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]

 

 

 

CON CARTHY’S. AKA and see “The Banks of Glenoe,” “Petticoat Loose [1],” “The Rooms of Dooah.” Irish, Jig. Topic 12TS357, Johnny O’Leary - “Music for the Set” (1977).

           

CON CARTHY’S FAVOURITE. Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. B Minor. Standard tuning. AABB. Sources for notated versions: recorded in November, 1970, by Breandan Breathnach from the playing of accordion player Johnny O’Leary (Sliabh Luachra) [Moylan]; set dance music recorded at Na Píobairí Uilleann, in the 1980’s [Taylor]. Moylan (Johnny O’Leary), 1994; No. 13, pg. 8. Taylor (Music for the Sets, Yellow Book), 1995; pg. 13.

           

CON CASEY'S JIG (Port Crotuir Ui Catasaig). AKA – “Casey’s Jig.” Irish, Jig. A Minor. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 25. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 801, pg. 149. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 73, pg. 28.

X:1

T:Con Casey’s Jig

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 73

Z:AK/Fiddler’s Companion

K:Amin

A/G/|EAE AEA|G3 GEG|EAE AEd|AGE EDC|EAE AEA|G3 GAB|cBA BGE|EDD D2:|

|:e|fed ecA|GEE Gce|fed ecA|GEG A2e|fed ecA|G2E GAB|cBA BGE|EDD D2:|

           

CON CASSIDY.  Irish, Barn Dance. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007).

 

CON CASSIDY’S (JIG) [1]. AKA and see “Johnny Boyle’s.”

 

CON CASSIDY'S (JIG) [2]. AKA and see “Crossing the Oily River,” “Sit-In Jig.” Irish, Jig. G Major. Standard tuning. AABB’. An untitled jig from Teelin, County Donegal, fiddler and storyteller Con Cassidy, named after him by the group Altan in place of the lack of a title. Donegal fiddler Packie Manus Byrne has a version he calls “Crossing the Oily River.” Green Linnet SIF‑1109, Altan ‑ "The Red Crow" (1990). Green Linnet GLCD 3090, Maiaread Ni Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994). Danny Meehan – “Navvy on the Shore.”

X:1

T:Con Cassidy’s (Jig) [2]

T:Sit-In Jig

M:6/8

L:1/8

Z:Transcribed by Paul de Grae

K:G

B3 BAB|d2 c A2 F|GAG GFG|B2 A A2 B|

c3 cBc|e2 d B2 c|ded cBA|1G3 G2 A:|2 G3 deg|:

f2 d def|gfg a2 g|f2 d ded|c2 A A2 g|

f2 d def|gfg a2 g|fed ed^c|1d3 deg:|2 ded cBA|

 

CON CASSIDY'S JIG [3]. Irish, Jig. Ireland, County Donegal. G Major. Standard tuning. AA’BB’. Source for notated version: fiddler Con Cassidy (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 151. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 3.

X:1

T:Con Cassidy’s Jig [3]

M:6/8

L:1/8

R:Jig

K:G

BAB cBc | dgg d2g | fed cAF | GBg d2c | BAB cBc | dgg dgg |

fed cAF |1 ~G3 G2A :|2 GFA GBd |: g2d f2d | efg d2c | BAG Afg |

fed eaa | agf gfe | fed fga |1 gfe def | eAG GBd :|2 gfe =def | ~g3 d2c ||

                       

CON CASSIDY’S HIGHLAND [1].  Irish, Highland. Ireland, County Donegal. Green Linnet SIF‑1078, "Altan" (1987).

 


CON CASSIDY'S HIGHLAND [2]. AKA and see “Alasdair MacAlister,” “Canamine Highland,” “Little Katie Kearney.” Irish, Highland. Ireland, County Donegal. See note for "Con Cassidy's." Green Linnet SIF‑1101, Mairead Ni Mhaonaigh ‑ "Playing with Fire: the Celtic Fiddle Connection" (1989). Green Linnet SIF‑104, Altan ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑1095, Altan ‑ "Horse with a Heart" (1989).

           

CON CASSIDY’S REEL. Irish, Reel. Ireland, County Donegal. F Major. Standard tuning. AA’BB. Source for notated version: fiddler and storyteller Con Cassidy (County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 153.

           

CON CRONIN’S [1]. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AA’BB’. Played slower than the usual polka tempo. Sliabh Luachra musician Con Cronin used to play this on the concertina. Source for notated version: recorded by Breadan Breathnach from the playing of accordion player Johnny O’Leary (Sliabh Luachra), November, 1970 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 10, pg. 7.

 

CON CRONIN’S [2]. AKA and see “Con Thadhgo’s.” Irish, Jig.

           

CON CURTIN’S BIG BALLOON. See “Cornelius Curtin’s Big Balloon.”

 

CON CURTIN’S FROLICS. Irish, Jig. Outlet 3002, Paddy Cronin‑ "Kerry's Own Paddy Cronin" (1977).

           

CON McCARTHY’S FAVORITE. Irish. Copely Records 9-112 (78 RPM), Paddy Cronin (195?).

 

CON McGINLEY’S. AKA and see “Baintreach Mná” (The Widow), “The Limerick Lasses [2],” “The Merry Wives (Highland),” “Over the Bridge to Beeta,” “Over the Bridge to Betty,” “Ríl Shingil Pheadair Uí Ighne” (Peter Hyne’s Single Reel). Irish, Reel. Ireland, County Donegal. D Major. Standard tuning. AA’BB’. A reel popular in Donegal where it is usually called “Con McGinley’s,” although it is also known in that county as  “Baintreach Mná” (The Widow) and “Ríl Shingil Pheadair Uí Ighne” (Peter Hyne’s Single Reel)—James Byrne called it by the latter title but also recorded it as “Con McGinley’s”. A version of the tune appears in Fr. Luke Donnellan's publication in the 1909 edition of the Journal of the County Louth Archaeological Society (JCLAS). Dermot McLaughlin, in his notes for James Byrne’s recording, mentions a similarity to a Scottish reel, "Lord Dunrale” (Lord Doneraile?), found in a 19th century collection from County Tyrone. Mick Brown believes Ed Reavy composed his “Merry Wives” Highland based on “Con McGinley’s.” Claddagh CC52CD, James Byrne – “Road to Glenlough.” Virgin CDV2796, Altan – “Blackwater.”

X:1

T:Con McGinley's

R:reel

Z:id:hn-reel-307

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:D

AFdF ~A3F | ABde fded | AFdF ABde |1 fggf edBd :|2 fggf edBA |

|: defg a2af | b2bf a2af |1 defg a2af | bafe defe :|2 g2ge f2fe | dfec d4 ||

           

CON MULLANE’S. AKA and see “Craig’s Reel.” Irish, Reel. D Major. Standard. AB. Mullane was a musician from the County Limerick/Kerry border area. Source for notated version: a recording by the late fiddler Martin Mulvhill (County Limerick/Bronx, N.Y.) [Black]. Black (Music’s the Very Best Thing), 1996; No. 339, pg. 181.

X:1

T: Con Mullane's

S: M. Mulvihill

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

DFAd BABc | d2 cA BE E2 | DFAd BABd | d2 AG FD D2 |

DFAd BABc | d2 cA BE E2 | DFAd BABd | d2 AG FDFA ||

d2 fd edfd | d2 cA BE E2 | d2 fd edfd | dBAG FDFA |

d2 fd edfd | d2 cA BE E2 | gfed edBc | dBAG FD D2 ||

           

CON THADHGO’S [1]. Irish, Jig. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 121, pg. 70. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989. Appears as “Con Cronin’s”).

 

CON THADHGO’S [2]. AKA and see “Con Cronin’s,” “Matt Hayes’s Polka [2], “Matt Teehan’s.” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AABB. Source for notated version: Con Cronin via accordion player Johnny O’Leary (Sliabh Luachra region), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]. Crantich (Irish Fiddle Book), 141. Cranitch (Irish Session Tunes: Red Book), 2000; 41. Moylan (Johnny O’Leary), 1994; No. 158, pg. 91.

           

CONALL’S GHOST. AKA and see “Taibhse Chonaill.”

           

CONCERT (JIG), THE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 53.

           

CONCERT HORNPIPE, THE. AKA and see “Coutt’s Concert Hornpipe.” Scottish (originally), Irish; Hornpipe. F Major ('A' part) & D Minor ('B' part) {Kerr, Craig}: B Flat Major & G Minor (O’Malley). Standard. AA'BB'. Billy McElligott made an old recording of this tune. Source for notated version: New York fiddler John McGrath [O’Malley]. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 5. Kerr (Merry Melodies), vol. 2; No. 384, pg. 43. O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. 130, pg. 65.

X: 1

T: Concert

M: 4/4

L: 1/8

Q: 325

S: Luke O'Malley vol 1 

Z:Transcribed by Bill Black

R: Hornpipe

K: Bb

FE|: DFdF DFdF|EG c2 DF d2|e2 (3ded (3cdc (3BcB|(3AGA (3GAG (3FGF (3EFE|

DFdF DFdF|EG c2 DF d2|e2 (3ded (3cdc (3BcB|1 AG (3FGA B2 :|2 AG (3FGA B2 ||

|:D2 | (3dDD (3cDD (3BDD (3ADD| (3GBG (3DGB dBGB| (3^FAF (3DFA dcBA|

(3G^FG (3A^GA (3BAB (3c=Bc| (3dDD (3cDD (3BDD (3ADD|(3GDD GB dBGB|

AD^FA dcBA | GDBA G2 :|

           

CONCERT MARCH, THE. Canadian, March (2/4 time). Canada, Cape Breton. A Major. Standard tuning. AAB. Composed by Cape Breton fiddler Dan R. MacDonald. Source for notated version: "The Cape Breton Fiddler" Newsletter [Little]. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pgs. 26‑27. Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).


           

CONCERT OU LA SABATINE, LE.  French, Country Dance (6/8 time). F Major. Standard tuning. AABBCCDD. 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. 6.

X:1

T:Concert Ou La Sabatine, Le

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 6

Z:AK/Fiddler’s Companion

K:F

C | F2A G2B | A2c fga | gfe dcB | {B}”tr”A2G F2C | F2A G2B | A2c fga |

dcB A2G | (F3 F2) :: c | fef cBA | Bcd “tr”c2c | def cBA | B2G G2c | def gab |

agf bag | agf cfe | fcA F2 :: F2a F2a | E2g E2g | agf edc | fcA F2F | F2a F2a |

E2g E2g | afa geg | f3 F3 :: B,2d B,2d | A,2c A,2c | dcB AGF | cGE C2C |

B,2d B,2d | A,2c A,2c | dBd cfe | f3 F3 :|

                       

CONCERT REEL [1]. Canadian, Reel. Canada, Ontario. A Major. Standard tuning. AA'BB. Sources for notated versions: learned by Hamilton County, N.Y., fiddler Vic Kibler from a Graham Townsend (Ontario) record [Bohrer]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 28, pg. 41. Bohrer (Vic Kibler), 1992; No. 5, pg. 5. Popcorn Behavior – “Journeywork” (1997).

X:1      

T:Concert Reel [1]

M:C|

L:1/8

R:Reel

K:A

AF|:EAAc (3BcB AF|ECB,C A,2 A,B,|CEEF EFAB|(3cBA Bc (3BcB AF|

EAAc (3BcB AF|ECB,C A,2 A,>B,|CEEF EFAB|(3cBA Bc A2:|

|:AB|ceef ecAc|dffg (3fgf eg|agae (3fga ea|gbfg e2 fg|abae faec|dcBA GFED|

CEAB (3cBA GB|Ac(3BcB A2:|

 

CONCERT REEL [2], THE. Irish, Reel. A Dorian. Standard tuning. AABB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare) [Mitchell]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), No. 61, pg. 16. Mitchell (Dance Music of Willie Clancy), 1993; No. 9, pg. 33. Shanachie Records SHA 79006, Mary Bergin – “Feadoga Stain.” Wild Asparagus 003, Wild Asparagus - "Tone Roads" (1990).

X:1

T:Concert Reel, The [2]

R:Reel

D:Mary Bergin: Feadoga Stain.

Z:id:hn-reel-136

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Ador

BAGB AE~E2|GABG ~A3B|dBAB ~G3B|d2eB dBAB|

BAGB AE~E2|GABG A2 (3B^cd|e2ab gedB|GBdB BA~A2:|

|:ea~a2 ea~a2|~e3f gedB|dg~g2 a2ga|bgab gedg|

ea~a2 ea~a2|~e3f gedB|~g3e d2 (3gfe|dBGA BA~A2:|

X:2

T:Concert Reel, The [2]

M:C|

L:1/8

R:Reel

K:A Dorian

EAAB AGEF | GABG AGAB | dBAB GFGB | d3e dBAc | BAGB AGEF |
GBGB A2 (3Bcd | e2 af gedB | GBeB BA A2 :: ea (3aaa b2 ag | eaaf gedg |

eg (3gfg a2 ga | bgab gedg | ea (3aba ea (3aba | edef ge d2 | gfge dege | dBGA BA A2 :|

 

CONCERT [3], THE. Canadian, Reel. Canada, Cape Breton. A Major/Mixolydian. Standard tuning. ABB’. A ‘double-tonic’ tune composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 5.

 

CONCERT REEL [4], THE. AKA and see “Callaghan’s (Reel) [3],” “Denis Murphy’s (Reel) [1],” “Doon Reel [4],” “Now She’s Purring,” “O’Callaghan’s Reel.” Irish, Reel. Philippe Varlet says that Kerry fiddler Denis Murphy recorded it under the title “The Doon” on a 78 RPM recorded in the United States in the 1940’s (there are several tunes with that title, however). Later Murphy gave the title for the tune as “Now She’s Purring” by which name it appeared in the magazinge Treoir in 1975. Martin Mulvihill noted in his collection that Kerry fiddler Padraig O’Keeffe, Murphy’s tutor, called the tune “Now She’s Purring” (although this may simply have been O’Keeffe’s comment of satisfaction when the music “hit the groove.”). Stockton’s Wing (1st album). Shanachie 34009, “Frankie Gavin with Alex Finn.”

                       

CONCERTINA HORNPIPE, THE. AKA and see “The Bank of Turf [2]," “The Blacksmith’s Charm.” Irish, Hornpipe. From the playing of fiddler John Kelly Sr., who also recorded the tune under the title “The Blacksmith’s Charm.” See also the related “Ewe wi’ the Crooked Horn.” Breathnach (Folk Music and Dances from Ireland), 1971; 26.

 

CONCERTINA HORNPIPE [2]. AKA and see “The Bath Road Hornpipe,” “Brendan’s Fancy.”

                       

CONCERTINA REEL, THE. AKA and see “The Old Concertina Reel [1],” “Ríl Liam.” Irish, Reel. G Major (Mitchell): D Major (Breathnach, Mallinson, Tubridy). Standard tuning. AABB (Mallinson, Tubridy): AA’BB’ (Breathnach, Mitchell). The concertina was invented by Sir Charles Wheatstone in 1829, a free-reed instrument whose reeds were made of brass and later steel. The English concertina gives the same note per button, push or pull, while the Anglo concertina plays a different note on the push and pull. Willie Clancy declared he had this tune from his mother, a concertina player and singer from Ennistymon (Mitchell). There is some confusion about the title “The Old Concertina Reel,” which sometimes refers not only to “The Concertina Reel” but also to a different tune also known as “John Kelly’s” and “The Kerry Reel.” The “Concertina Reel” is therefore sometimes called “The New Concertina Reel.” Some Scottish versions of the melody are set in the key of ‘A’ major, although Irish ones are usually in ‘D’. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRE II), 1976; No. 210 (appears as “Gan ainm/No title”). Breathnach (CRÉ II), 1976; Nos. 210, 220 & 275 (last appears as “Gan ainm/No title”). Mallinson (Essential), 1995; No. 43, pg. 19. Mitchell (Dance Music of Willie Clancy), 1993; No. 72, pg. 71. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 18. Patrick Street. Smithsonian Folkways SFW CD 40126, Rodney Miller  – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999). Chieftains – “Water from the Well” (appears as 2nd tune of Kilfenora set).

X:1

T:Concertina Reel

M:4/4

L:1/8

K:G

g2fg g2fg | g2fg ed^cd| edfd edfd | edfd ed^cd|

g2fg g2fg| g2fg edBA|Bdef g2ge|dBAB G4:|

|:Bdd2 edd2|Bdd2 edd2| edfd edfd|edfd ed^cd

|Bdd2 Bdd2|Bdd2 edBA|Bdef g2ge|dBAB G4:|

X:2

T:Concertina Reel

L:1/8

M:C|

K:D

FG|A2 FA BAFA|A2 FA BAFA|B2 cA BAcA|BAcA BAFA|

A2 FA BAFA|(3ABA FA BAFE|FABc d3B|AFEF D2:|

|:d|Ad d2 Ad d2|Ad ~d2 BAFA|B2 cA BAcA|BacA BAFA|

Ad d2 Ad d2|Ad ~d2 BAFE|FABc d3B|AFEF D3:|

X:3

T:The Concertina

M:4/4

L:1.8

B:Ho-Ro-Gheallaidh Vol.2

K:A

f|e2 ce fece|e2 ce fece|fege fege|fege fece|

e2 ce fece|e2 ce fece|cefe a2 af|ecBc A3:|]

f|ea (3aaa ea (3aaa|eaae fece|fege fege|fege fece|

ea (3aaa ea (3aaa|eaa^g a3 f|e2 ce faaf|ecBc A3:|]

                       

CONCHUBHAR MHAC COIREIBHE (Conor Macareavy). AKA and see "Girls, have you seen George?" (A chilini, an bhfaca sibh Seoirse?," "Sgaruint na gCompanach" (The Parting of Friends). Irish, Air (4/4 time). B Minor. Standard tuning. AA'B. Composition of the melody has been credited to Lyons, in 1700. The tune is also found, states O'Sullivan (1983), in Neals Celebrated Irish Tunes (c. 1726, pg. 18) and Mulholland's Ancient Irish Airs (c. 1810, No. 36). One of O'Carolan's best poems, the elegy on the death of his wife, Mary Maguire, is said to have been written to this tune. Source for notated version: Bunting noted the tune from Hempson at Magilligan in 1792. O'Sullivan/Bunting, 1983; No. 11, pgs. 16-17.

                       

CONCORD RAG. AKA and see "Y.Z. Special," "G Rag," "Hamilton's Special Breakdown." Recorded under this title by J.E. Mainer.

                       

CONCORDIA. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 117.

X:1

T:Concordia

M:2/4

L:1/8

R:Breakdown

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

D|GG G/A/B/c/|dd d/c/B/A/|GG G/A/B/c/|BA A>D|

GG G/A/B/c/|dd de/f/|g/a/g/e/ d/c/B/A/|GGG::B/c/|d2b2|d’3 B/c/|

dd/B/ dd/B/|dc AA/B/|c2f2|c’3e|df/e/ d/c/B/A/|GGG:|

                       

CONDAE MHAIGHEO. AKA and see "The County Mayo."

           

CONDEMNED HALL IN DUBLIN, THE. American, Reel. G Major. Standard tuning. AB. Composed by New Hampshire fiddler Jack Perron, in honor of a (Dublin,) New Hampshire contra-dance hall closed due to fire violations. Miller (Fiddler’s Throne), 2004; No. 138, pg. 91.

           

CONDON'S FROLICS (Mireog Conduin). AKA and see “Castletown Conners [1],” “Digging for Gold,” “Paddy Carty’s Jig,” “The Thatcher,” “Walsh’s Jig [2].” Irish, Jig. A Dorian (O'Neill/Krassen & 1001): A Mixolydian (O'Neill/1850). Standard tuning. AABB. Frequently found in uilleann pipe and button accordion repertoire. James Keane calls the tune “Walsh’s.” The tune is sometimes rendered in the key of B Minor (e.g. Dervish). O'Neill (Krassen), 1976; pg. 31. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 838, pg. 156. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 100, pg. 32. Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008).

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:Condon’s Frolics

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 100

Z:AK/Fiddler’s Companion

K:Ador

g|ecA c2d|edc BAG|ABA c2d|ede efg|ecA c2d|edc BAG|ABA gfg|ecA A2:|

|:e|eaa efg|dec BAG|cBc dcd|efe ezd|eaa efg|dec BAG|ABA gfg|ecA A2:||


           

CONDY MAGANN. AKA and see "The Wedding of Ballyporeen."

           

CONE’S FAVOURITE.  Irish, Jig. A version of “Tatter Jack Walsh” collected by Brendan Breathnach. Jackie Small suggests the title may be associated with Galway fiddler and composer Tommy Coen.

 

CONFAB BETWEEN A QUAKER AND A SECEEDER, A (SUPPOSED).  Scottish, Air (whole time). G Major. Standard tuning. AABB. A Seceeder was a breakaway branch of the Presbyterian church, formed when the Church of Scotland attempted to enforce laws that deprived a congregation of selecting their own minister. A confab was a casual talk, a conversation. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 26.

X:1

T:Confab between a Quaker and a Seceeder, A (supposed)

M:C

L:1/8

R:Air

N:”Thought very old”

N:”Pathetic and Ad. Lib.

B:Gow – Sixth Collection of Strathspey Reels

Z:AK/Fiddler’s Companion

K:G

GG GG GG GG|{GA}B3A G4|EE EE EE FG|~A>B AF D4|GG GG GG GG|{GA}B3A G3=F|

E2 (^FG) (AB) FD|[B,8G8]::gg gg {ga}b3g|gg gg {ab}c’3a|gg gg {ga}b3g|(ag).a.f d3f|

gg gg {ga}b3g|gg gg {ab}c’3a|(gfe).d egfa|g8|gg gg {ga}b3g|gg gg {ab}c’3a|gg gg {ga}b3g|

agfe dcBA|GG GG GG GG|{GA}B3A G3=F|E2 (^FG) (AB) FD|[B,8G8]:||

 

CONFEDERACY, THE. AKA and see "Glen Morisone's Reell," "Ye're Welcome Charlie Stewart." English, Scottish; Reel. England, Northumberland. D Major. Standard tuning. AABB. The tune appears in the David Young 1734 Duke of Perth Manuscript (also called the Drummond Castle Manuscript because it is in the possession of the Earl of Ancaster at Drummond Castle). It appears as "The Confederalecy" in William Vicker's original 1770 Northumbrian dance tune MS. (Seattle). Seatlle (William Vickers), 1987, Part 2; No. 322.

           

CONFEDERATION REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AA’AA”BB’. Composed by young East Royalty, Queens County, Prince Edward Island, fiddler Richard Wood (b. 1978). Source for notated version: Richard Wood [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 59.

 

CONFESS. AKA and see "Confesse, His Tune," "Court Lady,” "Rosamond." English, Country Dance Tune and Air (6/8 time). E Minor (Barnes, Karpeles, Raven, Sharp): D Minor (Chappell). Standard tuning. One part (Chappell): ABB (Barnes, Sharp): AABB (Karpeles, Raven). The ballad was first published in Playford's Dancing Master of 1650. "Confesse, His Tune," the alternate title, is similar to "Mr. Basse, His Tune." Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 165. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 15. Raven (English Country Dance Tunes), 1984; pg. 21 & pg. 38 (the latter is a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1994; pg. 32.

X:1

T:Confesse

T:Confesse, or the Court Lady

M:6/8

L:1/8

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

S:Dancing Master, 1650

Z:AK/Fiddler's Companion

K:D Minor

D | D2E F2G | A2A A3 | B3A2A | d2d ^c2D | D2E F2G |

A2A A3 | B3 A2A | d2d ^c2A | e2c f2d | ec2 A2=B | cA2 ^G2A |

A^G2 A2A | F2G A>BA | BA2 G3 | A2d ^c2d | e^c2 d2 ||

                       

CONGRESS, THE. See "Congress Reel."

                       

CONGRESS AT LACEBY, THE.  English, Country Dance Tune. D Major. Standard tuning. AABB. Laceby is a village in north east Lincolnshire, near Grimsby, and source Gibbons’ village of Tealby. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 85. BBC Rodio Linconshire YBR 101, Liam Robinson – “Yellowbellies” (2004. Various artists).

 

CONGRESS MINUET. AKA and see “King George III’s Minuet.”

                       

CONGRESS PARK. American, Reel. G Major ('A' part) & E Minor ('B' part). Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 20. Ryan’s Mammoth Collection, 1883; pg. 44. White’s Unique Collection, 1896; No. 47, pg. 9.

X:1

T:Congress Park Reel

M:2/4

L:1/8

S:White’s Unique Collection (1896), No. 46

Z:AK/Fiddler’s Companion

K:G

D | G>B (d/e/)d/B/ | (d/e/)d/B/ d/c/B/A/ | G>B d/e/d/B/ | (A/c/)f/e/ (d/c/)B/A/ |

G>B (d/e/)d/B/ d/cA/F/ | G g2(g | g)[Af][Bg] || (e/f/) | (g/e/)b/e/ (g/e/)b/e/ |

(f/e/)(^d/f/) e/B/e/f/ | (g/e/)b/e/ (g/e/)b/e/ | (f/e/)(^d/f/) e/B/e/f/ | (g/e/)b/e/ (g/e/)b/e/ |

(f/e/)(^d/f/) e/B/e/f/ | (g/e/)b/e/ (g/e/)b/e/ | (f/e/)(^d/f/) e ||

                       

CONGRESS REEL, THE (An Chomhdháil). Irish, Reel. A Aeolian (Brody): A Dorian (most versions). Standard tuning. AABB. It is said that this reel was composed in honor of  the World Eucharistic Congress in Dublin, in 1932, or was popular around that time and the name became attached. Gerdie Commane, a concertina player from the Kilnamona area, has said that it was written by Joe Mills of Athlone to commemorate the Dublin Congress (Jim Coogan points out the Joe Mills, the accordion player, was from Ballinasloe, County Galway, although he had a brother, Alfie, in Athlone). Philippe Varlet finds the earliest recording of the tune to be from the 1950’s.  The melody shares similarities with “The Hunter’s Purse.” Sources for notated versions: piper Pat Brophy/Patrick Ó Broithe (Ireland) [Breathnach]; The Irish Tradition (Washington, USA) [Brody]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].  Breathnach (CRÉ I), 1963; No. 122, pg. 50. Breathnach (Folk Music and Dance of Ireland), 1971; 4. Brody (Fiddler’s Fakebook), 1983; pg. 73. Cranitch (Irish Fiddle Book), 1996; No. 54, pg. 146. Cranitch (Irish Session Tunes: Red Book), 2000; 54. Harker (300 Tunes from Mike Rafferty), 2005; No. 9, pg. 3. Mallinson (Essential), 1995; No. 36, pg. 16. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 31. Clachán Music CMCD001, “Two Gentlemen of Clare Music.” Gael‑Linn CEF 069, Seamus Creagh‑ "An Fhidil Straith II." Green Linnet 1016, The Irish Tradition‑ "The Corner House." Green Linnet 1122, Kevin Burke - "Open House" (1992). Shanachie 29008, Frankie Gavin‑ "Traditional Music of Ireland." Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' Up the Hall" (1989).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Congress Reel

M:4/4

L:1/8

R:Reel

K:A Dorian

|:Bd|eAAG ABcd|eaaf gedg|eA(3AAA EAcA|BG G2 DGBd|

eAAG A2 Bd|eaaf gedB|~c3d eged|(3cBA BG A2:||

|:Bd|eaag a2 ag|eaag egdg|(3efg dg (3efg dg|eaaf gedg|

eaag a2 ag|eaaf gedB|c3 d eged |(3cBA BG A2:||

X:2

T:The Congress

M:4/4

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:A Dorian

eA (3AAG ABcd|e(a({b}a))f ({a}g)edf|eA (3AAA EA (3AAA|

B~G3 DGBd|eA (3AAA ABcd|e(a({b}a))f gedB|~c3(d e)ged|1

(3cBA BG A2 (Bd):|2 (3cBA BG ABcd||: e(a({b}a)g a3)g|

e~a3 gedg|(3ege dg (3ege dg|e(a({b}a))(f g)edg|e(a({b}a)g a3)g|

e~a3 gedB|~c3(d e)ged|(3cBA B(G A3)z:|

           

CONLACH GHLAS AN FHOMHAIR. Irish, Air (3/4 time). A Dorian. Standard tuning. One part. Ó Canainn (Slow Airs), 1995; pg. 16.

           

CONLIN'S JIG. Irish, Jig. G Major ('A' part) & E Minor ('B' part). Standard tuning. AA'BB'. Alewine (Maid that Cut off the Chicken’s Lips), 1987; pg. 12.


           

CONLON'S DREAM. AKA and see "Conolon's Dream," “Sword in (the) Hand.” Irish, Reel. E Minor. Standard tuning. AB. Named for accordion player P.J. Conlon? Treoir. Coleman Music Center CHC 009, flute player Roger Sherlock – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

X: 1

T: Conlon's Dream

S: "Treoir"

M: 4/4

L: 1/8

R: reel

Z: Transcribed by Bill Black

K: E Minor

GABG FGAF | EBBA BGEF | GABG FGBd | dBAG FDDF |

G2 BG F2 AF | EBBA BGEF | GABG FGAc | dBAG FD D2 ||

(3fgf ec dBAF | EBBA BGEg | (3fgf ec dBAd | (3Bcd AG FDDg |

fdec dBAF | EBBA BGEg | (3fgf ec dBAG | BGAG FD D2 ||

                       

CONLON’S JIG [1]. Irish, Jig. D Major. Standard tuning. AABB’. Named for accordion player P.J. Conlon, whose hey-day was in the 1920's. Black (Music’s the Very Best Thing), 1996; No. 281, pg. 151.

X:1

T: Conlon's (a)

S: P.J.Conlon

Q: 325

R: jig

M: 6/8

L: 1/8

K: D

A | d2 B AFA | BdB AFA | def ede | faf edB |

d2 B AFA | BdB AFA | def ede | fdd d2 :|

e | fdf afa | b3 afd | dff ede | faf ecA |

|1 def afa | b3 afe | def ede | fdd d2 :|

|2 d2 B AFA | BdB AFA | def ede | fdd d2 ||

 

CONLON’S JIG [2]. Irish, Jig. D Major. Standard tuning. AABB’. Named for accordion player P.J. Conlon, whose hey-day was in the 1920's. Black (Music’s the Very Best Thing), 1996; No. 354.

X:1

T: Conlon's [2]

S: De Danann

Q: 325

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: G

g/e/ | d2 B BAB | GEF G2 A | Bee dBA | Bef gfe |

d2 B BAB | GEF G2 A | Bee dBA | BGF G2 :|

d | gag fed | Bdd def | gag fed | Bee e2 f |

gag fed | Bdd def | gfg aga | baf g2 :|

           

CONNABERRY REEL, THE. 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).

           

CONNACHT... See "Conaught..."

           

CONNACHT LASSES. AKA and see "Connaught Lasses." Also see "The Barrow Castle," "Belles of Tipperary [2]," "The Blea‑berry Blossom," "The Connacht Star," "The Dandy Girl/Lass/Lasses," "The Four Courts of Dublin," "Green Fields to America," "The Kerry Star," "Lamont's Reel,” "Jackson's Welcome to Cork [1]," "Johnny Shooting in the Glen," “Mel Roddy’s Tune” (northeast Kings County, PEI), “Miss Mona(g)han(‘s Reel),” “New Policeman [1]," "O'Connell in Clare," “Shannon’s Shores,” "Stormy Weather [1]," "The White‑haired Piper.” Irish, Reel.

 

CONNAUGHT, THE. AKA and see "The Connaughtman's Rambles."

 

CONNAUGHT DAISY (FROM COADY), THE. AKA and see "An Noinin Connachtach."

 

CONNACHT HEIFERS (Budógaí Chonnacht). AKA – “Connaught Heifers.” AKA and see "The Silver Mines [2]." Irish, Reel. D Mixolydian/G Major. Standard tuning. AB. Connaught was one of the five old provinces of Ireland (along with Ulster, Leinster, Meath, and Munster), named for the ancient tribe who lived there, the Connachta. The alternate title, “The Silver Mines,” is found in Petrie’s Complete Collection (1905); a faulty version, thinks Breathnach. Source for notated version: pipers Seán Potts (Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Breathnach (CRÉ I), 1963; No. 89, pg. 39. Mitchell (Willie Clancy), 1993; No. 62, pg. 65. Claddagh 4CC 39, “The Pipering of Willie Clancy vol. 2” (1983). Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004).

                       

CONNAUGHT JIG, THE. AKA and see Bayard's (1981) untitled tune No. 534 (pg. 476) collected in southwestern Pa. His source said it was more played by fifers as a march than by fiddlers as a jig. Bayard speculates there may be some distant relationship between this tune and the better known "Connaughtman's Rambles," though to my ear the Harding's All Round version is actually quite similar. Connaught was one of the five old provinces of Ireland (along with Ulster, Leinster, Meath, and Munster), named for the ancient tribe who lived there, the Connachta. Harding's Original Collection, 1928; No. 100 (untitled jig). Harding's All‑Round Collection, 1905; No. 175.

                       


CONNAUGHT LASSES. AKA and see "Connacht Lasses," "Miss Monaghan," "Belles of Tipperary [2]," "Kerry Star," "The Green Fields to America," "The White‑haired Piper," "The Four Courts of Dublin," "Jackson's Welcome to Cork," "Johnny Shooting in the Glen," "O'Connell in Clare," "The Barrow Castle," "Lamont's Reel," "The Blea‑berry Blossom," "The Dandy Girl/Lass/Lasses," "Stormy Weather [1]." Irish, Reel. D Major. Standard tuning. AABB'. “Miss Monaghan” is the title O’Neill prints the tune by. It is related to the “Belles of Tipperary,” says New York writer, researcher and musician Don Meade, and ultimately back to the Scottish “Braes of Auchtertyre.” Connaught was one of the five old provinces of Ireland (along with Ulster, Leinster, Meath, and Munster), named for the ancient tribe who lived there, the Connachta. Cole (1000 Fiddle Tunes), 1940; pg. 5. Ryan’s Mammoth Collection, 1883; pg. 28.

X:1

T:Connaught Lasses
M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

D(3F/E/D/ F/A/A/F/ | GB/G/ F/A/B/c/ | d/c/d/B/ A/d/e/f/ | g/f/e/d/ c/B/A/G/ | D(3F/E/D/ F/A/A/F/ |

GB/G/ F/A/B/c/ | e/c/d/f/ e/d/c/B/ |1 A/G/F/E/ D/A,/B,/C/ :|2 A/G/F/E/ D || f/g/ | a{b}a/g/ a/f/d/f/ |

g/f/e/d/ c/B/A/F/ | GB/G/ Fe/f/ | g/f/e/d/ ce/A/ |1 a{b}a/g/ a/f/d/f/ | g/f/e/d/ c/B/A/F/ | GB/G/ FA/F/ |

A,C D2 :|2 d/f/a/^g/ a/f/d/f/ | g/f/e/d/ c/B/A/f/ | g/f/g/e/ f/c/d/B/ | A/G/F/E/ D/A,/B,/C/ ||

                       

CONNAUGHT MOTHER’S SLUMBER SONG, THE. Irish, Air (4/4 time). G Major. Standard tuning. AABB. O’Neill (1922) says: “Not the least charming of the many airs and dance tunes, for which we are indebted to our liberal San Francisco contributor, Francis E. Walsh, is the fines Slumber Song above printed. It is an old strain of which variants under divers names gained wide circulation. Who hasn't heard the one time popular ballad about ‘my Love Nell from the Cove of Cork’ and her inconstancy. ‘Mary of Blackwater Side’ one of the numbers in Joyce's Old Irish Folk Music and Songs, Dublin 1909, betrays a similar origin.” Source for notated version: Francis E. Walsh (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Connacht Mother's Slumber Song, The

M:4/4

L:1/8

S:Francis E. Walsh, San Francisco

Z:Paul Kinder

R:Air

K:G

"Moderato cantabile"B,D|E2 E2 E2 DE|G2 G2 A3 G/2A/2|

B2 {cB}AG E2 DC|D6 B,D|

E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:|

|:Bc|d2 B2 B2 AG|A2 A2 A2 GA|B2 AG E2 DB,|D6 B,D|

E2 E2 E2 DE|G3 B A2 GA|B2 AG E2 E2|E6:||

                       

CONNACHT OUTCRY, THE (Gair Connactac). Irish, March (4/4 time). G Major. Standard tuning. One part. Connaught was one of the five old provinces of Ireland (along with Ulster, Leinster, Meath, and Munster), named for the ancient tribe who lived there, the Connachta. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1848, pg. 248.

X:1

T:Connacht Outcry, The

M:4/4

L:1/8

R:March

S:O’Neill – Music of Ireland (1903), No. 1848

Z:AK/Fiddler’s Companion

K:G

(D/4E/4F/4G/4 A/4B/4c/4d/4) | (d>e d>e d>e d>e) | “tr”d8 | “tr”d8 |

cBAG E2 E/F/G/A/ | “tr” B4  (B>dB>d) | A>d B>d A>d B>d | Ad B6 |

cBAG E2 (G>E ) | AG (3BAG AG (3BAG | A3B cBAG | E2 (GE) AG (3BAG |

AG G4 A2 | (3BAG E2 GE AG | (3BAG AG (3BAG A2 | zB c/B/A/G/ E3z |

GE AG (3BAG AG | (3BAG AG G3A | (3BAG E3z z2 | czc2 (3BAG E2 |

BzB2 (3BAG E2 | AzA2 (3BAG E2 | Bz(3B>AG z (3A>GE z |

(3B>AG z (3A>GE G2A | (3BAG E2 GE AG | (3BAG AG (B/A/G/E/ (3DEG | A>G G4 ||

                       

CONNACHT RANGERS, THE. AKA and see "O'Connell's Reel," "The Mountain Lark [4]," "The Fermoy Lasses," "Fuiseog an tSleibhe," "The Steampacket," "The Gauger," "Lady O'Brien's Reel," "The Frieze Kneebreeches," "Father Henebry's Reel," "An Colamo(i)r Sugach."

                       

CONNACHT REEL [1], THE. AKA and see “An Cailín Fionn” (The Fairhaired Girl), "The College Grove(s)," "The Green Jacket," "The New Domain," "The New Demense [1]," "The Milestone [1]," "The Millstone," "Whiskey in the Jar/Jug," "The Old Locks and Quays of Galway," "Cork Reel."

 

CONNACHT REEL [2]. Irish, Reel. D Major. Standard tuning. AABB. Treoir.

X: 1

T: Connacht Reel

S: "Treoir"

M: 4/4

L: 1/8

Z: Transcribed by Bill Black

R: reel

K: D

Adcd BAFB | AF F2 DF F2 | Ad d2 Ad d2 | eB B2 eB B2 |

dcBA BAFB | AF F2 DF F2 | ABde f2 ec | dBAG FD D2 :|

a3 g f3 e | d3 A BAFB | Ad d2 Ad d2 | eB B2 eB B2 |

a3 g f3 e | d3 A BAFB | ABde f2 ec | dBAG FD D2 :|

 

CONNAUGHT REEL [3]. AKA and see "Last House of/in Connacht [1],"  The Steam Packet.” Irish, Reel. A Dorian. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 26, pg. 8.

                       

CONNACHT STAR, THE. AKA and see "The Barrow Castle," "Belles of Tipperary [2],” "The Blea‑berry Blossom," "Connacht Lasses," "The Dandy Girl/Lass/Lasses," "The Four Courts of Dublin," "Green Fields to America," "Jackson's Welcome to Cork," "Johnny Shooting in the Glen," “Kerry Star,” “Lamont’s Reel,” “Mel Roddy’s Tune” (northeast Kings County, PEI), “Miss Monaghan,” “New Policeman [1],” "O'Connell in Clare," “Shannon’s Shores,” "Stormy Weather [1]," "The White‑haired Piper.”

                       

CONNAUGHTMAN, THE. AKA and see “Boring the Leather [2],” “Come with me now,” “Down the Back Lane,” “The Humours of Ayle House,” “The Kilfinane Jig,” “The Shoemaker’s Fancy,” “When you go home.” Irish, Jig. G Major. Standard tuning. AABB. Connaught was one of the five old provinces of Ireland (along with Ulster, Leinster, Meath, and Munster), named for the ancient tribe who lived there, the Connachta. The tune appears to have been copied from Levey’s 1858 collection, despite Francis O’Neill’s attribution to James O’Neill. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. Levey (Dance Music of Ireland), 1858, No. 55. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 22, pg. 7.O'Neill (Krassen), 1976; pg. 61. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1053, pg. 198. Edison 50692 (78 RPM), John H. Kimmel (N.Y.C. accordion palyer), 1918.

X:1

T:Connaughtman, The

M:6/8

L:1/8

S:Levey – Dance Music of Ireland (1858)

K:G

d/c/|BGA B2g|fdd edc|BGA B2g|fdB c2A|BGA B2g|

fdc d2 g/a/|bag aeg|fdf g2::g/a/|bag a2g|fdc dga|

bag a2g|fdf g2 g/a/|bag a2g|fdc dga|bag aeg|fdf g2:|

X:2

T:Connaghtman, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1053

Z:AK/Fiddler’s Companion

K:G

(d/c/) | BGA B2g | fdd edc | BGA B2g | fdB c2 (d/c/) | BGA B2g | fdc dga |

bag fdc | dgf g2 :: (g/a/) | bag a2g | fdc dga | bag a2g | fdf g2 (g/a/) |

bag a2g | fdc dga | bag aeg | fdf g2 :||

 


CONNAUGHTMAN'S RAMBLES [1], THE (Triallta an Connactaig). AKA and see “Bean ag Baint Duileasc,” "Boil the Kettle Early," “Bold Doherty,” "The Brown Red Girl," "The Connaught," “The Duck from Drummuck,” "Gathering Dilisk/Duilisc," "The Kilfinane Reel," "Kitty got a clinking (coming from the races) [1]," "The Ladies Tight Dress," "The Ladies Top Dress," "The Lady on the Railroad," "The Listowel Lasses," "Love among the Roses," "Maureen Playboy," “Mickey the Moulder,” "Old Molly Ahern," "The Piper's Lass," "Punch for the Ladies [2],” "The Rathkeale Hunt," "Roll her on the banks," "Rolling in the Ryegrass," "The Shannon Breeze [1]," "Strac an mhuc an leine," "The Telegraph," "What the devil ails you [2]" Irish, Double Jig. D Major ('A' part) & B Minor ('B' part) {most versions}: C Major ('A' part) & A Minor ('B' part) {Hardings}. Standard tuning. AABB (most versions): AA’BB’ (Taylor/Tweed). The jig is one of the most commonly played pieces in the Irish repertoire, and has even spread to other genres. It is, for example, one of the commonly played jigs for English rapper sword dancing (along with “The Blackthorn Stick” and “The Ten-Penny Bit”). Connaught was one of the five old provinces of Ireland (along with Ulster, Leinster, Meath, and Munster), named for the ancient tribe who lived there, the Connachta. 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). Source for notated version: accordion player Karen Tweed learned the tune from a recording by button accordion player Martin O’Connor [Taylor/Tweed]. Allan's Irish Fiddler, No. 11, pg. 4. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 107. Brody (Fiddler’s Fakebook), 1983; pg. 73. Cole (1000 Fiddle Tunes), 1940; pg. 57. Cranitch (Irish Fiddle Book), 1996; pgs. 49 & 52. Giblin (Collection of Traditional Irish Dance Music), 1928; No. 90. Hardings All‑Round Collection, 1905; No. 175, pg. 55 (appears as "The Cannaught"). S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 11. Keegan (The Keegan Tunes), 2002; pg. 117. Kerr (Merry Melodies), vol. 1; No. 3, pg. 36. Mallinson (Essential), 1995; No. 80, pg. 35. Miller & Perron (New England Fiddler’s Repertory), 1983; No. 6. Mulvihill (1st Collection), 1986; No. 27, pg. 124. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 132, pg. 76. O'Neill (Krassen), 1976; pg. 52. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1003, pg. 187. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 218, pg. 50. Roche Collection, 1982; vol. 1, pg. 47, No. 110. Ryan’s Mammoth Collection, 1883; pg. 87. Sweet (Fifer’s Delight), 1964/1981; pg. 39. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 4. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 31. CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999). Folkways FG 3531, Jean Carignan‑ "Old Time Fiddle Tunes" (1968). Gael‑Linn CEF 068, Maurice Lennon‑ "An Fhidil." Green Linnet SIF‑104, Matt Molloy ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑3041, Matt Molloy ‑ "Stony Steps" (1989). Mulligan LUN 017, "Matt Molloy, Paul Brady, and Tommy Peoples." Shanachie 33001ll, Tom Ennis‑ "The Wheels of the World." Joe Burke (et al) – “The Big Squeeze.” Martin O’Connor – “The Connaughtman’s Rambles.”

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:Irish Jig

T:Connachtman's Rambles

D:Peter Wyper 78rpm

Z:Nigel Gatherer

M:6/8

L:1/8

K:D

A|FAA dAA|BAB dAA|FAA Afe|dBB BAG|FAA dAA|

BAB def|gfe f2e|dBB B2::A|Bbb faa|fbb afe|

fbb faa|fef A2e|fbb faa|fbb afe|fef agf|edc B2:|]

X:2

T:Connaughman’s Rambles

M:6/8

L:1/8

K:D

|:A|FAA dAA|BAB dAG|FGA dfe|dBB BAG|FAA dAA|BAB def|gfe dfe|dBB B2:|

|:g|fbb faa|fed deg|fbb faa|fed e2g|fbb faa|fed def|gfe dfe|dBB B2:|

 

CONNAUGHT MAN’S RAMBLES [2], THE. Irish, Jig. The tonality shifts between G and D Major and A Mixolydian. Source for notated version: fiddler Peter Turbit [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 229.

 

CONNAUGHTMAN’S RAMBLES [3], THE (Camchuairt an Chonnachtaigh). Irish, Reel. G Major. Standard tuning. AB. No relation to the double jig that goes by the name “Connaghtman’s Rambles.” Source for notated version: the 19th century collection of Dan Sheahan (County Kerry) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 173, pg. 81.

                       

CONNEBERRY REEL. AKA and see "The Village in the Grove," "The Cottage in the Grove [1]," "Maurice Casey's Fancy," "McGovern's Favorite."

                       

CONNELLY'S ALE. See “Connolly’s Ale.”

                       

CONNEMARA JIG. AKA and see “Rouse It,” “Top it Off.” Irish, Hop Jig. D Major. Standard tuning. AABB. The tune was printed in Levey’s 1st collection (1858, No. 100). Levey printed it again in his second collection (1873), this time under the title “Rouse It,” in the key of F. 

X:1

T:Connemara

Z:Philippe Varlet
M:9/8
L:1/8
K:D
B|A2F FEF d2A|B2e e2d cBA|A2F FEF d2A|BdB AFD D2:||
g|f2d ded ded|e2c cdc cdc|d2B BcB BcB|c2A ABA ABA|
f2d ded ded|e2c cdc cdc|d2B c2A Bcd|ecA ABc d2 :||

                       

CONNEMARA RAKE, THE. AKA and see “All Around the World,” “Cooley’s (Reel) [2],” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel [1],” “Johnny Doherty’s Reel [1],” “Jolly Beggar [2],” “The Knotted Chord [2],” “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty’s,” “The Wise Maid [1].”

                       

CONNEMARA SKIES. Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). The name Connemara derives from the name of the ancient tribe who lived in that area of Ireland, the people of Con mac na Mara. The tune name itself is taken (along with its companion piece) from a line by Yeats: “Full of Munster grass and Connemara skies.” Reavy (The Collected Compositions of Ed Reavy), No. 99, pg. 112.

X:1

T:Connemara Skies

R:Hornpipe

C:Ed Reavy

M:4/4

L:1/8

Z:Joe Reavy

N:It is one of Ed's many exquisite hornpipes.

N:Nice to pair it with Munster Grass. Both titles come from a

N:line in Yeats: "full of Munster grass and Connemara skies."

K:D

FE | DA,G,A, FA,G,A, | GFGB ADFA | dAFA Bdgf | (3edc (3dcB (3AGF (3GFE |

DA,G,A, FA,G,A, | GFGB AdcB | Adfa gece | dfaf d2 :|| cd |

edcd fage |fd (3dcd bagf | edcd efgf | (3edc (3dcB AGFG |

fdcd fage | fd (3dcd bagf | edcB Acec | dfaf d2:||

 


CONNEMARA STOCKINGS. AKA and see “Boston Rattlers’,” “Hobb’s Favorite,” "The Galway Reel [1],” "Winter Apples [2]." Irish, Reel. G Major. Standard tuning. AB. The name Connemara derives from the name of the ancient tribe who lived in that area of Ireland, the people of Con mac na Mara. Connemara’s coastline was for ages the scene of much smuggling, with deep and winding inlets leading directly to the feet of highland tracks, and perfect for concealment. The famous smuggler Captain George O’Malley, himself the son of a smuggler, was born in 1786 near Ballynakill in the remote north-western corner of Connemara. So lucrative was the smuggling trade that when roads were finally built into the region from Galway, opening it up to commerce but also to the forces of the law, they were blamed for the economic decline of the area (Ciaran Carson, Last Night’s Fun). See also P.W. Joyce’s “Typrid Lasses,” a close variant. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 4. Roche Collection, 1982; vol. 1, pg. 60, No. 151. Taylor (Crossroads), 1992; No. 31, pg. 23. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from a Hames Morrison recording). Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.” Castle Ceili Band - “A Way for Ireland.”

X: 1
T: Connemara Stockings
M: C|
L: 1/8
R: Reel
K: G
g2fg edBA|GABG AGED|GABd eaag|fdef gaba| 
g2fg edBA|GABG AGED|GABd eaag|fdef gdef||
gbef gbe2|fade fad2|gbef gbeg|fedf e2ed|

ebba b2ag|eaag ~a3f|g2ge f2fd|edef gaba||

X:2

T:Connemara Stocking, The

T:Galway Reel, The

T:Winter Apples

R:reel D:Chieftains 1.

Z:id:hn-reel-139

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:G

g2fg edBA|GABG AGED|GABd eaag|1 fdef gbaf:|2 fdef gdef||

gbef gbe2|fade fad2|gbef gfed|Bded Bded| ebba b2ag|faab ~a3f|gbag fagf|edef gdef||

 

CONNEMARA WEDDING, THE. Irish, Air or March? (4/4 time). G Major/Mixolydian. Standard tuning. AB. The name Connemara derives from the name of the ancient tribe who lived in that area of Ireland, the people of Con mac na Mara. Stanford/Petrie (Complete Collection), 1905; No. 565, pg. 143.

X:1

T:Connemara Wedding, The

M:C
L:1/8

S:Stanford/Petrie (1905), No. 565

Z:AK/Fiddler’s Companion

K:G

B/c/ | dd GG AA GG | BB AB c2 Bc | dd GG AA GG | BB {B}B/A/ A/G/ GG ||

B/c/ | dd ge =fe dd | dg ge =fe dd | gg =fe ed dc | Bc de =f2 ed | cA GG _BA GG | BA AG G2G ||

 

CONNEMARA'S PET. Irish, Reel. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 16. Ryan’s Mammoth Collection, 1883; pg. 40.

X:1

T:Connemara’s Pet

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

cBcA EAAc|aece dB B2|cBcA EAAc|BdcB cA A2|cBcA EAAc|

aece dB B2|cBcA EAAc|BdcB cA A2::cdef ecce|fddf ecBA|

cdef eagf|edcB cA A2|cdef ecce|fddf ecBA|cdef eagf|fedB cA A2:|

 

CONNERIES. AKA and see “(Na) Connerys.”

 

CONNERYS, NA. AKA - “Conneries.” Irish, Slow Air (3/4 time). G Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs), 1995; No. 32, pg. 32. Gael-Linn CE 12 (78 RPM), Liam (Willie) Clancy. Gael-Linn CEF 075, Liam (Willie) Clancy - “Na Ceirnini 78 (1957-1960).”

 

CONNIE FLEMING’S. Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AABB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 145, pgs. 84-85.

                       

CONNIE O'CONNELL'S (JIG) [1]. AKA and see "The Aherlow Jig," "The Money I Want," "Quinn's Jig," "Ryan's Travels," "The Spirits of Whisky [2]," "The Three Little Drummers [1]," "The Two and Sixpenny Girl." Irish, Jig. G Major. Standard tuning. AA'BBCC'. Connie O’Connell is a fiddler player from Kilnamartyra, Múscraí (near Ballyvourney in west Cork). According to Breathnach (1985), the title is from County Limerick. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 12.  Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985).

 

CONNIE O’CONNELL’S JIG [2]. AKA and see “Baby Gavin,” “Burke’s [1],” “Charlie Mulvihill’s (Jig) [1],” “Coughlan’s,” “Gallagher’s [2],” “Lad O’Beirne’s (Jig),” “Matt Molloy’s (Jig),” “The Short Road,” “The Silver Vale.” Irish, Jig. D Major. Standard tuning. AABB. Connie O'Connell is recognized as one of the great musicians from the Southwest of Ireland. He hails from the Muskerry Gaeltacht, near Macroom, Co. Cork, just south of the Sliabh Luachra area. Mulvihill prints the tune as “Burke’s.” Source for notated version: Séan and Séamus Thompson [Taylor/Tweed]. Cranitch (Irish Fiddle Book), 1988/1996; No. 3, pg. 126. Mallinson (Enduring), 1995; No. 26, pg. 11. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 10.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Connie O’Connell’s [2]

M:6/8

L:1/8

R:Jig

K:D

dFF AFF | dFF GFE | A,CE ~G3 | A,CE GFE | DFA DGB |

Adc d2e | fed cBA | GFE D2e :: fef a^ga | fdc ^def | ede ~g3 |

efd cBA | fef gfg | a^ga ba=g | fed cBA | GFE D3 :|

 

CONNIE O’CONNELL’S (JIG) [3]. AKA and see “Michael Dwyer’s (Jig).” Irish, Jig. The tune is an elaboration of "The Two‑and‑Sixpenny Girl" or "The Half‑Crown Girl," according to Paul de Grae. Gael-Linn CEF 057, “Jackie Daly and Seamus Creagh” (learned from Kilnamartyra, west Cork, fiddle player Connie O’Connell).

                       

CONNIE O’CONNELL’S (REEL) [1]. AKA and see “Josephine Keegan’s.”

 

CONNIE (O’)CONNELL’S (REEL) [2]. Irish, Reel. G Major. Standard tuning. AB.

X: 1

T: Connie Connell's Reel [2]

R: reel

M: 4/4

L: 1/8

Z: Transcribed by Bill Black

K: G

d3^c d2=cA | =F2cF dFcF | Add^c d3e | fdcA ABcA |

Add^c d2=cA | =F2cF dFcF | Add^c d3e | fdcA G4 ||

g3e fdde | fgag fdd2 | g2ag fdde | fdcA BGG2 |

g3e fdde | fgag fdd2 | fefg a3g | fdcA BGG2 ||

 

CONNIE O’CONNELL’S (REEL) [3]. Irish, Reel. D Major. Standard tuning. AA’BB’.

X:1
T:Connie O'Connell's [3]
M:4/4
L:1/8
Q:200
S:Jerry Gallagher
R:reel
N:For Pond Scum

K:D
P:A
"D"d2 fd Adfd|d2 fa "A"gece|"D"d2 fd Adfd|1"A"eA (3Bcd egfe:|2 "A"eA (3Bcd ef (3gfe|]!
P:B
"D"a3 bafdf|a2 fd ef "A"(3gfe|"D"a3 b afdf|"A"eA (3Bcd ef (3gfe|!
"D"a3 bafdf|a2 fd ef "A"(3gfe|"D"afge fdec|1"A"ABcd egfe:|2"A"ABcd egfe| d8|]

                       

CONNIE THE SOLDIER (Crotuirim an Ceatarnac). AKA and see "Humors of Abbeyfeale," "Cripple with the Crutches." Irish, Double Jig. Ireland, Sligo. A Dorian ('A' part) & D Major ('B' part). Standard tuning. AA'B (Flaherty): AABB (O'Neill/1850): AABB' (O'Neill/1001). See also "Aineen's Double," "Bacach na Cleithe," "Banish Misfortune (or Mary of Inistuick) [2],” "The Cherry Grove Jig," "Coffee and Tea [2]," "An Ghaoth Aniar Andeas," "Jimmy the Tailor," "Maire Inis Toire" (air) “The Southwest Wind.”

***

The tune appears in Petrie’s collection under the titles “Banish Misfortune or Mary of Inistuirk” (“Banish Misfortune [2]"), an air collected from a fiddler in London, and as the jig “The Bacagh of the Wattle” from Galway piper Paddy Connely, collected in 1840.

***

The tune was recorded by flute player John McKenna (1880-1947) and banjo player Michael Gaffney (d. 1972), both originally from County Leitrim, for Decca in 1934, following the slip jig “Dever the Dancer.” 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. Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, Co. Sligo) [Flaherty]. Breathnach (CRÉ 1), 1963; No. 29. Flaherty (Trip to Sligo), 1990; pg. 145. O'Neill (O’Neill’s Irish Music), 1915; No. 192, pg. 104. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 794, pg. 148. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 67, pg. 27. Decca Records, John McKenna & Michael Gaffney (1934).

X:1

T:Connie the Soldier

S:78 RPM recording by flute player John McKenna

Z:Transcribed by Frank Claudy

M:6/8

L:1/8

K:D

~A3 ABd|cAG E2 D|EFG EFG|EAD (4GFED|

~A3 ABd|cAG EAd|cBc ABG|1 FDB D2 B:|2 FDc d3||

fed dcd|fed dcd|(4gfed efd|cAG ~A3|GAB efg|

fed fed|cbc ABG|FDD D3:||

X:2

T:Connie the Soldier

R:double jig

S:Paddy O'Sullivan (fiddle), Ardfert, Co. Kerry

M:6/8

L:1/8

K:Dmix

D|EAA A2 d|cAG ~E2 D|DGG DEE|DGG GEG|

~A3 A2 d|cAG ~E2 D|EFG AGE|GED D2:|:e|

fed Adc|Add d2 e|fed edc|A2 A Ade|

~f3 efe|ded cAG|EFG AGE|EDD D2:|

                                               

CONNIE WALSH’S SLIDE. AKA and see “The Cúil Aodha Slide.” Irish, Slide (12/8 time). D Major. Standard tuning. AABB. Connie Walsh was a Sliabh Luachra fiddle player who emigrated to America. Source O’Leary remembered only this one slide: “...he used always play that tune before--in any dance that was his first and only slide, I’d say, he had. He hadn’t many more of them I’d say” (Moylan). The accompaniment begins on the subdominant chord. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Mallinson (Enduring), 1995; No. 60, pg. 26. Moylan (Johnny O’Leary), 1994; No. 196, pgs. 113-114. Taylor (Music for the Sets: Blue Book), 1995; pg. 15. Treoir, Vol. 2. 

X: 1

T: Connie Walshe's

S: "Treoir"

M: 12/8

L: 1/8

R: slide

Z: Transcribed by Bill Black

K: D

d |: Bcd Bcd c2 B A2 A | Bcd e2 f g3 efg |

a2 f gfe f2 d A2 d | Bcd e2 c d3 :|

a2 f gfe f2 d A3 | Bcd e2 f g3 f2 g |

a2 f gfe f2 d A3 | Bcd e2 c d3 :|

                                   

CONNOISSEUR, THE. Strathspey. A Major. Winston Fitzgerald.

                       

CONNOLLY'S ALE. Irish, Air (6/8 time) and Jig. G Major. Standard. AB. Learned by Joyce as a boy in Co. Limerick, mid‑1800's.

***

On Saturday night you're as willing as I am

To take a full jorum of Connolly's ale.

***

Cole (1000 Fiddle Tunes), 1940; pg. 78 (appears as “Connelly’s Ale”). Joyce (Old Irish Folk Music and Song), 1909; No. 79, pg. 42. Ryan’s Mammoth Collection, 1883; pg. 111.

X:1

T:Connolly’s Ale

L:1/8

M:6/8

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

Z:AK/Fiddler’s Companion

K:G

D|GBB BAB|GBd def|gfe fdB|BAA A2B|GBB BAB|GBd def|gfe fdB|AGG G2||

B|def gfe|agf edB|gfe fdB|BAA A2B|GBB BAB|GBd def|gfe fdB|AGG G2||

                       

CONNOLLY'S BARNDANCE. Irish, Barndance. Ireland, County Donegal. Feldman & O’Doherty (The Northern Fiddler), 1979; p.g 109 (bottom).

                       

CONNOLLY'S JIG. Irish, Jig. E Dorian. Standard tuning. AABBCC. Copied from one of "two very old well‑written manuscripts lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" (Joyce). Connolly & Martin (Forget Me Not), 2002; pgs. 20-21. Joyce (Old Irish Folk Music and Song), 1909; No. 240, pgs. 116‑117.

X:1

T:Connolly’s Jig

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:E Dorian

B,2E EFA|BAF d3|B,2E EFA|BAG FED|B,2E EFA|BAF d2B|ABc dcd|BAG FED:|

|:B2e efg|fef d2A|B2e efg|fef dBA|B2e efg|fdB dag|fed B/c/dB|Afd AFD:|

|:EFE e2d|BAF d2F|EFE e2d|BAG FED|EFE e2d|e/g/fe dfa|gfe dcd|BAG FED:|

                       

CONNOLLY'S REEL (Ríl Uí Chonghaile). AKA and see "Cobbler's Hornpipe [2],”  Craig’s Pipes,” "The Fiddler is Drunk," "The Foxhunters (Reel) [1]," “Greg’s Pipe Tune,” “Gregg’s Pipes,” “Gun Do Dhuit Am Bodach Fodar Dhomh” (The Old Man Wouldn’t Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," “The Manchester Reel [1],” "Píopaí Greig,” “The Whistling Postman [1],” "Willie Wink(ie)'s Testament [2],” "Willy Wilky." Irish, Reel. Ireland, County Clare. D Major. Standard. AABB. Breathnach (1963) states this is a County Clare name for “Greig’s Pipes.” Source for notated version: fiddler Kathleen Collins (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 146, pg. 68. Shanachie 29002, "Kathleen Collins" (1976).


                       

CONNOR DUNN’S. AKA and see “O’Connor Donn’s [1].” Irish, Reel. Green Linnet GLCD 1127, “Martin Hayes” (1993).

                       

CONNOR MACGILLIVRAY. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 268, pg. 77.

                       

CONNOR’S SLIDE. See “Ned Connor’s Slide.”

 

CONOLON’S DREAM. AKA and see “Conlon’s Dream,” “The Cork Lasses,” “Sword in (the) Hand.” Irish, Reel. Source for notated version: fiddler Sean McGuire [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974; vol. 1, No. 28.

                       

CONOR MACAREAVY (Conchubhar Mhac Coireibhe). AKA and see "Conchubhar Mhac Coireibhe."

                       

CONOR O'REILLY. Irish, Planxty (6/8 time). A Dorian. Standard tuning. AABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 139, pg. 98.

                       

CONOR O'SULLIVAN'S VISION. AKA and see "Get Up Old Woman and Shake Yourself."

           

CONOR STONE, THE. Irish, Reel. D Major. Standard tuning. AABB’. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Named for a decorated beach-rock given to her as a present from one of her grandsons. Keegan (The Keegan Tunes), 2002; pg. 39.

           

CONQUERING HERO.  AKA and see “See the Conquering Hero Comes.” 

                       

CONQUEST, THE. English, Country Dance Tune. D Major. Standard tuning. AABB. The dance was originally published in Samuel, Ann and Peter Thompson’s Twenty Four Country Dances (London, 1781) and later in Thompson’s Compleat Collection, vol. 5 (London, 1788). Source for notated version: the music manuscript of Captain George Bush (1753/-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 15.
X:1

T:Conquest, The

M:2/4

L:1/8

S:Thompson’s Compleat Collection (1788)

Z:AK/Fiddler’s Companion

K:D

dd d/c/B/A/ | dd d/c/B/A/ | ff f/d/c/d/ | gffe | ee a/^g/f/e/ | d/c/B/A/ eE |

f/^g/a/f/ Be | cA A2 :: d/e/d/e/ fd | g/f/e/d/ f/e/d/c/ | d/e/d/e/ g/f/e/d/ |

b/a/g/f/ e2 | f/d/B/d/ g/e/c/e/ | a/f/d/b/ a2 | b/a/g/f/ e/f/g/a/ | fd d2 :|

                       

CON'S FAVORITE POLKA. American, Polka. C Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 166.

X:1

T:Con's Favorite Polka

M:2/4

L:1/8

B:Ford - Traditional Music in America (1940)

K:C

e2 e>e|dc G2|GB B/A/B/d/|ag g2|e2 e>e|

dB G2|GB B/A/B/c/|[Ed][Ec][Ec]::[G,G][Ec] [E/c/][E/B/][E/c/]e/|

[ca][cg] [cg][c/a/][c/g/]|[ce][Ec] [E/c/][E/B/][E/c/][E/c/]|[Ed][Ec][Ec]:||

                       

CONSIDER THE STORY WELL. AKA and see "Tarraing Go Caoin an Sgeol."

                       


CONSIDER WELL ALL YOU PRETTY FAIR MAIDS. Irish, Air (3/4 time). E Flat Major. Standard tuning. ABB. Source for notated version: “From Mr. R. Fitzgerald” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 656, pg. 164.

X:1

T:Consider well all you pretty fair maids

M:3/4

L:1/8

S:Stanford/Petrie (1905), No. 656

Z:AK/Fiddler’s Companion

K:Eb

AG>A | (B2E) GF>G | (A2G) FGB | e>B cA FE | F3 AG>A |

(B2E) G>F G| (A2G) FGB | e>B cA F>D | E3 ||

|: FGB |  e>c de f>d | (B2G)  EGB | e>c de f/e/d/c/ | c2z AG>A |

B2E GF>A | A2G FGB | e>B cA F>D | E3 :|

           

CONSIDERING A MOVE.  Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AABB. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collecton), 2000; No. 32, pg. 14.

           

CONSIDINE'S GROVE{S} ("Tor-Cpoille Ui Constantin" or "Rot-Coille Ui Consaidiun"). AKA and see “Cronin of Kerry,” “Dinny Ryan’s,” “The Game of Love,” “Girls of Farranfore,” “The Gneevgullia Reel,” “The Kerryman’s Daughter [2],” “Miss Brady,” “Paddy Cronin’s [8],” “The Pride of Rathmore," “Rabbit’s Burrow.” Irish; Reel (O'Neill), Air (Roche). E Aeolian. Standard tuning. AAB (O'Neill/1850 & 1001, Roche): AABB' (O'Neill/Krassen). Breathnach (CRÉ II), 1976; No. 290 (appears as untitled reel). O'Neill (Krassen), 1976; pg. 135. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1423, pg. 264. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 660, pg. 118. Roche Collection, 1982; vol. 1, pg. 36, No. 77.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Considine’s Grove

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 660

Z:AK/Fiddler’s Companion

K:Emin

D2 | E^DEF GFGA | BdAF DFAF | E^DEF GFGA | BdAF BEE :|

|| d2 | efge fgaf | efge fddf | efge fgaf | gfed Beed |

efge fgaf | efge fddf | eBBA BcAF | GBAF BEE ||

                       

CONSPIRACY REEL, THE. Irish, Reel. G Major. Standard tuning. AABB. An early composition by New York Irish-American musician Joanie Madden, of the group Cherish the Ladies. Black (Music’s the Very Best Thing), 1996; No. 22, pg. 11.

X:1

T: Conspiracy Reel

C: J.Madden

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

g2 ag fdcA | GAAG DEED | g2 ag fdcA | (3Bcd cA AG G2 |

g2 ag fdcA | GAAG DEED | DEGA B2 ge | dBAc BG G2 :|

dg g2 ag g2 | aged BG G2 | dg g2 ag g2 | abag fd d2 |

dg g2 ag g2 | abag f3 g | a2 ge fdeg | fdcA AG G2 :|

                                   

CONSOLATION, THE. Irish, Jig. D Dorian. Standard tuning. AA’BB’. Composed by Yonkers, New York, uilleann piper Jerry O’Sullivan.

X: 1

T: Consolation (The)

M: 6/8

Q: 325

L: 1/8

R: jig

C: Jerry O'Sullivan

Z: Transcribed by Bill Black

K: Ddor

A3 ABc | A3 GED | A3 ABc | d3 cAG |

A3 ABc | A3 GED | A3 ABc |1 d3 cAG :|2 d3 d2 e ||

f2 d cAG | A3 GED | f2 d cAc | d3 d2 d |

f2 d cAG | A3 GED | A3 ABc |1 d3 d2 e :|2 d3 - d3 ||

                                   

CONSOLATORY ODE TO HER MAJESTY, A. AKA and see "Black Headed Dearie," "The Auld Jew." English, Air. The this melody, the Irish tune "Black Headed Dearie" (Ceann Dubh Dilis), appears under this title in D'Urfey's Pills to Purge Melancholy, volume II, No. 14.

 

CONSTABLE’S JIG, THE. AKA and see “Thought.”

 

CONSTANCY. American, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. Kate Van Winkler Keller says the tune was unknown in British sources (unusual for the time), but appears in American country dance sources into the 19th century. A note in Sweet (1964) indicates the melody is from the Beck Manuscript, an 18th century New England flute MS of one Henry Beck (1786). It was first printed publically in The Village Fifer (Exeter, N.H.) in 1808. Sources for notated versions: the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]; Beck MS [Sweet]. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 22. Sweet (Fifer’s Delight), 1964/1981; pg. 65.

X:1

T:Constancy

M:2/4

L:1/8

K:G

DG FG | A/B/c/A/ BG | dB/d/ cA/c/ | BG/B/ A2 | DG FG | A/B/c/A/ BG |

dc/B/ AG | FE D2 :: Bc d2 | B/c/d/B/ cB | AB c2 | A/B/c/A/ BG |

dB/d/ cA/c/ | BG/B/ A2 | de/f/ g/e/d/c/ | BA G2 :|

 


CONSTANT BILLY. English, Morris Dance (6/8 and duple versions). A Major (Bacon & Raven‑Adderbury, Oddington & Wheatly versions; Williamson): F Major (Bacon‑Bidford): G Major (Bacon‑Bucknell, Eynsham, Field Town, Headington, Ilmington, Barnes, Kershaw MS, Longborough & Sherborne, Mallinson‑Adderbury and Headington versions): B Flat Major (Bacon‑Bampton). Standard, though Williamson suggests GDgd, tuning. AB (Barnes): AAB, x6 (Adderbury, Bampton, Bucknell versions): AABB, x4 (Headington version): AABB (Kershaw, Williamson): ABABABA (Bacon‑Bidford). Robin Williamson (1976) reports that the tune appears to be a close variant of a Scots tune called "Cia Mar Is Urra Sinn Fuirreach O'n Dram" (How Shall We Abstain from Whiskey). The melody was written in the early 18th century by John MacMurdo of Kintail; it was published in Scotland (MacMurdo emigrated at some point to America), where it was thought to have been Irish in origin and called "The Legacy" until Captain Simon Frazer pointed out its true origins in his late 18th century-collected “Airs and Melodies of the Highlands of Scotland.”  The tune was very popular all over England and became a morris standard, being set to a variety of dances. Cotswold morris versions are numerous and come from the areas of Adderbury, Bampton, Bidford, Bucknell, Eynsham, Field Town (Leafield), Headington, Ilmington, Longborough, Oddington, Sherborne and Wheatley. In modern times the tune is usually played in the key of G Major to accommodate the ubiquitous morris melodeon. There is a "Constant Billy" in the third volume of Playford's Dancing Master, which Kidson (1922) identifies as a late 17th century song found on half‑sheet music beginning:

***

When the hills and lofty mountains

And the vales were hid in snow.

***

Morris dancers traditionally sing these words while walking in a circle as a preamble to the dance proper:

***

Oh, Billy, my constant Billy,

When will I see my Billy again?

When the fish fly over the trees

Then will I see my Billy again.

***

Oh! my Billy, my constant Billy,

When shall I see my Billy again?

Billy again! Billy again! Billy again! Billy again!

Oh! my Billy, my constant Billy,

When shall I see my Billy again? (Bacon‑Adderbury)

***

Sources for notated versions: Daniel Lock (Minster Lovell, Oxfordshire, England) via Cecil Sharpe [Bacon‑Field Town version]; contained in the Joseph Kershaw manuscript—Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards [Kershaw]. Bacon (The Morris Ring), 1974; pgs. 6, 46, 61, 117, 143, 149, 210, 256, 281, & 307. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 22. The Joseph Kershaw Manuscript, 1993; No. 30. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 37. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 17, pg. 14 and No. 38, pg. 25. Raven (English Country Dance Tunes), 1984; pg. 74. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 24. Topic TSCE458, John Kirkpatrick - “Plain Capers” (1976/1992). Veteran VT111, Francis Shergold - "Greeny Up" (1988. The Bampton version of the melody).

X:1

T:Constant Billy

M:6/8

L:1/8

S:Adderbury

K:A

E|A2e c<Ac|d2B G2E|c>BA F2E|1 EFG A2:|2 EFG A3||cde f3|

Bcd e3|cde f3|Bcd e2 (3e/f/g/|a2e c<Ac|d2B G2E|c>BA F2E|EFG A2||

                       

CONSTANT COUPLE, THE.  English, Country Dance Tune (2/4 time). D Major (Barnes). Standard tuning. AB. The melody is contained in the H.S.J. Jackson manuscript (1823, Wyresdale, Lancashire), in the key of ‘C’. The Constant Couple was a stage satire written by George Farquhar (1677-1707) in 1699, one of his biggest hits. The New York debut of the play was in 2007. Farquhar abandoned his studies to take to the Dublin stage, but after only a season he abandoned acting after severely wounding a fellow actor in an on-stage fencing scene when he forgot to exchange his sword for a foil. He soldiered for a time in Ireland, but had early success with his first play, Love and a Bottle, produced at Drury Lane when Farquhar was aged but 20. The Constant Couple was his next work, and was more favourably received than the first; it was popular for a century. Callaghan (Hardcore English), 2007; pg. 33.

X:1

T:Constant Couple, The.  HSJJ.097

M:2/4

L:1/8

Q:150

S:HSJ Jackson, Wryesdale, Lancs. 1823

R:Misc.

O:England

A:Lancashire

H:1823

Z:Chris Partington

K:C

g2ec|f2dB|ceAd|cBAG|AcBd|cede|faAd|cBAG|!

g2ec|f2dB|ceAd|cBAG|ABcA|Bcde|fdcB|c2C2|!

d2BG|e2cA|f2dB|g2ec|a2fd|g2ec|f2Ad|cBAG|!

d2BG|e2cA|f2dB|g2ec|a2fd|g2ec|A2B2|c2C2|]

 

CONSTANT LADY AND THE FALSE HEARTED SQUIRE, THE. English, Old Hornpipe (3/2 time). D Major. Standard tuning. One part. The Plain Brown Tune Book dates the tune to 1720. Plain Brown Tune Book, 1997; pg. 6.

                       

CONSTANT LOVER, THE. AKA – “The Faithful Swain.” English, Country Dance Tune (cut time). F Major. Standard tuning. AABB. Published by John Walsh (Sr.) in London in 1710 in his New Country Dancing Master, 2nd Book. It is one of the 120 compositions of dancing master Nathaniel Kynaston (1683-1757) that Walsh printed in several volumes. Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and dances over several publications. The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. “The Constant Lover” also appears in Walsh’s Second Book of the Compleat Country Dancing Master (London, 1719), and John Young’s second volume of the Dancing Master beginning in 1713 and in subsequent editions until the last of the series, in 1728. There are other 18th century tunes, musically unrelated, that share the title. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 22. 

 

CONSTANTINE HORNPIPE. Irish, Hornpipe. From the Goodman manuscripts (vol. 3, pg. 96, c. 1860’s, southeast Munster), wherein another version also appears, under the title “Man of War.” Yet another version appears in CRÉ V under the title “Micky Connell’s Hornpipe.”

 

CONSTANTINE MAGUIRE. AKA and see "Planxty Maguire [1].”

                       

CONSTITUTION BREAKDOWN. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. AA’BB. Composed by Native American Mi’kmaq fiddler Lee Cremo (1939-1999), from Cape Breton. Source for notated version: Sidney Baglole (b. 1912, Freetown, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 54.

                       


CONSTITUTION HORNPIPE [1]. AKA and see "Lone Appendicitis." American, Canadian; Hornpipe or Breakdown. USA, New England, Nebraska. Canada, Cape Breton Nova Scotia. F Major. Standard tuning. AABB (Bayard, Christeson, Ford, Harding, Jarman, Messer, Miller & Perron, Phillips): AA'BB' (Kerr). The tune was perhaps named for the American naval vessel The Constitution, of the War of 1812 fame. The square-rigged ship still exists and is on display in Boston harbor. Christeson (1973) says the original version, as published in older tune books, is more difficult to play than the one he collected, and Bayard's (1981) source also thought the tune strenuous, saying "If you think that's not hard to play, just try it!" The first strain is also the same as the "Jinrikisha Hornpipe" and, in simplified form, Huntington's 3rd tune on his pg. 23. (Cole, pg. 93). Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Winston Fitzgerald (Cape Breton, Nova Scotia) [Phillips]. Bayard (Dance to the Fiddle), 1981; No. 138, pg. 75‑76. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 116, pg. 83. Cole (1000 Fiddle Tunes), 1940; pg. 116. Ford (Traditional Music in America), 1940; pg. 95. Harding's All‑Round Collection, 1905; No. 77. Jarman, Old Time Fiddlin' Tunes; No. or pg. 28. Kerr (Merry Melodies), vol. 2; No. 336, pg. 37. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 14. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 103. O'Malley, 1919; pg. 19. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 186. Ryan’s Mammoth Collection, 1883; pg. 153. White's Unique Collection, 1896; No. 139.

X:1

T:Constitution Hornpipe

M:C|

L:1/8

K:F

f2f2 fc af|g2g2 gc bg|ag fe dB ba|gf ga gc de|

f2f2 fc af|g2g2 gc bg|ag fe db ge|f2a2f2c2:|

|:Ac fc af cA|Bd fd bf dB|ce ge bg eg|fa gf ed cB|

Ac fc af cA|Bd fd bf df|ce ge bg eg|f2A2f2c2:|

 

CONSTITUTION HORNPIPE [2]. AKA and see "Harlequin Hornpipe [1]," "Swower Creek [1]" (Pa.). Howe (Musician’s Omnibus), 1851; pg. 40.

 

CONSTITUTION HORNPIPE [3]. AKA and see "Farewell, Mary Ann," "Old Viole." Old‑Time, Breakdown. USA, Kentucky. The tune, not related to version #1, has been collected in Anderson County, Kentucky, under this title. Close relatives of this tune are a Tennessee/Alabama tune by the name "Farewell Mary Ann," and another Kentucky tune (from Grant County) recorded by fiddler Frank Miller in 1929 with the Blue Ridge Mountaineers by the title "Old Voile."

                       

CONSTITUTION MARCH. AKA and see “Willie was a Wanton Wag.”

                       

CONTAE MHUIGHEO (County Mayo). AKA and see "Paddy Lynch’s Boat.” Irish, Slow Air (4/4 time). D Major. Standard tuning. One part. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 50, pg. 45.

                       

CONTAE THIR EOGHAIN. AKA and see "The County Tyrone."

                       

CONTENTED FARMER, THE. English, Jig. G Major. Standard tuning. AABB. The melody was first published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). It was included by Northumbrian musician William Vickers in his manuscript collection, begun in 1770. Matt Seattle says this tune is "recognizably 'Happy Farmer' (c.f. Northumbrian Pipers' Tune Book, 1970), but with noticeable differences." There is an earlier, different tune, also called the “Contented Farmer” or “Contented Country Farmer” that appears in ballad operas and on song sheets and in some dance collections. Seattle (William Vickers), 1987, Part 2; No. 234. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 178.

X:1

T:Contented Farmer, The

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G>AG B2G|d2G B2G|D>ED F2D|A2D F2D|G>AG B2G|d2G B2g|fed A2^c|d3 D3:|
|:d>ed b2d|dcB c3|cdc a2c|cBA B3|G>AG B2G|d2B g2b|a2g “tr”fef|g3 G3:||

                       

CONTENTED I AM. AKA and see "The Battle Eve." Irish, Air. A Major (Roche): G Major (O’Farrell). Standard tuning. AAB with intro. and variations. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 4. Roche Collection, 1982; vol. 3, pg. 20, No. 68.

X:1

T:Contented I am

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

G/>A/ | B>cB B>AG | BAA A2 G/>A/ | BGE D>E G/A/ | BGG G2 :| B/A/ |

GBd d (c/B/A/G/) | GBd e2g | d>ed (e/d/) (c/B/) (A/G/) | GBd e2 (d/e/f/) |

gfe dcB | {G/A/}BAA A2 (G/A/) | {G/A/}BGE D>E G/A/ | BGG G2 ||

                       

CONTENTMENT IS WEALTH ("Is Ionmus an Sagarlacd" or "Is Saidbreas An Sastacd). AKA and see “The Golden Keyboard [2].” Irish, Double Jig. A Minor. Standard tuning. AABBCC. Bayard identifies this tune as an offshoot of the old tune "Lumps of Pudding(s) [2]." As to the title, the Scots national poet Robert Burns wrote a song to the air called "Contented Wi' Little," which may or may not apply. Bruce Olson believes it may have derived from a line in the second verso of the song “(Come) haste to the wedding (ye friends and ye neighbors),” which goes:

***

We boast of no wealth but contentment and health,

***

The melody has been a favourite jig at Irish sessions in New York (where it is played in E Minor) and was recorded by fiddler Hugh Gillespie in the 1930’s. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 729, pg. 136. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 28, pg. 21. Edison 51041 (78 RPM), John H. Kimmel (accordionist from N.Y.C.), 1922. Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002. Learned from an old tape of Andy McGann playing solo at an informal New York house session).

X:1

T:Contentment is Wealth

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 28

Z:AK/Fiddler’s Companion

K:Amin

A/B/ | c>BA A<ag | e>^de A2c | B>AG Gge | d>cB/A/ G2 a/b/ |

c’ba gba | edB g2e | dBG GAB | cAA A2 :: c/d/ |ecA Acd | e^de A2 B/c/ |

dBG GBc | d^cd G2 c/d/ | ecA Acd | eag e2d | edc Bcd | cAA A2 :: e/d/ | cea cea |

cAA A2 d/c/ | Bdg Bdg | BGG G2 e/d/ | cBA a^ga | bag a2d | edc Bcd | cAA A2 :|

                       

CONTERALLER'S RANT. Scottish, "Strathspey Reel." The dance figure, not the tune, is found in the Menzies MS (1749) contained in the Atholl Collection of the Sandeman Library, Perth. It is the first recorded reference to the form strathspey.

                       


CONTRA DANCE [1], THE (La Contredanse). French-Canadian, Set Dance (2/4 time). D Major. Standard tuning.  AA'BB'CC'A"A"'B"B"'C"C'". The 'A' part contains the usual eight measures, while the 'B' part has seven measures and the 'C' part only six. Source for notated version: French-Canadian accordion great Philippe Bruneau (1977), who learned the tune from William Gagnon de Chicoutimi, Québec [Begin]. Begin (Philippe Bruneau), 1993; No. 50, pgs. 75-76.

 

CONTREDANSE [2], LA. AKA – “La contredanse à Pitou.” French-Canadian, Reel. Canada, Québec. G Major. Standard tuning. AA’BB. A ‘crooked’ tune. “La contredanse” is a specific dance associated with the Sanguenay region of Québec. The title comes from the English term ‘country dance.’ Source for notated version: Louis “Pitou” Boudreault, fiddler Lisa Ornstein (Maine) [Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle Tunes), 1997; No. 1. Voyager 322, Louis Boudreault - "Old Time Fiddler of Chicoutimi, Québec" (1977, 1993). Les Tétes de violon - “Le Talencourt.” 30 Below TB 001CD, Les têtes de violon (Bouchard et al) – “Airs Tordus/Crooked Tunes” (1998).

                       

CONTRA DANCE ONE. English, Country Dance. A Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 203.

                       


CONTRA DANCE TWO. English, Country Dance. D Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 203.

                       

CONTRADICTION (REEL), THE ("An Friotraideacd," “An Frithrá” or "Cor an Breagnugad"). AKA and see “Miss Gunning’s Delight,” “Miss Gunning’s Fancy (Reel),” "Miss Gunning's Reel."  Scottish (originally), Canadian, Irish; Reel. Canada, Cape Breton. A Major (most versions): G Major (Breathnach/CRÉ V). Standard tuning. ABCD (O’Neill): ABCCD (Cranford): AA’BB’CC (Breathnach). Paul Cranford (1994) suggests “The Contradiction” is a 19th century Irish-American title for an older tune by the Scottish composer William Marshall (1748-1833), who published it as a three-part setting (O’Neill’s ‘A’, ‘B’ & ‘D’). The fourth part was added in the 1884 Boston publication Ryan’s Mamouth Collection and repeated by O’Neill at the beginning of the 20th century. Cranford states that the four-part version was preferred in Cape Breton by influential early-to-mid-20th century fiddlers Angus Chisholm, Dan R. MacDonald, and Winston Fitzgerald, and thus to modern Cape Breton musicians. O’Neill (1922) calls the reel a variation of “Miss Gunning’s Delight,” also called “Miss Gunning’s Fancy” and “Miss Gunning’s Reel,” {itself attributed by Brendan Breathnach to Marshall; there is a fascinating story about the Gunning sisters (see “Miss Gunning’s Fancy”)}. The great Sligo-born fiddler Michael Coleman recorded a three-part version of the reel, communicates Philippe Varlet, with fiddler Tom Gannon in 1922 for the New Republic label (it appears as part of a medley, and only the first tune, “The Prohibition,” is mentioned on the record label). Varlet also has a couple of private recordings of it made by Philadelphia/County Cavan fiddler Ed Reavy with his friend Neil Dougherty during the 1950’s. Editor Jackie Small (CRÉ V) states: “In almost all settings the tune has a very wide range, far beyond the first position on the fiddle. The version here is simpler by far, within the first position, and almost within the range attainable on the whistle or pipes—there is only the odd extra note for those wind instruments and musicians are long accustomed to overcome small problems like that. The version here is quite close to the first setting in O’Neill/Waifs, the basic setting of the tune, which O’Neill got in Aird’s Selection.” Source for notated version: manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down—many from the playing of his father [O’Neill]; Aird’s Selection [O’Neill/Wiafs]. Breathnach (CRÉ II), 1976; No. 135, pg. 73 (appears as “Gan ainm/No title”). Breathnach (CRÉ V), 1999; No. 161, pg. 79. Cranford (Brenda Stubbert’s), 1994; No. 12, pg. 5. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1503, pg. 278. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 724, pg. 127. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 215. Ryan’s Mammoth Collection, 1883; pg. 54. Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999).

X:1

T:Contradition Reel, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 724

Z:AK/Fiddler’s Companion

K:A

e|c2 {d}(3cBA BEED|CEAc dfed|c2 {d}(3cBA GABc|defg afed|c2 {d}(3cBA BEED|

CEAc dfed|c2 {d}(3cBA GABg|afec A/A/AA||g|aA A/A/A aAcA|GBEB GBEg|

aA A/A/A aAcA|GBEB cAAg|aA A/A/A aAcA|GBEB EBEg|agfe fedc|dEFG A2||

e2|aec’e aec’e|ged’e bed’e|c’ee’e c’ee’e|dcBA EA A2| aec’e aec’e|ged’e bed’e|

c’ee’e c’ee’e|dcBA EA A2||cefe cefe|dcBA BE E2|cefe cefe|fagb afed|cefe cefe|

(3fga ec BE E2|ecea fdfa|gbeg ae fd||

X:2
T:Contradiction Reel, The
R:reel
D:Matt Molloy: Heathery Breeze
Z:id:hn-reel-167

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|
K:A
c2cA BE~E2|GABc dfed|c2cA GABc|1 defg afed:|2 defg ~a3z||
|:aA~A2 aAcA|GBEB GBE2|1 aA~A2 aAcA|GBEB cA~A2:|2 agfe fedc|Begb ~a3z||
|:aec'e aec'e|bed'e bed'e|c'ee'e c'ee'e|d'bc'a ea~a2:|
|:ce~e2 cefe|d2cA Be~e2|1 cefe cefe|fege ~a3z:|2 cBce ~f3a|(3gab eg ~a3z||

                       

CONTRAZZ. American Reel. D Dorian (‘A’ part) & C Major (‘B’ part). Standard tuning. AABB. Composed by fiddler Rodney Miller of Antrim, New Hampshire. Songer (Portland Collection), 1997; pg. 52. Rounder 0193, Rodney Miller - “Airplang.”

                       

CONTRE DANSE, LA. See "The Contra Dance." 

                       

CONTREDANSE, LA. See "The Contra Dance."

                       

CONTREFATTO, THE. English, Jig. G Major. Standard tuning. AABB. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 29.

X:1

T:Contrefatto, The

M:6/8

L:1/8

R:Jig

K:G

D|G2G G2D|A2D B2d|c2B A2G|FGA D2D|G2G G2D|

A2D B2d|c2B AGF|(G3 G2)::B/d/|e2G G2 c/e/|d2G G2d|

c2B A2G|FGA D2B/d/|e2G G2c/e/|d2G G2d|c2B AGF|(G3 G2):|

                       

CONTRIVANCE, THE.  Scottish, Air (68 time). A Major. Standard tuning. AABB. The melody is attributed by Nathaniel Gow to John MacDonald of Dundee (a dancing master who also composed “Memory of Joys that are past” and “Maids of Arrochar”). Gow (Sixth Collection of Strathspey Reels), 1822; pg. 18.

X:1

T:Contrivance, The

M:6/8

L:1/8

N:”Very Slow”

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

Z:AK/Fiddler’s Companion

K:A

A/B/|{d}c>Bc (ec)A|F>EF ~F2E|(EA).c e(d/c/)(B/A/)|GBB B2 A/B/|{d}c>Bc ecA|

“tr”F>EF F2E|(e/d/)(c/d/)(e/f/) (ec) B/A/|{^E}(FA)A A2::c/d/|(ef).g a3|(a/g/)(a/b/)(a/g/) (f/e/)(d/c/)(B/A/)|

(d/c/)(d/f/)(B/d/) (c/B/c/)(e/A/c/)|GBB B2 c/d/|(ef)g a3|(a/g/a/b/a/g/) (f/e/)(d/c/)(B/A/)|(d/c/)(d/e/)(f/d/) (ec) B/A/|(FA).A A2:||

 

CONTROCO HORNPIPE.  American, Hornpipe. A Major. Standard tuning. AABB. Composed by Alstead, New Hampshire, composer and fiddler Randy Miller, who says its “Rococo’s circle of fifths, mixed for contra dance music.” Miller (Fiddler’s Throne), 2004; No. 281, pg. 168.

 

CONTROVERSIAL REEL, THE (Ríl na Conspóide). Irish, Reel. G Major. Standard tuning. AABB (Black, Cranford/Holland, Miller): AA'BB' (Breathnach). Composed by Washington, D.C., B/C accordion player Billy McComiskey, originally from Brooklyn, who wrote it for Irish music teacher Maureen Glynn in New York as a student vehicle. The story goes that the tune was named “Controversial” by Chicago fiddler Liz Carroll and accordion player Tommy Maguire because Carroll learned it from McComiskey himself, while Maguire maintained he had heard it years before in County Offaly (McComiskey had played the tune in Ireland, so Maguire may indeed have heard it there). Source for notated version: Tommy Maguire & Liz Carroll  [Breathnach]. Black (Music’s the Very Best Thing), 1996; No. 64, pg. 33. Breathnach (CRÉ III), 1985; No. 162, pg. 75. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 74. Cranford (Jerry Holland: The Second Collection), 2000; No. 189, pg. 71. Miller (Fiddler’s Throne), 2004; No. 139, pg. 92. Green Linnet SIF 1034, Billy McComiskey – “Makin’ the Rounds” (1981). Shanachie 29010, Liz Carroll & Tommy Maguire ‑ "Kiss Me Kate" (1976).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T: Controversial

C: B. McComiskey

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

GA | B3 e dBAG | gfgb a2 ge | d2 Bd gedB | A2 BG AGEG |

B3 e dBAG | gfgb a2 ge | d2 Bd gedB | GBAF G2 :|

GA | B3 d A2 BA | GEDE GABd | gaba gedB | A2 BG AGEG |

B3 d A2 BA | GEDE GABd | gaba gedB | GBAF G2 :|

X:2

T:The Controversial Reel

R:Reel

M:4/4

L:1/8

Z:Billy McComisky, from Cotter's with 'corrections'

K:G

G2 A|BABe dB~B2|gfgb abge|d2 (3Bcd gedB|AdBG AGEG|

~B3 e dB~B2|~g2 bg abge|d2 (3Bcd gedB|GBAF G3 A:||

~B3 G ~A2 BA|GEDE GA (3Bcd|g2 ba gedB|AdBG AGEG|

~B2 dB ABBA|GEDE GABd|g2 ba gedb|GBAF G3 A:||

                       

CONUNDRUM, THE. Scottish, March (2/4 time). A Major. Standard tuning. AA'BB'. A pipe march frequently played at Scottish sessions. Composed by Peter Macleod (Jr.), a giant of early-mid 20th century Great Highland Pipe composing and teaching, many of whose tunes are in traditional repertoire today. A story is told about the tune that may or may not be true. It seems that Macleod migrated to Glasgow where there was work to be found in the great shipyards of the city, but had the misfortune to suffer an accident that resulted in the loss of a leg. The tune's unusual rhythm is said to mimic his marching gait when equiped with a wooden leg, and the tune’s title reflects Macleod’s difficulties keeping to march rhythm with a pronounced limp. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 26. Culburnie Records CUL102c, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988).

                       

CONVENIENCE, THE. AKA and see “The Knock on the Door,” “McDonagh’s.” Irish, Reel. D Major. Standard tuning. ABCC (Songer): ABB’C (Mallinson): AABBCC (Taylor): AA’BB’CC (Taylor/Tweed). The title refers to a ‘convenience’, a throne, crapper, toilet, loo, etc., from which derives the (impatient) alternate title "Knock on the Door." There is some confusion about which part is supposed to come first in this tune. Susan Songer (who gives the tune’s provenance as Scottish) remarks that this tune was for many years the signature tune of the Seattle Irish traditional band The Suffering Gaels. Karen Tweed remarks the tune was “extremely popular in sessions in the early ‘80’s.” Sources for notated versions: Uncle Gizmo (Massachusetts) [Songer]; French fiddler Vincent Blin [Taylor/Tweed]. Mallinson (Essential), 1995; No. 30, pg. 14. Songer (Portland Collection), 1997; pg. 53. Taylor (Where’s the Crack), 1989; pg. 9. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 16. DMPCD 9401, Karen Tweed – “Drops of Springwater” (1994).

X:1

T:The Convenience Reel

R:Reel

M:4/4

L:1/8

K:D

dABA dABA|GAFA EFGA|dA ~A2 dABA|FAEA D3 A:|

|:df ~f2 dfed|cdef gece|df ~f2 dfed|1cABc d3 c :|2 cABc defg|

a3 g f2 ed|ce ~e2 ce ~e2|a3 g f2 ed|Addc defg|

aA ~A2 aAaA|gA ~A2 gAgA|fgaf gfed|cABc d4 ||

                                               

CONVENTION, THE. AKA and see "York Fusiliers." English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABBCCDD. Barnes dates the tune to 1794. Barnes (English Country Dance Tunes), 1986.

                       

CONVICT OF VAN DIEMEN'S LAND, THE. AKA ‑ "Van Diemen's Land." Irish, Air (6/8 time). D Dorian. Standard tuning. One part. "Noted by Miss Una Eideen Flanagan of Tannersville, Green County, New York" (Joyce). Lyrics in most collections of folk songs: Van Diemen's Land is the island of Tasmania, in Austrailia, where many convicts were transported in the 18th century. Joyce (Old Irish Folk Music and Song), 1909; No. 208, pgs. 102‑103.

X:1

T:Convict of Van Diemen’s Land, The

T:Van Diemen’s Land

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

N:”Moderate time”

K:Ddor

c/B/|A2A G2E|E2D C2D|E2G D2D|(D3 D2)D|E2A A2G|A2d d2e|

d2c A2F|(G3 G2)G|A2A A2G|A2d d2e|d2c A2G|(c3 c2)B|

A2A G2E|E2D C2D|E2G D2D|(D3 D2)||

 

CONVICT WALTZ. See "Valse de Quatre-vingt-dix-neuf Ans."

 

CONWAY’S. Irish, Jig. B Flat Major. Standard tuning. AA’B. Source for notated version: fiddler Brian Conway (Queen’s NY) [Taylor/Tweed]. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 8.

 

CONWAY’S [2]. AKA and see “Joe Conway’s,” “Ducks and the Oats.”

 

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