The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
CORK - COT |
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]
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
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”).
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
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@
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.
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
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.
COTTON PICKER'S RAG. Old-Time, Country Rag.
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.
COTTER REEL. Scottish (?), Reel. B Minor. Standard tuning. AABB. Source for notated
version: the music manuscript of Setauket,
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.
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
© 1996-2010 Andrew Kuntz
Please help
maintain the viability of the Fiddler’s Companion on the Web by respecting the
copyright.
For further information see Copyright and Permissions Policy or contact the author.
[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.