

Tighearna Shruthain o’n ghiubhsaich

Thighinn gu dùthchas a sheanar

 

 

The news is exciting to hear

That each heir has been granted land

Now that the Wheel has turned

So that the Act has been approved;

The excellent chieftain who was renowned

Is worthy of this account;

The Laird of Struan from the pinewood

Is to come into his ancestral heritage

***

Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 12 (3rd edition).

X:1

T:Colonel Robertson of Strewan’s Welcome Home

M:6/8

L:1/8

R:Jig

C:Niel Gow

B:Gow – 2nd Collection of Niel Gow’s Reels, pg. 12 (1788)

Z:AK/Fiddler’s Companion

K:E Minor

B,|”tr”E2.e (G2.e)|”tr”F2D AFD|”tr”E2e (G2e)|”tr”B>^c^d e2 e/f/|”tr”g>fe d^cB|(AF).d DEF|

”tr”E2e G>AB|B,^C^D E2:||B|(e2b) “tr”g2e|”tr”f2d (af).d|e2b g2b|”tr”B>^c^d e2 e/f/

|”tr”g>fe d^cB|(AF).d DEF|”tr”E2e G>AB|B,^C^D E2B|(e2b) “tr”g2e|”tr”f2d (af).d|

e2b g2b|”tr”B>^c^d e2 e/f/|”tr”g>fe d^cB|(AF).d DEF|”tr”E2e G>AB|B,^C^D E2||

                                      

COLONEL RODNEY (An Ardtaoiseac Rodnaig). AKA and see “Brandlings.” Irish, Reel. A Major. Standard tuning. AB (O’Neill): AABB (Martin & Hughes). The Irish name for the Scottish tune “Brandlings,” composed by Abraham Mackintosh but appearing in John Watlen's 1798 2nd collection. 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]. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 39. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 236, pg. 125. O'Neill (Krassen), 1976; pg. 107. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1263, pg. 237. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 531, pg. 99. Coleman Music Center CHC 009, flute player Éamonn Cullen – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

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:Colonel Rodney

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 531

Z:AK/Fiddler’s Companion

K:A

c>A (3AAA eAce|eaga fedc|d>B (3BBB fBde|fefg afed|c>A (3AAA eAce|

eaga fedc|defg abaf|(3efg ae cAAz||e2 ce Aece|aAgA fAeg|f2 df Bfdf|bBaB gBfB|

(3efe ce aece|eaga fedc|defg abaf|(3 efg ae cAAz||

X:2
T:Colonel Rodney
R:reel
Z:Larry Sanger from a tape of a tape of a tape...of John Doherty.
Z:In this performance John varied the tune remarkably little, but
Z:played just 2.5 times.
M:4/4
K:A
d|:cA A/A/A eAcd|eaga fedc|dB B/B/B fBde|fefg afed|
cA A/A/A eAcd|eaga fedc|defg abaf|1 e/f/g ae cAAd:|2 e/f/g ae cAAf||
|:e/f/e ce Aece|aAgA fe^de|f/g/f ^df Bfdf|bBaB gBf^d|
e/f/e ce Aece|aAgA fAec|dcde fgaf|1 e/f/g ae cAAf:|2 e/f/g ae cAAd||

                                      

COLONEL ROGERS (Coirnéal Mhac Ruaidhrí). AKA – “Colonel Roger’s Favorite,” “Colonel Rogers Fancy.” AKA and see “The Joys of Youth,” “McKenna’s [1] (Reels).,” “Seán McKenna’s [1].” Irish, Reel. G Major. Standard tuning. AB (most versions); AA’BB’ (Harker/Rafferty). Breathnach (1963) states the second turn of this tune is similar to the turn of Petrie’s No. 154 in his Complete Collection (edited by Stanford). The tune was recorded by flute player John McKenna (1880-1947) in New York for Decca in 1934 (in a medley with “The Happy Days of Youth [1]”), accompanied by Michael Gaffney on banjo; both originally hailed from County Leitrim. In fact the tunes became so associated with the flute player’s name that they have often simply been referred to as “John McKenna’s,” “Seán McKenna’s” or “McKenna’s Reels.” McKenna and Gaffney were fast friends, remembers McKenna’s daughter Catherine, who told Harry Bradshaw and Jackie Small that she could not remember a week that Gaffney was not in her father’s house playing his banjo or rehearsing new numbers with the flutist for recordings, dances, weddings and other events they had booked. “Colonel Rogers” had earlier been recorded by Frank Quinn, a fiddle and accordion player originally from County Longford who became a New York policeman. Sources for notated versions: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; a 1971 recording of flute player Séamus Tansey [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 78, pg. 35. Bulmer & Sharpley (Music from Ireland), vol. 2; 27. Harker (300 Tunes from Mike Rafferty), 2005; No. 73, pg. 23 (appears as “McKenna’s No. 1”). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 13 (appears as “Sean McKenna’s”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 57. Claddagh 4CC 39, “The Pipering of Willie Clancy vol. 2” (1983. Appears as “McKenna’s”). Coleman Center CD CC004, Gregory Daly & Ted McGowan – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Gael-Linn CEFCD 103, Frankie Gavin – “Croch Suas É/Up and Away” (1983. Appears as “McKenna’s”). Larraga TR 1103, Mary Rafferty – “Hand Me Downs” (2002).

See also listing at: 

Alan Ng’s Irishtune.info

X:1

T: Colonel Rogers

S: Liam Og O'Flynn

D: The Piper's Call

M: 4/4

L: 1/8

Z: Transcribed by Dennis J. Gormley 26 March 1999

K: G

(3DEF|G2 dB cAFA|GABc dBcA|G2 dB cAFA|GBAF G3 F|

G2 dB cAFA|GABc defg|afge fdcA|GBAF G2 :|

|:ge|fdde fdcA|dggf g2ag|fdde fdcA|GBAF G2 ge|

 fdde fdcA|dggf g2ag|~f3d ecAF|GBAF G2:|

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

COLONEL SMITH’S LAMENT.  Scottish, Slow Air (4/4 time). D Major. Standard tuning. AB. Composed by the great Scots fiddler J. Scott Skinner (1843-1927). Colonel George Smith Grant came into the Glenlivet distillery at Minmore in 1901, after the death of George Gordon Smith, his uncle. The Smiths detested the fact that some distilleries made their whisky with steam heated boilers. Distillers who employed such a measure should not be allowed to call their product Scotch whisky, he complained to the whisky commission, and received the legal acknowledgement that only he could call his product ‘The Glenlivet,’ although others could use it as a suffix. See also Skinner’s tune “Glenlivet [1].” Skinner (Harp and Claymore), 1904; pg. 148.

X:1

T:Colonel Smith’s Lament

M:C

L:1/8

R:Slow Air

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

A<A ({A}d2) ed f2 | e>df>e ed ({d}B2) | A<A d2 (ed) ({d}f2) | ed Bd ({B/d/}B)A A2 |

A<A ({A}d2) ed f2 | edf>e ed B2 | AA d2 ed f2 | ed Bd BA A2 || A<A ({A}f2) A<A ({A}d2) |

A<A f>d ed ({d}B2) | A<A f2 A<A d2 | ef af ({f}e)d d2 | A<A ({A}f2) A<A ({A}d2) |

A<A a>f ({f}e)d ({d}B2) | A<A ({A}d2) (ed f2) | a>f ({f}e)d ({B/d/}B)A A2 ||

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

COLONEL TAYLOR’S. AKA and see “The Beauty Spot.”

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

COLONEL THORNTON. Scottish, Strathspey; Canadian, Reel. Canada, Cape Breton. A Minor (Athole): A Dorian (Dunlay & Greenberg, Skye). Standard tuning. ABC (Dunlay & Greenberg): AABBCCBB (Athole, Skye). Scottish collections print the tune as a strathspey, with the third part in the lower octave; Cape Breton versions have the third part in the higher octave, and are sometimes played without the middle turn (Dunlay & Greenberg). Thomas Thornton (1747-1823) was a Colonel of the West York Militia, but is remembered as a flamboyant and convivial companion, and a renowned sportsman involved in falconing, horse-racing and hunting. He was also a successful breeder of horses, dogs and falcons. Upon the death of his father Thornton inherited an immense fortune. In the early 1760’s Thornton attended the University of Glasgow, later writing A Sporting Tour through the Northern Parts of England and a great part of the Highlands of Scotland Including remarks on English and Scottish landscapes, and general observations on the state of society and manners (London, 1804) and a similar publication on French sporting. In 1772 he founded The Confederate Hawks of Great Britain (‘the Falconer’s Club’) and in 1790 he purchased the estate of Allerton Mauleverer (Thornville Royal) from the Duke of York. A contemporary account sings his praises:

***

His whole life was devoted to sports of the field. He showed great partiality

for falconry, being determined to bring the sport to the height of perfection but

his sporting interests and abilities were varied. In a walking match, he went four

miles in thirty-two minutes and a half a second. He was able to jump his own

height (5 feet, 9 inches)—in response to a considerable wager. In another match

he jumped over six five-barred gates in six minutes, then repeating the same

feat on horseback. With respect to shooting, either with fowling-piece, rifle or

air-gun, Colonel Thornton has given the most incontestable proofs of the

steadiness of his hand and the wonderful correctness of his sight, not only in

bringing down the game, but also at the mark, in which his precision has never

been surpassed.

***

He married in 1806 Miss Cawson of Essex, who herself had some fortune. Despite this Thornton was forced to remove to France in 1815 due to financial difficulties, but took his sporting life with him. He established a falconer’s club in Paris (primarily devoted to dining, drinking and singing hunting songs), and true to his life, died in March, 1823 after ordering out his hounds with his horse waiting at the door. He was not without his idiosyncrasies and quirks. Thornton was the chief patron of painter Swarey Gilpin (1733-1807), also a sports enthusiast, who produced many paintings of hunt scenes and similar activity. Gilpin’s “The Death of a Fox” was exhibited at the Royal Academy in 1793. Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 49. Gow (Second Collection of Strathspey Reels), 1788; pgs. 14-15. MacDonald (The Skye Collection), 1885; pg. 104. Stewart-Robertson (The Athole Collection), 1884; pg. 67. ACC-4979, Natalie MacMaster - “Road to the Isle” (appears as “Old Traditional Reel”). ATL 0193, Howie MacDonald - “The Ceilidh Trail” (1993. Appears as “The Old King’s”). Rounder 7001, Joe Cormier - “Scottish Violin Music” (1974. Appears as 2nd tune in “Miss Lyle” medley). Sea-Cape Music ACR4-12940, Buddy MacMaster - “Judique on the Floor” (1989. Appears as “Old Traditional Reel”).

X:1

T:Colonel Thornton

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

B,|A,/A,/A, E>A, C3E|B,>G,D>G, E>G,D>G,|A,/A,/A, E>A, C>A,E>C|B,>G,D>B, E2A:|

|:B,|A,<A, A2 E<E A2|G>ED>G B,<G, D>B,|A,<A, A2 E<E A2|GEFD E2A,:|

|:E|C/B,/A, E>A, C/B,/A, E>A,|B,/A,/G, D>G, EG,DG,|C/B,/A, E>G, C/B,/A, E>A,:|

|:B,|A,<A, A2 EE A2|G>ED>G B,<G, D>B,|A,<A, A2 E<E A2|G>EF>D E2A,:|

X:2
T:Colonel Thornton
S:Sandy MacIntyre
Z:abc transcription wil macaulay wil@syndesis.com
Z:http://www.interlog.com/~torocelt/tuneofthemonth.html
A:Cape Breton
R:Reel
M:C|
L:1/8
K:ADor
A| E(A,A,B,) C2 CE | DCB,D ECDB, | E(A,A,B,) C/C/C CE | DB,GB, (G,A,) A,:|
B,| (G,A,)A,A EA,EA | GEDG B,G,G,B, | (G,A,)A,A EA,EA| GEDB, A,/A,/A, A,B,|
 (G,A,)A,A GAAE | GEDC B,DDA | E(A,A,B,) C/C/C CE | DB,GB, (G,A,) A,||
B,| A,aag {ab}agea | gedg BAGB| Aaab {ab}ageg | dBgB A2 AB  |
Aaab {ab}ageb | gedg BAGB | cBAB cdec | dBgB A2A||

                       


COLONEL W. MARSHALL OF THE 79th REGIMENT OF FOOT. Scottish, Strathspey. C Major. Standard tuning. AB. Composed by William Marshall (1748-1833). The Colonel Marshall referred to in the title was Marshall's third (and only surviving) son, also named William, who served in the Napoleonic Wars and lost his right arm at the battle of Quatre Bras, just prior to Waterloo. He retired to live in the house built by his father, Newfield and was remembered as a popular figure in the district of Aberlour/Craigellachie in his later years (Cowie, The Life and Times of William Marshall, 1999). It was he who honored his father with a gravestone in Bellie Cemetery, Fochabers. The Colonel’s regiment, the 79th Regiment of Foot was also known as The Queen's Own Cameron Highlanders, and although a Scottish regiment it usually had a number of Englishman in it at any one time (Farwell, 1981). Marshall, Fiddlecase Edition, 1978; 1845 Collection; pg. 14.

X:1

T:Colonel W. Marshall of the 79th Regiment of Foot

M:C

L:1/8

R:Strathspey

S:Marshall1845 Collection

Z:AK/Fiddler’s Companion

K:C

E/F/|G>A G<E G>AGE|c>d e/d/c/B/ A/G/F/E/ (DE/F/)|G>A G<E G>A G<f|

E<c g>e d2 c||e/f/|g>a g<e g>a g<e|(fg/a/) (a/g/)f/e/ fdd(e/f/)|g>a g<e c>d c>G|

(A<a) (g>f) e2 de/f/|g>a g<e g>a g<e|(fg/a/) (a/g/)f/e/ fdd(e/f/)|c>d c<G A>c (B/A/)(G/F/)|E>G c/e/g/e/ d2c||

                       

COLONEL WEMYSS [1]. Scottish, Reel. F Major. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 233.

X:1

T:Colonel Wemyss

L:1/8

M:C|

R:Reel

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

Z:AK/Fiddler’s Companion

K:F

C|F2 AF ABcf|AFcF EGGA|F2 AF ABcA|dfeg ~fFF:|

g|a/g/f/e/ fc ABcf|AFcF EGGg|fefc ABcA|dfeg fFFg|

afge fdcB|AFcF EGGB|AfcF Bcde|fcdB AFF||

 

COLONEL WEMYS' REEL [2]. Irish, Reel. G Major. Standard tuning. ABC. A different tune than #1 of the same title. O'Neill (O’Neill’s Irish Music), 1915; No. 296, pg. 148.

X:1

T:Col. Wemys’ Reel [2]

M:4/4

L:1/8

R:Reel

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

g2 dc B2 AG | FGAB cAAf | gfgd cBAG | DGAc BGGz | g2 dc B2 AG | FGAB cAAf |

gfgd cBAG | DGAc BG G2 || B | (DG)(BG) (DG)(BG) | (DG)(BG) cAAB | (DG)(BG) (DG)(BG) |

(DG)(Ac) BGGB | DGBG DGBG | DGBG cAAc | Bdef gedc | BdAc BG G || g |

efge fgab | gfge fdde | efge fgag | fefd g2 Bd | efge dBgB | ceBd AFED | GABG EGce | dBcA G2z2 ||

                                      

COLORED ARISTOCRACY. AKA and see "Southern Aristocracy." Old‑Time, Breakdown. USA, West Virginia. G Major. Standard tuning. AB (Silberberg): AA'BB' (Brody). This late 19th century or c. 1900 tune is more correctly categorized as a cakewalk (which suggests ragtime from its syncopated rhythms) rather than a fiddle tune though the popularized version apparently comes from old-time fiddler Sanford Rich, a resident of Arthurdale, West Virginia in August of 1936.  Arthurdale, according to Kerry Blech and Gerald Milnes, was a resettlement camp for displaced persons during the depression, a project of  Elanor Roosevelt’s, and it was there at a festival of folk heritage that musicologist Charles Seeger (father of New Lost City Ramblers member Mike Seeger) recorded the Rich Family for the Library of Congress (AFS 3306 B2). Gerald Milnes has located Sanford’s son, Elmer Rich, an elderly man who still fiddles and who remembers the event. Mike Seegar learned the tune at a young age by playing the aluminum recordings in his parent’s house. It became one of the first tunes recorded by his group the New Lost City Ramblers in the early 1960’s, and introduced the song to “revival” era fiddlers.

***

The second chord in the accompaniment has been variously played as both an E minor and an E major. The origin of the title remained obscure, although it was speculated that it derived from Reconstruction sentiments (or resentments) about the perceived attitude (either within or without the black community) of some African-Americans (i.e. that “Colored Aristocracy” was a gentrification of “Uppity N....r”). However, Peter Shenkin tracked the title to a piece of sheet music from a 1902 revue entitled “In Dahomey,” which starred the famous African-American vaudeville duo Williams and Waltker. The music (entitled “Leader of the Colored Aristocracy”) is credited to Will Marion Cook, words by James Weldon Johnson (later of Harlem Renaissance fame), published by Harry Von Tilzer. Another “Coloered Aristocarcy” dates from 1899 credited to one Gus W. Bernard (published by the Groene Co.); it is listed as a “Cake-walk” on the cover. Neither the Bernard tune or the one published by Tilzer is the “Colored Aristocracy” played by fiddlers, however. Bob Buckingham reports that a fiddling preacher of his aquaintance named Buck Rife (originally from the Beckley WV area) calls the tune "The Young Man Who Wouldn't Hoe Corn" and gave that he had it as a youngster learning clawhammer banjo from an uncle. Brody (Fiddler’s Fakebook), 1983; pg. 72. Phillips (Fiddlecase Tunebook), 1989; pg. 11. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 33. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 25. Columbia GP18, Taj Mahal ‑ "De Old Folds at Home." Folkways FA 2396, New Lost City Ramblers‑ "vol. 1." Folkways 2494, New Lost City Ramblers ‑ "Sing Songs of the New Lost City Ramblers" (1978. Learned from a Library of Congress recording of the Riche Brothers at the 1936 Athurdale, W.Va. fiddler's Convention). Fretless FR 200A, Yankee Ingenuity ‑ "Kitchen Junket" (1977). Front Hall FHR‑01, Bill Spence & Fennig's All Stars ‑ "The Hammered Dulcimer." Rounder 0002, Spark Gap Wonder Boys‑ "Cluck Old Hen." Rounder 0075, Richard Greene‑ "Duets." Smithsonian/Folkways  SF CD 40098, New Lost City Ramblers – "There Ain't no Way Out" (learned from the Library of Congress field recording of Sanford Rich).

X:1

T:Colored Aristocracy

M:C

L:1/8

R:Cakewalk or March

Z:AK/Fiddler’s Companion

K:E Minor

D2E2F2 | G3A GED2 | G6A2 | B2Bc BAG2 | E8 | e3f gfe2 | d3e d2B2 | A2B2c2^c2 |

d2D2E2F2 | G3A GED2 | G6A2 | B2Bc BAG2 | E6 e2 | e3f gfe2 | d^cde d2B2 |

BAB(d d)B A2 | G6 || e2 | g3a ged2 | e8 | e2eg e2d2 | B8 | c2cd e2 dc | BABc d2 B2 |

A2B2c2^c2 | d2^d2e2f2 | g3a ged2 | e8 | e2eg e2d2 | B8 | c2cd e2dc | BABc d2B2 |

BAB(d d)BA2 | G6 ||

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

COLOSSEUM, THE. AKA and see “Coliseum,” "Kay's Hornpipe," “Pet of the House.” Scottish, Irish; Hornpipe. A Major. Standard tuning. AB (Kerr): AABB (Honeyman). See also note for “Once Upon my Cheek.” Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 44. Howe (1000 Jigs and Reels), c. 1867; pg. 60. Kerr (Merry Melodies), vol. 1; No. 4, pg. 42.

X:1

T:Colosseum, The

T:Kay’s Hornpipe

M:C

L:1/8

R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor     (1898)

Z:AK/Fiddler’s Companion

K:A

E2|A2 A2 A>cB>d|c2 c2 c>ed>f|e>ag>f e>dc>B|A>ce>^d f>e=d>B|

A2 A2 A>cB>d|c2 c2 c>ed>f|e>ag>f (3efe (3dcB|A2 a2 A2:|

|:e>d|c>ea>e c>ea>e|d>fa>f d>fa>f|e>gb>g e>gb>g|a>gb>a g>fe>d|

c>ea>e c>ea>e|d>fa>f d>fa>f|e>gb>g d>gb>g|a2 (a2 a2):|

                                      

COLPIE'S HORNPIPE [1]. English, Hornpipe. England, Northumberland. B Flat Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 247.

 

COLPIE'S HORNPIPE [2]. English, Hornpipe. England, Northumberland. B Flat Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 248.

                                      

COLQUHALZIE/COLYNHALZIE FIR TREES. Scottish, Strathspey. G Major. Standard tuning. AB. Composed by James Stewart-Robertson, editor of  The Athole Collection. Kerr (Merry Melodies), vol. 3; No. 39, pg. 7. Stewart-Robertson (The Athole Collection", 1884; pg. 181.

X:1

T:Colquhalzie Fir Trees

M:C

L:1/8

R:Strathspey

C:James Stewart-Robertson

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

Z:AK/Fiddler’s Companion

K:G

B|G>AB>g d<B B>g|d>Bg>B d<B B>g|G>AB>g d<B B>g|a>fg>B A/A/A A>B|

G>AB>g d<B B>g|d>Bg>B d<B B>d|e<g d>B e>dB>g|a>fg>B A/A/A (A||B)|

G/G/G B>c d<B B>d|g>ed>B A/A/A A>B|G/G/G B>c d<B B>g|

a/g/f/e/ g>e d<B B>d|e>fg>e d<b g>d|e<gd>B A/A/A A||

                       

COLUMBIA HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. There has been a suggestion the tunes with names such as this may have been named after 19th century engineering feats. There was, for example a famous Columbian Exposition, and a 19th century packet ship called the Columbia, although what connection these might have with the tune, if any, is unknown. The most famous American Columbia, however, was a square-rigger that became the first American sailing ship to navigate the globe, returning to her home port of Boston on August, 10, 1790, having originally set sail in 1787. While on the voyage the Columbia paid visit to the barely explored Pacific Northwest, and there discovered a river that her captain, Robert Grey, named after the ship. Cole (1000 Fiddle Tunes), 1940; pg. 107. Ryan’s Mammoth Collection, 1883; pg. 144.

X:1

T:Columbia Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A/>B/A/>^G/ A/>B/A/>G/ | A/>d/.f d/>f/.a | =g/>a/g/>f/ e/>f/e/>d/ | c/>d/c/>B/ A/>G/F/>G/ |

A/>B/A/>&G/ A/>G/A/>G/ | A/>d/.f d/>f/.a | g/>f/e/>d/ c/>A/B/>c/ | dfd z :|

|: e/>d/c/>B/ A/>B/c/>A/ | d/>e/f/>g/ a/>b/c’/>d’/ | e’/>d’/c’/>b/ a/>g/f/>e/ | f/>g/a/>b/ a/>c/d/>^d/ |

e/>d/c/>B/ A/>B/c/>A/ | d/>e/f/>g/ a/>b/c’/>d’/ | e’/>d’/c’/>b/ a/>g/f/>e/ | dfd z :|

                       

COLUMBIA JIG. Irish, Jig. B Dorian. Standard tuning. AA’BB’. Composed by Chicago fiddler Liz Carroll, who may originally have set it in A Minor. The tune is named for Columbia, Missouri.

X:1

T:Columbia Jig, The
M:6/8
L:1/8
C:Liz Carroll
R:Jig
K:BDor
A||:BBB dcB|BcB BAF|AFB ABc|dfd ecA|!
BFF AFF|dBB BAc|dfd ecA|1 dAc B2 A:|2 dAc B2 b ||!
~a3 geg|eAc B2 d|cAc dBd|cAc B2 a|!
bBB aBB|gBB fec|A/A/AA cdf|1 edc B2 b:|2 edc B2 A||!
"B part variation"
||:~a3 geg|eAc B2 d|cec dfd|cAc B2 a|!
bBB aBB|gBB fec|A/A/AA cdf|1 edc B2 b:|2 edc B2 A||!

X:2

T: Columbia Jig, The
M: 6/8
L: 1/8
R: Reel
K: Ador
C: Liz Carroll
S: Dan Leonard
E | ~A3 cBA | ABA AGE | GAG GAB | cec dBG |!
AEE GEE | cAB AGB | cec dBG| cAB A2 :|!
a | ~g3 fdf | eAB A2c | BGB cdc | BGB A2A |!
aAA gAA | fEEeEE | ~G3 Bde| dcB A2f ||!
~g3 fdf | eAB A2c | B/A/GB cdc | BGB ~A3 |!
aAA gAA | fEE eEE | ~G3 Bde|  dcB A2 ||

 

COLUMBUS COTILLION.  American, Printed c. 1792. A precursor to the play-party song “Going to Boston,” and the old-time tune “Goodbye Girls, I’m Going to Boston.”

 

COLÚN NELSON. AKA and see “Nelson’s Pillar.”

                       

COLÚR AR AN nGEATA, AN. AKA and see "The Pigeon on the Gate."


                       

COLÚR GLAS, AN.  AKA and see “The Green Pigeon.”

 

COLVILLE'S RANT. Canadian, Reel. Canada, Cape Breton. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.