The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

COM - COMP

[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] 

COM SEAN LEIS NA CNOCAIB. AKA and see "Old as the Hills."

                       

COMA LEAM FEIN A' MINISTEAR. AKA and see "What Care I for the Minister?"

                       

COMACD'S TUILE LE DO UILLEANN. AKA and see "More Power to Your Elbow."

                       

COMB YOUR HAIR AND CURL IT (Cior Do Gruaig Agus Case E). AKA and see “Coleman’s (Slip Jig) [2],” “Mount the Hair and Curl it.”  Irish, Slip Jig. E Minor. Standard tuning. AB (O'Neill): AAB (Tubridy): AABB (Miller & Perron, Williamson). The melody was recorded by famed County Sligo fiddler Michael Coleman (1891-1945) in New York in 1925 as the second tune paired with “The Foxhunters.” It appears in Bulmer & Sharpley (Music from Ireland, 1974, vol. 3, No. 78) as “Coleman’s 2.” S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 5. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 24. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 44. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 447, pg. 87. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 42. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 2; 11. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 85. Intrepid Records ‑ Michael Coleman. Claddagh Records CC2, The Chieftains.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Comb Your Hair and Curl It

M:9/8

L:1/8

R:Slip Jig

Z:AK/Fiddler’s Companion

K:E Dorian

B2E E2F G2A|B2e eBe dBA|B2E E2F G2A|BcB A2G FED:|

g2e efe e2f|g3 efg afd|g2e efe e2c|d2B ABG FED|

g2e efe e2f|g3 efg afd|g3 afd g2e|d2B ABG FED||

                                      

COMBINATION RAG. Old‑Time, Country Rag. Fashioned by the East Texas Serenaders from bits of other rag tunes. Recorded by Serenaders fiddler Daniel Wiliams for Columbia in 1927. County 410, "The East Texas Serenaders, 1927‑1936."

                                      

COMBINED EFFORT. Canadian, Jig. Canada, Cape Breton. G Dorian. Standard tuning. AAB. Composed by Jerry Holland (Inverness, Cape Breton) and editor/fiddler Paul Stewart Cranford (Little River, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 276, pg. 79.

                                      

COMBS, THE. See notes for "The Kitchen Comb," "Jacksons' Combs."

                                      

COME AGEN YE'RE WELCOME. AKA and see "You're Welcome Charlie Stewart." Shetland, Shetland Reel. Shetland, Unst. G Major. Standard tuning. AA'BB'. Source for notated version: J.J. Stickle (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 23. Topic 12TS379, "Shetland Folk Fiddling, vol. 2" (1978).

                                      

COME ALL YE FAIR MAIDENS. Irish, Air (6/8 time). G Major. Standard tuning. One part. O’Neill (1913) points out this is an example of the class of tunes facetiously termed “Come, all ye...” on account of the comparatively large number of songs which began with those words in British Isles tradition. Source for notated version: "Ned Goggin the professional fiddler of Glenosheen Co. Limerick (1844 to 1850)" {Joyce}.

***

Come all ye fair maidens, take warning by me,

And never look up to the top of a tree;

For the leaves they will wither and the roots they will die;

And my love has forsak'n me, and sorry am I,

My dear, and sorry am I. (Joyce)

***

Joyce (Old Irish Folk Music and Song), 1909; No. 167, pg. 84.

                       

COME ALL YOU GOOD FELLOWS. AKA and see "Bounce Upon Bess," “Kissing and Drinking," "Larry O Lashem," "Paddy's Trip from Dublin," "The Parson in/on his Boots," "The Priest and/in his Boots [1],” “Rocking the Cradle [2],” "Sagart na mBuataisi," “There are sounds of mirth," "The Tivoli."

                       

COME ALL YOU MAIDS WHERE’ER YOU BE. Irish, Air (4/4 time). A Minor. Standard tuning. One part. Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 456, pg. 115.

X:1

T:Come all you maids where’er you be

M:C

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 456

Z:AK/Fiddler’s Companion

K:A Minor

cB | A2E2 GE DE | G2G2G2 cd | e2e2d2e2 | c4 E2 cd | e2e2d2e2 |

A2 AG E2 DE | G2G2G2 AB | c4 B2 cB | A2 AG ED E^G | A4 z ||

                       

COME ALL Y’UNITED IRISHMEN, AND LISTEN UNTO ME [1]. Irish, Air (6/8 time). G Minor. Standard tuning. One part. The United Irishmen led the rising of 1798. Source for notated version: “(The Irish collector) Mr. Joyce, from Joseph Martin and Peggy Cudmore” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 463, pg. 117.

X:1

T:Come all y’united-Irishmen, and listen unto me [1]

M:6/8
L:1/8

R:Air

N:”Allegretto”

S:Stanford/Petrie (1905), No. 463

Z:AK/Fiddler’s Companion

K:G Minor

d/c/ | B2G A2F | G2F D2C | D=EF G2G | G3 G2F | G2G B2c | d2c f2d |

c2A F2A | (B3B2)A | G2G B2c | d2c f2d | c2A FGA | (B3B2) d/c/ |

B2G A2F | G2F D2C | DEF G2G | G3 G2 ||

 

COME ALL UNITED IRISHMEN AND LISTEN UNTO ME [2]. Irish, Air (4/4 time). F Mixolydian. Standard tuning. AB. Source for notated version: “Set by Mr. Joyce from Joseph Martin” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 464, pg. 117.

X:1

T:Come all united Irishmen and listen unto me [2]

M:C
L:1/8

R:Air

N:”Con spirito”

S:Stanford/Petrie (1905), No. 463

Z:AK/Fiddler’s Companion

K:F

c>B | A2A2 AG FA | c2c2 _e>d c=e | f2A2 A>G FA | B4 c2 c>B | A2A2 A>G FA |

c3 d _e>d ce | d>c AF G3F | (F4 F2) || cd | _e>d c/A/G A2 cd | _e d/c/A f2A2 |

~B4 {c/d/}c2 c>B | A2A2 A>G FA | c3 d _ed ce | dc AF {A}G3F | F4 F2 ||

                                      

COME AGAIN YOU'RE WELCOME. AKA and see "Come Agen Ye're Welcome."

                                      

COME ALONG AND KEEP YOUR PROMISE (Teann a nall is cum do ghealladh). Scottish, Strathspey. C Minor. Standard tuning. AB. This tune "is an air to which the editor has heard his father sing several good verses, but is infinitely better as a dancing tune, and forms an exquisite medley with No. 145 ("I'll Kiss the Bonny Lassie, Oh!"), which follows it" (Fraser). The title perhaps references a promise to “come out” for the 1745 rebellion. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 144, pg. 58. Stewart-Robertson (The Athole Collection), 1884; pg. 267.

X:1

T:Come Along and Keep Your Promise

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:E_

e|B<G G>F E/F/G/A/ B>G|B<G G>F G<B c2|B<G G>F E/F/G/A/ B>F|

G<c e>c d>^B c2|B<G G>F E/F/G/A/ B<G|B<G G>F G<B c2|B<G G>F E/F/G/A/ B>A|

G>FE>g f>d c||g|e>g f<d g<c B<G|e<gf<d b<d c2|e>g f<d g<c B<G|B<G G>F G>=B c2|

e>g f<d g<c B>G|e<gf<d b<d c2|g<bf<g e>cB>A|G>F E<g f>d c2||

                                      

COME ALONG JOHN. AKA and see “Johnny Walk Along with Your Paper Collar On,” “Walk Along John [1].” American, Breakdown. USA, Arizona. G Major. Standard tuning. AAB. Ruth (Pioneer Western Folk Tunes), 1948; No. 89, pg. 32.

X:1

T:Come Along John

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:G

D|:G>GAd|B/d/A/d/ B/GD/|G>GAd|B/G/A/F/ G>D:|

e2{(f/)e2)|f/e/d/f/ e/d/B/A/|d<d f/ed/|B/G/A/F/ Gd|

e2{(f/)e2)|g/f/e/g/ f/e/d/B/|d<e f/ed/|B/G/A/F/ G2||

                                      

COME ALONG WITH ME [1] (Tar Liomsa). Irish, Air (2/4 time, "with force"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 343, pg. 59.

X:1

T:Come Along with Me [1]

M:2/4

L:1/8

R:Air

S:”With force”

S:O’Neill – Music of Ireland (1903), No. 343

Z:AK/Fiddler’s Companion

K:G

D|G2 A>F|G2 A>c|d2 c>A|G>F D>F|G2 A>F|G2 (3ABc|d2 e>c|(d2d)||B/c/|

d2 f>d|G2 d>c|B2 c>A|G>F D>F|G2 A>F|G2 (3ABc|d2 c>A|(G2 G2)||

 

COME ALONG WITH ME [2]. AKA and see "Fahy's Jig [1],” “The Green Forest." Irish, Double Jig. G Major. Standard tuning. AABB. A version was printed in Martin Mulvihill’s collection as “The Green Forest.” Source for notated version: accordion player Finbar Dwyer [Breathnach]. Breathnach (CRÉ III), 1985; No. 24, pg. 12. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 337, pg. 70.

X:1

T:Come Along with Me [2]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 337

Z:AK/Fiddler’s Companion

K:G

g|dBG GFG|GBd efg|dBG GBd|ecA ABc|dBG EFG|DGB ABc|dec BcA|BGG G2:|

|:B|gfg GBd|gbg afd|gfg GBd|ecA A2d|gfe ded|cBc ABc|dec BcA|BGG G2:|

 

COME ASHORE. See "Come Ashore, Jolly Tar, with Your Trousers/Trowsers On."

                       


COME ASHORE, JOLLY TAR, WITH YOUR TROUSERS/TROWSERS ON. AKA and see "The Cuckoo," "Cuckoo's Nest [14]," "Come Ashore," "The Trousers On," "Jacky Tar," "An Spealadoir," "The Reaper," "I do confess thou art sae fair." Scottish, Reel. E Minor: D Minor (Kidson). Standard tuning. AB: AABBCC (Kidson). A large tune family that includes versions well-known under the “Cuckoo” or “Cuckoo’s Nest” titles. The tune was published twice by late 18th century Glasgow publisher James Aird (in his A Selection of English, Irish, and Foreign Airs, adapted for the Fife, Violin and German Flute, vol. I, c. 1775 or 1776, which includes a fourth part), probably because of its association with the popular stage character dance 'The Sailor's Hornpipe', which Emmerson (1971) says was referred to as 'Jacky Tar' in that city's dancing schools of the time. The rather strange title may refer to the renowned sexual appetites of sailors released to port after a long voyage. Many captains refused shore leave when in port to prevent desertions, and instead ferried out boatloads of ‘companions’ for shipboard recreation. The tune also appears in the Gillespie Manuscript of Perth (1768). Of interest may be Cruickshank’s drawing of  “Tars Carousing,” from one of Dibdin’s song folios.

***

The melody also appears in a numerous British musicians’ music manuscript copybooks, including those of Lawrence Leadley (Helperby, Yorkshire, c. 1840’s), George Spencer (Leeds, West Yorkshire, 1831), John Clare (Helpstone, Northants, c. 1820), William Vickers (Northumberland, 1770), James Winder (Wyresdale, Lancashire, 1835), John Fife (Perthshire, Scotland, c.1780), and the Rev. Robert Harrison (Brampton, Cumbria, 1820). It does not appear to have been exported to America under the “Come Ashore…title,” at least as evidenced by the absence of the title in American musicians’ manuscript copybooks. See note for "Cuckoo's Nest" for more. Aird (Selection), vol I, 1782; No. 190. Callaghan (Hardcore English), 2007; pg. 16. Kidson (Old English Country Dances), 1890; pg. 15 (from a MS. dated "Falkirk, 1824").

X: 1
T:Come Ashore Jolly Tar with your Trousers On

T:Jacky Tar

T:Cuckoo’s Nest
M:4/4
L:1/8
C:As played by John Adams
S:18th C London Stage Hornpipe
A:England
H:18th C London Stage Hornpipe
Z:John Adams
K:G
BA | GFGE g2 fe | dBGB d2 cB | AGFE D2 d^c | d2 A2 A2 BA | GFGE g2 fe
| dBGB d2 cB | AGFE DEFA |1G2 E2 E2:|2 G2 E2 E4||: e2 ef g2 fe | d2 B2
B3 B |  ABde faef | d2 A2 A2 Bd | e2 ef g2 fe | dBGB d2 cB | AGFE DEFA
|1 G 2 E2 E4 :|2 G2E2 E2 GA |: BGEG BAGF | E6 FG| AFDF AFDF | AGFE D2
EF | GF GE g2 fe | dBGB d2 cB | AGFE DEFA |1G2 E2 E2 EG :|2 G2 E2 E2 ||

X:2

T:Come Ashore, Jolly Tar, Your Trousers On

M:C

L:1/8

R:Hornpipe

S:Frank Kidson – Old English Country Dances (1890)

Z:AK/Fiddler’s Companion

K:F

AG|FEFD f2 ed|cAFA c2 BA|GFED C2 cB|c2 G4 AG|

FEFD f2 ed|cAFA c2 BA|GFED C2 EG|F2D2D2:|

|:Ac|d2e2f2 ed|c2A2 A3c|GAcd egde|c2G2G2 AG|
FEFD f2 ed|cAFD c2 BA|GFED C2 EG|F2D2D2:|
|:FG|AFDF AGFE|D4 z2 EF|GECE cEDE|GFED C2 Ac|

dcde f2 ed|cAFA c2 BA|GFED C2 EG|F2D2D2:|

                       

COME AWA' IN. Shetland, Reel. G Major. Standard tuning. AABB. Composed by Shetland fiddler, composer, teacher and collector Tom Anderson (1980). Anderson (Ringing Strings), 1983; pg. 76.

                       

COME BACK BOYS, LETS FEED THE HORSES. Old-Time, Breadown. A Major. AEae tuning. Kerry Blech sees some possible similarity to Edn Hammons’ “Let's Hunt the Horses.” The tune is known as a West Virginia tune (some times attributed to a member of the Hammons’ family, although this cannot be verified), and has been popularized in recent times by Jimmy Tripplet and Gerry Milnes. Dwight Diller also has a version.

                       

COME BACK TO ERIN (Tar Ar Ais Go Eirinn). Irish, Slow Air (4/4 time). D Major (Roche): C Major (O'Neill). Standard tuning. AB. Composed by Claribel (Roche). O’Neill gives credit to collaborator and fiddler James O’Neill for the version he prints in Music of Ireland. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). While mostly traditional in his repertoire, Goodman regularly played several novelty or ‘popular’ tunes. Source for notated version: Chicago Police Sergeant James O’Neill, a fidder originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 194, pg. 34. Roche Collection, 1982; vol. 1, pg. 32, No. 68.

X:1

T:Come Back to Erin

M:4/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 194

Z:AK/Fiddler’s Companion

K:C

G2 c>B c2 ^F>G|B2 A>F A2 G2|E2 F>G A3 A|A2 d>c Bc/B/ A_A|G2 c>B c2 ^F>G|

B2 A>F A2 {B/A/}G2|E2 F>G A2 B>c|d2 AB c3 z||E2 c>B A2 ^D>E|F2 E>D D2 C2|B,2 B>A G2 ^F>E|

G2 ^F>F E3 z|E2 {d}c>B A2 ^D>E|F2 E>^G B2 A2|c2 A>^F d2 BG|D^DE^F G3F||

                       

COME BY THE HILLS. AKA and see “Buachaill ó’n Éirne.”

                       

COME (LET US) DANCE AND SING. AKA and see "La Belle Catharine [1]," "Inkle and Yarico [1]." English, Scottish, New England; Reel and Country Dance Tune. England, Dorset. D Major. Standard tuning. AB (Kerr): AABB (Brody, Kennedy, Miller & Perron, Raven): AABA (Trim). The title “Come Let Us Dance and Sing” is the name of a song set to the popular country dance air “La Belle Catharine.” Bayard (1981) dates the tune from the 18th century, and says it has been a much‑favored tune of fifers. Jim Taylor (1996) notes that it was played by fifers in the early 19th century and in the American Civil War. Carlin (1977) speculates (without discernable evidence) that the tune may be related to a Shaker hymn bearing the same name. In fact, as “La Belle Catharine” it was published in Preston’s New Istruction for the German Flute (London, 1780), predating the Shakers, and was a favorite country dance in England and the Post-Revolutionary United States. In modern times the melody has been a staple of northern (United States) contra-dance repertoire. Charles Waterton, in his book Wanderings in South America, etc. (1879), visited the Caribbean island of Barbados around 1820 and heard a variant of the song there, which went:

***

Come let us dance and sing,

While Barbadoes [sic] bells to ring;

Quashi scrapes the fiddle-string,

And Venus plays the lute.

***

See note for “Inkle and Yarico” for more. Source for notated version: Fennig's All Stars (New York) [Brody, Carlin]. Brody (Fiddler’s Fakebook), 1983; pg. 72. Carlin (English Concertina), 1977; pg. 38. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 22. Kerr (Merry Melodies), vol. 1; No. 21, pg. 29. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 74. Raven (English Country Dance Tunes), 1984; pg. 145. Trim (Thomas Hardy), 1990; No. 86 (appears as "La Belle Catharine"). Adelphi 2004, Delaware Water Gap‑ "String Band Music." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996).

X:1

T:Come Dance and Sing

L:1/8

M:C|

K:D

|:A2|d2 cd e2 de|f2d2 de dc|B2e2 ef ed|c2A2A2(3ABc|

d2 cd e2 de|f2d2 de dc|B2e2 dc Bc|d4d2:|

|:AG|F2A2 AB AG|F2A2A3G|F2A2d2f2|ed cB A2AG|

F2A2 AB AG|F2A2A2 Bc|d2d2 fefg|a2A2A2:|

                       

COME DOWN AND LET ME IN. AKA and see "The Top of the Morning."

                                      

COME FOLLOW (FOLLOW ME). AKA and see "The Spanish Gipsy." The air appears under this title, taken from the first line of several ballads to the tune, in the ballad opera The Fashionable Lady (1730).

                       

COME FROM THE DEVIL AND SHAKE YOURSELF. AKA and see "Go to the Devil and Shake Yourself [1]," "When sick is it tea you want? [1]," "The Penniless Traveller," "The Irish Newsman."

                       

COME FY, LET'S A' TO THE BRIDAL. AKA and see “Blithesome Bridal,” “Bremner and the kirk would let me be,” “Blythesome bridal,” “Come fy let's a' to the bridal,” “Come Let's A’ to the Bridal.” “Come to the Bridal,” “I’m the Boy for Bewitching Them,” “Let us waa to the wedding.” “The Jolly Pedler’s [4],” “Silly Old Man [2].”  Scottish, Jig (9/8 time). A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 232, pg. 26.

X:1

T:Come Fy, Lets a’ to the Bridal

L:1/8

M:9/8

K:A

A2A A2f ecA|B2B Bce (f2a)|A2A A2f ecA|B2B cBc F3:|

|:a2a aba gfe|c2e efc efg|a2a aba gfe|c2f fg^e f3:|

                       

COME GET ME. AKA and see "Viens m' Chercher."

                       


COME GET YOUR NUBBIN. 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. It is perhaps related to Jesse Wallace’s “Nubbin,” although no evidence exists to ascertain it.

                       

COME HAP ME WITH THY PETTICOAT. Scottish, English; Air or Reel. England, Yorkshire. G Major. Standard tuning. AAB. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. McGibbon (Scots Tunes, book II), c. 1746; pg. 42. McGlashan (Collection of Scots Measures), 177?; pg. 9. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 121, pg. 64.

X:1

T:Come hap me with thy Peticoat (sic)

M:C|

L:1/8

R:Reel

B:McGlashan – Collection of Scots Measures (177?)

Z:AK/Fiddler’s Companion

K:G

g|dBAG EDEG|d>edB d3g|dBAG G>ABd|e>ged e3g|dBAG E>DEG|

d>gdB d3g|dBA>B G>ABd|e>ged e3||g|d>ega g/a/b ag|d>edB d3e|

d>ega g/a/b ag|e>ba>g e3g|d>ega g/a/b ag|d/g/f/e/ d/c/B/c/ d3g|

e/d/c/B/ c/B/A/B/ G/F/G/A/ B/A/B/d/|e/d/e/f/ g/f/e/^d/ e3||

X:2

T:Come hap me with thy Petticoat

M:C|

L:1/8

N:”Brisk”

S:McGibbon – Scots Tunes, book II, pg. 42  (c. 1746)

Z:AK/Fiddler’s Companion

K:G

g3 | d3B “tr”A3G | E3DE2G2 | d4 d3B | d6g2 | d3B”tr”A3G | “tr”E3D E2G2 |

e4”tr”e3d | e6 :: g2 | d3e g3a | (gab2) “tr”(a3g) | d3ed2B2 | d6g2 | d2e2g2a2 |

(gab2) “tr”(a3g) | e3b “tr”a3g | e6g2 | d3eg3a | (gab2) “tr”a3g | d3ed2B2 | d6g2 |

(ed)(cB) (cB)(AG) | “tr”E3D E2G2 | e6”tr”e3d | e6 :: g2 | (ded)B c(BAG) | (EG)(DG) E2G2 |

(dBd)e (ded)B | d6g2 | (ed)(cB) (cB)(AG) | EGED E2G2 | (ede)g (eg)(ed) |

e6 :: g2 | (dBd)e (deg)a | (g3a/b/) “tr”(a3g | d(gfe) (dcB)c | d6e2 | d2(ef) (gfg)a |

(g3a/b/) “tr”a3g | e3b (aba)g | “tr”e6g2 | (dBd)e (deg)a | g3(a/b/) “tr”a3g |

d(gfe) d(cBc) | d6g2 | (ed)(cB) (dB)(AG) | EGDG “tr”(EDE)G | e3g (ege)d | e6 :|

                       

COME HASTE TO THE WEDDING. AKA and see "Haste to the Wedding." Irish, Jig. D Major. Standard tuning. AABB. "The tune 'Come, Haste to the Wedding', of Gaelic origin, was introduced in the pantomime 'The Elopement' in 1767. This version is known as the Manx tune and was printed by the Percy society in 1846. It is the basis for the Manx ballad, 'The Capture of Carrickfergusby,' written by Thurot in 1760 (Linscott)." One of the tunes associated with the dance "Lady in the Lake" in N.H./ Widely known in the USA: in the repertory of Buffalo Valley, Pa., dance fiddler Harry Daddario. Sources for notated versions: Smith Paine (Wolfboro, N.H.) [Linscott]; Joshua Cushing, The Fifer’s Companion (Salem, Mass., 1804) [Mattson & Walz]. Linscott (Folk Music of Old New England), 1939; pg. 87. Mattson & Walz (Old Fort Snelling), 1974; pg. 57. Sweet (Fifer’s Delight), 1964/1981; pg. 24.

                                      

COME HERE SON. Old‑Time, Breakdown & Song Tune. USA, Georgia. A Major. Standard tuning. AAB. Source for notated version: Curly Fox (Ga.). Maloy, The Devil's Box, #27, Dec. 1, 1974; pgs. 22‑23. King Records KLP 562, Curly Fox (Ga.) {1947}.

                       

COME IF YOU CAN.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody appeared first in print in London publisher John Hinton’s Universal Magazine of Knowledge and Pleasure, 2:32, 1758. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 3.

X:1

T:Come if you can

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

DF/A/ DF/A/|A/F/D/F/ E/C/B,/A,/|DF/A/ d/f/e/d/|c/A/E/^G/ AA,:|

|:Ac/e/ g/e/c/A/|Ad/f/ a/f/d/A/|FA/d/f/ E/G/c/g/|f/d/A/c/ dD:||

 

COME IN FROM THE RAIN ("Tar Astac On Baisdead" or "Taristeac On Baisteac"). Irish, Single Jig. E Aeolian. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 204, pg. 110. O'Neill (Krassen), 1976; pg. 71. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1104, pg. 208. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 397, pg. 79.

X:1

T:Come in from the Rain

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 397

Z:AK/Fiddler’s Companion

K:Emin

A|B2E EFE|d3 A2G|F2D DED|F2G A2c|B2E EFE|d3 e2f|g2e f2d|e3 e2:|

|:f|gfe b2e|gfe b2e|f2d A2g|f2g a2f|gfe b2e|gfe b2e|f2d Bcd|e3 e2:|

                       

COME IN THE EVENING. AKA and see "The Kelso Races," "The Welcome," "A Western Lilt," "The Lark in the Morning [1]," "Galway Tom [1]," "Galloway Tom [2]," "Gallua Tom," "An Buachaillin Bui," "The Goats’ Horn(s)," "The Spotted Cow," "The Little Yellow Boy," "The Thrush's Nest."

 

COME INTO THE ROOM, I WANT YOU.  AKA and see “Johnny When You Die [1],” “Mayo Lasses,” “Old Maid(s) of Galway.” Irish, Reel.

                       

COME INTO THE TOWN. Irish, Jig. D Major. Standard tuning. AAB. Source for notated version: fiddler Jimmy Murphy (b. 1938, Meelick, near Swinford, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 42 (appears as “Unknown”).

                       


COME JOLLY BACCHUS. AKA and see "The Weaver's March," "The Gallant Weaver," "Twenty-First of August," "The Tenth of June," "(Glorious) First of August," "The Constant Lover," "The Swedes Dance at the new Playhouse," "Frisky Jenny," "Charles of Sweden." English, Air (cut time). B Flat Major. Standard tuning. AAB. This old melody has seen much use as the vehicle for ballads, which Chappell (1859) outlines. "Come Jolly Bacchus" is perhaps its best‑known title, and is the song written to it in The Devil to Pay. In Playford’s Dancing Master the tune was known as "Frisky Jenny" and "The Tenth of June,” and, in the third volume, as "The Constant Lover." Walsh, in his Lady's Banquet, gives it as "The Swedes Dance at the new Playhouse," and in The Devil to Pay and The Rival Milliners or The Humours of Covent Garden it was known as "Charles of Sweden," while in The Beggar's Wedding it appears as "Glorious First of August." Chappell also notes it was the melody to which many topical broadsiders printed their ballads. See Bayard's (1981) note to "Pretty Polly" (No. 294, pg. 250) for more information. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 109‑110.

X:1

T:Come Jolly Bacchus

T:Charles of Sweden

M:C|

L:1/8

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

Z:AK/Fiddler’s Companion

K:Bb

F2 FF D2 EF|G2G2F4|GA B2A Bc|d2d2 B4:|

||d2 ed c2 BA|B2c2A2F2|GA B2 A2 Bc|Bc de c4|

F2 FF D2 EF|G2G2 F4|GA B2A2 Bc|d2c2B4||

                                      

COME KISS WITH ME (COME CLAP WITH ME). AKA and see "Newburn Lads," "Kail and Knockit Corn," "The Bob of Fettercairn." Scottish, Reel or Air. "The Bob of Fettercairn" is the title Neil Gow gave to the tune in his third collection, but it was known half a century earlier than that as the song "Come Kiss With Me, Come Clap With Me." In the Shetlands the same tune was known as "Kail and Knockit Corn" (kail and bruised oats) which was also a song still in oral tradition during the 1970's (Cooke, 1986)./ Bayard believes the tune to be a special development of "Boyne Water."

                       

COME LASSES AND LADS [1]. English, Air (6/8 time). D Major (Raven): G Major (Kerr). Standard tuning. AB (Raven): AABB (Kerr). Kerr (Merry Melodies), vol. 3; No. 404, pg. 44. Plain Brown Tune Book, 1997; pg. 29. Raven (English Country Dance Tunes), 1984; pg. 121.

X:1

T:Come Lasses and Lads [1]

M:6/8

L:1/8

R:Jig

K:G

GAB g2g | agf e2g | ded d2B | (d3 d2) B | B2e e^de | B2e e2f | gfe f2^d | (e3e2) :|

|: d | ded g2f | (e3e2)e | efe a2g | (f3 f)ga | b2g a2f | gfe d2B | cde dgf | (g3g2) :|

 

COME LASSES AND LADS [2]. English, Air (6/8 time). G Major. Standard tuning. AB. The earliest copy that Chappell (1859) finds of this ballad, "still popular" at the time he was writing, is in Westminster Drollery (part ii., 1672) where it is titled "The Rural Dance about the May‑pole: the tune, the first Figure‑Dance at Mr. Young's Bal, in May, '71." By the time Cecil Sharp commented on the song in English Folk Song (1907) it had ceased to be sung in folk tradition. Sharp, a critic of Chappell due to his meddling with traditional tunes through over-editing them, points out that “the modulation to the relative minor at the middle cadence is obviously the addition of a latter day musician.” Chappell's song is taken from Pills to Purge Melancholy (vol. iii., 1719).

***

You lasses and lads, take leave of your Dads,

And away to the Maypole hie,

There ev’rey he has got him a she,

And the minstrels standing by.

For Willy has got his Gill, and Johnny has his Joan,

To jig it, jig it, jig it, jig it, jig it, up and down.

***

Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 114.

X:1

T:Come Lasses and Lads [2]

L:1/8

M:6/8

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

Z:AK/Fiddler’s Companion
K:G

d|d>ed B2G|G>AG F>EF|GED G2D|(B,3 B2)G|

G>AG E2E|A>BA F2A|B>^cd d2c|(d3d2)||d|d>ed A2B|

(c3 c>)de|dB2 A2G|(F3 F2)f|gd2 ed2|c2B ABc|B>AG G2F|(G3G2)||

                                   

COME LET US DANCE AND SING. See "Come Dance and Sing."

                       

COME, LET US DRINK ABOUT. English, Air (2/4 time). E Flat Major. Standard tuning. AAB. Chappell's (1859) version comes from an annonymous half‑sheet ballad, though he finds another version in Vocal Miscellany (vol. ii, 1734) and The Aviary (1745).

***

Come, let us drink about,

And drive away all sorrow;

For perhaps we may not,

For perhaps we may not,

For perhaps we may not

Meet again tomorrow.

***

Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 180.

X:1

T:Come, Let Us Drink About

L:1/8

M:2/4

S:Chappell – Popular Music of the Olden Time

Z:AK/Fiddler’s Companion

K:Eb

B2 B>A|G>A B2|E>E F>F|G2E2:|

F2 F>E|D>E F2|F2 F>A|G>A B2|e2 e>d|c>d e>c|B>c B>A|G2E2||

                                      

COME LET US PREPARE. English, Air (6/8 time). G Major. Standard tuning. One part. The tune appears in Watts's Musical Miscellany (iii. 72), British Melody (1739), The Dancing Master (vol. iii.), and several ballad operas including "The Village Opera. The tune was used as the vehicle for several songs and appears in other versions and titles, including "The Enter'd Appretice's Song" in The Musical Mason, and "Ye Commons and Peers" in A Complete Collection of Old and New English and Scotch Songs (1735). Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 105‑106.

X:1

T:Come Let Us Prepare

M:6/8

L:1/8

R:Air

S:Chappell – Popular Music of the Olden Time

Z:AK/Fiddler’s Companion

K:G

D|GAB BAG|FGA AGF|GAB BAG| B(d2 d2) c/B/|

cee edc|BAG d2 c/B/|cBc ABc|B (G2 G2)||

                       


COME LET'S A' TO THE BRIDAL. AKA and see “Come Fy, Lets a’ to the Bridal.” Scottish, Jig (9/8 time). G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 255, pg. 28.

X:1

T:Come Fy, Lets a’ to the Bridal

L:1/8

M:9/8

K:A

A2A A2f ecA|B2B Bce (f2a)|A2A A2f ecA|B2B cBc F3:|

|:a2a aba gfe|c2e efc efg|a2a aba gfe|c2f fg^e f3:|

                       

COME LET'S BE MERRY. English, Country Dance Tune (3/4 time). D Major. Standard tuning. AAB. Barnes dates the tune c. 1727. Barnes (English Country Dance Tunes), 1986.

                       

COME LIVE WITH ME, AND BE MY LOVE. English, Air (3/4 time). B Flat Major (Chappell): A Minor (Kines). Standard tuning. One part (Kines): ABB (Chappell). The air appears in W. Corkine's The Second Book of Ayres (1612), and also in Steevens' Shakespeare, from a MS. which once belonged to Sir John Hawkins. The ballad is from the sixteenth century, according to Chappell (1859) who finds several references to it in literature. The first verse goes:

***

Come live with me and be my love,

And we will all the treasures prove.

That hills and valleys, dale and field,

And all the craggy mountains yield.

***

Marlow's tragedy The Jew of Malta, c. 1591, contains the first two lines of a song to the air:

***

Thou, in whose groves, by Dis above,

Shall live with me, and be my love.

***

Walton's Angler (1653) alludes to the song:

***

It was a handsome milkmaid, that had not attained so much age

and wisdom as to load her mind with any fears of many things

that will never be, as too many men often do; but she cast away

all care, and sung like a nightingale; her voice was good, and the

ditty fitted for it" it was that smooth song which was make by Kit

Marlow now at least fifty years ago.

***

It seems spurious to Kines (1964) that Christopher Marlow should have written the song, for the verses appear in a shortened form in Shakespeare's "Sonnet to sundry notes of music" and parts of verses 2 and 3 are quoted in The Merry Wives of Windsor (Act III, Scene 1). For other references see Chappell's notes on the song. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 123. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 25.

                                      

COME NOW OR STAY (Tar Anois No Fan). Irish, Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 51. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1001, pg. 187. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 216, pg. 50.

X:1

T:Come Now or Stay

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 216

Z:AK/Fiddler’s Companion

K:D

F/G/|ABA d2f|afb afd|e/f/ge d/e/fd|ecA AFG|ABA d2f|afb afd|f/g/af gec|ded d2:|

|:f|edc BAG|F2D GFE|A2F Bcd|cee egf|edc BAG|F2D GFE|ABd e/f/ge|fdd d2:|

                                      

COME, O DARK HAIRED WOMAN (Siubhal, A Bhean Dubh-O). AKA and see "Go Home, Go Home, Dear Cousin."

                                      


COME O'ER THE BOURN, BESSIE TO ME. AKA and see "Over the broome, Bessy," "Browne Besse, sweet Besse, come over to me." Irish, English; Air (3/2 time). F Major/G Mixolydian. Standard tuning. AB. This melody is claimed as Irish in origin by Grattan Flood (1906), who dates it from the second half of the 16th century (it should be noted that Flood made many claims for Irish provenance of old British Isles tunes). Flood, however,  states it was a very popular melody in England. Chappell (1859) dates it earlier than Flood, to the early part of the 16th century, and gives stylistic reasons why this is so: "No melody in the Mixolydian mode which begins, like this...as if in the scale of F, is at all likely to have been composed later than the first quarter of the century." In the British Museum Chappell found a composition written "no later" than 1530 which begins with the first phrase of the tune as it appears in Dorothy Welde's book, and refers to something earlier still, but well‑known at the time. Walker (1924) agrees with Chappell regarding the antiquity of the melody, and says it is “very probably of (an) earlier date than (its) first occurrence in Elizabethan collections.” It was mentioned by Shakespeare in King Lear (act iii, sc. 6):

***

Wantest thou eyes at trial, Madam?

Come o'er the bourn, Bessy, to me.

***

It appears in Dorothy Welde's Lute Book, and the University Library of Cambridge's Lute MSS (Dd. xiii. II). The first verse goes:

***

Come o'er the bourn, Bessy,

Come o'er the bourne Bessy,

Sweet Bessy come over to me.

And I shall thee take,

And my dear lady make

Before all other that ever I see. (Kines)

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 121. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pgs. 54‑55.

                                      

COME O'ER THE STREAM, CHARLIE. See "Come Over the Stream to Charlie."

                                      

COME OPEN THE DOOR, SWEET BETTY. AKA and see "Rattling, Roaring Willie," "The Mitford Galloway," "Tom Nokes’ Jig." English, Country Dance Tune and Air (6/8 time). A Minor. Standard tuning. AB. This melody, notes Chappell (1859), appears in both the Pepys Collection and the Roxburghe, entitled "John's Earnest Request; or, Betty's compassionate love extended to him in a time of distress" which also records  it as "a pleasant new tune, much in request."  The strain appears in the first part of "Tom Nokes' Jig" (Apollo's Banquet, 1669), though in the Nokes tune the time has been altered to a quick 9/8; it is either derived from "Come Open the Door" or else both are from some earlier common ancestor, states Chappell. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 147.

X:1

T:Come Open the Door, Sweet Betty

L:1/8

M:6/8

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

Z:AK/Fiddler’s Companion

K:A Minor

A3|GEC D2B|c3 ^G2A|=GGEC D2E|A2z A3|GEC D2B|c3 ^G2A|=GEC D2E|(A3A2)||

B|c>bc d>cB|c3 B2c|A>^GA d2B|^G2z A3|=GEC D2B|c3 ^G2A|=GEC D2E|A3||

                                   

COME OVER THE STREAM TO CHARLIE. AKA ‑ "Come O'er the Stream, Charlie." AKA and see "Crossing the Stream," “Maclean’s Welcome.” Scottish, English; Waltz. G Major. Standard tuning. AB (Kerr, Martin): AAB (Kennedy, O'Neill, Raven): AABCC (Barnes). The "Come O'er the Stream to Charlie" title comes from words set to the tune by Scottish poet James Hogg in his '''Jacobite Relics of Scotland''' (1821) where it appears under the title "Maclean's Welcome". In his note on the song (p. 301) Hogg says: "The air is beautiful, but the ingenious Captain Frazer has a better set of it in his collection.'' Charles Gore ('''Scottish Fiddle Music Index''') finds the melody in Gale's '''Pocket Companion''' (c.1800). Christine Martin (2002) says the tune appears in The Ballroom (1827) as “The Guracha,” a Spanish dance. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 139 (appears as “Waltz Country Dance”). Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 74, pg. 36. Kerr (Merry Melodies), vol. 3; No. 306, pg. 33. Martin (Traditional Scottish Music), 2002; pg. 39. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 153, pg. 27. Raven (English Country Dance Tunes), 1984; pg. 136.

X:1

T:Come Over the Stream to Charlie

T:Crossing the Stream

M:3/4

L:1/8

R:Air or Waltz

S:O’Neill – Music of Ireland (1903), No. 153

Z:AK/Fiddler’s Companion

K:G

G2|G3B d2|d2B2e2|d2B2g2|d2B2A2|G3 B d2|d2B2 GE|D2 B2A2|G4:|

d2|g3f g2|e3f g2|e2 a3g|(f2d2) d2|g3f g2|e2d2c2|B2A2G2|d4 B2|

c3d c2|B2d2g2|edcBAG|(B2 A2) d2|g3 f e2|d2g2e2|d2g2f2|g4||

                       


COME, SHEPHERDS, DECK YOUR HEADS. English, Dutch; Air (4/4 time). D Dorian (Chappell, version #1): G Minor (Chappell, version #2). Standard tuning. AB. The air appears in Friesche Lust‑Hof (1621), Nederlandtsche Gedenck‑Clanck (1625), Bellerophon of Lust tot Wysheyt (Amsterdam, 1622), and Gesangh der Zeeden (Amsterdam, 1662). Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 168‑169 (two versions).

                       

COME SIT DOWN BESIDE ME MY OWN HEART’S DELIGHT. Irish, Air (3/4 time). F Major. Standard tuning. One part. “From the Bennad glens” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 651, pg. 163.

X:1

T:Come sit down beside me my own heart’s delight
M:3/4
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 651

Z:AK/Fiddler’s Companion

K:F

cB | A2F2 AB | cd ed cA | {c}(B2A2) F2 | F4 c_e | d2c2 BA | B2c2 de |

f2 f_edB | c4 c_e | d2c2 BA | B2c2 de | f2 f_edB | c4 d>cB | A2F2 AB |

cd _ed cA | {c}B2A2F2 | F4 ||

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

COME, SWEET LASS (THIS BONNY WEATHER). AKA and see "Greenwich Park." English, Air. The melody appears under this title in John Gay's Beggar's Opera (1729) and in all editions of Pills to Purge Melancholy, and is associated with the 18th century theatre. In the second part of Playford's  Dancing Master (1698) it is known as "Greenwich Park." John Purser says there is an English manuscript source from c. 1704-1707, and an undated songsheet that attributes the music to “Mr. Clarke.” Scots composer James Oswald (who lived in London) included the tune in his 1744 collection A Second Collection of Curious Scots Tunes. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 73. Raven (English Country Dance Tunes), 1984; pg. 66. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).

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

COME TELL ME IN PLAIN. Irish, Air (3/4 time). B Flat Major. Standard tuning. AAB. Source for notated version: “From Mr. R.A. Fitzgerald” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 776, pg. 194.

X:1

T:Come tell me in plain

M:3/4

L:1/8

R:Air

N:”Andante”

S:Stanford/Petrie (1905), No. 776

Z:AK/Fiddler’s Companion

K:Bb

F2 | G2G2F2 | GA B2c2 | d2e2 cB | A2F2F2 | G2G2F2 | GA B2c2 | d2e2A2 | B4 :|

|| d2 | e2d2c2 | d4 fd | e2d2c2 | d4 fd | e2d2 cB | A2F2 FG/A/ | B2c3B | A2F2F2 |

G2G2F2 | GA B2c2 | d2e2A2 | B4 ||

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

COME TIE MY PETTICOAT TIGHTER, O. Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800.

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

COME TILL THE BOTTLEHOUSE. See "Come to the Bottlehouse."

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

COME TO DINNER (Tar Go Di'n Proinn). Irish, Jig. A Dorian (‘A’ part) & A Major (‘B’ part). Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1013, pg. 189. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 228, pg. 52.

X:1

T:Come to Dinner

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 228

Z:AK/Fiddler’s Companion

K:Ador

e|c<AA A2A|EAB cBA|B<GG G2G|BGB gdB|c<AA A2B|cde agf|gec Bed|c<AA A2:|

K:A

|:e|aga bag|aec Ace|dBG EGB|Acf efg|aga bag|aec Ace|dBG EGB|c<AA A2:|

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

COME TO THE BOTTLEHOUSE (Tar Go Di AN Teac-Osda). Irish, Reel. A Major. Standard tuning. AABB. Printed in 1883 (as "Come Till the Bottlehouse") in Ryan's Mammoth Collection of 1050 Reels and Jigs {No. 50}, but deleted when that volume metamorphasized into Cole's 1000 Fiddle Tunes in 1940. A bottlehouse was a drinking establishment that typically sold only whiskey in the barrel and beer in bottles. The Devil's Box, vol. 21, No. 4, Winter 1987, pg. 48 (appears as "Come Till the Bottlehouse"). Mulvihill (1st Collection), 1986; No. 174, pg. 47 (appears as untitled reel). O'Neill (Krassen), 1976; pg. 128. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1377, pg. 256. Ryan’s Mammoth Collection, 1883; pg. 51.

X:1

T:Come to the Bottlehouse

M:C|

L:1/8

R:Reel

S:Mulvihill - 1st Collection (1986)

K:A

B|cBAc BAFE|FBBA B2ed|cBAc BAFE|FdcB A2 ed|cBAc BAFE|

FBBA B2 ed|cBAc BAFE|FdcB A2||(3efg|a2 ge (3fga ec|

B2BA BdcB|A2 ae (3fga ec|dfed cA A2|a2 ge (3fga ec|B2 {c}BA BdcB|

A2 ae (3fga ec|dfed cA A2||

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

COME TO THE BOWER. A love song that reportedly Sam Houston had his three fifers (or sometimes one fifer) and drummer play as a marching song at the Battle of San Jacinto. The song was considered somewhat risque at the time.  See Abernathy (Singing Texas).

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

COME TO THE BRIDAL. AKA and see “I’m the Boy for Bewitching Them,” “Jolly Pedler’s [4].” Irish, Slip Jig. G Major. Standard tuning. AABB. Also in Mulvihill (1st Collection, 1986; No. 8, pg. 108) as “The Bridal.” Source for notated version: copied from James Aird’s Selections of Scotch, English, Irish and Foreign Airs (1782-97) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 195.

X:1

T:Come to the Bridal

M:9/8

L:1/8

S:Aird's Selections 1782-97

Z:Paul Kinder

K:G

D|GAG Gge dBG|ABA ABd e2 g|GAG gfe dBG|ABc BAG E2:|

|:d|gdg gag fed|edB gab a2 b|gab abg fed|efg dBG A2:||

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

COME TO THE DANCE (Tar Go D-Ti An Rince). Irish, Reel. G Major. Standard tuning. AB. Source for notated version: Chicago fiddler Edward Cronin, originally from County Tipperary. Cronin was a weaver, machinest and composer and was one of O’Neill’s chief informants for his collections—“he would play on for hours at a time such tunes as memory presented, his features while so engaged remaining as set and impassive as the sphinx.” Cronin also boasted he never forgave nor forgot and injury. [O’Neill]. O'Neill (Krassen), 1976; pg. 105. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1251, pg. 235.

X:1

T:Come to the Dance

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1251

Z:AK/Fiddler’s Companion

K:G

D2 | GBdB cAFA | G2 (ge) dBGB | cdec BcdB | ABcA GFED |

GBdB cAFA | .G(gfg) edBd | cedc BcdB | cdef g2 || d2 |

gdBd cBcd | edef gfga | bgaf gfed | egfa g2 (ga) | bgaf gage |

dBGB dBcd | egfa gedB |cdef g2 ||

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

COME TO THE MILK. Old‑Time, Fiddle tune. The title appears in a list of Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

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

COME TO THE RAFFLE. AKA and see "Tongs by the Fire [1]." American, Jig. G Major. Standard tuning. AABB. Composition credited to Jas. Hand (Ryan/Cole), about whom nothing is known but who was perhaps a band-leader from the Boston, Massachusetts, area in the mid-19th century. Cole (1000 Fiddle Tunes), 1940; pg. 56. O'Neill (1915 ed.), 1987; No. 180, pg. 98 (appears as "Tongs by the Fire"). Ryan’s Mammoth Collection, 1883; pg. 84.

X:1

T:Come to the Raffle

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | GBd cAF | .G(ge) dBG | (c>e).c BdB | ABG F>ED | GBd cAF | Gge dBd |

cec Bgf | edc d2 :: d | gdB gdB | gfa gdB | ({a}g)fg eag | fdd def | gbg faf |

ege def | gdB ({B}A)GA | BGG G2 :|

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


COME TO YOUR TAY. AKA and see "The Sailor's Jacket." Irish, Scottish; Reel. D Major. Standard tuning. AABB. See also similarly structured tunes "P.J. Conlon's," "Kitty in the Lane [1]," "The Ballinafad Reel [1]," "Jenny Picking Cockles," "Take Her Out and Air Her [2]." The tune also appears to be a version of the County Donegal Highland “Ora Stor a’ Ghra,” according to Caoimhin Mac Aoidh. Cole (1000 Fiddle Tunes), 1940; pg. 28. Kerr (Merry Melodies), vol. 2; No. 288, pg. 31. Ryan’s Mammoth Collection, 1883; pg. 52.

X:1

T:Come to Your Tay

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

d2 (dc) A2 (Bc) | d2 (de) fdec | dedB A2 (AB) | =cAGE (ED) D2 | d2 (dc) A2 (Bc) |

d2 (de) fdec | d2 (dc) A2 (AB) | =cAGE (ED) D2 :: d2 (fd) adfd | ceAe cAeA |

d2 (fd) adfd | faae fdec | d2 (fd) adfd | c2 (ec) gefg | abag fdec | eaag fdec :|

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

COME UNDER MY DIMITY. AKA and see "B'fhearr liomsa ainnir gan guna,” "Ditherum Doodle," "I'll take a glass with a friend," "Late on Saturday Night," "Mall Rua," "Moll Roe in the Morning," "Moll Roe{'s} [1]," "Munsterman's Flattery," "The Night of the Fun [3]," "Though late was I plump." Irish, Jig. D Major. Standard tuning. AABB. See also the slip jig “Captain McDonald’s Favorite.” New York researcher, musician and writer Don Meade says: “Dimity was a coarse cotton fabric most often used for bed clothes, which makes [the title] a coarse invitation.” The tune is oddly-metered in Ryan’s/Cole’s: it should be in 9/8 time as it is clearly a slip jig. Cole (1000 Fiddle Tunes), 1940; pg. 65. Ryan’s Mammoth Collection, 1883; pg. 95.

X:1

T:Come Under My Dimity

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A | Add efd | cde fef | gef g2e | Add efd | cde aba | gec d2 :|

a | afa ged | cde afa | gef g2e | afa ged | cde aba | gec d2 :|

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

COME UNDER MY PLADDIE. AKA – “Come Under my Plaidie.” AKA and see "Before I Was Married," "Billy O'Rourke's Jig [1]," “Black Joke [2],” "The Black Rogue [1]," "Johnny/Johnnie McGill/MacGill," “Paddy O’Rourke’s,” "An Rogaire Dubh," "Tibbie Dunbar." Scottish, Jig. G Major. Standard tuning. AB (Kerr): AABB (Cole, Harding, Johnson, O'Neill, Perlman, Robbins, Sweet). The title comes from a song by Hector Macneil of Roslin, Midlothian, from the 18th or early 19th century, and set to the tune "Johnny McGill." The air is properly a Scotch jig (a jig with Scotch measure accents) and was first published in 1778 (according to Glen). Burns also set his lyric Tibbie Dunbar ("O Wilth thou go wi' me, sweet Tibbie Dunbar") to this air. See Bayard's (1981) note to "Johnny McGill" for further discussion and sources. Source for notated version: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cole (1000 Fiddle Tunes), 1940; pg. 53. Harding's Original Collection, No. 132. Jarman (Old Time Fiddlin' Tunes); No. or pg. 17. Johnson (Scots Musical Museum), vol. 6, 1783; No. 533. Kerr (Merry Melodies), vol. 1; No. 25, pg. 46. O'Malley, 1919; pg. 7. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 915, pg. 170 (appears as "The Black Rogue"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 128. Robbins, 1933; No. 77. Sweet (Fifer’s Delight), 1964/1981; pg. 34. White's Excelsior Collection, pg. 20. Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977).

X:1

T:Come Under My Plaidie

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

K:G

g | dBB BAB | dBB B2g | dBB BAB | GEE E2g | dBB BAB |

dBB BAG | AGA BAB | GEE E2 :: d | gfg aga | bag fed | gfg aga |

bge ega | Bge afa | geg g2e | dBB BAB | GEE E2 :|

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

COME UP IN THE ROOM I WANT YOU. AKA and see “The Ballina Lass,” “The Old Maids of Galway [2].” Irish, Reel. Ireland, County Sligo. G Major. Standard tuning. AB. The tune is particularly associated with the playing of fiddler Johnny Henry of Doocastle, on the Mayo-Sligo border. Paul de Grae says the late north Kerry fiddler Paddy O’Sullivan had a similarly titled tune he called “Into the Room, I Want You,” although his was a version of “The Mayo Lasses.” Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 143. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Come Up in the Room, I Want You

M:4/4

L:1/8

R:Reel

Z:Bill Black

K:G

dcBG DGBd|(3efg dg (3efg dB|dcBG DGBd|(3efg dc BG G2|

dcBG DGBd|(3efg dg efge|d2 BG DGBd|(3efg dc BG G2||

g2 bg egde|g2 ag ea a2|g2 bg egdB|dega bg g2|

g2 bg egde|g2 ag ea a2|g2 fg egdB|dega bg g2||

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

COME UP THE BACK STAIRS. AKA and see "Merry Dance." New England, Jig. G Major. Standard tuning. AABB. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 27. Page (Ralph Page Book of Contras), 1969; pg. 3. Sweet (Fifer’s Delight), 1964/1981; pg. 69. Fretless 119, Rodney and Randy Miller‑‑"Castles in the Air."

X:1

T:Come Up the Back Stairs

M:6/8

L:1/8

K:G

D2B B2A|AGF G2B|d2F FEF|A2G GFE|D2B B2A|AGF GAB|d2F FEF|G3 G2:|

|:d|gfg bge|edB def|gfg bge|ed^c def|g2g gab|e2d efg|ded def|agf g2:|

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

COME UPSTAIRS WITH ME (Tar Suas Na Staigre Liom). Irish, Slip Jig (9/8). G Major. Standard tuning. AAB (Breathnach, Treoir): AABB (O’Neill). Sources for notated versions: fiddler Jim Mulqueeny [Breathnach]; musician and accordion maker Martin Connolly (Ennis) [Treoir]. Breathnach (CRÉ V), 1999; No. 59, pg. 31. O'Neill (Krassen), 1976; pg. 87. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1172, pg. 221. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 442, pg. 86. Treoir, vol. 37, No. 4, 2005; pg. 25.

X:1

T:Come Up Stairs with Me

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 442

Z:AK/Fiddler’s Companion

K:G

D|G2c BAG Bcd|ecA ABG FED|G2c BAG Bcd|efg faf g2:|

||g|fed d2g fed|ecA ABG FED|fed d2g fed|efg faf g2g|fed d2g fed|

ecA ABG FED|G2c BAG Bcd|efg faf g2||

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


COME WEST ALONG THE ROAD (Bog Siar A Botar). AKA and see “Arboe [2],” “The Monasteraden Fancy,” "Over the Moor to Peggy." Irish, Reel. Ireland, County Sligo. G Major. Standard tuning. AB. Philippe Varlet reports that the tune was recorded in 1925 by John McKenna and in the 1940's by the Aughrim Slopes and Moat céilíi bands (who called it “The Monasteraden Fancy,” Monasteraden being a town on the Roscommon/Sligo border). “Over the Moor to Peggy” is a related tune. Sources for notated versions: flute player and piper Frankie Lavin (b. 1940, Cloonshanville, near Frenchpark, Co. Roscommon) [Flaherty]; set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]; a recording of Bobby Gardiner [O’Malley]; Na Filí [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Flaherty (Trip to Sligo), 1990; pg. 150. Harker (300 Tunes from Mike Rafferty), 2005; No. 27, pg. 9. McNulty (Dance Music of Ireland), 1965; pg. 6. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 60 (appears as “Arboe”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 57. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 59, pg. 30. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 793, pg. 137. Taylor (Music for the Sets: Yellow Book), 1995; pg. 31. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995). Lochshore CDLDL 1215, Craob Rua - “The More That’s Said the Less the Better” (1992).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Come West Along the Road

M:C|

L:1/8

R:Reel

Q:240

K:G

d2 BG dGBG | GABd efge | d2 BG dGBG |1 ABcd edBc :|2 ABcd ed (3Bcd ||

g2 bg egdg | egdg ed (3Bcd | g2 bg egdB | ABcd ed (3Bcd |

g2 bg egdg | egdg ed (3Bcd | gabg efge | dega bage ||

                                      

COME WITH ME NOW (Tar Liom Anois). AKA and see "Tolladh an Leathair," "The Humours of Ayle House," "The Kilfinane Jig," "When you go home," "The Connaughtman [2]," "The Shoemaker's Fancy," "Boring the Leather [2]," "Down the Back Lane." Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 312, pg. 66.

X:1

T:Come with me now

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 312

Z:AK/Fiddler’s Companion

K:D

A/G/|FDD F2d|cAA BAG|AFD F2d|cAF GAG|FDD F2d cAA cde|fge cAG|EDD D2:|

|:A|cBA fed|cAA A2B|cBA fed|cAF G2A|cBA fed|cAA cde|fge cAG|EDD D2:|

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

COME YE BY ATHOLL. Scottish, March. Green Linnet GL-1095, Altan - "Horse with a Heart" (1989. Learned from Antoin MacGabhann and Micheal MacAogain).

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

COME YE OWER FRAE FRANCE. AKA and see "The Key(s) of the Cellar," "The Marchioness of Tweed‑dale's Delight." English, Old Hornpipe (3/2 time). G Dorian. Standard tuning. One part. Note: The song is a satire of the Hanoverian King George I (“Geordie Whelps”), who became King of England and Scotland in the 18th century.  George transplanted to England an assortment of mistresses and characters, the fromer being impoverished gentlewomen from Germany, providing Jacobite songwriters with a broad target and much ribald glee. Several of these imported characters come in for derision: Madame Kilmansegge, Countess of Platen, is referred to as "The Sow" in many Jacobite songs, while the King's favorite mistress, the lean and haggard Madame Schulemburg (afterwards named Duchess of Kendall) was given the name of "The Goose.” She is the "goosie" in “Come Ye Ower Frae France,” while the "blade" is one Count Koningsmark. John, Earl of Mar, was nicknamed “Bobbing John,” an interesting character in Scottish history. Mar (1675-1732) was a disaffected Tory minister who had served as one of the Scots commissioners during the Union negotiations (to unite the kingdoms of Scotland and England), however, once it was passed he came to understand it was a terrible mistake. To remedy this he raised the Jacobite standard at Braemar in 1715 on behalf of James, the Old Pretender and became one of the leaders of the rebellion. Opposed by the The Duke of Argyll with 35,000 government troops, Mar and his clansmen fought at Sheriffmuir near Stirling in November, 1715. Although at first it appeared that the ‘Highland Charge’ would carry the day, the Hanoverian professionals wavered but held and eventually gained the upper hand, driving the Highlanders back into the mountains. By February, 1716, the rebellion was quelled and Mar sailed with James for France and permanent exile.

***

CAM YE O'ER FRAE FRANCE

***

Cam ye o'er frae France?

Cam ye down by Lunnon?   (Lunnon = London)

Saw ye Geordie Whelps

And his bonny woman?

Were ye at the place

Ca'd the Kittle Housie?       (Kittle Housie = Cat House or Brothel)

Saw ye Geordie's grace

Riding on a goosie?

***

Geordie he's a man

There is little doubt o't;

He's done a' he can

Wha can do without it?

Down there came a blade

Linkin' like my lordie;             (Linkin’ = tripping along)

He wad drive a trade

At the loom o' Geordie.

***

Though the claith were bad,    (claith = cloth)

Blythly may we niffer;              (niffer = haggle)

Gin we get a wab,                    (wab = length of cloth)

It makes little differ.

We hae tint our plaid,               (tint = lost)

Bannet, belt and swordie,

Ha's and mailins braid --          (ha’s and mailins = houses and farmlands)

But we hae a Geordie!

***

Jocky's gane to France,

And Montgomery's lady;

There they'll learn to dance:

Madame, are ye ready?

They'll be back belyue              (belyue = quickly)

Belted, brisk and lordly;

Brawly may they thrive            (brawly = well)

To dance a jig wi' Geordie!

***

Hey for Sandy Don!

Hey for Cockolorum!

Hey for Bobbing John,

And his Highland Quorum!

Mony a sword and lance

Swings at Highland hurdie;      (hurdie = buttock)

How they'll skip and dance

O'er the bum o' Geordie!

***

Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 40 (appears as “Key to the Cellar”, the name of a 2004 dance by Jenny Beer set to the tune). Loesberg (Traditional Folksongs and Ballads of Scotland, vol. 1), No. 1. COOK 038, Ewan MacColl – “Black and White.” HR 102, Tannahill Weavers – “The Old Woman’s Dance.” Ossian OSS 103, Ewan MacColl – “The Jacobite Rebellions.” Shanachie 79045, Steeleye Span – “Parcel of Rogues.”  Dick Gaughan – “No More Forever.”

X:1

T:Come Ye Ower Frae France

L:1/4

M:3/2

K:G Dorian

BG GD G2|BG GB A/B/c/A/|BG G>D G2|{cB}AF FA A/B/c/A/|

Gg g>^f g2|Gg ga b/a/g|Gg a/g/f/e/ f2|{d}cA FA d/c/B/A/:|

                       

COME YOU NOT FROM NEWCASTLE?  English, Air (4/4 time). D Major. Standard tuning. One part. Northumbrian Pipers’ Tune Book, 1981; pg. 31.

X:1

T:Come you not from Newcastle?

M:4/4

L:1/8

K:D

A|BdGA G>A GD|BdGd e g2f/e/|dBAG Ee2 d/c/|dB A>G G3e/f/|

g/f/e/d/ gB Ag2A|GG/A/ B/A/G/F/ Ee2e/f/|g/f/e/d/ gB A>B cd|eB A>G G3||

 

COMEDIE, LA.  French, Country Dance (2/4 time). A 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. 30.

X:1

T:Comedie, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 30

Z:AK/Fiddler’s Companion

K:A

G/f/g/a/ | ff{b}af | e2 e/d/e/f/ | eg gf/e/ | fd f/e/f/g/ | ffaf | e2 e/d/e/f/ |

eg .gf/e/ | d2 :: FF/D/ | AA/F/ df/a/ | b2 aa/f/ | gg/e/ fe/d/ | A2 FF/D/ |

AA/F/ | df/a/ | b2 aa/f/ | gg/e/ fe/d/ | d2 :: D/E/F/G/ | A/B/c/d/ e/f/g/e/ |

fd D/E/F/G/ | A/B/c/d/ e/f/g/e/ | f2 D/E/F/G/ | A/B/c/d/ e/f/g/e/ | fd  D/E/F/G/ |

A/B/c/d/ e/f/g/e/ | f2 :|

                       

COMELY GARDEN. Scottish, Reel. A Mixolydian. Standard tuning. AAB. One of the most celebrated compositions by Donald Dow (1732‑83) originally of Kirkmichael, Perthshire. John Glen (1891) believes the earliest printing of the tune in Daniel Dow's c. 1775 collection (pg. 10), though it had appeared earlier in the Gillespie Manuscript of Perth (1768). It is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript and was also later published by the Gows. Carlin (The Gow Collection), 1986; No. 410. Gow (Complete Repository), Part 3, 1806; pg. 24. Stewart-Robertson (The Athole Collection), 1884; pg. 13.

X:1

T:Comely Garden

M:C|

L:1/8

S:Reel

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

Z:AK/Fiddler’s Companion

K:A

e|cA c/d/e a2 (e=g|(fd =g2 B=GGB|cA c/d/e a2 (e=g|d=gBd eA A:|

e|c/B/A eA dee>a|=gdB=G Bdd>e|c/B/A e>A cee=g|d=gBd eAAe|

(c/B/A e>A cee>a|=gdB=G Bdd>e|(c/B/A ae fd=gd|B=GBd eAA||

                       


COMELY GIRL, BOTH TALL AND STRAIGHT. Irish, Air (4/4 time). E Minor/G Major. Standard tuning. One part. Joyce obtained the melody from the Forde Collection. Joyce (Old Irish Folk Music and Song), 1909; No. 606, pg. 313.

X:1

T:Comely Girl, both Tall and Straight

M:4/4

L:1/8

R:Air

B:P.W. Joyce – Old Irish Folk Music and Songs, No. 606  (1909)

Z:AK/Fiddler’s Companion

K:G

(3DEF|G2 FG E2D2|d3e edBA|G3A BABG|E6 DE|

G2 AG E2D2|d2d2 Bdef|g2 fg e2e2|e6 GA|

Bdef gfed|B2g2B2A2|G3c BABG|E6 Bd|

e3f gfed|B2g2B2A2|GEDE G2G2|G6||

                       

COMELY JANE DOWNING ("Sineid Alain Ni Dounaig" or "Sineid Datamail m Duibnaig"). AKA and see “Seymour’s Fancy,” “Tady’s Wattle,” “Tor(r)y Burn Lasses.” Irish, Reel. G Major. Standard tuning. AB. “Tady’s Wattle” is a related tune. O'Neill (Krassen), 1976; pg. 143. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1461, pg. 271. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 692, pg. 122.

X:1

T:Comely Jane Downing

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 692

Z:AK/Fiddler’s Companion

K:G

G2 BG BddB|c2 ec ef g2|G2 BG Bddg|edcB ABcA|G2 BG BddB|cBcd efga|

bgaf gfeg|edcB A2G2||g2 bg agfd|edef gdBd|g2 bg agfd|edef g2 ga|

bagf gfed|edef gdBd|cBcd efge|dBGB A2G2||

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

COMELY MAIDEN, THE (An Aindear Daiteamuil). Irish, Reel. D Major. Standard tuning. AA'B (O'Neill/Krassen): AB (O'Neill/1850). Source for notated version: Martin O’Reilly, a blind piper from Galway city, where he had a dance house for a number of years, until he fell on hard times. After many years O’Reilly was rescued from the poorhouse, rehabilitated and won first prize at the pipers’ competition at the annual Feis in 1901. Unfortunately, after a few years more of fame, O’Reilly once again found himself in the Gort poorhouse, where he died. [O’Neill]. O'Neill (Krassen), 1976; pg. 124. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1353, pg. 253.

X:1

T:Comely Maiden, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1353

Z:AK/Fiddler’s Companion

K:D

d2 (dc) dAFA | dbab fbaf | d2 (dc) dAFA | Beed cABc | d2 (dc) dAFA |

Bbab fbaf | bagf edcB | Aeed cABc || d2 (a^g) afdf | abaf e^def |

d2 (a^g) afdf | efed cABc | d2 (a^g) afdf | abaf e^deg | bgaf gfed | efed cABc ||

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

COMERS OF LARGO, A REELL (sic), THE. Scottish, Air (9/8 time). D Major. Standard tuning. AB. Published by Henry Playford in his 1700 collection of Scottish dance music, and the first use in print of the word reel for a tune title (the tune however is in an odd 9/8 time, not at all what we think of as a reel today but more akin to the triple‑time hornpipe, states Emmerson {1971}). The tune is incomplete, and since it is in 9/8, it is obviously not what we consider today to be a reel, though Alburger thinks it may have been inaccurately recorded from someone's playing. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 9, pgs. 26‑27.

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

COMET [1], THE. English, Jig. G Major. Standard tuning. AABB. Originally published in Twenty‑Four Country Dances for the Year 1758, in December of which year Halley's Comet made one of its 76 year pilgrimages. English Dance and Song, vol. 48, No. 1, Spring, 1986, pg. 20. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 10.

X:1

T:Comet, The [1]

M:6/8

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:G

D|G>AG B2G|d>ed f2d|gfe dcB|A>BG FED|G>AG B2G|d>ed f2g|afd ge^c|d3 D2:|

|:d|dgb d2d|cfa c2c|Beg B2B|A>BG FED|GDG BGB|def gfe|dBG cAF|(G3 G2):||

 

COMET [2], THE. AKA – “Comet Clog.” AKA and see “The Black Swan,” “Doctor Peter’s,” “Down the Glen,” “The Glengesh,” “Minnie Foster,” “Mrs. Minnie Foster.” Irish; Hornpipe or Clog. F Major. Standard tuning. AA’BB. As “Minnie Foster” it appears in Ryan’s Mammoth Collection (1883) and as “Down the Glen” in Allen’s Irish Fiddler. Sean McGuire recorded it as “The Black Swan.” In parts of County Donegal it is known as “Dr. Peters” and “The Glengesh.” Source for notated version: obtained from fiddler Paddy Killoran [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. 114, pg. 57. White’s Unique Collection (1896), No. 145, pg. 26 (listed as “Comet Clog”).

X: 1

T: Comet, The [2]

M: 4/4

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: hornpipe

K: F

(3AB=B | cFAc dFBd | (3cdc Ac fef^f | gceg bcag | (3fgf ef c2 (3AB=B|

cFAc dFBd | (3cdc Ac fef^f | gebg ecBG |1 (3FAc (3fac' f'2 :|2 F2 A2 F2 ||

|: (3ef^f | gceg beag | fAcf a2 g^f | gc'=ba (3gag (3fed |

(3ceg (3c'ge c2 (3A,B,=B, | (3C=B,C A,C FAc^c |

X: 2

T: Comet Clog

M: C|

L: 1/8

S: White’s Unique Collection (1883), No. 145

Z: AK/Fiddler’s Companion

R: Clog

K: F

(A<.B) | (c>.F)(A>.c) d>FB>d | c>FA>c f>ef>^f | g>ce>g b>ea>g |

(3fef (3gfd c>AB>=B | c>FA>c d>FB>d | c>FA>c f>ef>^f | g>eb>g e>cB>G |

F2A2F2 :: (e>f) | (g>.c)(e>.g) b>eg>b | a>Ac>f aA>f>a | g>c’=b>a a>gf>d |

C2c’2 c>A,B,>=B, | (3C=B,C A,>C F>Ac>^c | (3d^cd D>F B>df>b |

a>cf>a e>gc>e | [A2f2]a2[A2f2] :|

 

COMET [3], THE. Irish, Jig. G Major. Composed in honor of the Halle-Bopp comet by accordion player Eoghan O’Sullivan of the band Smoky Chimney.

X:1

T:The Comet

C:Eoghan O'Sullivan

R:jig

N:also played an octave lower

M:6/8

L:1/8

K:G

g2 g edB|d2 d edB|G2 d edB|dBA ABd|

gfg edB|d2 d edB|G2 B AGA|1BGG GBd:|2 BGG G2 e||

dgg age|gab age|d2 g age|dgb a2 e|

d2 g age|gfg edB|ded B2 A|1BGG G2 e:|2 BGG G3|

 

COMET (WALTZ) [4], THE.  English (?), Waltz. D Major. Standard tuning. AABBCC’. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 109, pg. 26.

 

COMET [5], THE.  English, Jig. G Major. Standard tuning. AABBCCAA. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 21, pg. 7.

X:1

T:Comet [1], The

M:6/8

L:1/8

K:G

(3d/e/f/|g2d d2B|B2G G2B|ABc FGA|G2B D2g|fgd ^cdB|

B2G G2B|dcA FDF|G2B G2::B|ABc cBA|Bcd dcB|cde edc|
Bcd G2g|dgd ^cdB|B2G G2B|ABc FGA|G2B G2::A|A2d f2d|

^c2e g2e|e2f g2e|d2e f2d|d2f a2a|d2g b2b|a2f g2e|(d3 d2):|

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

COMETE, LA. French, Bourree a Trois Temps (3/8 time). G Major. Standard tuning. AABB'. Composed by Ph. Prieur. Stevens (Massif Central), vol. 1, 1987; No. 28.

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

COMHDHAIL, AN. See "The Congress."

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

COMHRA DONN, AN (“The Brown Casket” or “The Brown Chest”). AKA and see “An Cófra Donn,” “The Brown Casket,” “O’Connor Donn’s [2],” "The Star of Bethlehem." Irish, Hornpipe. D Major. Standard tuning. AABB. The alternate title “O’Connor Donn’s” appears to be a corruption of the Gaelic title. See also the melodically similar (in the ‘A’ part) “Bonaparte Crossing the Rhine [1],” “Centenary March,” “Caledonian March.” Sources for notated versions: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; Chieftains [Carlin, Sullivan]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRÉ I), 1963; No. 210, pg. 85. Carlin (English Concertina), 1977; pg. 33. Sullivan (Session Tunes), vol. 3; No. 29, pg. 11. Taylor (Music for the Sets: Blue Book), 1995; pg. 22. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 31, pg. 30. Green Linnet GLCD 1127, “Martin Hayes” (1993. Appears as “The Brown Coffin”).

X:1

T:An Comhra Donn

T:The Brown Coffin

T:An Cofra Donn

T:The Brown Chest

C:Traditional

R:Hornpipe

B:Music for the Sets ‑ The Blue Book, David J Taylor

Z:Gordon Turnbull

M:C

K:D

A>BA>G F>Ad>e | f>gf>e d>cd>A | B>Gd>B A>FD>E | F>EE>D E2 F>G |

A>BA>G F>Ad>e | f>gf>e d>cd>A | B>cd>B A>FE>G | [1 F2 D2 D2 F>G:|[2 F2 D2D2 f>g ||

a>fe>d g>fe>c | d>cd>e f>dA>F | G>AB>G F>Ad>e | (3fed g>f e2 f>g |

a>g (3fed g>fe>c | d>cd>e f>dA>F | G>AB>G F>AE>G | [1 F2 D2 D2 f>g:|[2 F2D2 D2 F>G |]

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

COMICAL CORNER. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody also appears (in 4/4 time) in the 1842 music manuscript collection of Cumbrian musician John Rook. William Vickers printed a different tune by the same name in his 1770 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 11

X:1

T:Comical Corner

M:C

L:1/8

S:John Rook manuscript (Cumbria, 1842)

K:G

G2 AB cAFD|G2 AB c2d2|gdcB ecAc|BGAF G2G2:|

|:g2 b/a/g/f/ gdBG|g2 b/a/g/f/ g2 ga|bgaf gedc|BGAF G2G2:|

X:2

T:Comical Corner

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:G

D|G2 (B/c/d/B/|cAFA|G2 (B/c/d/B/)|c2e2|gd (B/c/d/B/)|ec (A/B/c/A/)|BG (F/G/A/F/)|G2 [G,G]:|

|:d|g2 f/g/a/f/|gdBd|g2 f/g/a/f/|g2b2|af d(e/f/)|gd B(c/d/)|BGDF|G2 [G,G]:||

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

COMICAL FANCY. English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. “Comical Fancy” first appeared in R. Baldwin’s London Magazine, or Gentleman’s Monthly Intelligencer of 1760. It is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 26.

X:1

T:Comical Fancy, The

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:A

aecA|afdB|aecA|(3BBB B2|Abcd ecdB|cedB|(3AAA A2:|

|:cece|BeBe|cedc|(3BBB B2|cece|face|dBec|(3AAA A2:||

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

COMICAL FELLOW, THE. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB (Johnson, Raven): AAAABB (Barnes). Published c. 1776. Barnes (English Country Dance Tunes), 1986. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 3. Raven (English Country Dance Tunes), 1984; pg. 31.

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

COMING DOWN FROM DENVER. AKA – “Here and There [2].” See “Cowboys [2],” “Halfway House,” "Lardners’ [1]," "Turnpike." Old‑Time, Breakdown. USA; Missouri, Nebraska. A Major. Standard tuning. AABB. “Coming Down from Denver” is on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Cleo Pursinger maintains the title for the tune is “Comin’ Down from Denver (on a Trip to Galway Here and There),” but it may also have originally been “Coming Down from Boston.” The 'A' part parallels "Lardner's Reel" but the 'B' part shows some modification. The tune has been published as early as 1864 by Howe in Boston under the title "Lardner's Reel" (Christeson), while a violin music collection published by George H. Coe in 1876 has it under the title “Old Gray Mare.” Fidder Tommy Jackson recorded it as “Here and There,” while Fletcher Bright plays it under the title “Turnpike Reel.” Howard Marshall informs that the tune has two distinct ‘B’ parts current in Missouri fiddling tradition, both different. Some fiddlers, Cleo Pursinger and Gene Goforth, play a third part. The low parts of “Coming Down from Denver” and “Hummingbird Reel” appear related. Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Byron Berline [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 11. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 56.  Caney Mountain Records CEP 207 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997. Learned from Roy Wooliver). Rounder 0442, John Hartford – “Hamilton Ironworks” (2001. Learned from Cleo Pursinger). Voyager VRCD 3 44, Howard Marshall & John Williams  – “Fiddling Missouri” (1999).

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

COMING FROM THE RACES. AKA and see "Kitty Got a Klinking."

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

COMING FROM THE WEDDING (Ag Teacd On Posga/Posad). Irish, Hornpipe. A Major. Standard tuning (fiddle). AABB. O'Neill (Krassen), 1976; pg. 178. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1621, pg. 301. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 854, pg. 148.

X:1

T:Coming from the Wedding’

M:C|

L:1/8
R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 854

Z:AK/Fiddler’s Companion

K:A

(3EFG|A2 ce agfe|dcBA GBEc|B2 GB EBGB|AABc dcdB|

A2 ce agfe|dcBA GBEB|Aceg agaf|edcB A2:|

|:cd|e2 ce Aece|f2 df Bfdf|e2 ce Aece|dcBA GABc|

e2 ce Aece|dcde fgaf|eagf edcB|AdcB A2:|

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

COMING HOME FROM THE BOG (Ag Teacht Abhaile on bPortach). Irish, Reel. G Major. Standard tuning (fiddle). AB. The tune has some similarities to "McFadden's Handsome Daughter," Breathnach (1985) says, but the turns are not the same. He records that “My Love is Fair and Handsome” is a Kerry title for the tune and the “The Gardener’s Daughter” is a name for it in Sligo. Source for notated version: fiddler Paddy Ryan (Co. Roscommon and Birmingham) [Breathnach]. Breathnach (CRÉ II), 1976; No. 141, pg. 76.

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

COMING INTO LITTLE ROCK. 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.

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

COMING OF SPRING, THE. Irish, Jig. E Minor. Standard tuning. AA’BB’C. Composed by Paddy O’Brien, originally of Tipperary.

X:1

T:Coming of Spring, The

M:6/8

L:1/8

C:Paddy O’Brien (Tipp.)

S:session player in Listowel

Z:Ken Fleming

R:jig

K:Em

|BEE (3BdB A|BdB BAG|FEF DFA|dfe dBA|BEE (3BdB A|Bef gfe|dBG FGA|1 BGE E

2A:|2 BGE E2F||GEF (3GAG A|B2A Be^c|d2A BAG|FAF DEF|G2E FGA|Bef gfe|dBG

FGA|1 BGE E2F:|2 BGE E2f||g2e ede|Beg bag|f2d d^cd|AFA def|g2e ede|Beg b

ag|fed (3fga f|ged e2f|g2e ede|Beg bag|f2d d^cd|AFA def|g2e fed|Be^c dfe|dBG FGA|BGE E2A||

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

COMING OVER THE HILLS ("Ag Teacd Tarsna Na Cnuicib" or "Ag Teacd Treasna Na Gcnoc"). Irish, Reel. D Mixolydian ('A' part) & D Major/Mixolydian ('B' part). Standard tuning (fiddle). AAB (O'Neill/1850 & 1001): AABB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 141. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1448, pg. 268. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 682, pg. 121.

X:1

T:Coming Over the Hills

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 682

Z:AK/Fiddler’s Companion

K:Dmix

BdcA d2 cA|D>G {A}(3GFG AbcA|BdcA G2 GF|D>F {G}(3FEF ABcA:|

K:D

Addc d2 dc|A>d {e}(3dcd efge|fdec d2 dc|AGFG AB=cB|Ad{e}dc d2 dc|

A>d {e}(3dcd efge|faef d2 dc|AGFG AB=cA||

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

COMIN' OVER THE MOUNTAIN. AKA and see "Flop-Eared Mule [1]," "Lop-Eared Mule." USA, southwestern Pa. title.

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

COMING 'ROUND THE MOUNTAIN. 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.

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

COMING THRO' KILBLEEN. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 46, pg. 17.

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

COMING THRO’ THE BROOM. AKA and see “Gala Water.” Scottish, Air (4/4 time). D Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 131.

X:1

T:Coming Thro’ the Broom

M:4/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D

F2 (E>D) E3F | (A3B AFED) | (F2E2) E2 (FA) | (BAdc) Az/A/ | (A2Bc d3)e |

(f>edB) d3F | (F2 E>F) (E2FA) | d3c B2Az | F2 E>D D3z || 

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

COMING THROUGH THE BROOM MY JO. AKA and see “Lord Haddo’s Favorite,” “What ye wha I met yestreen.” Scottish, Air or Strathspey. A Dorian. Standard tuning. AABB. Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection (pg. 25). It also appears in James Oswald’s Caledonian Pocket Companion of 1760. Glen (The Glen Collection of Scottish Music), vol. 1, 1891; pg. 23. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 106.

X:1

T:Coming Throw the Broom My Jo

M:C

L:1/8

R:Strathspey
S:Glen Collection, vol. 1  (1891)

K:Ador

A | A/A/A BA cd e2 | dBgB A>GEA | G/G/G BA GA B2 | D2 EG B>AA :|

|:f/g/ | a>bag ab a2 | gabg aeef |g>age dega | g/f/e/f/ gd B>AA :|

X:2

T:Coming thro’ the Broom my Jo

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Amin

G2 | E2A2A2G2 | A2B2 {B}e4 | d3e g2B2 | A2G2 E4 | G3A {GA}B2A2 |

G2A2 {GA}B4 | D4 EDEG | {GA}B2A2A2 :: e | a3ba2e2 | a3ba2e2 | g3ab2a2 |

“tr”g2e2d2 e^f | g2e2g2B2 | d2e2{e}g4 | “tr”e4 d2B2 | B2A2A2 :|

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

COMING THROUGH THE FIELD(S). AKA and see "Miss Thornton's {Reel}," "Thro the Fields [2]," "The Boat Street Lasses," "The Maid of the Forest," "Lady Ann Hope [1]," "The Creeping Mouse," "Down the Street," "Spike Island Lasses [2]," "Salamanca [2]," "O'Loughlin's Reel." The tune listed as having been commonly played at Orange County, New York country dances in the 1930's (Lettie Osborn. New York Folklore Quarterly, pgs. 211‑215).

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


COMING THROUGH THE RYE (Ag Teacht tríd an Seagal). AKA and see "Gin a Body Meet a Body," "The Miller's Daughter [1]," "Rye Waltz." Scottish, Shetland; Country Dance Tune (2/4 or 4/4 time) or Strathspey. Irish, Slide. D Major (Kerr/3rd, Sweet): A Major (Kerr/4th). Standard tuning. One part (Sweet): AB (Breathnach): AABB (Kerr/4th). The title of the song comes from lyrics by Robert Burns set to the tune originally composed by Robert Bremner called "The Miller's Daughter." It was published in 1797 in The Scots Musical Museum (vol. 5), though it had earlier appeared in 1796 under the title "If a Body Meet a Body," the arrangement credited to J. Sanderson with words by Mr. Cross. Several sources have noted the similarity between this tune and "Auld Lang Syne," and Fuld (1966) believes they have similar melodic antecedents. The original song was a particularly bawdy ditty collected by Burns (who wrote not a few bawdy lyrics himself) and published posthumously around 1800 in The Merry Muses of Caledonia. Fuld believes that Cross's 1796 words were simply a prurient altering of the original song for public consumption. The air has been adapted to dancing in a number of rhythms and genres. Jackie Small, editor of CRÉ V (1999), says in his note with the tune: “It is interesting how little reluctance traditional musicians have to use bits of ‘pop music’, of whatever age, for their own purposes.”  In County Kerry it is played as a slide (12/8 time), and was noted by Kerry fiddle teacher Pádraig O’Keeffe in his idiosyncratic manuscript notation. As a novelty number called "The Rye Waltz," it was popular at dances in the southwest United States around 1900 (Shumway, 1990). The tune was recorded from Ozark Mountain fiddlers by folklorist/musicologist Vance Randolph in the early 1940's for the Library of Congress. Cooke prints the following words to the tune, collected in the Shetland Islands:

***

Jaanie she's a poor body,

Jaanie she's no dry;

Drinkin o' a pirrie cups,

Coming through the rye.

***

While Burns' begins:

***

Gin a body meet a body

Comin' thro' the rye.

***

Source for notated version: melodeon player Denis O’Keeffe (Rathmore, County Kerry) [Breathnach]. Breathnach (CRÉ V), 1999; No. 77, pg. 39. Kerr (Merry Melodies), vol. 3; No. 370, pg. 41. Kerr (Merry Melodies), vol. 4; No. 4, pg. 3. Sweet (Fifer’s Delight), 1964/1981; pg. 17. Folkways FG 3553, Neil A. Duddy – “Donegal Piper, vol. 2” (1964). Veteran VT111, Francis Shergold - "Greeny Up" (1988. Recorded from Bampton, England, morris dance musicians).

X:1

T:Comin Thro’ the Rye

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 5  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E<E E>c B>A B<c | E<E F>E A3F | E<E e>c B>A B>c E<E F>E A3c :|

|: e>cA>c B>A B<c | e>c (3Ace f3a | e>cd>B c>A B<c | E<E F>E A3c :|

X:2

T:Comin’ Thro’ the Rye

M:2/4

L:1/8

R:Country Dance

S:Kerr – Merry Melodies, vol. 3, No. 370  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A<AAf | e>def | A>ABA | d3d | A>Aaf | e>def | A>ABA | (d2d)z :|

|: a>fdf | e>def | a>f d(f/a/) | b3b | a>fg>e | fdef | A>ABA | (d2d)z :|

X:3

T:Comin’ Thro’ the Rye

M:12/8

L:1/8

R:Slide

S:Breathnach – CRÉ V, No. 77

K:D

B | ABA A2f e2d e2f | A2A BAB d3 d2B | ABA a2f e2d e2f | A2A BAB d3 d2f ||

a2f d2f e2d e2f | a2f dfa b3b3 | a2f g2e fed e2f | A2A BAB d3 d2 ||

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

COMING THROUGH THE RYE [2]. Old-Time, Breakdown. USA, Missouri. A Major. Standard tuning. AA’BB’CC’. The tune bears no relation to the air “Coming Through the Rye [1],” above. Liner notes to soure Enloe’s recording suggest similarity with West Virginia fiddler Ellis Hall’s version of “Stony Fork.” Drew Beisswenger (2008) suggests a composite of associations, with the ‘A’ part resembling “Cripple Creek,” the ‘B’ part the “Little Brown Jug” family of tunes, and the ‘C’ part “Temperance Reel.” I add that the ‘A’ part is similar to the French-Canadian “Reel de la Broue.” Source for notated version: Lymon Enloe (1906-1997, Missouri), who learned the melody from Tony Gilmore (Jefferson City, Missouri) in the 1920’s [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Tunes), 2008; pg. 28. County Records CD-2707, Lymon Enloe – “Fiddle Tunes I Recall” (originally recorded c. 1973).

 

COMING TO MIND.  Irish, Reel. Composed by flute player Mike Rafferty. The tune is similar to flute player John Brennan’s “Thrush in the Storm.” Mike & Mary Rafferty – “Road from Ballinakill.”

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

COMING UP THE TURNPIKE. AKA – “Coming Up the Pike.” Old‑Time, Breakdown. USA; Arkansas, Missouri. C Major. Standard tuning. AABB. The tune was recorded for the Library of Congress in the early 1940's by musicologist/folklorist Vance Randolph, from Ozark Mountain fiddlers, among them William Bilyeu (1943) and Delbert McGrath (1942). The ‘A’ part resembles “Fort Smith [1],” while other similarities can be found in “Old Buzzard [1],” and “Nubbin Ridge.” Source for notated version: Art Gabraith (1909-1993, near Springfield, Mo.), learned from a member of the Bilyeu family (Ozark, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 37. Rounder Records 0133, Art Galbraith – “Dixie Blossoms” (1981).

                       

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

X:1

T:Comme Vous Voudrés, La

M:C|

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 2

Z:AK/Fiddler’s Companion

K:A

D2 | G2A2B2G2 | A2D2c2A2 | B2d2A2c2 | B2G2F2D2 | G2A2B2G2 | A2D2c2A2 |

B2d2e2f2 | g6 :: d2 | g2a2b2g2 | a2f2e2d2 | e2f2g2B2 | c2B2A2G2 | d2d2e2c2 |

d2B2A2G2 | F2D2d2A2 | B2d2A2c2 | B2D2E2F2 | G4G,2 :|

                       

COMMENCE YE DARKIES ALL. Old‑Time, Quadrille. A Major. Standard tuning. ABCD. Undoubtedly from the minstrel repertoire. Ford (Traditional Music in America), 1940; pg. 95.

                       

COMMERCE, THE. English, Quadrille Set. G Major. Standard tuning. ABC. The first part of a quadrille set, in 6/8 time. See entries for individual tunes in the set: “The Commerce,” “(Les) Beaux Arts,” “(Le) Industrie,” “(Le) Union,” and “Manchester Quadrille Part 5.” Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 51. 

X:1
T:Manchester Festival Quadrille 1
C:Ellis Knowles
S:Ellis Knowles Manuscript 1840's
B:Plain Brown Tune Book
M:6/8
L:1/16

N:Posted to Tradtunes 01/01/03 by Tony Doyle
Q:389
K:C
c6 e6 |  g6 g2e2A2 | g2e2c2 g2e2c2 | f2e2d2 c2B2A2 | G6 B4 d2 | f6 a4 f2
| e2g2f2 d2g2e2 | c6 c4 ||!
g2 | a4 f2 c2f2a2 | g4 e2 c2e2g2 |  f4 d2 B4 G2 | c4 e2 c4 g2 | a4 f2 c2
f2a2 | g4 e2 c'2g2e2 | d4 c2 B3ccB | G6 G4 ||!
F2 | c4 A2 B4 c2 | A6 F2c2d2 | e4 c2 d4 e2 | c6 B4 F2 | c4 A2 B4 e2 | d6
e4 d2 | c2d2c2 B2c2B2 | A6 A8 z2 ||!

                       

COMMODORE, THE. Irish, Reel. D Major. Composed by Washington, D.C., area accordion player Billy McComiskey and fiddler Brendan Mulvihill. Philippe Varlet suspects they may have been inspired by the second part of “The Priest in his Boots.”  The Commodore was the former name of a hotel now called The Phoenix Park located atop of The Dubliner, the Irish pub in Washington where the band Irish Tradition (comprised of the composers plus guitarist-singer Andy O'Brien) held forth for over a decade in the 1970's and early 1980's. Green Linnett, Liz Carroll, Jimmy Keane and Mick Moloney - “There Were Roses” (1985). Kells Music KM 9511, Alan Kelly – “Out of the Blue.” Cherish the Ladies – “The Girls Won’t Leave the Boys Alone.” Alan Kelly – “Out of the Blue.” Mick Moloney, Liz Carroll, Robbie O’Connell, James Keane – “There Were Roses.”

X:1

T:Commodore, The

M:4/4

L:1/8

S:Tralee concertina player Michelle O'Sullivan.

Z:transcribed by Paul de Grae

K:D

(3efg|a2fa gfeg|fedf ecA2|ad (3ddd bdad|cdef g2fg|

a2fa gfeg|fedf ecAB|(3cBA eA f2ef|gece d2::AG|

FAde =f2gf|e=c (3cBc cBAG|FABc d2ed|ceag fddG|

FAde =f2gf|e=ccB cdeg|aged cAAf|gece d2:|

 

COMMODORE HOWE’S RAMBLE. English, Jig. G Major (‘A’ part) & B Flat Major (‘B’ part). Standard tuning. AABB. The melody first appeared in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1758), followed by its printing by R. Baldwin in London Magazine, or The Gentleman’s Monthly Intelligencer (London, 1759). The title probably refers to an action in the Seven Years War when, in 1758, a British expedition commanded by Commodore Howe of the Royal Navy and General Bligh of the army, attacked Cherbourg, an important seaport in northwestern France. Disembarking troops, the British destroyed the harbor, the protecting forts, and many of the French ships. Not finished, the British proceeded south along the French coast to St. Cast, with troops set ashore near St. Malo in Brittany, south of Cherbourg. It was there that they French under the Duc d'Aiguillon met them with a countering force of 15,000 troops, forcing the British to withdraw. There was a sharp rearguard action by 1,500 men under General Dury, during which he was wounded. Dury drowned trying to swim towards his ship. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 30.

X:1

T:Commodore Howe’s Ramble

M:6/8

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:G

e/f/|gdc BAG|FGA AFD|gdc BAG|FAA A2 e/f/|gdc BAG|FGA AFD|BdB cAF|G[Gg][Gg] [G2g2]:|

K:Bb

B/A/|Bdd Acc|Bdd Acc|Bdg fdB|Acc c2 B/A/|Bdd Acc|Bdg fab|fdB ecA|BBB B2:||

 

COMPAICH AG OL, NA. AKA and see "The Jolly Companions."

           


COMPLIMENTS TO BUDDY MACMASTER. Canadian, Reel. Canada; Prince Edward Island, Cape Breton. F Major. Standard tuning. AABB. Composed by Inverness, Cape Breton, fiddler Jerry Holland in honor of Cape Breton fiddle master Buddy MacMaster. Source for notated version: Gus Longaphie (b. c. 1950, Souris, North-East Kings County, Prince Edward Island; now resident of Charlottetown) [Perlman]. Cranford (Jerry Holland’s), 1995; No. 150, pg. 43. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 116. Atlantica Music 02 77657 50222 26, Jerry Holland - “Atlantic Fiddles” (1994). Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland” (1990). Fiddlesticks Music CD1, Jerry Holland - “The Fiddlesticks Collection” (1992). Green Linnett, Jerry Holland - “The Fiddlesticks Collection” (1995).

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

COMPLIMENTS TO CAMERON CHISHOLM. See “Maybelle’s Compliments to Her Brother Cameron.”

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

COMPLIMENTS TO GEORGE GRANT. Scottish, Strathspey. D Major. Standard tuning. ABBCCD. Composed by Nathaniel Gow (1763-1831). See also another tune dedicated to Grant, “Mr. George Grant’s Strathspey.” Carlin (The Gow Collection), 1986; No. 27.

           

COMPLIMENTS TO ROY A. CHISHOLM. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by piper Barry W. Shears in honor of a long-time supporter of Cape Breton piping. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 52 (pipe setting).

                       

COMPLIMENTS TO SEAN MAGUIRE. Irish, Hornpipe. B Flat Major. Standard tuning. AABB’. Composed by fiddler Brendan Mulvihill (Maryland), son of the late Irish-American fiddler Martin Mulvihill (Bronx, N.Y.). The tune, which honors Irish fiddler Sean Maguire, has some currancy in Cape Breton. Cranford (Jerry Holland’s), 1995; No. 47, pg. 14. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

 

COMPLIMENTS TO THE BOYS OF THE LOUGH. American, Jig. Composed by fiddler Frank Ferrel in honor of the Scottish/Irish group the Boys of the Lough. Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991).

           

COMPLIMENTS TO THE BROWNS OF DINGWALL. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 149, pg. 43. Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991).

           

COMPLIMENTS TO W.K. JENKINS. See “Nathaniel Gow’s Compliments to Mr. W.K. Jenkins.”

           

COMPOSE HEAP, THE. Canadian, Reel. Canada, Cape Breton. E Dorian. Standard tuning. AABB. Composed by editor, fiddler and lighthouse keeper Paul Stewart Cranford. Cranford (Jerry Holland’s), 1995; No. 135, pg. 39.

                          

COMPUTER JOE.  Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. ABCD. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 37, pg. 16.

 

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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.