The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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CORK - COT

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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, 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]

 

 

 

CORK AND SWEET MUNSTER. Irish, Air (4/4 time). F Major. Standard tuning. One part. The name Cork is derived from the Gaelic word coraigh, a swamp. "I have known this tune from my earliest days. There was a song to it of which I remember but one verse:‑‑

***

I travelled this country round and round,

From city to city and seaport town;

But of all the fine places that ever I did see,

Cork and sweet Munster, ochone, for me.   (Joyce)

***

Joyce (Old Irish Folk Music and Song), 1909; No. 7, pg. 6.

X:1

T:Cork and Sweet Munster

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:F

F/G/|A2 AA AGFG|{A}f2e2f2 ef|g2 fe dcAc|dfed c2 AB|c2 d>c c2 Ac|dfe>g f4|

A2 AA A<c (3BGF|G2 F2 F3||

                                      

CORK HILL. Scottish, Jig. A Major. Standard. AABBCCDD. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 2.

                                      

CORK HORNPIPE [1], THE. AKA and see  "Cincinnati Hornpipe [1]," "Dundee Hornpipe," "Fred Wilson's Clog," "Granny Will Your Dog Bite?" (Pa.), "Harvest Home [1],” "Higgin's Hornpipe," "Kephart's Clog" (Pa.), "Kildare Fancy," "Snyder's Jig" (Pa.), "Standard Hornpipe," "Wilson's Clog [1]," "Zig-Zag Hornpipe/Clog." Irish, Hornpipe. D Major. Standard. ABB’ (Moylan): AABB (Levey, Roche). The name Cork is derived from the Gaelic word coraigh, a swamp. The tune was known under this title by central New York fiddler Winifred “Murph” Baker (Champion, NY), a regionally significant traditional fiddler in the mid-late 20th century. Most American versions were learned under a variety of alternate titles (the most popular being “Harvest Home”), with “Cork Hornpipe” appearing exclusively in Irish publications. Sources for notated versions: Tom Billy Murphy via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; uilleann piper Andy Conroy (New York, originally from Lough Glynn and Dublin) [Breathnach]. Breathnach (Ceol II, 1), 1965; No. 1. Breathnach (The Man and His Music), 1997; No. 1, pg. 7. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 69, pg. 31. Moylan (Johnny O’Leary), 1994; No. 292, pg. 169. Roche Collection, 1982; Vol. 2, pg. 14, No. 223.

X:1

T:Cork Hornpipe, The [1]

T:Harvest Home

M:C

L:1/8

R:Hornpipe

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

DAFD DAFA | dfed dcBA | eAfA gAfA | (3efd (3cdB (3ABG (3FGE |

DAFA DAFA | dfed dcBA | efge aece | d2d2d2 z2 :: eAAA fAAA |

gAAA aAAA | eA fA gA aA | (3efd (3cdB (3ABG (3FGE |

DAFA DAFA | dfed dcBA | dfaf bgec | d2d2d2 z2 :|

 

CORK HORNPIPE [2]. Scottish, Hornpipe. G Major. Standard. AA’BB. Kerr (Merry Melodies), Vol. 4; No. 294, pg. 31.

 

CORK LASSES, THE. AKA and see “Conolon’s Dream,” "The Little Pig Lamenting the Empty Trough," "An Claimh i Laimh," "Sally on the Shore,” “The Sword in (the) Hand." Irish, Reel. E Minor. Standard. AAB. See also “Cork Rambler.” Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 27, pg. 8.

                       

CORK RAMBLER, THE. AKA and see “The Rambler in Cork.” Irish, Reel. G Major. Standard. AB. The name Cork is derived from the Gaelic word coraigh, a swamp. The melody is a version of “Cork Lasses,” points out Paul de Grae, who finds it in O’Neill as “The Rambler in Cork.” Source for notated version: “My mother” [Mulvihill]. Mulvihill (1st Collection), 1986; No. 101, pg. 26.

                       

CORK ROAD. AKA and see "The Top of Cork Road [1]," "Father O'Flynn," "The Yorkshire Lasses [1]," "Bonny Green Garters [1]," "The Rollicking Irishman." Irish, Jig. C Major. Standard. AABB. The name Cork is derived from the Gaelic word coraigh, a swamp. Hardings All Round Collection, 1905; No. 176, pg. 56.

                       

CORK REEL.  See “Connacht Reel [1].”

 

CORKONIAN. AKA and see "The Boys of the Lake [2]," "Collins Reel [1]," "Emminence Breakdown," "Ike Forrester's Reel [1]," "Merry Blacksmith," "Paddy on the Railroad," "Peeler's Jacket [1]," "The Police Jacket," "The Shepherd in/on the Gap," "The Policeman's Reel/Peeler's Reel," "The Railroad [2]." Irish, Reel. D Major. Standard tuning. AABB. See also the variant recorded by the great County Sligo fiddler Michael Coleman, “The Devil’s in Dublin.” Cole (1000 Fiddle Tunes), 1940; pg. 20. Ryan’s Mammoth Collection, 1883; pg. 44.

X:1

T:Corkonian

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | d(d/A/) B/A/F/G/ | A/d/c/d/ B/A/F/G/ | A/c/d/e/ f/d/e/d/ | B/e/e B/e/e |

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

|: (f/g/) | “tr”a2 “tr”f2 | .d(d/A/) B/A/F/G/ | A/c/d/e/ f/d/e/d/ | B/e/e B/e/e |

.a(a/g/) .f(f/e/) | .d(d/A/) B/A/F/G/ | A/c/d/e/ f/d/e/c/ | d/B/A/F/ D :| 

                       

CORLAIERNE. The title, perhaps "Coleraine" or "Killarney," appears in a medley of tunes performed by accordionist John J. "Dutch" Kimmel for Edison Records in 1920. Edison 50653 (78 RPM), John H. Kimmel (appears as 1st tune of "Haste to Wedding Jigs").

                       

CORMAC NA PAIDIREACA. AKA and see "Charley the Prayermaster."

                       

CORN BOY, THE. AKA and see “Johnny McGreevey’s Favorite.” Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: students of New York fiddler and accordion player John McGrath (1900-1955, originally from County Mayo) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 28, pg. 14.

X: 1

T: Corn Boy

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley Volume 1

Z: Transcribed by Bill Black

R: Reel

K: D

D2 FA d2 cA | BE{F}ED EFGB | Adde dcAd | cAGE {F}EDCA, |

DEFA (3dcB cA | BE{F}ED EFGB | A2 de dcAd | cAGE {F}ED D2 :|

|: aged cded | =cBcd efge | aged cded | cAGE {F}ED D2 |

ed (3efg agec | dcAB =c2 dc | (3ABA GE DFAd | cAGE {F}EDCA, :|

                       

CORN BUNTING. See "Tullochgorum/Tulloch Gorm."

                       

CORN CUTTER [1], THE. Scottish, Reel. C Major. Standard tuning. AABB. Composition credited to "Mr. Bernard" by Kerr. Mr. Bernard probably was an Edinburgh dancing master, to whom the Gow’s dedicated a reel (see “Mr. Barnard”). Kerr (Merry Melodies), vol. 2; No. 97, pg. 13.

X:1

T:Corn Cutter, The [1]

M:C

L:1/8

R:Reel

B:Kerr – Merry Melodies, vol. 2, No. 97 pg. 13 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:C
B|cCCB c2 (Bc)|dDD^c d2 (=cd)|eCCe fDDf|edcB c2 c:|
|:f|gEEg aFFa|fFDf gEEB|cCCc dDDf|edcB c2 c:||

 

CORN CUTTERS [2], THE. Scottish, Reel. D Major. Standard tuning. AABB. A different tune than “Corn Cutter [1]." A note in McGlashan says “Danc’d by Aldridge.” Aldridge was a famous stage dancer of the later 18th century. McGlashan (Collection of Scots Measures), c. 1780; pg. 35.

X:1

T:Corn Cutters, The [2]

M:C|

L:1/8

R:Reel

S:McGlashan – Collection of Scots Measures (pg. 35)

Z:AK/Fiddler’s Companion

N:”Danc’d by Aldridge”

K:D

A4 BABc|dcBA GFED|GABA GFED| CDEF E4| A4 BABc |

dcBA GFED | GBAG FEDC | D2 D2 D4 :|

|:fdcB ^ABAB | ecBA ^GAGA | defe dcBA | ^GABA E4 |

AEAc BEBd |cAce d3c | def^g aecA | BABc A4 :|

                       

CORN DODGER #1 SPECIAL.  Old-Time, Breakdown. USA, Arkansas. G Major. Standard tuning. AA’BB’CC’DD’EE’. A version of “Cluck Old Hen”/”Cackling Hen.” Source for notated version: George Edgin, with George Edgin’s Corn Dodgers (1897-1957, Ozark Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 183. County Records CD-3506, George Edgin – “Echoes of the Ozarks, vol. 1” (1995. Various artists).

 

CORN HILL, THE (Cnoc an Arbhair). AKA – “The Cornhill.” Irish, Reel. D Dorian. Standard tuning. ABC. See also the related “Green Groves of Erin.” Source for notated version: fiddler Jimmie McKeirnan, 1966 (Mohill, Co. Leitrim, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 236, pg.

                       

CORN-HUSKERS, THE. Old‑Time, Breakdown. USA; W.Va., southwestern Pa. G Major. Standard tuning. AB. Source for notated version: Scott Phillips (Wetzel County, W.Va., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 3, pg. 18.

                       

CORN ON THE COB. AKA and see "Logger's Breakdown." American, Reel/Breakdown. USA, North Dakota. B Flat Major. Standard tuning. AABB. Pancerzewski believes this tune to be similar to "Logger's Breakdown," recorded by Canadian fiddler Don Messer in the 1940's. It was also reportedly in the repertoire of Texas fiddler Eck Robertson and his father, also a fiddler, about 1920. Source for notated version: Nelson brothers, prior to 1920 (Grinnell, North Dakota) [Pancerzewski]. Pancerzewski (Pleasures of Home), 1988; pg. 14.

                       

CORN RIGGS (ARE BONNY). AKA and see “New Corn Riggs,” “Northern Song [1].” Scottish (originally), Irish, English; Reel. Scotland, Lowland region. England; Northumberland, northwest England. Ireland, County Donegal. D Major (Barnes, Hall & Stafford, Kerr, Lerwick, Kennedy, Miller & Perron, Raven, Sweet): G Major (Athole, Emmerson, Wade, Williamson). Standard tuning. AAB (Athole, Emmerson): AABB (Barnes, Hall & Stafford, Kennedy, Kerr, Lerwick, Miller & Perron, Raven, Sweet, Wade, Williamson): AABBCCDDEEFFGGHHIIJJ (Hall & Stafford {includes variations).  The 'riggs' referred to in the title specifically are furrows of a newly plowed field, though the title is taken to mean fields of grain. Scottish poet Robert Burns set verses to the melody, describing the seduction of a girl named ‘Annie’ in such a field. In modern times the lyric scans as innocuous enough, but hardly so in the Victorian era. David Murray (1994) references a footnote in a Victorian collection of Scots songs which reads: “As the prevalent idea of this fine song as originally written by Robert Burns renders it unfit to be sung by ladies, or in the company of ladies, a modern version, retaining as much of the old lines as possible, is here presented.”

***

The tune, a Scottish Measure, dates from the 17th century and has had currency in both "old" and "new" sets. The new set has words written to it by the Scottish national poet Robert Burns, and is still popular, while an "old set" of the tune was printed in the Panmure 9454 MS, Seventy‑Seven Dances, Songs and Scots Airs for the Violin (c. 1675). Munro wrote a variation sonata based on the tune published in 1732 (Collection of Scots Tunes) and it was his idea to combine the Scottish air‑jig form with the Italian sonata da camera. The melody was ascribed to Robert McIntosh by Mr. John Glen who added it in hand in his copy soon after it was published (in the McLean Collection by James Johnson in Edinburgh in 1772).

***

Chappell (1859) asserts that the melody was taken from an English tune called "Sawney was tall and of noble race," a song in Thomas D'Urfey's play The Virtuous Wife (1680), although there was no music printed with the text. The “Sawney” melody is printed by Playford in Choice Ayres (vol. iii, pg. 9) along with D’Urfey’s words as “A Northern Song,” without the name of the composer. Emmerson (1971) also suggests the prototype for "Corn Riggs" is the melody "Sawney," which he says can be found in John Playford's Appolo's Banquet (Fifth Ed., 1687). Similarly, it was the opinion of G. Farquhar Graham, writing in The Popular Songs and Melodies of Scotland (Glasgow 1893), that "...setting aside historical evidence, of which there is plenty, whoever will look at the air without prejudice, must see that it has no Scottish characteristics whatever, and that its flowing English style is apparent from the first bar to the last."  John Glen in Early Scottish Melodies (1900, pg. 51), admits the tune is “somewhat of an English character,” but still maintains it could have been a Scot imitating English style (as certainly did English composers of the Scottish). Allan Ramsay is credited with the name “Corn riggs are bonny” for the melody, which appears in his Tea Table Miscellany. Stenhoue believed that a much older Scottish song of “Corn Rigs” to the tune predated Ramsay’s. Glen (1900) thought this correct, from the fact that an entirely different tune in the Blaikie Manuscript (1692) is called “New Cornriges” (No. 104).

***

Along with the previously mentioned sources, other stage works incorporated the melody;  it was used, for example, by Ramsay in his ballad opera The Gentle Shepherd (1725), which was published three years before Gay's Beggar's Opera made the genre famous. Also in England the piece was used as a vehicle for a polka step in the North‑West Morris tradition (Wade), and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. It is one of the "missing tunes" from William Vickers' 1770 manuscript of Northumbrian melodies.  Corn Rigs is also the name of a country dance frequently taught by country dance masters in Scotland in the 19th century. Caoimhin Mac Aoidh (1994) remarks that the tune and dance were well-known in County Donegal, and states “its popularity may be inferred by the existence of at least three versions of the tune which is widespread throughout the county including a very masterful one by (fiddler) Mickey Doherty.”

***

Set as a march, the melody was employed by the former King’s Own Royal Regiment, the 4th of Foot, which David Murray (Music of the Scottish Regiments, Edinburgh, 1994, pg. 206) says was “one of the regiments originally raised to garrison Tangier, part of the dowry brought by Princess Catherine of Braganza when she married King Charles II in 1660.” In modern times “Corn Riggs” is part of the medley of tunes (along with “D’yer Ken John Peel,” and “The Lass o’ Gowrie”) played since 1959 as the march past of the King’s Own Royal Border Regiment.

***

Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 22. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 22, pg. 126. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 22. Jarman, Old Time Fiddlin' Tunes; No. or pg. 20. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 14, pg. 7. Kerr (Merry Melodies), vol. 1; No. 1, pg. 24. Lerwick (Kilted Fiddler), 1985; pg. 9. McGibbon (Scots Tunes, Book 1), c. 1762; pg. 28. Miller & Perron (101 Polkas), 1978; No. 92. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 79. Northumbrian Pipers' Tune Book, Vol. 2; pg. 2. Raven (English Country Dance Tunes), 1984; pg. 165. Stewart-Robertson (The Athole Collection), 1884; pg. 148. Sweet (Fifer’s Delight), 1964/1981; pg. 63. Wade (Mally’s North West Morris Book), 1988; pg. 19. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 47. Topic 12TS382, New Victory Band ‑ "One More Dance and Then" (1978, learned from Yorkshire melodeon player George Tremain). Topic 12TS283, Ned Pearson. Topic TSCD 669, Ned Pearson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Fiddler Pearson was born c. 1875 at Cambo, near Morpeth, Northumberland).

X:1

T:Corn Riggs are Bonny

L:1/8

M:C|

K:D

|:dc de f2 ed|cB cd e2 A2|dc de fg ef|d2a2a2 (3ABc|dc de f2 ed|cB cd e2A2|

Bc dB ed cB|A2d2d2 (3ABc:|

|:d2a2 fga2|cB cd ec A2|d2a2 fg ef|d2 ab a2 (3ABc|d2a2 ba gf|gf ed cd eA|

Bc dB ed cB|A2d2d2A2:|

X:2

T:Corn Rigs

M:C|

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:G

D|G3A cBAG|FEFG A2D2|G3A BcAB|G2de d2D2|G3A cBAG|

FEFG A2D2|EFGE AGFE|D2G2G3:|

D|G2d2 BcdG|FEFG A2D2|G2dc BcAB|G2de d2D|G2d2 edcB|

cBAG F2D2|EFGE AGFE|D2G2G3D|G2d2 BcdG|FEFG A2D2|

G2 dc BcAB|G2de d2ef|gfed edcB|cBAG GFED|EFGE AGFE| D2G2G3||

X:3

T:Corn Riggs are Bonny

M:C|

L:1/8

N:”Lively”

S:McGibbon – Scots Tunes, Book 1 (c. 1762) 

Z:AK/Fiddler’s Companion

K:A

E2 | A3B ({A/B/}c2) (BA) | “tr”(G>FG)A B2E2 | A3B c>dcB | A2 (e>f) e2E2 |

(AG)(AB) c2 “tr”(BA) | “tr”(G>FG)A B2 (AG) | (F>GA)F (BA)(GF) | E2 (A>B) A2 :|

|: E2 | A2 e2 (cd) e2 | “tr”G3A B2E2 | A2 (ed) c>dcB | A2 (e>f) e2E2 | A2e2 (fe)(dc) |

(dc)”tr”(BA) (G>AB)G | (F>GA)F (BA)”tr”(GF) | E2 (A>B) A2 :|

|: E2 | AGAB ce (d/c/)(B/A/) | “tr”(G>FG)A GABE | (AG)(AB) c(e/d/ c/d/c/B/) |

A2 e>f e2E2 | (AG)AB ce (d/c/)(B/A/) | “tr”(GFG)A B2 “tr”(AG) | FGAF (BA)(GF) |

E2 (A>B)A2 :: E2 | A2 e2 (c/B/c/d/) eA |(GFG)A GABE | A2 (ed) (c/B/c/d/) (c/d/c/B/) |

A2(e>f)e2E2 | (A/B/c/d/) eA (gf)”tr”(BA) (G(F/G/A/ B)G | F/(E/F/G/ A)F (BA)”tr”(GF) | E2 (A>B) A2 :|

X:4

T:Sawney was tall

M:C|

L:1/8

S:Playford (1687)

Z:AK/Fiddler’s Companion

K:C

c2 cde2 dc|B3A d3G|c3d (ef) ed|c2g2g2G2|c3d e2 (dc)|B3A d2 (cB)|A3G AB cA|G2c2 c3c||

cc gg ef g2|B2d2d3d|c2g2e3d|(cd) (ef) g3c|c2 gg (ag)(fe)|(dc)(BA) B2 AG|A3G ABcA|G2c2 c4||

           

CORN STACK. THE.  Irish, Reel. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). See also the related “Cottage in the Grove [3].” Ryan (The Hidden Ireland), 39.

           

CORN STALK FIDDLE (AND SHOESTRING BOW). Old‑Time, Breakdown. USA, Mississippi. A Major. The tune is perhaps "Cotten Eyed Joe," the title being taken from the lyric:

***

Corn stalk fiddle, shoe string bow,

All they played was "Cotten Eyed Joe."

***

Mississippi Department of Archives and History AH‑002, Frank Kittrell (Lauderdale County, Miss.) ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985. Originally recorded in 1939).

                       

CORN WHISKEY. Old‑Time, Breakdown. USA, Missouri. D Major. Standard or ADae tuning. AABB. Source for notated version: Bill Katon (or Caton), Missouri [Christeson]. R.P. Christeson (Old Time Fidders Repertory, vol. 2), 1984; pg. 60.

                       

CORNA AN tSLIABI. AKA and see "Roll Her on the Mountain."

                       

CORNBREAD, MOLASSES, SASSAFRAS TEA. Old‑time. USA, north Georgia. Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986. Learned from a Fiddlin' John Carson recording).

                       

CORNCRAKE, THE. Irish, Slow Air (4/4 time). G Major. Standard tuning. AB. The melody has irregular measures in both parts. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 127, pg. 141.

                       

CORNE, LA.  French, Country Dance (6/8). 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. 46.

X:1

T:Corne, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 46

Z:AK/Fiddler’s Companion

K:G

gdB G3 | gdB G3 | gfe dcB | cBA G3 | DFA d3 | DFA d3 | d^cB AGF | GFE D3 :|

|: dfa afd | afd B3 | agf edc | c3B3 | dBG ecA | fdf g3 | ege faf | g3G3 :|

                       

CORNELIA’S REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AA’BB’. Composed by Chetticamp, Cape Breton, Nova Scotia fiddler Marcel Doucet. Source for notated version: Edward P. Arsenault (b. 1921, Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Perlman (Fiddle Music of Prince Edward Island), 1996; pg. 55.

                       


CORNELIUS CURTIN'S BIG BALLOON (Balún Mór Chonchúir Mhic Cruitín). AKA and see “Captain Holmes,” “Hide and Go Seek.” Irish, Jig. E Minor. Standard tuning. AAB. Fiddler Con Curtain (d. 2009) ran a pub for many years in Fulham, south London called The Balloon, (or The Big Balloon), though most Irish music session pubs were north of the river. Of late he and his wife Anne run a pub in Brosna, north Kerry. Con gives what he considers irrelevancies short shrift, guitarist Paul de Grae relates, as he did on one occasion when a visitor to Con's pub complained of the absence of a lock on the men’s toilet door. Expletives deleted, Con's reply was that he had never heard of anyone in Kerry stealing shit. Sligo flute player Tommy Healy has been credited with coming up with the title in lieu of the original one which had been lost. Source for notated version: flute player Paddy Carty (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 22, pg. 11. Shanachie 29001, "Paddy Carty."

                       

CORNER HOUSE [1], THE (An Teach ar an gCoirnéal). Irish, Reel. A Dorian. Standard tuning. AABB (Breathnach): AABB’ (Mulvihill): AA’BB’ (Harker/Rafferty). Columbia County, New York, flute player Mike McHale (originally from County Roscommon) says the tune was derived from the march “Battle of Aughrim” and came into circulation in the 1950’s. Composition has sometimes been credited to east Clare fiddler Martin “Junior” Crehan (1908-1998). See also the related “Down the Broom,” “Lamb on the Lawn” and “Trip to Birmingham.” Sources for notated versions: Jim Bly (Co. Roscommon/England) [Mulvihill]; flute player Éamonn de Stabaltún (Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 120, pg. 49. Harker (300 Tunes from Mike Rafferty), 2005; No. 33, pg. 11. Mulvihill (1st Collection), 1986; No. 214, pg. 58. MKM 7590, Mike McHale – “The Schoolmaster’s House” (2000).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Corner House, The  [1]

R:reel

C:Martin “Junior” Crehan? (1908-1998)

Z:id:hn-reel-71

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

M:C|

L:1/8

K:Ador

EAAG ABcd|e2dB cAAG|EGGF G2AB|cABG AGED|

EAAG ABcd|e2af gedB|d2Bd efge|1 dBGB A2AG:|2 dBGB A2Bd||

|:eaag a2ga|bgab gedB|d2Bd edBd|(3efg fa gdBd|

eaag a2ga|bgab gedB|d2Bd efge|1 dBGB A2Bd:|2 dBGB A2AG||

 

CORNERHOUSE [2], THE. AKA and see “Dinny O’Brien’s [2].” Irish, Reel. G Major. Standard tuning. AA’BB’. A variant of Breathnach’s “The Corner House [1]." Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 315 (a), pgs. 180-181 & No. 335, pg. 190.

 

CORNER HOUSE [3].  AKA and see “Trip to Birmingham.”

 

CORNER HOUSE [4], THE.  English, Jig. B Flat Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 54.

X:54

T:Corner House, The  [4]

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

B2B B2g|fdB c3|e3 dcB|ABc cAF|B2B B2g|fdB {ga}b3|agf cf=e|{=e}f3 F3:|

|:f2f fbf|fbf dcB|bag fed|cdB cAF|BdB GEG|cec AFA|afd ecA|{A}B3 B,3:||

                       

CORNEY DREW'S HORNPIPE (Crannciuil Crotuir Uí Draeda). AKA and see “Fitzgerald’s Hornpipe [2].” Irish, Hornpipe. G Major. Standard tuning. AABB (O’Neill): AA’BB’ (Breathnach). This tune is associated with the blind Irish fiddle master Corney Drew, of the Sliabh Luachra region of the Cork/Kerry border. Caoimhin Mac Aoidh remarks that there is “strong evidence” that Drew learned from a fiddle player named O’Grady who moved to the region from Tipperary. Drew in turn influenced area musicians Din Tarrant and Tadhg “an asal” Buckley, who all played a “house dance” style, less ornamented with less slurring than the other famous Sliabh Luachra style typified by fiddler Pádriag O’Keeffe (1887-1963) and his students Denis Murphy and Julia Clifford. Donal Hickey, however, in his book on Sliabh Luachra musicians Stone Mad for Music, suggests O’Keeffe was much influenced, albeit indirectly, by Drew. Pádriag’s mother was Margaret O’Callaghan, from Doon, Kiskeam, Cork, and it was from her family that he inherited much of his music. Margaret’s brother Cal was an excellent fiddler and greatly influenced the young O’Keeffe. The O’Callaghans, says Hickey, got much of their music from Corney Drew, “and unusual tunes which Pádriag played in later life came from Drew, who had inherited music from the late 18th and early 19th centuries.” The alternate title “Fitzgerald’s Hornpipe,” by which title the melody appears in the music manuscripts of Church of Ireland cleric James Goodman (1828-1894), may refer (remarks Paul de Grae) to William Fitzgerald of Conrea, Ballydesmond. Fitzgerald was a travelling fiddle master and a contemporary of Corney Drew, who wrote a music manuscript dating from 1866, after which he emigrated to America and was lost to history.  His manuscript survived in Ireland, however (Dan Herlihy has a copy, Paul says).

***

Source for notated version: piper Liam Ó Floinn (Kildare) [Breathnach/Man & his Music]; “Hartnett,” probably referring to Chicago Police Sergeant Michael Hartnett whom O’Neill identified in Irish Minstels and Musicians as a dancer originally from the Sliabh Luachra region who "was born and brought up within a radius of a dozen miles or so of where the Counties of Kerry, Cork and Limerick come together" [O’Neill]. A variant of “Corney Drew’s Hornpipe” appears in Joyce's Old Irish Folk Music and Songs under the title "Dwyer's Hornpipe" with the note: "This was a great favourite as a dance tune, and I learned it in boyhood from pipers and fiddlers” (Joyce was born in 1827 in Glenosheen, Limerick, near the Cork border). Breathnach (The Man & his Music), 1996; No. 6, pg. 104. O'Neill (Krassen), 1976; pg. 200. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1713, pg. 313. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 903, pg. 155.

X:1

T:Corney Drew’s Hornpipe

M:4/4

L:1/8

R:Hornpipe

S:Breathnach (1996)

K:G

G2 GE GABd|edef (3gfe df|edef (3gfe dB|AGAB (3cBA GE|

G2 GE GABd|edef (3gfe d2|(3efg dc BGAF|1 G2 GF GEDE:|2

G2 GF G2||

|:Bd|g3b aaga|(3bag af gedg|edef (3gfe dB|1 BAAG A2 Bd|g3b aaga|

(3bag af ge d2|(3efg dc BGAF|G2 GF G2:|2 AGAB BAGE|

G3E GABd|edef (3gfe d2|(3efg dc BGAF|G2 GF GEDE||

                       

CORNEY IS COMING (“Tá Crotuir Ag Teacd” or “Tá Cornaí ag Teacht). AKA and see "The Barrack St. Boys," "The Bride(s) to Bed," "Brides Away," "The British Naggon," "Cheese It," "Crawford's Reel [1]," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House [1]," "Shannon Breeze [2]," "Six Mile Bridge,” "Tom Fitzmaurice's Reel." Irish, Reel. D Major. Standard tuning. AB (Harker/Rafferty, O'Neill): AA'B (Breathnach, Mitchell): AABB (Taylor/Tweed). “Corney is Coming” is usually associated with uilleann pipers in modern times, sometimes called “The Honeymoon Reel.” Goodman gives the tune as “The Bride to Bed,” “Brides to Bed” and “My Love is in America.” Joyce has it as “Brides Away” and “My Love is in the House.” Breathnach (1985) says the tune was first printed by Robert Bremner as “Knit the Pocky” in his Collection of Scots Reels (1751-61).  According to Gearoid Ó hAllmhuráin, “Corney is Coming” is “an old West Clare tune” whose title is associated in local folklore with Cornelius O'Brien, a County Clare landlord  who lived in Birchfield House outside Liscannor. O’Brien is chiefly remembered today as the builder of the famous O'Brien Tower near the Cliffs of Moher in 1837, an oft-photographed landmark. However, he also had a notorious reputation especially with women, leading to the warning “Corney is coming (so look to your daughters).” An alternate suggestion is that the title refers to itinerant 19th century fiddle master Corney Drew, in anticipation of his coming for a season of music and dance instruction. It was a favourite of uilleann piper and whistle player Willie Clancy, of Miltown Malbay. See also the related “New Road.” Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare, Ireland) [Breathnach, Mitchell]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 1985; No. 173, pg. 79. Harker (300 Tunes from Mike Rafferty), 2005; No. 85, pg. 27. Mitchell (Dance Music of Willie Clancy), 1993; No. 8, pg. 33. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1548, pg. 286. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 762, pg. 133. Ryan’s Mammoth Collection, 1883; pg. 56. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 26. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999). Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, vol. 1” (1980). Green Linnet SIF 9011, Maeve Donnelly (et al) – “Playing with Fire.” Maeve Donnelly – “Sailing into Walpole’s Marsh.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Corney is Coming

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 762

Z:AK/Fiddler’s Companion

K:D

c|Addc defd|cAGF EFGE|Dddc defa|gece fdec|Addc defd|

cAGF EFGE|Dddc defa|gecd edd||c|defg afdB|cdef gecA|

defg agfa|gecd eddf|afdf afdf|gece gfge|defg abaf|gecd edd||

                       

CORNFLOWER WALTZ. American, Waltz. American Heritage Music Corporation AH-4-1-4, Harold Allen – “Fiddling Around” (on the album Allen is credited with composing the tune).

                       

CORNHILL DANCE. English, Scottish. F Major. Standard tuning. ABB’. The tune appears in a 1799 collection by Thomas Calvert, a musician from Kelso, Scotland, in the Borders region. A note with the collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.”

X:1

T:Cornhill Dance

M:4/4

L:1/8

B:Calvert Collection Page 12/13

N:Cornhill is a village in England, south of the Tweed, just across the

N:bridge from Coldstream

Z:P Whittaker

K:F

B | A>Fc>Fd>Fc>F | A>F d/2c/2B/2A/2 BGGB | A>Fc>Fd>Fc>F |

{A}B2 GcAF [A,CF] || c |  f>gag fdcf  | {d}cdfa g>fga |1 f>gag fdcf  |

agfe f2 f :|2 a>gb>f g>df>c | {A}B2 GcAF [A,CF] ||

                       

CORNIN’S. AKA and see “O’Keefe’s Plow.” Cornin is undoubtedly 'Cronin'.

                       

CORNISH FLORAL DANCE. English (Cornwall), Country Dance (3/4 time). F Major. Standard tuning. One part. Raven (English Country Dance Tunes), 1984; pg. 154.

                       

CORNISH FOUR-HAND REEL.  English, Reel. England, Cornwall. D Major. Standard tuning. AABBCCDDAA. Source William Hocken was recorded by Richard Dimbleby at the Wellington Hotel in Bocastle in 1943. Hocken was a local bandmaster. The melody is strongly associated with the dance the Bocastle Breakdowns, but can be played for the four-hand reel. Source for notated version: William Hocken (Bocastle, Cornwall) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 92. Topic Records 12T240, William Hocken (et al)  “Bocastle Breakdown: Southern English Country Music” (1974. Various artists).

 

CORNISH QUICKSTEP. English (Cornwall), Quickstep. D Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 154.


                       

CORNPHÍOPA AN BHREATHNAIGH. AKA and see "Walsh's Hornpipe."

                       

CORNPHÍOPA AN DREOILIN. AKA and see "The Wren's Hornpipe."

                       

CORNPHÍOPA AN FLAITHEARTAIGH. AKA and see "Flaherty's Hornpipe."

                       

CORNPHÍOPA AN TIARNAWILSON.  AKA and see “Lord Wilson’s.”

 

CORNPHÍOPA AN TÍOGAIR.  AKA and see “Tiger Hornpipe.”

 

CORNPHÍOPA GHRÉAGÓRA. AKA and see “Gregory’s Hornpipe.”

                       

CORNPHÍOPA MHIC DHONNCHAIDH. AKA and see "Dunphy's Hornpipe."

                       

CORNPHÍOPA MHIC GHEARAILT. AKA and see "Fitzgerald's Hornpipe."

                       

CORNPHÍOPA MHIC GHIOLLA EASBAIG. AKA and see "Gillespie's Hornpipe."

                       

CORNPHÍOPA MHIC LABHRAIS. AKA and see "Lawson's Hornpipe."

                       

CORNPHÍOPA MHICÍ UÍ CHONAILL.  AKA and see “Mickey Connell’s Hornpipe.”

 

CORNPHÍOPA NA LEAMHCHOILLE. AKA and see "The Loughill Hornpipe."

                       

CORNPHÍOPA NA LORGAN. AKA and see “Lurgan Hornpipe.”

                       

CORNPHÍOPA PHÁDRAIG UÍ BRIAIN. AKA and see "Paddy O'Brien's Hornpipe."

                       

CORNPHÍOPA SHEÁN SEOSAMH MHIG FHIONNÁIN. AKA and see "John Joe Gannon's Hornpipe."

                       

CORNPHÍOPA SHEOIRSE UÍ ROGHALLAIGH (George Rowely’s Hornpipe). AKA and see “George Rowley’s Hornpipe.”

                       

CORNPHÍOPA THOMÁIS. AKA and see “Thomas’s Hornpipe.”

                       

CORNPHÍOPA THOMÁIS A CHNOIC (Tom Hill’s Hornpipe). AKA and see "Tom Hill's Hornpipe."

                       

CORNPHÍOPA THOMÁIS UÍ CHONCHUIR. AKA and see "Tom Connor's Hornpipe."

                       

CORNPHÍOPA UÍ BHRION (Byrne's Hornpipe). AKA and see “Byrne’s Hornpipe.”

                       

CORNPHÍOPA UÍ BRAOIN. AKA and see "Breen's Hornpipe."

                       


CORNPHÍOPA UÍ CHEALLACHAIN. AKA and see "O'Callaghan's Hornpipe."

                       

CORNPHÍOPA UÍ CHROININ. AKA and see "Cronin's Hornpipe."

                       

CORNPHÍOPA UÍ DHONNCHAIDH. AKA and see "Dunphy's Hornpipe."

                       

CORNPHÍOPA UÍ DHUILLEÁIN. AKA and see "Dillane's Hornpipe."

                       

CORNPHÍOPA UÍ EACHAIGH. AKA and see "Hawke's Hornpipe."

                       

CORNPHÍOPA UÍ LOINGSIGH. AKA and see “Lynch’s Hornpipe.”

                       

CORNPHÍOPA UÍ MHAOLCHAOINE. AKA and see "Mulqueeny's Hornpipe."

                                   

CORNPHÍOPA UÍ MHATHÚNA. AKA and see "O'Mahony's Hornpipe."

                       

CORNPHÍOPA UÍ MHURCHADHA (Murphy's Hornpipe). AKA and see “Murphy’s Hornpipe.”

           

CORNSHUCKER’S FROLIC. AKA and see “The Third of July.” Old-Time, Breakdown. USA, West Virginia.

                                   

CORNSTALK FIDDLE (AND SHOESTRING BOW). Old‑Time, Breakdown. USA; Kentucky, Mississippi, Arkansas. G Major. Standard tuning. AABB. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It was recorded by Mississippi fiddler Frank Kittrell for the Library of Congress in 1939 (AFS LC 3035  B2). Although Davenport's tune is not "Cotten Eyed Joe," the title "Cornstalk Fiddle" may be in some locales a floating or alternate title for "Cotten‑Eyed Joe," a line of whose ditty goes:

***

Cornstalk fidde, shoestring bow,

Look out Boys (or, Play a little tune), says Cotten‑Eyed Joe.

***

The ditty that Davenport occasionally sang with the tune went:

***

My bow’s sugar, my bow’s sweet;

My bow’s sugar and she can’t be beat.

Cornstalk fiddle and a shoestring bow (x4)

***

Jeff Titon (2001) says the ‘B’ part of Davenport’s tune is similar to that of two other of his tunes: it is nearly identical to the ‘B’ part of  Sugar in My Coffee-O,” and close to “Open the Gate and Walk on Through.” Titon finds it a variant of  Grapevine Twist,” printed in the publications of  Howe and Kerr in the 19th century. The melody also turns up in Lomax and Lomax’s Our Singing Country (1941, pgs. 68-69) in a song called “The Bank of the Arkansas,” collected from a woman in Texas. Source for notated versions: Clyde Davenport (Monticello, Wayne County, Ky., 1990), learned from his father [Phillips, Titon]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 56. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 28, pg. 62. Berea College Appalachian Center AC002, Clyde Davenport – “Puncheon Camps” (1992).

           

CORNWALLIS’S SURRENDER. Old-Time Breakdown. USA, Arkansas. G Major. Standard tuning. AABB. Irregular in the two-measure 2nd strain. Drew Beisswenger (2008) points out similarties to “Dance All Night/Give the Fiddler a Dram.” Source Morrison liked tunes with historical connotations (see his “British March” which he also associated with the surrender at Yorktown), although the origins of this tune are obscure. Source Absie Morrison Source for notated version: Absie Morrison (1876-1964, Searcy County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 102.

((()))   Absie Morrison (1876-1964)

                       

COROFIN, THE. AKA and see "The Rose in the Heather," "The Rose Among the Heather [2].”

                       

COROFIN SLIDE. Irish, Single Jig or Slide (12/8 time). Ireland, County Clare. G Major. Standard tuning. AABB. The title is from Falmouth, Massachusetts, banjo player Bill Black. Source for notated version: Jimmy Hogan [Black]. Black (Music’s the Very Best Thing), 1996; No. 123, pg. 64.

X:1

T: Corofin Slide

S: Jimmy Hogan

Z: transcribed by B.Black

Q: 375

R: slide

M: 12/8

L: 1/8

K: G

D | D2 E G2 A B3 B AB | c2 B c2 B A3-A2 G |

D2 E G2 A B2 A B2 d | edB dBA G3-G2 :|

B | ded B2 c ded B2 c | ded BAG E3-E2 B |

ded BAB ded B2 d | edB dBA G3-G2 :|

           

CORONATION, THE.  English, Jig. G Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 110.

X:1

T:Coronation, The

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

g2d “t”c2B|A2G AFD|g2d c2B|AGF G3|g2d c2B|A2G AFD|B2^c d2g|fge “tr”d3:|

|:d2g f2e|d^cd ecA|d2g f2e|de^c def|g2d “tr”c2B|A2G AFD|g2d “tr”c2B|AGF G3:||

           

CORONATION DAY, THE. English, Country Dance Tune (2/2 time). F Major. Standard tuning. ABB. The tune was printed by Playford. Sharp (Country Dance Tunes), 1909/1994; pg. 52.

X:1

T:Coronation Day, The

M:2/2

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:F

c2|f2e2f2c2|f4 c3c|d2 BA G2c2|A2 F4 c2|f2e2f2c2|f4 c3c|

d2 BA G2c2|A2 F4||:A2|B3c d2 cB|A3 G F2A2|B3 c d2 cB|

A3 B c2 BA|G2A2B2c2|d3 e f2 A2|B2A2G2c2|A2 F4:|

                       

CORONATION REEL. AKA and see "Salamanca {Reel} [1]," "The Salamander," "The Wild Salamanca," "The Maigue's Tide," "The Tartan Plaid."

                                   


CORONATION SPECIAL REEL. Canadian, Reel. A Major. Standard tuning. AABB. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989) in honor of the crowning of Queen Elizabeth II and her subsequent visit to Canada and Ontario. John was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his compositions. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 76, pg. 51.

                       

CORONET, THE. Scottish, Country Dance Tune. The melody and dance figure appear in the Bodleian Manuscript (1740), in the Bodleian Library, Oxford. It is inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740."

                       

COROVAT JIG [1], THE. AKA and see "The Geese in the Bog [2]," "Bob Thompson's Favourite," "Wiseman's Favourite," "The Mountain Lark [5]," “Humours of Limerick [2],” "Jackson's Trip to Limerick," "Jackson's Walk to Limerick," "Jackson's Coola," "Twice Tricked," "The Piper's Frolic," “Tom Broderick’s Jig,” "Tuhy's Frolic," "The Green Meadow [2]."  Irish, Jig. Breathnach (1996) gives this as a County Limerick title, along with “The Mountain Lark” for this tune, a member of the “Jackson’s Walk to Limerick” family of tunes.

 

COROVAT JIG [2], THE. See “Corovoth Jig.”

                       

COROVOTH JIG. AKA and see "The Boys From the Lough," “Donnybrook Fair [1],” "Joy(s) of My Life," "The Joys of Life," “Oh! Irishmen Never Forget,” “Our Own Little Isle.”

                       

CORPORAL [1], THE. English, Hornpipe. G Major. Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 27, pgs. 8‑9.

X:1

T:Corporal, The [1]

M:C

L:1/8

R:Hornpipe

S:Harding’s All Round Collection, No. 27  (1905)

Z:AK/Fiddler’s Companion

K:G

B>c|d>^cd>B G>Bd>g|f>ga>f d>ed>c|B>gd>B c>ec>A|G>EA>F D2 B>c|

d>^cd>B G>Bd>g|f>ga>f d>ed>c|B>bg>d c>df>a|g2b2g2:|

|:f>g|a>^ga>f d>fa>d|g>fg>a b>ag>f|e>gd>g e>ga>b|a>ea>g g>fe>d|

c>Bc>A G>Bd>g|f>ga>f d>ed>c|d>bg>d c>df>a|g2 [d2b2] [B2g2]:|

 

CORPORAL [2], THE. Scottish, Reel. G Mixolydian. Standard tuning. AABB. Directions for the dance to the tune were written down in 1752 by John McGill, dancing master in Girvan, for his students. Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection. Bremner (Scots Reels), 1757; pg. 79.

X:1

T:Corporal, The [2]

M:C
L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:G Mixolydian

(c | B)GGA B>cdf | AFcA cFF(A | B)(GG)A Bcdg | fd”tr”cA G2G :|

|: (e | f)dg^f gdd(e | f)cfe fcc(f | g)dg^f gdd(c | B)GAB G2G :|

                       

CORPORAL CASEY [1]. AKA and see "Country Courtship," "The Irish Washerwoman," "The Washerwoman." Irish, Jig.

 

CORPORAL CASEY [2]. AKA and see "Ballyvaughan," "Corporal Casey's Fancy," “Five Mile Chase [1],” "The Four-Hand Reel," “Lady Gardner's Reel," “Parnell’s Reel,” “The Wild Fire Chase,” “Yellow Haired Laddie [1].” Irish, Reel. G Major. Standard tuning. AABB’. Cole (1000 Fiddle Tunes), 1940; pg. 20. Ryan’s Mammoth Collection, 1883; pgs. 43.

X:1

T:Corporal Casey’s Fancy

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

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

GB/G/ d/G/B/G/ | F/D/A/D/ B/D/A/D/ | GB/G/ d/G/B/d/ | e/g/f/a/ gg :: g/d/B/d/ /e/d/B/d/ |

g/a/b/g/ f/d/e/f/ | g/d/B/d/ e/d/B/d/ | e/g/f/a/ gg | g/a/b/g/ e/f/g/e/ |

d/e/d/c/ B/G/B/d/ | e/f/e/d/ e/d/B/d/ |1 e/g/f/a/ gg :|2 e/g/f/a/ g/e/d/B/ ||

                       

CORPORAL CASEY’S FANCY.  AKA and see “Corporal Casey [2],” “Four-Hand Reel.” Irish, Reel.

 

CORPORATION, THE. AKA and see "Fete Champetre." English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. The tune dates to 1777. Barnes (English Country Dance Tunes), 1986.

                          

CORPORATION MARCH.  English, March (4/4 time). D Major. Standard tuning. AABB. Source Gibbons (1778-1871) was a papermaker and musician who lived in Tealby, near Market Rasen in the Lincolnshire Wolds. Source for notated version: Joshua Gibbons manuscript (1823-26, Lincolnshire) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 3.

                       

CORRAGA BAWN. Irish, Air. A Minor. Standard tuning. AABB. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 36.

X:1

T:Corraga Bawn

M:6/8

L:1/8

R:Air

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:Amin

cd | e>f e/d/ c2e | d2 c/A/ G2 e/d/ | cBA GEG | A3 A2 :: AB |

c2 {d}c/A/ c2e | g>ag/e/ g2 e/d/ | c2 {d}c/A/ ceg | a3 a2b |

c’ba/g/ e2 c/e/ | d2 c/A/ G2 e/d/ | cBA GEG | A3 A2 :|

           

CORRAIGH AN CHUILT.  AKA and see “Rattle the Quilt.”

           

CORRÁN, AN (The Reaping-Hook{?}). Irish, Air (6/8 time, “Lively”). G Major. Standard tuning. One part. Source for notated version: the 1861 manuscript collection of James Goodman, an Anglican cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 13, pg. 9.

           

CORRELLI REVIV’D.  Scottish, Jig. B Flat Major. Standard tuning. AABB. The melody was printed in John and Andrew Gow’s A Collection of Slow Airs, Strathspeys and Reels (London, c. 1795). Andrew (1760-1803) and younger brother John (1764-1826) established a publishing business in London in 1788 and were the English distributors for the Gow family musical publications. The title is a reference to the Italian Baroque composer and violinist Acrangelo Corelli (1653-1713). Immensely popular and successful in his day as a concert violinist, Corelli also popularized and perfected the Concerto Grosso form in his composing. He was also renowned as a teacher, and among his pupils were Vivaldi and Geminiani. The Gows’ tune incorporates some aspects of baroque style. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 25 (includes a variation set).

X:1

T:Correlli Reviv’d

M:6/8

L:1/8

S:John & Andrew Gow – A Collection of Slow Airs, Strathspeys and Reels (c. 1795)

K:Bb

~d3 cfc|~B3 AdF|GAB .c.d.e|.d.c.B AGF|~d2f ~c2f|

~B2f ~A2F|Ged cBA|B2 D/F/ B,3::DFB (df)B|FG_A GFE|

=EGc (=eg)c|(GA)B (AG)F|Bdf Beg|Bdf bag|fed cBA|GDF B,3:|

           

CORRIECHOILLIES WELCOME TO THE NORTHERN MEETING. AKA – “Corriechoillies 43rd Welcome to the Northern Meeting.” Scottish, March (2/4 time). D Major. Standard tuning. AAB. A popular pipe and fiddle tune. Christine Martin (2002) prints the tune along with “The Sweet Maid of Glendaruel” and “Terribus” as a medley for the dance The Gay Gordons. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 24. Martin (Traditional Scottish Fiddling), 2002; pg. 72.

                       

CORRIEGILLS. Scottish, Strathspey. A Major. Standard tuning. AABB'. Composition credited to Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Corriegills is a village on the Isle of Arran, second largest of the Inner Hebrides. Kerr (Merry Melodies), vol. 3; No. 109, pg. 13.

X:1

T:Corriegills

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 109  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E<E E>F E>FA>B | c>Ad>c B>AF<A | E<E E>F E>FA>B | c<A d>c B2A2 :|

|: (c<e) e>f a>gf>e | f>ec>A F<A E<A |1 c<ee>f a>gf>e | c<A d>c B2A2 |2

E<E E>F E>FA>B | c<A d>c B2A2 ||

                       


CORRIMONIE'S RANT. See "Corimonie's Rant."

 

CORRIMONIE'S REEL. Scottish. Glen (1891) finds the earliest printing of the tune in Angus Cumming's 1780 collection (pg. 10).

                       

CORRIMONY [1] (Coire Mhonaidh). Scottish, Strathspey. A Major. Standard tuning. AB (Fraser): AABB' (Kerr). This tune "is a tribute of respect from the editor to the worthy author of the Celtic Antiquities, perhaps the individual, in point of taste and knowledge, most sapable of appreciating the merits of the present work,‑‑his unqualified approbation having been the first stimulus to the editor's undertaking it {James Grant of Corrimony, advocate author of the 'Origin of Society', 'Thoughts on the Origin and Descent of the Gael,' &c., is here referred to. Corrimony lived to be the father of the Scottish bar, and died in 1835, aged 92. He is buried in Caldh Churadain, Glen Urquhart}" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 102, pg. 39. Kerr (Merry Melodies), vol. 2; No. 35, pg. 7.

X:1

T:Corrimony [1]

T:Coire Mhònaidh

M:C

L:1/8

R:Strathspey

Q:140
S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:A

F|E<C C>E A,>E C<F|E<C C>E F>E C<F|E<C C>E A,>EC>c|A<F E>C (B,2 B,)F|

E<C C>E A,EC<F|E<C C>E F>E C<F|E<C C>E A,>EC>c|A<F E>C (B,2 B,)||

f|e<c a>c b>ca>f|e<ca>g f>e c<f|e<c a>c b>ca>g|b/a/g/f/ a>c B2 Bf|e<c a>c b>ca>f|

e<c a>g f>e c<f|e>cd>B c>A B<G|A<F E>C (B,2 B,)||

 

CORRIMONY’S STRATHSPEY [2].  Scottish, Strathspey. G Major. Standard tuning. AAB. The melody was published by Kirkmichael, Perthshire, fiddler and composer Robert Petrie in his Second Collection of Strathspey Reels and Country Dances, 1796 (pg. 13).

X:1

T:Corrimony's Strathspey [2]

C:R. Petrie

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

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 13

L:1/8

M:C

R:Strathspey

K:G

B|A<DA>F d>FA<B|A<DA>F D>FG>B |A<DA>F d<FA>B|d>fe>g fdd:|

g|f2 d>f g>ef<d|e>df>d g<e=c<e|f2d>f  g<ef<d|e/e/e e/e/e fddg|

f2 d>f g<ef<d|e>df<d g=ceg  |f<ae<f d>ef<d|A<FA>g fdd|]

                       

CORRI'S FANCY. English, Jig. English, North‑West. D Major ('A' part) & A Major ('B' part). Standard tuning. AA'B. Knowles (Northern Frisk), 1988; No. 127.

                       

CORRY BOYS, THE. AKA and see "The Bundle of Straw," "Follow Me to Carlow," "The Hare's Foot," "The Hare's Paw [1]," "Jim Kennedy's Favourite," "Low Park," "The Lowlands of Scotland," “The Silvermines [1],” "The Tralee Lasses." Irish, Reel. Corry is a place name from County Leitrim. Recorded under this title by Leitrim flute player John McKenna (1880-1947), who recorded many tunes with Leitrim place-names.

                       

CORTES GARDENS. Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by the self-styled ‘Strathspey King’, the great Scots fiddler-composer J. Scott Skinner (1843-1927). The melody was first printed in his Harp and Claymore collection. Skinner (The Scottish Violinist); pg. 14. Skinner (Harp and Claymore), 1904; pg. 65.

X:1

T:Cortes Gardens

M:C

L:1/8

R:Strathspey

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:Emin

B, | E2 G>E B>EG>E | B,>EG>E F<D D>(F | E>)GB>(^d e>)BG>E |1 

(A/B/c) B>AG>F E :|2 (A/B/c) B>^d e>F E || F | {F}G2 D>G B,>G G,>G |

B,>G G,>G {E/F/}E>(A, A,>)(F | G>)(Bd>)(f g>)dB>G | (A/B/c B>)^d e>E[BE>]F |

{F}G2 D>G B,>G G,>G | B,>G G,>G {E/F/}E>A, A,>F | (3GAB (3ABc (3Bcd (3cde | (3dcB (3cBA (3BAG (3FE^D ||

                       

CORY McLENNON. See "Cori McLenon."

 

CORYLUS.  English, Country Dance Tune (cut time). A Dorian. Standard tuning. ABCC. “Corylus” is the name of a dance by Fried de Metz Herman “to her collage of Hampshire/Somerset melodies,” notes Peter Barnes (2005). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 23.

                       

COS AN T-SLEIBE. AKA and see "The Foot of the Mountain."

 

COS-REEL.  French-Canadian, Reel. From the repertoire of fiddler Henri Landry (b. 1923, Pontbriand, near Thetford Mines, Québec). A-L 001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’ été” (2009).

                       

COSA BUIDE. AKA and see "Yellow Legs."

                                      

COSA BUIDHE ARDA, DEARGA. AKA and see “Cogue in the Evening,” “Cusabue Ord,” “Yellow Legs.” Irish, Slip Jig. See note for “Yellow Legs” and O’Farrell’s “Cusabue Ord.”  Goodman, volume II, pg. 41.

                                                              

COSA MULLIGAN. See “La Cosa Mulligan.”

                                   

COSEN COLE'S DELIGHT. Scottish. The melody was published in Henry Playford's 1700 collection of Scottish Dance Music.

                       

COSMOPOLITAN HORNPIPE. American, Hornpipe. A Major. Standard tuning. AABB. “As performed by J. Hand,” notes Ryan, and "Can be used as a Clog." Perhaps the earliest recording is from 1908 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, N.Y., and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Cole (1000 Fiddle Tunes), 1940; pg. 92. Ryan’s Mammoth Collection, 1883; pg. 126.

X:1

T:Cosmopolitan Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(cB) | A>cE>G A>ce>c | d>fB>d g>ab>g | a>ec>a f>dB>A | G>AB>c d>EG>B |

A>cE>G A>ce>c | d>fB>d g>ab>g | (3agf (3edc B>EG>B | A2 ({g}a2) A2 :|

|: (.c>.d) | e>fe>c A>ce>=g | f>fd>f B>df>a | (3^gag (3efe (3BcB (3GAG |

(3EGB (3egb e’2 (.c>.d)|e>ec>A A>ce>=g|f>fd>f B>df>a|^g>fe>d c>BA>G|A2 ({g}a2) A2 :||

                       

COSMOPOLITE, THE. American, Reel. D Major. Standard tuning. AABB. Bayard’s Pennsylvania-collected “Tiddle Took Tod Fish” has some similarities. Cole (1000 Fiddle Tunes), 1940; pg. 31. Ryan’s Mammoth Collection, 1883; pg. 58.

X:1

T:Cosmopolite, The

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | .d.f/.d/ .c.e/.c/ | (d/c/).d/.B/ AF/A/ | .GE/G/ .FD/F/ | E/D/C/E/ D>A, | A,/B,/C/D/ E/AA,/ |

A,/B,/C/D/ E/AA,/ | A,/B,/C/D/ E/F/G/A/ |1 B/A/G/F/ E :|2 Bcd |: (c/d/) |

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

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

                       

COSSACK. English?, Hornpipe. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB'AA. Harding’s All-Round Collection, 1905; No. 154, pg. 48‑49.

X:1

T:Cossack

M:C

L:1/8

R:Hornpipe

S:Harding’s All Round Collection, No. 154  (1905)

Z:AK/Fiddler’s Companion

K:G

D2|G>FG>F G>AB>c|d>^cd>c d>ef>d|g>dB>d c>BA>G|B>A^G>A =G>FE>D|

G>FG>F G>AB>c|d>^cd>c d>ef>d|g>dB>d d>cA>F|G2B2G2:||e>f||:

g>eB>G E>GB>e|g>eB>G E2 e>g|f>^dc>B A>GF>B|1 G>FE>^D E>Be>f::|2 E2G2E2||


                       

COSSACK (WALTZ), THE.  English(?), Waltz. G Major (‘A’ and ‘B’ parts) & E Minor (‘C’ part). Standard tuning. AABBCC. The melody appears in the late 18th century McFadyen manuscript, pg. 33. (set in 3/8 time in the key of ‘C’). Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 111, pg. 26.

 

COSSEY’S JIG. AKA – “Cassey’s Jig,” “The Cosey Jigg,” “Casey’s Jig,” “Copey’s Jig, “The Cossy Jigg.” AKA and see “Captain Rock,” “Charming Molly Brannigan,” “Dwyer’s Frolic,” “Humour of Newtown,” “Jackson’s Lodge,” “Jimmy O’Brien’s Jig,” “Maid in the Meadow [1],” “Molly Brallaghan.” Irish, Jig. G Major. Standard tuning. AABBCC. Breathnach (1996) believes the name Cossey comes from the Irish Cáthasaigh, in English perhaps Casey. The tune is from Samuel Lee’s Jackson’s Celebrated Irish Tunes (Dublin, 1774, republished in 1790), attributed to the 18th century gentleman composer Walker ‘Piper’ Jackson, of the townland of Lisduan, parish of Ballingarry, Aughrim, County Limerick. “Greenfields of America” is a related tune in reel time. See note for “Molly Brallaghan” for more on the family. Breathnach (1996) also identifies the alternate titles “The Maid/Mist in the Meadow,” from County Clare; “Jackson’s Wife on the Road,” from Galway and Westmeath; “The Jolly Weaver,” from Cork and Tipperary. Clare fiddler Junior Crehan had a set dance version he called “The Drunken Gauger.” “Jimmy O’Brien’s Jig” is O’Neill’s name for it. Scots fiddle-composer Niel Gow (1727-1807) printed a three-part “Cossy Jigg” in his Second Collection (1788), and acknowledged it was “Irish”. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 23 (3rd ed.). O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 112. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000. Gow’s “Cossy Jigg”).

X:1

T:Cosey Jigg, The

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:G

GA/B/ | c3B3 | AGA BGE | DEG G/A/BG | AGA BGE | cec BdB | AGA BGE |

DEG AGA |BGG G2 :: d | gag gdB | cec dBG | g(a/g/f/e/) gdB | ecA A2f |

g(a/g/f/e/) gdB | cec dBG | DEG AGA | BGG G2 :: GBd GBd | Gce Gce |

GBd GBd | ecA A2B | GBd GBd | Ace e>fg | dcB AGA | BGG G2 :|

                       

CÒTA BÀN ODHAR, AN (The Dun Petticoat). Scottish, Canadian; Reel. Canada, Cape Breton. A Mixolydian. Standard tuning. AB. The tune appears in the music manuscript collection of Captain Angus J. MacNeil, Gillis Point, Cape Breton, compiled around the year 1915. According to Shears (1986), MacNeil was an officer-piper with the 94th Regiment, Victoria Battalion, organized for home defense during World War I. His unit had the distinction of being the only British Empire unit with over 80% of its officers and enlisted being Gaelic speakers! Edinburgh Collection, Part 5 (c. 1910). Shears (Gathering of the Clans Collection, Vol. 1), 1986; pg. 49 (pipe setting).

                       

CÓTA BEAG BÁN, AN.  AKA and see “The Little White Coat.”

 

COTA-MNA SGAOILTE. AKA and see "Petticoat Loose."

                       

COTA MOR EALASAID (Elizabeth's Big Coat). AKA and see "Elizabeth's Big Coat," "Effie's Big Coat," and "Lassies of Glenaodale."

 

COTERIE, THE.  AKA – “The Cotery.” English, Country Dance Tune (2/4 time). G Minor. Standard tuning. AABB. The melody appears in T. Skillern’s Compleat Collection of Two Hundred and Four Reels & Country Dances (London, 1780). The word coterie, according to Merriam-Webster, dates to 1738 and refers to “an intimate and often exclusive group of persons with a unifying common interest or purpose.” Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 23.

                       

COTHUSADH MUINTRE, AN. AKA and see “Mary Scott,” “More Luck to Us,” “Whiskey Before Breakfast.”

                       

COTILLION.  Originally the name of a courtly dance form in which couples formed the sides of a square and performed set figures amongst each other. The cotillion is a dance form in 6/8 time best known from French tradition, though it is thought to have its origins in Germany; it became fashionable throughout Europe in the late 18th century.  Caomhin MacAoidh believes that the form was circulated by regiments stationed throughout Europe and North America. He notes there is a 1771 painting by the French artist Collet which depicts four men and four women dancing in a counterclockwise circle, which is beleived to be a depiction of the dance. By 1820 the cotillion had been supplanted by the quadrille as the dance form in vogue (which was in turn soon supplanted by the polka and waltz), and though the two forms share some movements they are distinct forms. The term cotillion survived in country dance and folk idiom, however, and, in America, was used to describe other dances (such as the quadrille) until it eventually came to be used to describe a ball or dance event (i.e. "going to the Saturday Cotillion").  The great American innovation to the cotillion (and quadrille) is said to be its transformation into the American square dance by the addition of a caller about the time of the War of 1812 (Louie W. Attebery, "The Fiddle Tune: An American Artifact," 1979). A type of late 19th century party dance or game known as "The German" was also sometimes called a cotillion. MacAiodh collected the form in Ireland in County Donegal from an old Gaelic-speaking musician who knew Gaelicized form of the English word. Cotillion, cotillon. Another view is suppliec by the Harvard Brief Dictionary of Music (1960), which says the cotillion was “a 19th-century ballroom dance, consisting of a great number of figures and movements executed by a leading couple and imitated by all the others.  Any suitable music (waltzes, mazurkas, polkas, etc.) was used. It usually formed the climax and close of an evening of dancing.”

                       

COTILLION [1], THE. Irish, Long Dance (6/8). D Major. Standard tuning. ABCD. Roche Collection, 1982; vol. 3, pg. 44, No. 141.

 

COTILLION [2], THE. American, Waltz. A Major. Standard tuning. AABBCC. Ford (Traditional Music in America), 1940; pg. 140.

X:1

T:Cotillion, The [2]

M:3/4

L:1/8

R:Waltz

S:Ford – Traditional Music in America  (1940)

Z:AK/Fiddler’s Companion

K:A

(E2A2c2)|d4 G2|(A2c2f2)|e6|(E2A2c2)|d4 G2|(B2A2c2)|E6|

(E2A2c2)|d4 G2|(A2c2f2)|e6|(e2d2c2)|^A2 B3c|(d2E3G)|A2z2z2:|

|:ez ez fz|ez ez az|(a2g2f2)|e6|ez ez fz|ez ez az|

(a2g2f2)|e6|(E2A2c2)|d4 G2|(A2c2f2)|e6|(e2a2c’2)|(d2f2b2)|

B2d2g2|a4::e2|(c’4 b2)|(a4 e2)|(g4 f2)|d’4 d’2|(c’4 b2)|(f4 g2)|

(b2a2f2)|e4 e2|(c’4 b2)|(a4 e2)|(g4 f2)|d’6|(c’4 b2)|(f4 g2)|(a2e2)c2|A4:|

 

COTILLION [3]. American, Cotillion. A Major. Standard tuning. AB. The melody appears in the music manuscript collection of William Sidney Mount (1807-1868), painter and fiddler from Long Island. Speculating wildly, I suggest the simple tune may have been one that was brought back to Mount on Long Island by his brother, a dancing master who spent some time teaching in Georgia, and with whom we know William traded tunes. It has an “old-timey” feel to me, not a British one.

X:1

T:Cotillion

M:2/4

L:1/8

S:William Sidney Mount’s (1807-1868) manuscript papers

Z:AK/Fiddler’s Companion

K:A

Ec B/c/B/A/|FA A2|Ec B/c/B/A/|FE E2|Ec B/c/B/A/|FA A2|aa f/g/f/e/|cA A2||

aa f/g/f/e/|ce e2|aa f/g/f/e/|cA A2|aa f/g/f/e/|ce e2|aa f/g/f/e/|cA A2||

                       

COTILLON (Youth's the Season). AKA ‑ "Tony's Rant," "Zoney's Rant." English, Air. The air appears in John Gay's Beggar's Opera (1729) under the title "Youth's the season made for joys." Raven (English Country Dance Tunes), 1984; pg. 57.

                       

COTILLON.  Scottish, Country Dance. E Major. Standard tuning. AABBCCDD. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 17.

X:1

T:Cotillon or figure dance

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/19/04

N:Petrie's First Collection, page 17

L:1/8

M:2/4

R:Cotillon

K:E

ee/f/ ge | cc/d/ec | BAGF | E/F/G/F/ EE | ee/f/ge | cc/d/ec | BAGF | E2 E2 :|

|: EE/F/ GE | BB/c/ dB | cagf | e/d/e/f/ ee | EE/F/ GE | BB/c/ dB | ca g/f/e/d/ |

e2 e2 :: ge/f/ ge | affa | gbbe | d/e/f/d/ B2 | ge/f/ ge | af/g/ af | g/b/g/e/ f/a/f/d/ |

e2 E2 :: E/B/G/B/ E/B/G/B/ | E/c/A/c/ E/c/A/c/ | Fagf | e/d/e/f/ ee |

E/B/G/B/ E/B/G/B/ | E/c/A/c/ E/c/A/c/ | Fa g/f/e/d/ | e2 e2 :|

 

COTILLON. Scottish, Country Dance. G Major. Standard tuning. AABBCD. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 19.

X:1

T:A Cotillon

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/19/04

N:Petrie's First Collection, page 19

L:1/8

M:2/4

R:Cotillon

K:G

gdTd>c |c/B/d/B/ A>c | c/B/A/G/ B/A/G/F/ | G/F/G/A/ GD |\

gdTd>c |c/B/d/B/ A>c | c/B/A/G/ B/A/G/F/ | G2G,2 :|

d3 e/f/ | g/f/g/a/ gb | d2 e/d/c/B/ | c/B/A/G/ AD |\

d3e/f/ | g/f/g/a/ gb | dB/c/ d/c/B/A/ | G2G2 :|

K:Gm

"^Minore"d3d | e2c2 | c3c | d2 B2 | B3B | c2Ac | BAG^F | TG/^F/G/A/ TB/A/B/c/ |

d3d | e2c2 | c3c | d2 B2 | G3A | Bcde | dcBA | G2 G2 ||

B3d | cAF2 | c3e | Ted d2 | f3b | g3f | edcB | A/B/c/B/  A/G/F/E/ |

[D3B3]d | GABG | c3e | ABcA | ^f4 | g3=f/e/ | dcBA | G2 G,2 |]

                       

COTILLON D’AVILA LEBLANC.  French-Canadian, Reel. D Major. Standard tuning. AABB. Avila LeBlanc is a story-teller, raconteur, singer, and master fiddler from Gros-Cap, in the Magdelan Islands. Le Bottine Souriante – “Tout Comme au Jour de L’An” (1987. Appears as the bridge tune between “Gigue de Terrebonne” and “Fisher’s Hornpipe” in the set entitled “Potpourri: Surf and Turf”). Guy Bouchard – “Airs Tordus” (appears as one of the “Airs d’Avila LeBlanc”).

X:1
T:Cotillon d'Avila LeBlanc
M:C|

L:1/8
R:Reel
K:D
"3x"AG|FG A2 d3 B|BAGB A2 AG|FG A2 d3 f|fedf e2:|
gf|eABA eAdf|gfed Bcgf|eABA edef |gfed B2:|

X:2
T: Cotillon d'Avila LeBlanc
C:?
S:La Bottine Souriante, Surf & Turf
N:from notation by vonnieestes (vonnieestes@hotmail.com)
R:reel
N:(the reel rhythm gives more of a Quebecois swing to the tune than
using "cotillon" or "hornpipe")
L:1/8
M:4/4
K:D
AG|FG A2 d3 B|BAGB A2 AG|FG A2 d3 f|fedf e2:|
gf|eABA eAef|gfed Bcgf|eABA edef|gfed B2:|

                       

COTILLON DE BAIE-DES-ROCHERS.  See “Cottillon des Baie-des-Rochers.”

                                               

COTILLON DE BAIE-STE-CATHERINE.  AKA – “Le Set.” French-Canadian, Reel. E Minor. Standard tuning. AA’BBC. An irregular tune in both parts. Source for notated version: fiddler Harry Poitras (b. 1890, Baie-Ste-Catherine), via dance ethnographer Simonne Voyer who collected both in Baie-Ste-Catherine in 1955 [Hart & Sandall]. Hart & Sandall (Dance ce Soir), 2000; No. 73, pg. 108. Lisa Ornstein – “Danseries de la belle province” (1984).

                       


COTILLON DE/LES MARIONETTES. English, Country Dance (2/4 or Polka time). England, Northumberland. G Major. Standard tuning. AABB. Published before 1730. Not "Cotillon Marionettes." Raven (English Country Dance Tunes), 1984; pg. 12. Seattle (William Vickers), 1987, Part 3; No. 534.

                                   

COTILLON DES BAIES-DES-ROCHERS. AKA and see “Déshabille-toi” (Undress yourself). French-Canadian, Cottilon (4/4 time). G Major. Standard tuning. AABB (Hart & Sandell): AA’BB’ (Ornstein). Collected in the early 1980’s by fiddle Lisa Ornstein from fiddler Guy Bouchard, who played it to accompany a cotillon dance. Source for notated versions: fiddler Guy Bouchard (Baie-des-Rochers, Charlevoix County, Québec) [Ornstein, Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 22, pg. 53. Ornstein (Québec Fiddle Tour, vol. 1), 2009.

           

COTILLION DES DAMES. French-Canadian, Jig. G Major. Standard tuning. AABB.

X: 1

T:Cotillion des Dames

M:6/8

L:1/8

K:G

D2G BGD | GBed2d | edc BdB | AcA GFE | D2G BGD | GBed2d | edc BdB | AcAG3 :||

AAA BAA | dA Af3 | agf eee | gfe dfd | AAA BAA | dAAf3 | agf eee | gfed3 :||

                       

COTILLON LA BALLATT. English, Jig. England, Northumberland. G Major. Standard tuning. AABBCCDD. Seattle (William Vickers), 1987, Part 3; No. 542.

                       

COTILLON LA NANVINE. English, Jig. England, Northumberland. G Minor. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 530.

                       

COTILLON LA NOUVELLE PROVENCE. English, Country Dance (cut time). England, Northumberland. G Major ('A' and 'B' parts) & G Minor ('C', 'D', and 'E' parts). Standard tuning. AABBCCDDEE. Seattle (William Vickers), 1987, Part 3; No. 539.

                       

COTILLON LA PAIRE DE BRIS. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 533.

                       

COTILLON LA PIERFITOISE. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 538.

                       

COTILLON LA PROFILIA. English, Jig. England, Northumberland. A Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 543.

                       

COTILLON LA PROMENADE.  AKA and see "The King of Denmark's Favourite, “Promenade." English (originally), American; Jig. England, Northumberland. G Major. Standard tuning. AABBCCDD. The melody appears in a publication entitled 24 Country Dances printed in London in 1769. In America, it appears in Henry Beck's German flute MS of 1786. At least one editor notes that in places the melody bears a resemblance to the Irish set dance melody "Sweets of May." Seattle (William Vickers), 1987, Part 2; No. 249.

 

COTILLON LE PETIT BALLOT. English, Jig. England, Northumberland. G Major. Standard tuning. AABBCA. Seattle (William Vickers), 1987, Part 3; No. 541.

                       

COTILLON LES MARIONETTES. AKA and see "Cotillon De Marionettes."

                       

COTILLON LES PORTONISTES A LA MODE. English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 531.

                       

COTILLON MARIONETTES. English, Jig. England, Northumbria. G Major. Standard tuning. AABB. Not "Cotillon de Marionettes." Seattle (William Vickers), 1987, Part 3; No. 532.

                       

COTTILLION OATS PEAS BEANS. AKA and see "Oats Peas Beans (and Barley, oh!)," "Cassino," "Cacina," "French march [2]," "Baltimore [1]." French?, American, English; Country Dance (6/8 time). USA, New England.

                       


COTTAGE ADJOINING THE FALL, THE (Bothan an easan). Scottish, Slow Air (3/4 time). G Major. Standard tuning. AB (Fraser): AABB (Martin). "The words of this melody are also printed in various collections, from which the substance may be gathered, but the air itself, as acquired through the gentlemen mentioned in the Prospectus, was never published until now" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 171, pg. 70. Martin (Taigh na Teud), 1990; pg. 19.

X:1

T:Cottage adjoining the Fall, The

T:Bothan an easan

M:3/4

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G

(G>A)|B2d2 (e/d/)(B/d/)|e2E2G>A|B2d2(eB)|(A2G2)G>A|B2d2(e/d/)(B/d/)|

e2E2G>A|B2 g>e (d<B)|A2[B,2G2]||(3GBd|g2a2b>a|g2B2(de)|(ga)e2(dB)|

A2[B,2G2] (3GBd|g2a2 (b/a/)g/f/|g2B2 (ba)|b2e2 (dB)|A2[B,2G2]||

                       

COTTAGE AT LARRAGA, THE. Irish, Hornpipe. E Minor. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, named for his friends’ summer retreat in East Galway. Black (Music’s the Very Best Thing), 1996; No. 94, pg. 48.

X:1

T: Cottage at Larraga

C: © B. Black

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: Em

A | BGEG Be d2 | ed^cd ea g2 | afdf gdBd | ecBc (3ABc BA |

BGEG Be d2 | ed^cd ea g2 | afdf gbag | ecAF G3 :|

B | edBd efge | fd^cd fgaf | g2 bg eBBA | GAB^c dcdf |

edBd efge | fd^cd fgaf | bgaf gfed | Beed e3 :|

                       

COTTAGE BY THE SEA, THE. AKA and see "The Red Headed Girl," "Picnic Romp," "The Night We Paid the Rent," "Lady on the Green," "Jack of Diamonds [1]" (Thede), "Hell on the Wabash [1]," "Wake Up Susan [1]" (first strain only). American, Reel. USA, southwestern Pa. D Major. Standard tuning. AABB. Bayard (1944) states that the tune wass fairly well known in western Pa. and seemed to be common in the South (a southern form is in Ford, 1940, pg. 47 as "Picnic Romp"). In his 1981 work he was undecided whether the tune belongs to a small tune family (see alternate titles) with "divergently evolving cognate tunes", or whether the tunes he cited were original but shared influences or perhaps small parts. He long believed that the main tune group is American‑fashioned using strains from old country dance music and said "It is possible that the first part of (this tune) is derived from the opening strain of some version of the old Irish dance and march 'Gearran Buidhe' (The Yellow Horse); cf. for example a version of that air in Petrie, No. 1457" (Bayard, 1944). See also his note for "Hell on the Potomac" (Bayard, 1981; No. 352, pgs. 352‑353) for more information. Source for notated version: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard]. Bayard (Hill Country Tunes), 1944; No. 70.

                       

COTTAGE GROVES. AKA and see "The Millstone." Daniel Michael Coleman (in liner notes to Shanachie 29009) says "Cottage Groves" was the original name for the tune, and that the name "The Millstone" seems to have first appeared in recorded literature after James Morrison recorded it in the early 20th century.

                       

COTTAGE HILL. American, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: Kenny Sidle [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 187.

                       

COTTAGE HORNPIPE. The title, perhaps a mishearing of "College Hornpipe," appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

COTTAGE IN THE GROVE [1], THE. AKA and see "McGovern's Favorite," "Maurice Casey's Fancy," “Mike Flynn’s,” "The Village in the Grove," "The Conneberry Reel." Irish, Reel. A Dorian. Standard tuning. AB. See also the similar-sounding “Coen’s Memories” to which the title “Cottage in the Grove” is sometimes applied (referring to fiddler Tommy Coen). "Copied from a Munster MS. lent me by the late John O'Daly, the Irish publisher of Anglesea St., Dublin" (Joyce). Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. Joyce (Old Irish Folk Music and Songs), 1909; No. 188, pg. 93. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 289. Roche Collection, 1982; vol. 3, pg. 22, No. 71.

X:1

T:Cottage in the Grove [1]

M:C

L:1/8

R:Reel

S:Joyce – Old Irish Folk Music and Songs (1909), No. 188

Z:AK/Fiddler’s Companion

K:A Dorian

ABAG AE E2|GABd egdg|eaab gedB|(3ABc BG AE E2|ABAG AE E2|

GABd egdg|eaab gedB|AcBG A2A2||a2 b/a/g aeef|gedB ABGE|

g2 a/g/e gdBd|cABG AE E2|a2 b/a/g aeef|gedB ABGE|GABd egdg|edcB A2A2||

X:2

T:Cottage In the Grove, The [1]

D:Arty McGlynn & Nollaig Casey

N:Mistakenly called "Lad O'Byrnes" on the CD

Z:Nigel Gatherer

M:4/4

L:1/8

K:A dorian

A3 B AE (3EEE|GABd (3efg ed|e a2 f gfdB|BcBA BGEG|ABAG AE (3EEE|

GABd (3efg ed|e a2 f gfed|BcBG A3 z::a3 b agef|gedc Bd G2|(3efg fa gedB|

BcBAz BG E2|aaab agef|gedB G3 B|AAAc (3efg dg|1edcB cAeg:|2edcB cA A2|]

X:3

T:Cottage in the Grove, The [1]

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:A Dorian

AcBc A2 GE|DEGB ed d2|eaaf gedB|AcBc AGEG|

AcBc A2 GE|DEGB ed d2|eaaf gedB|AcBc A2||

AA|a2 aa gede|gedB GBdB|eaaf gedB|AcBc A2 AA|

agbg agbg|agbg fedf|eaaf gfec|dfaf gedB||

 

COTTAGE IN THE GROVE [2], THE. AKA and see "Jenny Tie your Bonnet," "Tie the Bonnet," "Down with the Mail," "The Rambler's Rest," "Upstairs in a Tent [1]," "In and Out (of) the Harbour," "Jenny Lace your Tight," "Lassie/Lassies tie your Bonnet(s)," "Lizzie's Bonnet," "The Faraway Wedding [1]," "The Gravelled Walks to Granny," "The Highland Man That Kissed His Granny [1]." Irish, Reel.

 

COTTAGE IN THE GROVE [3], THE. AKA and see AKA and see “The Crosses of Annagh [1]," "Denis Ryan's," "Down the Broom," "Martin Rochford's,” "Paddy Canny's" (Martin Hayes), "Tommy Coen's" (Hill and Linnane), Irish, Reel. A Dorian (Breathnach): E Dorian (Moylan): E Minor (Songer). Standard tuning. AABB. “Crosses of Annagh” is Matt Molloy’s title for the tune, though it has several alternates, usually named after sources (listed above with alternate titles). Some similarities to “Tommy Coen’s Reel.” Set in the key of G Minor the melody is called “Paddy Canny’s” while other versions are set in E Dorian. See also the related “Corn Stack.” Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Dan Compoton (Portland, Oregon), who learned the tune in a session in Cork City with Cork fiddler Matt Cranitch and Dave Hennessey [Songer]. Breathnach (CRÉ II), 1976; Nos. 221 & 226. Moylan (Johnny O’Leary), 1994; No. 323, pg. 184. Songer (Portland Collection), 1997; pg. 54. Shanachie 79005, De Dannan – “The Mist Covered Mountain.”

                       

COTTAGE MAID, THE. Irish, Air (4/4 time).  F Mixolydian. Standard tuning. AB. "Song composed by Larry Dillon of Tipperary, a noted and successful classical teacher of the early part of the last century. The air of this song was published by me for the first time in my Ancient irish Music, to which the reader is referred for more information" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 393, pg. 201.

 

COTTAGE MAIDS.  Scottish, Strathspey. Standard tuning. Ryan’s Mammoth Collection, 1883; pg. 169.

 

COTTAR'S WIFE, THE. Scottish, Reel. D Major. Standard tuning. AB (McGlashan, Stewart-Robertson): ABB (Shears). McGlashan (A Collection of Reels), c. 1786; pg. 42 (appears as “The Coatter Wife”). Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 50 (pipe setting). Stewart-Robertson (The Athole Collection), 1884; pg. 99.

X:1

T:Cottar’s Wife, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

B|A/A/A ed e2 ag|e2gd BGGB|A/A/A ed e2 ag|e2dB eAAB|

A/A/A ag a2 bg|e2gd BGGB|A/A/A ag a2 bg|e2dB eAA||

B|cAec A/A/A ed|cAec BGGB|cAec A/A/A ed|cABG A2AB|

cAec A/A/A ed|cAec BGGB|cAec A/A/A ea|cAB^G A2A||

 

COTTEN BAGGIN’. Old-Time, Breakdown. G Major. Standard tuning. AABB. The tune was recorded in the 1920's by the north Georgia band The Skillet Lickers. The tune is cognate with “Old Sharon,” “Sharon,” and “Julianne Flanagan,” among others (see note for “Julianne Flanagan”). Source for notated version: Armin Barnett (Seattle, Washington) [Songer]. Songer (Portland Collection), 1997; pg. 55.

 

COTTEN BLOSSOM. AKA and see "Dark and Curly Hair." Old‑Time, Breakdown. G Major.

                       

COTTEN BONNET, THE.  AKA – “Cotton Bonnet.” Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. ABB. Jeff Titon (2001) calls this a local Bell County, Ky., tune that was only played by his source, Estill Bingham (1899-1990). Source for notated version: Estill Bingham (Pineville, Bell County, Ky., c. 1986), who had the tune from his father, Noah Bingham  [Titon]. Titon (Old-Time Kentucky Fiddle Music), 2001; No. 29, pg. 63.

                       

COTTEN-EYED JOE [1]. AKA – “Dominicker Duck.” See "Citaco." Old‑Time, Breakdown. USA, widely known, but may have originally been a Texas tune. A Major (most versions): G Major (Ford, Kaufman): D Major (Zenith String Band). Standard or AEae, ADae, GDad (Thede, John Dykes) tunings. AABB (Beisswenger & McCann, Perlman): AABBA: AA'BB' (Kaufman). Charles Wolfe has called this tune "a Texas dance‑hall anthem" but it has had such widespread currency in the United States that the tune is really a pastiche of melodies using interchangeable phrases, the most recognizable of which usually is associated with the verses:

***

Where did you come from, where will you go?

Where did you come from Cotten-Eyed Joe.

***

Pope’s Arkansas Mountaineers (1927) also sang:

***

Want to go to church and couldn’t get to go,

I had to stay home with Cotton-Eyed Joe.

***

There have been several thoughts about what the title might refer to. Some think ‘cotton-eyed’ means to be drunk on moonshine, and a related suggestion is that it refers to an individual who has been blinded by drinking wood alcohol (as happened during the Prohibition, for example), turning the eyes milky white.  Marion Thede believes 'cotton‑eyed' may refer to a (black) person with very light blue eyes. Alan Lomax suggests it was used to describe a man whose eyes were milky white from Trachoma (a bacterial infection), while others have suggested cataracts, syphilis or glaucoma. Some recall the term referring to the contrast of dark skin tone around white eyeballs in African-Americans, and indeed, the Random House Historical Dictionary of American Slang references the ‘prominent whites of the eyes’ meaning to 1905. Charles Wolfe (1991) writes that African-American collector Thomas Talley, in his manuscript of stories, Negro Traditions, related a story entitled “Cotton-Eyed Joe, or the Origin of the Weeping Willow.” The story includes a stanza from the song, “but more importantly details a bizarre tale of a well-known pre-Civil War plantation musician, Cotton Eyed Joe, who plays a fiddle made from the coffin of his dead son.”  “Cotton Eyed Joe” was the name of a heel-and-toe dance in Texas in the 1880’s.

***

The tune was a favorite of John Dykes (Magic City Trio {Eastern Tenn.}), was recorded in the 1920’s by Carter Brothers and Son and the Skillet Lickers, and it was in the repertoire of Arizona fiddler Kenner C. Kartchner (in the key of G Major) who said a fellow fiddler named Youngblood brought it to the territory from Mississippi around 1890. It was one of the tunes played at the turn of the century by Etowah County, Alabama, fiddler George Cole, according to Mattie Cole Stanfield in her book Sourwood Tonic and Sassafras Tea (1963), and was mentioned in accounts of the DelKalb County Annual (Fiddlers) Convention, 1926‑31. It was recorded by North Carolina fiddler Marcus Martin, whom Alan Jabbour suspects learned the tune from Fiddlin’ John Carson’s recording. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Some versions are similar to North Georgia fiddler Lowe Stokes popular "Citaco," notably that played by John Dykes of the Dykes Magic City Trio and the rendition in Marion Thede’s book (both in GDad). Alan Jabbour believes it may have ties to the Mississippi version of “Dusty Miller” (supported by Fiddlin’ John Carson’s 1927 recording of “Cotton Eyed Joe”), and “Corn Bread, Mollasses and Sassafras Tea” has also be pointed to as a related melody. Ken Perlman (1996), who collected the tune on Prince Edward Island, believes Canadian versions probably derived from the playing of radio and TV Maritime fiddler Don Messer (the ‘B’ part is played with a strong Acadian flavor). See also Bayard's (1981) note to a related tune "The Horse Called Rover" (No. 10, pgs. 20‑21).

***

Often played crosstuned in AEae (e.g. Pope’s Arkansas Mountaineers), a “Cotton-Eyed Joe” in AEac# tuning (as played by Scott Meyer on Yodel-Ay-Hee 024, “The Improbabillies”) is a current ‘revival’ favorite. Kerry Blech says this version was originally collected from the playing of Noah Beavers by Garry Harrison.

***

See also Bayard's (1981) note to a related tune "The Horse Called Rover" (No. 10, pgs. 20‑21).

***

Where'd you come from, where'd you go?

Where'd you come from Cotten‑Eyed Joe.

I'd‑a been married a long time ago,

If it hadn't a‑been for Cotten‑Eyed Joe.

***

Cornstalk fiddle and shoestring bow,

Come down gals on Cotten Eyed Joe.

Wanna go to meeting and wouldn't let me go,

Had to stay home with Cotten Eyed Joe.

***

Come a little rain and come a little snow,

The house fell down on Cotten Eyed Joe.    (Thede)

***

Hold my fiddle and hold my bow,

'Till I knock the devil out of cotton‑eyed Joe.    (Ford)

***

I'll make me a fiddle and make me a bow,

And I'll learn to play like Cotten‑eyed Joe.

I tun'd up my fiddle, I went to a dance,

I tried to make some music, but I couldn't get a chance.

***

You hold my fiddle and you hold my bow,

Till I whip old Satan out of Cotten‑eyed Joe.

I've make lot of fiddles and made lot of bows,

But I never learned to fiddle like Cotten‑eyed Joe.   (Thomas & Leeder).

***

Thomas Talley gives the following in Negro Folk Rhymes:

***

Hol’ my fiddle an’ hol’ my bow,

Whilst I knocks ole Cotton Eyed Joe.

***

I’d a been dead some seben years ago,

If I hadn’ a danced dat Cotton Eyed Joe.

***

Oh, it makes dem ladies love me so,

W’en I comes ‘roun’ pickin’ ole Cotton Eyed Joe.
***

Yes, I’d a been married some forty years ago,

If I hadn’ stay’s home wid Cotton Eyed Joe.

***

I hain’t seed ole Joe, sonce way las’ Fall;

Dey say he’s been sol’ down to Guinea Gall.

***

“Cotton Eyed Joe” was recorded several times in the 78 RPM era, first by the Dykes’ Magic City Trio in 1927 (fiddler John Dykes and family) and, independently in 1927 by north Georgia’s Fiddlin’ John Carson. This was followed by recordings in 1928 by Pope’s Arkansas Mountaineers (of Searcy, Arkansas, consisting of two fathers-and-sons, with John Chism on fiddle), and in the same year by Gid Tanner & His Skillet Lickers. Lowe Stokes and Clayton McMichen released it in 1930.

***

Sources for notated (print) versions: Highwoods String Band (New York) [Brody]; John Hendricks (Bates, Arkansas) [Thede]; Tommy Magness [Phillips/1994]; Steve Hawkins (Rowan County, Kentucky, 1911) [Thomas & Leeder]; Louise Arsenault (b. 1956, Wellington, East Prince County, Prince Edward Island) [Perlman]; John Chism with Pope’s Arkansas Mountaineers [Beisswenger & McCann].

***

Print versions: Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 175. Brody (Fiddler’s Fakebook), 1983; pg. 74. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 20. Ford (Traditional Music in America), 1940; pg. 60. Frets Magazine, "Byron Berline: The Fiddle," September 1981; pg. 64. Kaufman (Beginning Old Time Fiddle), 1977; pg. 50. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 86. Phillips (Fiddlecase Tunebook), 1989; pg. 12. Phillips (Traditional American Fiddle Tunes), 1994; pgs. 56 & 57 (two versions). Thede (The Fiddle Book), 1967; pg. 26‑27. Thomas & Leeder (The Singin' Gatherin'), 1939; pg. 60.

***

Recorded versions: Bay 209, "The Gypsy Gyppo String Band" (1977. Learned from Paul Ermine of Prince Albert, Saskatchewan). Bay 727, "Kenny Hall and the Sweets Mill String Band." Briar 0798, Earl Collins‑ "That's Earl." Caney Mountain Records CEP 213 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. Cassette C-7625, Wilson Douglas - "Back Porch Symphony." County 506, The Skillet Lickers‑ "Old Time Tunes, 1927‑1931." County 518, Pope's Arkansas Mountaineers‑ "Echoes of the Ozarks, Vol. 1." County 520, Carter Brothers and Son‑ "Echoes of the Ozarks, Vol. 3." County 528, Carter Bros. & Son ‑ "Mississippi Breakdown, Traditional Fiddle Music of Mississippi, Vol. 1." County 544, Fiddlin' John Carson‑ "Georgia Fiddle Bands, Vol. 2." County 756, Tommy Jarrell‑ "Sail Away Ladies" (1976. Learned after 1925 from a friend, Charlie Lowe, a clawhammer banjoist who heard the tune broadcast on Nashville radio). Gusto 104, Tommy Jackson‑ "30 Fiddler's Greatest Hits." Heritage XXIV, Dave Holt ‑ "Music of North Carolina" (Brandywine, 1978). Heritage XXXIII, Zenith String Band (Conn.) ‑ "Visits" (1981. Learned from the Carter Brothers via Vermont/Ohio fiddler Pete Sutherland). June Appal JA 028, Wry Straw ‑ "From Earth to Heaven" (1978. Version learned from Creed Power {Dungannon, VA} and Byard Ray {Shelton Laurel, N.C.}). Mercury SRW 16261, Tommy Jackson‑ "Instrumentals Country Style." Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986. Version learned from Carter Bros. & Son recording). Marimac 9009, Doris Kimble & Dave Spilkia ‑ "Old Time Friends" (1987). Old Homestead OHCS191, "Dykes Magic City Trio" (Eastern Tenn.) {originally recorded in 1927 on a Brunswick 78}. Rounder 0074, Highwoods String Band‑ "No. 3 Special" (1977). Rounder 0047, Wilson Douglas‑ "The Right Hand Fork of Rush's Creek" (1975). Rounder 0193, Rodney Miller ‑ "Airplang" (1985). Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988. With the Ithica, N.Y., group Agents of Terra). Rounder 18964-1518-2, Various Artists (Marcus Martin)– “American Fiddle Tunes” (a reissue of the 1971 Library of Congress LP of field recordings). Rounder CD 0529, Dwight Lamb – “Hell Agin the Barn Door” (2005. Learned from Nebraska fiddler Uncle Bob Walters, who had it from his father, Wilse, of a family originally from Kentucky). Stoneway 143, Ernie Hunter‑ "All About Fiddling." Tennvale 004, Bruce Molsky‑ "An Anthology."

See also listing at:

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

X:1

T:Cotton Eyed Joe

L:1/8

M:2/4

S:Howdy Forrester, learned from his Uncle Bob; originally transcribed by John Hartford

K:G

A/|B/d/d d>d|f/d/e/f/ d>d|B/A/G/B/ A/G/E/G/|B/A/B D>:|

|:E/|D/E/G/B/ A/G/E/F/|G/A/B/d/ cd/c/|B/A/G/B/ A/G/E/G/|B/A/B D>:|

 

COTTON EYED JOE [2]. Old-Time, Breakdown. G Major. Standard tuning. AB (Silberberg): AABB' (Phillips). A variant of version #1, related to "Miss Brown [1]" or "Cousin Sally Brown [2]." Source for notated version: Bob Wills (Texas) and Leah Weiss [Phillips]. Phillips (Fiddlecase Tunebook), 1989; pg. 12. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 56. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 27.

 

COTTON EYED JOE [3]. Old-Time, Breakdown. A Major. Standard tuning. AABB. The main "Cotton Eyed Joe" strains in this unique version have become much more diluted, especially in the 'B' part, which is a series of shuffled chords. Sources for notated versions: Jehile Kirkhuff (Pa.) [Phillips]; Joe Pancerzewski [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 57. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 27.

 

COTTON EYED JOE [4]. Canadian, Breakdown. Canada, Ontario. A Major. The Canadian “Cotton Eyed Joe,” as played by Gerry Robichaud, for example, is a different tune than the Southern “Cotton Eyed Joe” [1]. Vivian Williams believes it was one of the “required tunes” at the Shelburne, Ontario, fiddlers contest at one time. Ken Perlman (1996), who collected the tune on Prince Edward Island, believes Canadian versions probably derived from the playing of radio and TV Maritime fiddler Don Messer (the ‘B’ part is played with a strong Acadian flavor). Fretless 201, Gerry Robichaud‑‑"Maritime Dance Party."

           


COTTEN PATCH RAG. Texas Style, Old‑time; Country Rag. USA, Texas. C Major. Standard tuning. AA’BB’ (Silberberg): AA'BCC' (Phillips): AABCDEA (Brody). Claims are made that this was originally a Texas fiddle tune. It was one of two sides (with “Spanish Fandango”) recorded in March,1929, by Atlanta, Georgia, guitarist John “Seven foot Dilly” Dilleshaw, and released on OKeh records (two other pressings from the session were not released). Bluegrass fiddler Byron Berline relates: "I used to go to fiddle contests with my dad, but I never heard 'Cotton Patch Rag' played anywhere except in the states Texas and Oklahoma" (Frets Magazine). The tune uses 'figure‑eight bowing' in the 'B' part, while an added fourth part to the tune features 'double-shuffle' bowing. Sources for notated versions: Lewis Franklin (Texas) [Brody, Phillips, Reiner & Anick]; Glenn Berry [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 75. Frets Magazine, "Byron Berline: The Fiddle," March 1983; pg. 46. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 34. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 141. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 10. American Heritage 515, Benny Thomasson‑ "You Be the Judge." Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) ‑ "Fiddle Favorites," c. 1971‑72. County 707, Lewis Franklin‑ "Texas Fiddle Favorites." Elektra EKS 7285, The Dillards with Byron Berline‑ "Pickin' and Fiddlin.'" OKeh 45328 (78 RPM), John Dilleshaw 1929 (North Georgia). Omac 1, Mark O'Conner‑ "A Texas Jam Session." Rounder 0068, Mark O'Conner‑ "Pickin' in the Wind." Stoneway 148, Earl Garner‑ "Fiddle Hoedown." Voyager 304, Herman Johnson‑ "More Fiddle Jam Sessions." Voyager 309, Benny & Jerry Thomasson‑ "The Weiser Reunion: A Jam Session" (1993).

See also listing at:

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

           

COTTEN PATCH, THE. AKA and see "N....r in/on the Woodpile [1]," "In the Woodpile." AKA ‑ "N....r in the Cotten Patch" (?). Old‑Time, Breakdown. USA, Ga. Bluebird 5591 (78 RPM), Gid Tanner and His Skillet Lickers (Ga.) {1934}.

 

COTTON PICKER'S RAG. Old-Time, Country Rag. USA, Missouri. B Flat Major. Standard tuning. AA'BB'. Source for notated version: Ben Tinnon with the Grinnell Giggers (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 33.

 

COTTEN PICKIN' TIME. See "Dust in the Lane."

 

COTTEN STOCKINGS. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993).

 


COTTENWOOD REEL. AKA‑ "Moreley's Reel." Old‑Time, Breakdown; Canadian, Reel. USA, Missouri. Canada, Cape Breton. D Major ('A' & 'B' parts) & G Major ('C' part). Standard or ADae tuning. AA’BCC (Dunlay & Greenberg/Laam): AABBCC (Dunley and Reich): AA'BBCC' (Phillips). The melody appears to have originated in American tradition, migrating in the reverse direction via New England to Cape Breton. It was recorded in the 1920's by the Happy Hayseeds, a group whose members came from Oregon and California, and may have possibly been learned by Hayseed’s fiddler Ivan Laam from his German-born fiddling father, Abe, according to Dunlay & Greenberg (1996). The tune is associated on Cape Breton with Angus Chisholm, however, Winston Fitzgerald stated to Paul Cranford that he himself taught it to Chisholm. As Dunley and Reich point out, internal key changes in tunes are uncharacteristic of Scottish music, the style most Cape Breton tunes are composed in. Sources for notated versions: Arthur Muise (Cape Breton) [Dunlay and Reich]; Vivian Williams (Mo.) [Phillips]; Ivan Laam (Oregon/California) [Dunlay & Greenberg]; Angus Chisholm (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pgs. 80-81. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 56. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 57. Cape Breton's Magazine Tape, Mike MacDougall‑ "Mike MacDougall's Tape For Fr. Hector." DMP 6‑27‑1, Doug MacPhee‑ "Cape Breton Piano III" (1981). JAD-1, Jackie Dunn - “Dunn to a T” (1995). Rodeo (Banff) RBS 1255, Barbara MacDonald‑ "Scottish Piano Selections" (as "Moreley's Reel"). Rounder SS‑0145, Joe Cormier (Cape Breton) ‑ "Traditional Music on Rounder: A Sampler" (1981). Victor 23774 (78 RPM), The Happy Hayseeds. Voyager VRLP 328‑S, "Kenny Hall and the Long Haul String Band" (learned from the Victor 78 RPM recording by The Happy Hayseeds ‑ the Lamb brothers).

                       

COTTER REEL. Scottish (?), Reel. B Minor. Standard tuning. AABB. Source for notated version: the music manuscript of Setauket, Long Island, New York, painter and fiddler William Sydney Mount (1807-1868).

X:1

T:Cotter Reel

M:C|

L:1/8

R:Reel

S:William Sydney Mount manuscript  (c. 1840’s)

Z:AK/Fiddler’s Companion

K:B Minor

a | f2 (fe) fa b2 | abaf (e/d/c/B/) Ac | f2 (fe) fa “tr”b2 | af ac B3 :|

|: b | dBfB dBfB | dBfB (e/d/c/B/) Ac | dBfB dBfB | (e/d/c/B/) Ac B2 :|

                       

COTTEY HOUSE. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. First published in 1721. Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 19.

                       

COTTILLON LA PROMENADE.  See “Cotillon la Promenade.”

 

COTTILLION OATS PEAS BEANS. AKA and see "Cassino," "Cacina," "Cacinameronian's Rant," "French March [2]," "Baltimore [1]." English, American; Country Dance Tune (6/8 time). The tune, apparently of French origin, is recognizable as the melody for the singing game "Oats, peas, beans and barley, oh!"

 

COTTON... See "Cotten..."

 

COTUGAD MUINTRE, AN. Irish, Hornpipe. D Major. Standard tuning. AABB. Roche Collection, 1982; vol. 2, pg. 14, No. 222.

 

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