The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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

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

 

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

 

 

 

CROOKE, THE. English, Air (cut time). B Flat Major. Standard tuning. AABBCC. This air, probably a dance tune, appears in the British Museum MSS. Reg. Appendix 58. Its chief interest, states Chappell, is that it is an example of the form "'Air and Variations' at the earliest stage of its existance.

 

CROOKED BAWBEE, THE. English, Waltz. G Major. Standard tuning. One part. A ‘bawbee’ is a term for a halfpence or ha’penny, expecially in Scotland. Raven (English Country Dance Tunes), 1984; pg. 135.

 

CROOKED HORN EWE, THE. AKA and see “Ew(i)e wi’ the crooked horn [1].”

 

CROOKED HORNPIPE. New England, Hornpipe. D Major. Standard tuning. AABB. Composed by Ralph Page. Page (Ralph Page Book of Contras), 1969; pg. 23.

           

CROOKED JOHN. Old-Time. A ‘crooked’ (irregular metre) tune from the playing of the Kentucky String Ticklers.Yazoo 2200-2, Kentucky String Ticklers.

                       

CROOKED REEL (An Ríl Cam). AKA and see "Follow me down to Carlow [2]," "Miss Murphy [2]," "Bonnie Annie [3]." Irish, Reel. A Dorian. Standard tuning. AB. The song “Follow me down to Carlow” is sung to this air. The “Miss Murphy” title is found in the Goodman Manuscripts in the Library of Trinity College, Dublin. In Scotland the tune is known as “Bonnie Annie” and can be found in Aird (No. 548) and the Glen Collection of Scottish Dance Music, pg. 23). There is also a jig version of the melody. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 107, pg. 45.

 

CROOKED RIVER, THE. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AABBCC. Composed by Cape Breton fiddler and composer Dan. R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 59.

 

CROOKED ROAD, THE. Irish, Reel. G Major. Standard. AB. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995). Tara Records 2002, Christy Moore ‑ "The Iron Behind the Velvet" (1978. Learned from the playing of John Kelly on concertina, John Regan on accordion and Paddy Glackin on fiddle).

X:1

T:Crooked Road

R:reel

M:4/4

L:1/8

K:G

~G2 AG FGAF|~G2 FG AdcA|~G2 AG FGAd|fdcA ~d2 cA|\

~G2 AG FGAF|~G2 FG AdcA|~G2 AG FGAd|fdcA ~d2 Bc||\

d~g3 fgaf|d~g3 agfe|d~g3 fgag|fdcA ~d2 Bc|\

d~g3 fgaf|d~g3 ~a2 ga|bgaf g ~a3|fdcA ~d2 cA||\

 


CROOKED ROAD TO DUBLIN. AKA and see “Duke of Leinster’s Wife,” “Ladies’ Pantalettes,” "Lady's Panteletts,” “The Smiles and Tears of Erin." Irish, Reel. G Major. Standard tuning. AB (Mitchell, Mulvihill): AAB (Harker/Rafferty): AABB (Phillips). Daniel Michael Collins, in liner notes to Shanachie 29009, says this is a fairly common session tune which stresses triplets in the 'A' part and rolls in the 'B' part. It is not either of the "Crooked Way to Dublin" versions in Roche. Breathnach prints the melody as “The Smiles and Tears of Erin” (CRÉ I, no. 101). Alan Ng finds the “Crooked Road” as the first tune in the “Ladies Pantalettes” set on a few recordings, leading some to refer to the tune by the name “Lady’s Pantelette’s/Duke of Leinster’s Wife,” which really refers to another, unrelated tune. Sources for notated versions: fiddler Andy McGann (New York) [Phillips]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; (Jr.) Cronin [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 63, pg. 20. Mitchell (Dance Music of Willie Clancy), 1993; No. 81, pg. 76. Mulvihill (1st  Collection), 1986; No. 27, pg. 7.  Phillips (Fiddlecase Tunebook), 1989; pg. 13. Shanachie 29009, "Andy McGann & Paul Brady" (learned by fiddler McGann from Michael Coleman. Liner notes to the album say McGann "remembers Coleman writing the Crooked Road for him").

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Crooked Road, The

T:Crooked Road to Dublin, The

R:reel

Z:id:hn-reel-91

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

M:C|

L:1/8

K:G

G2~G2 FGAF|G2FG AdcA|G2AG FGAg|1 fdcA dBcA:|2 fdcA d2Bc||

dg~g2 fgaf|dg~g2 agfe|dg~g2 fgag|fdcA d2Bc|

dg~g2 fgaf|dg~g2 a2ga|bgaf gbag|fdcA dBcA||

“Variations:”

G2BG FGAF|G2Ac BdcA\GBAG FGAg|1 fdcA dBcA:|2 fdcA dBcA||

dg~g2 fgaf|dg~g2 agfe|dg~g2 fgag|fdcA dBcA|

dg~g2 fgaf|dg~g2 faga|b2af gbag|fdcA dBcA||

           

CROOKED STOVEPIPE [1]. American, Canadian; Reel or Polka. USA; New England, Michigan, Missouri. Canada; Ontario, Prince Edward Island. G Major. Standard tuning. AA'B (Miller & Perron/1983): AABB (Johnson): AA'BB' (Begin, Miller & Perron/1978, Miskoe & Paul, Perlman, Phillips). The tune is sometimes attributed to Nova Scotia fiddler Colin J. Boyd, and it is thought that it originated in Canada and spread to New England from Ottawa. “Crooked Stovepipe” was recorded on 78 RPM in 1932 by Hugh “Hughie” A. MacDonald, sometimes known as “The Polka King.” MacDonald was born in Lanark, Antigonish County, Nova Scotia, and was one of the first fiddlers to record Scottish fiddle music. He died in 1976. Crooked Stovepipe is also the name of a dance performed to the tune, popularized in New Hampshire by the late callers Ralph Page and Duke Miller. Sources for notated versions: Vivian Williams [Phillips]; transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who could not recall where he learned the tune, "I've always known that" [Miskoe & Paul]; Reuben Smith (b. 1931, Blooming Point, Queens  County, Prince Edward Island) [Perlman]; Dawson Girdwood (Perth, Ottawa Valley, Ontarion) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 15, pg. 28. Jarman (Old Time Fiddlin' Tunes), No. or pg. 1. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986‑87; pg. 7. Miller & Perron (101 Polkas), 1978; No. 75. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 106. Miskoe & Paul (Omer Marcoux), 1994; pg. 34 (appears as "Crooking Stovepipe"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 152. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 343. Sannella (Balance and Swing) (CDSS). Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont." Folkways 8826, Per's Four‑‑"Jigs and Reels." RCA Victor LCP 1001, Ned Landry and his New Brunswick Lumberjacks ‑ "Bowing the Strings with Ned Landry." Smithsonian Folkways SFW CD 40126, Lester Bradley & Friends – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

X:1

T:Crooked Stovepipe

M:C|

L:1/8

K:G

G2B2 Bc dB|G2B2 Bc dB|G2B2 e3B|d2c2 cd cA|F2A2 AB cA|

F2A2 ABcd|e3d e2f2|1 g2fe dc BA:|2 g2g2a2^a2||

b3c’ b2a2|g4 g2f2|e2e2f2g2|a6b2|c’3d’ c’2a2|

f6e2|d2d2e2f2|g2g2a2^a2|b3c’b2a2|g4g2f2|e2e2f2g2|

a6b2|c’3c’c’2a2|f6e2|d2d2e2f2|g2fe dc BA|]

 

CROOKED STOVEPIPE [2]. AKA and see "Buffalo Nickel [1]," “Cat Ate the Handsaw,” "Chinky Pin," "Darling Child," “Eber Atkins Tune,” "Farmer Had a Dog," "Fourth of July," "Hair in the Butter," "I'm My Momma's Darling (Child)," “Lead Out,” “Liesel,” “Love Somebody [2],” "Midnight Serenade [1]," "My Love is/She's But a Lassie Yet [1],” “Old Mose,” “Raymondville,” "Richmond Blues," "Sweet Sixteen," "Ten Nights in a Bar Room," “Too Young to Marry [1],” "Yellow Eyed Cat." Old‑Time, Breakdown. USA, Missouri. The title for this variant of a large tune family is specific to the Ozarks, according to Howard Marshall.

           

CROOKED WAY TO DUBLIN [1], THE. AKA and see “Holly Bush [3],” “Mountain Top [2].” Irish, Reel. G Major. Standard tuning. AB (Moylan, Roche): AAB (Levey). This piece is known as one of the “Doon reels” (see “Doon Reel” for further information). Source for notated version: west Kerry fiddler Padraig O’Keeffe via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 29, pg. 12. Moylan (Johnny O’Leary), 1994; No. 334, pgs. 189-190. Roche Collection, 1982; vol. 1, pg. 70, No. 181.

X:1

T:Crooked Way to Dublin The [1]

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

c2 | BGAG EGDE | GABd efgd | BGAG EGDE | GEDE G2 :|

|| c2 | Bdef g2 (fg) | afdf edBA | Bdef g2 (fg) | afdf e2e2 |

Bdef g2 (fg) | afdf edBd | bgaf gfed | egfa gfgd ||

 

CROOKED WAY TO DUBLIN [2], THE. Irish, Reel. G Major. Standard tuning. AA'B. A variation of version #1. Roche Collection, 1982; vol. 3, pg. 26, No. 87.

           

CROOSTING CAP. AKA and see "The Sod of Turf." Irish, Jig. Ireland, Munster. G Major. Standard tuning. AB. One meaning of ‘croosting’, a Hibernia-English word, is derived from the Irish word crustial, meaning ‘drub, belabor’. Similarly, used as a verb, to croost means to throw stones or clods from the hand, devived from the Irish crústa, meaning a missile, a clod. There was a custom called the ‘croosting’ in ‘merry wake’ tradition in Ireland, where the dead person is waked with carnivalesque features. Generally an individual would be called upon to be a master of ceremonies of sorts, to be the “organiser and director of the pranks and games of the wake assembly” (Ó Crualaoich, 1998, pg. 191), aided by his ‘hardy boys’ or ‘prime lads.’ These pranks and games had the purpose of keeping the wake attendees awake throughout the night. The games could be mimicry of local institutions or leading citizens, horseplay, lewdness, and ‘croosting’, which apparently consisted of pelting those assembled with hard turf and other objects. Souce for notated version: “A Munster jig from William Sheady. (via the Irish collector) P. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 927, pg. 236.

X:1

T:Croosting Cap, The

M:6/8

L:1/8

R:Jig

B:Stanford/Petrie, Complete Collection, No. 927  (1905)

Z:AK/Fiddler’s Companion

K:G

dcA AGF|cBc AFA|dcA AGF|A2G G3|dcA AFA|

cBc AFA|dcA f2d|g2G G3||dcA f2a|gga f2g|

dcA f2a|g2G GBc|dcA f2a|gga f2g|dcA f2a|g2G G3||

           

CROP THE COPPICE.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. A coppice is a managed woodland area in which trees are cut down and encouraged to grow from the stump. The coppicing produces a number of relatively thin stems that are harvested (‘cropped’) in regular cycles, sometimes in sections from the same stump as to insure some stems each year. Typically some woods are favored for coppicing; ash (ideal for tool handles), oak (the bark was formerly used in the tanning process) and hazel (for brooms, wicker, and brushes), are typical examples. Henry VIII is recorded as having regulated to coppicing of timber for the ironmaking industry, requiring that a small section of woodland be enclosed after cutting and twelve standels to be left in each acre to grow into timber, thus insuring a continued growth of the wood. Gibbon’s set the tune in the key of ‘F’ major in his mss. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 27.

 


CROPPIES, LIE DOWN. Irish (?), Scottish (?); Jig. G Major. Standard tuning. AABB. The tune title is the title of a sectarian Protestant song—'croppy' was a derogatory term for an agricultural labourer, usually Catholic. O’Neill (1913) tells of one Jemmy Byrne the Piper who lived in County Wexford in the early 19th century. Jemmy acquired the nickname ‘Scut’ at some point in his career, although it is not known exactly how. One story is that he “demeaned himself and insulted the sentiment of his people by playing party tunes, such as ‘Croppies Lie Down,’ at the orgies of the yeomen subsequent to the Rebellion of ‘98” (O’Neill generously remarks it would have been hard to refuse such a request, given the atmosphere of intimidation and repression at such events). Another possibility is that the sobriquet was conferred by a particularly abstemious County Carlow priest who was determined to stamp out crossroads dancing in his parish. The outraged cleric is said to have declared to his congregation regarding Jemmy: “How dare this ‘Scut’ come into my parish with his bagpipes to corrupt and demoralize my flock in defiance of my expressed wish?” O’Neill points out he must have gained some fame despite his nickname and the exhortations of the priest, for the piper’s name was remembered while the priest’s was forgotten. Cole (1000 Fiddle Tunes), 1940; pg. 77. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 24, pg. 8. Ryan’s Mammoth Collection, 1883; pg. 110.

X:1

T:Croppies, Lie Down

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

g/e/ | dBG GFG | ABA ABd | (g2.e) dBd | gGG Gge | dBG GFG |

ABA ABd | (g2.e) dBD |1 gGG G :|2 gGG G3 |: def gfg | efg agf |

gab efg | dBG (B2A) | G2z e2z | dBd GBd | g2z e2z |1 dBg G3 :|2 dBg G ||

           

CROPPIES’ MARCH. AKA and see “Banks of Inverness,” “Croppy’s Retreat,” “Freedom for Ireland,” “Heather on the Hill [1],” “Ireland Forever,” “Lark’s Nest.” Irish, March (4/4 time). D Major. Standard tuning. AABB. O’Neill (1922) notes: The term ‘Croppy’ grew from the custom of the English and Scotch reformers in 1795, who cut their hair short. The same custom was adopted by the reformers in Ireland; and hence all those who wore their hair short were denominated ‘Croppies’, and were the marked objects of government vengeance. In truth, clipped hair constituted secondary evidence of treason, and was sufficient to cause the arrest and ill treatment of any person daring enough to adopt it.” See also tune as part of “Walls of Limerick,” “Seige of Ennis.” Source for notated version: piper Patsy Touhey [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No’s. 60 & 61.

X:1

T:Croppies' March, The

M:4/4

L:1/8

S:Patsy Touhey

Z:Paul Kinder

R:March

K:D

B|A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d2 B2 BcdB|

A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d4 d3:||

|:e|f2 a2 a3 f|g2 b2 b2 g2|f2 a2 e2 f2|d2 B2 B2 d2|

f2 a2 a3 f|g2 b2 b3 c'|d'2 c'2 c'2 a2|b4 b3 a|

f2 a2 a2 f2|g2 b2 b2 g2|f2 a2 e2 f2|d2 B2 BcdB|

A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d4 d3:||

X:2

T:Croppies' March

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:March

K:D

B|A>BAF ABde|faef d/2e/2f/2d/2 Bd|A>BAF ABde|faef d2 d2:||

faag/2f/2 gbba/2g/2|faef d/2e/2f/2d/2 "tr"BA|

faag/2f/2 gbbc'|d'c'ba b2 ba|faag/2f/2 gbba/2g/2|

faef d/2e/2f/2d/2 Bd|A>BAF ABde|faef d2 d2||

           

CROPPIE'S STRATHSPEY. AKA and see "Mr. Douglas of Springwood Park." Scottish, Strathspey. G Major. Standard tuning. AB. The tune has been attributed to Peter Milne (1824-1907), a mentor and sometimes playing partner of J. Scott Skinner. However, there is some evidence it was actually composed by Alexander Givan of Kelso. Hunter (Fiddle Music of Scotland), 1988; No. 75. Culburnie CUL110, Abby Newton – “Crossing to Scotland” (1997).

           

CROPPY BOY [1], THE. Irish, Air (6/4 or 3/4 time). G Major (Joyce): F Major (Stanford/Petrie). Standard tuning. One part. This air has "been sent to me during the last seven or eight years by Mr. Patrick  O'Leary of Graignamanagh, Co. Kilkenny, a good amateur musician with a great knowledge of the popular airs of that part of Ireland. Most of these he wrote down from his own memory" (Joyce). Petrie notes he obtained his version of the air from Joyce. Joyce (Old Irish Folk Music and Songs), 1909; No. 300, pg. 141. Stanford/Petrie (Complete Collection), 1905; No. 605, pg. 152.

X:1

T:Croppy Boy, The [1]

M:3/4

L:1/8

S:Stanford/Petire (1905), No. 605

Z:AK/Fiddler’s Companion

K:F

f/>d/ cA | G>B AG FF | F3G AA | f2 ef dd | d3 F/G/ AA |

f2 ef dc | d>e fd cA | G>B AG FF | F3 ||

 


CROPPY BOY [2], THE. AKA and see "The Robber," “Callino Casturame,” "Charlie Reilly," "Newlyn Town." Irish, Air (3/4 time). D Major. Standard tuning. One part. "This song was a great favourite in the southern and south‑eastern counties: and I have known both air and words from my childhood. I published the air and the first verse of the song in my Ancient Irish Music. More than 50 years ago I gave it to Dr. Petrie, and it is included in the Stanford‑Petrie collection. I have a broadsheet with the words rudely and very incorrectly printed. The words, of course, date from 1798: but the air is much older" (Joyce). Tomas Ó Canainn (1978) names this air as “the very first genuinely Irish tune” that appears in early collections, and cites its appearance in both William Ballet’s Lute Book (Trinity College, Dublin) and the Fitzwilliam Virginal Book (Cambridge) where it appears under the title “Callino Casturame” (Cailin o chois tSiuire me). O'Sullivan (1983) notes the melody was popular in England also, and variants appear in many folksong collections from that country, including Kennedy's Folksongs of Britain and Ireland (as "Newlyn Town," No. 326) and Kidson's 1926 A Garland of English Folk Songs (beginning "In Newlyn town I was born and bred).

***

‘Twas early, early, all in the spring,

The pretty small birds began to sing;

They sang so sweet and so gloriously,

And the tune they played was sweet liberty.
***

Joyce (Old Irish Folk Music and Song), 1909; No. 385, pg. 193.

X:1

T:Croppy Boy [2]

M:3/4
L:1/8

R:Air

N:”Slow and expressive”
S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D

dB | AF E>F A/F/ E/F/ | DD D2 DE | FF e2 cd | BA B2 DE |

FF d2 cd | BA B>c d>B | AF E>F AF E/F/ | DD D2 ||

 

CROPPY BOY [3], THE (An Buacaill Bearta). Irish, Slow Air (4/4 time). G Major. Standard tuning. One part. Source for notated version: Hartnett [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 198, pg. 34.

X:1

T:Croppy Boy, The [3]

M:C

L:1/8

R:Air
N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 198

Z:AK/Fiddler’s Companion

K:G

D2 | G2 A>G AB2G | A2 G>G G2 G/A/B/d/ | g4 fdfe | d4 zD G/A/B/d/ |

g4 fdfe | d3d e/d/B/A/ G>A | B3G A2 G>G | G4 z2 ||

 

CROPPY BOY [4], THE. Irish, Air (3/4 time). F Major/Mixolydian. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 606, pg. 152.

X:1

T:Croppy Boy, The [4]

M:3/4

L:1/8

S:Stanford/Petire (1905), No. 606

Z:AK/Fiddler’s Companion

K:F

B Ac | B2 GF EG | F3 _e df | ed cB Ac | B3B cf | _e>d cB AF | E3E FF | A>B cA FF | F3 ||

                          

CROPPY TAILOR (An Tailiur Bearta). Irish, Air (3/4 time, "gaily"). Ireland, west Cork. A Minor (O'Neill/1915): A Major (O'Neill/1850). Standard tuning. One part (O'Neill/1915): AB (O'Neill/1850). The song tells of the humiliating adventures of a tailor whose domestic relations had been invaded by a dragoon. Another version of the air is the Ulster song “White Bread and Butter.” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and O’Neill’s collaborator [O’Neill]. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 11, pg. 15. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 401, pg. 70.

X:1

T:Croppy Tailor, The

M:3/4

L:1/8

R:Air

N:”Gaily”

S:O’Neill – Music of Ireland (1903), No. 401

Z:AK/Fiddler’s Companion

K:A

A2|c2d2e2|e2d2e2|d2c2A2|A4 A2|c2d2e2|e2d2c2|g2e2c2|d4 cd|e2f2g2|a2c’2a2|

g2e2d2|c4 cd|e2d2d2|d2e2f2|g6 a4||e2|d3c A2|A6|B3A G2|G6|c3d e2|d2c2B2|

A2c2e2|a2e2d2|c3 A A2|A6|B3A G2|G6|c3d e2|d2c2V2|A6|A4||

                          

CROPPY'S RETREAT, THE. AKA and see “Banks of Inverness,” “Croppies’ March,” "Farewell to Limerick," “Freedom for Ireland,” “Heather on the Hill [1],” “Ireland Forever,” “Lark’s Nest.” See also tune as part of “Seige of Ennis,” “Walls of Limerick.”

           

CROS AN LOMÁNAIGH. AKA and see "Lománach Cross."

           

CROSAIRE DE BHAILÍS. AKA and see "Wallace's Cross."

           

CROSBEY SQUARE. English, Country Dance Tune (6/8 time). A Major. Standard tuning. ABB (Sharp): AABB (Barnes). The tune dates to 1701. It appears in latter editions of Playford’s English Dancing Master, and in Walsh’s Compleat Country Dancing Master, Third Book, 1735. The ‘B’ part only has six measures. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 73.

X:1

T:Crosbey Square

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:A

(E | A3) Bcd | c3 A2a | gef ecd | (B3 B2) (E |

A3) Bcd | c3 A2a | gef ecd | (B3 B2) ||: c | df2 (c2B) | c e2 (B2c) |

dcB cBA | G/A/BG E2f | efB B2A | (A3 A2) :||

           

CROSBHÓITHAR AN CHOLMÁNAIGH. AKA and see "Coleman's Cross."

           

CROSBHÓITHRE AN EANAIGH. AKA and see "The Crosses of Annagh."

           

CROSS EYED FIDDLER. Bluegrass, Breakdown. USA. E Major. Standard tuning. AABB. Composed by Kenny Baker. Brody (Fiddler’s Fakebook), 1983; pg. 80. County 730, Kenny Baker‑ "Baker's Dozen." County 2705, Kenny Baker - "Master Fiddler." Mag, Hubert and Ted Powers‑ "Two Generations of Old Time Fiddle." Philo 1023, Jay Ungar and Lyn Hardy‑ "Songs, Ballads, and Fiddle Tunes" (1975).

           

CROSS HANDS, THE.  English, Country Dance Tune (whole time). D Major. Standard tuning. AABB. The melody was first published by Charles and Samuel Thompson in their third country dance collection (London, 1773). It also appears in the 1788 music manuscript commonplace book of John and William Pitt Turner, fiddlers from Norwich, Conn., as do a few tunes from the Thompson collection.  Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 7.

X:1

T:Cross Hands, The

M:C

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

a|fafd egec|defd A3G|FGAB cdef|gab(d d)cBA|fafd egec|

defd A3 G|FAdf (ga/b/)ag|fedc d3::A|AGFG FAdf|gfe(d d)cBA|

B2 cd efga|bged “tr”d2c2|a3b gfed|efge dcBA|BGFE (ga/b/)ag|fedc d3:||

 

CROSS IN THE WOOD, THE. Irish, Reel. E Dorian. Standard tuning. AABB. Composed by the late County Limerick/Bronx, N.Y., fiddler Martin Mulvihill. Black (Music’s the Very Best Thing), 1996; No. 337, pg. 180.

X:1

T: Cross in the Wood

S: M. Mulvihill

Q: 350

R: reel

M: 4/4

L: 1/8

K: Edor

dc | BE E2 B2 AF | DF F2 DFAd | BE E2 BdAF | DFAF E2 dc |

BE E2 B2 AF | DF F2 ADFA | B3 d BAFA | (3Bcd AF E2 :|

(3Bcd | e2 ge e2 ge | df (3fef afdf | e2 ge e2 ge | dBAF E2 (3Bcd |

e2 ge e2 ge | df (3fef afdf | g3 e (3fga fe | dBAF E2 :|

           


CROSS OF INVERNESS, THE (Clach-Na-Cudainn). AKA and see “Clach na Cudain [2].” Scottish, Reel. G Major. Standard tuning. AB (Fraser, Hunter, Kerr): AAB (Alburger). "This air celebrates the foundation‑stone of Inverness, if it may be so termed, which is still religiously preserved near the cross,‑‑it belongs to the armorial bearing of the town,‑‑ is engraven upon its seal,‑‑ and is the universal toast when drinking the health or prosperity of its community. It was formerly the resting place of the servant girls, in bringing their water‑pails from the river,‑‑of course a celebrated rendezvous for obtaining all the news and scandal imaginable" (Fraser). Tune possibly written by Fraser. Source for notated version: Simon Fraser’s collection, originally issued in 1815 [Henderson]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 102, pg. 167. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 83, pg. 31. Henderson (Flowers of Scottish Melody), 1935. Hunter (The Fiddle Music of Scotland), 1988; No. 195. Kerr (Merry Melodies), vol. 3; No. 44, pg. 7. Stewart-Robertson (The Athole Collection), 1884; pg. 179.

X:1

T:Cross of Inverness, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

G|DB,B,D ECCB|cBAG FDDE|DB,B,D ECCG|FDAF G2GE|DB,B,D ECCB|

cBAG FEDC|B,DGD CEAE|FDAF G2G||

c|g2g2 ecce|^caca fdd=c|BgBg ecc^g|a^ga^c d2d=c|B/c/d gd ecce|

^c/d/e ag fd dg/a/|bdBg ecAc|B/c/d DF G2GE||

           

CROSS REEL(, DA). AKA and see "Cross Rig," "General Howe," "The Lasses/Lassies of Stewarton."  Shetland, Reel. D Major/G Major. Standard tuning. AABCDAA (Brody): AABB (Anderson). According to Cooke (1986) the tune is a counsin to the Scottish tune "The Lasses of Stewarton" (Stewartown, Stewingtown) {also the name of a country dance first published c. 1794}, though the Shetland versions are usually asymmetrical and the Scottish not. "One Shetland version is shown in Ex. 12 and it is likely that it is derived from the Scottish tune but that fiddlers and dancers modified it in early days so that it fitted their preference for asymmetrical structures. The tune was danced in Whalsay (the tune is also known on that island as "General Howe") during this century, where I was told that to perform it they had to do a 'double dancing turn' (i.e. dance for twice as long)" (Cooke, 1986). Source for notated versions: Tom Anderson (Shetland) [Brody], Bobbie Peterson (Tingwall Mainland, Shetland) [Cooke]. Anderson (Ringing Strings), 1983, pg. 61. Brody (Fiddler’s Fakebook), 1983; pg. 80. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 12, pg. 62. Philo 2019, Tom Anderson and Aly Bain‑ "The Silver Bow."

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Cross Reel

M:C

L:1/8

K:D

"D"fage f2 f2|"D"ABAF D3 f|"D"gfed "C"=c2 c2|1"C"EDEF "G"G2 e2:|2

"C"EDEF "G"G3 A||

K:G

"G"B2 BG "D"AFAF|"G"B2 BG "D"A3 A|"G"B2 BG "D"AFAD|"D"EDEF "G"G3 D||

K:G

"D"FGAc "G"BGBG|"D"AFAF d4|"D"FGAc "G"BGBG|"D"AFAF "G"G3 A||

K:D

"D"defg afde|"D"fdfg a2 fe|"D"defg afdf|"C"e=cef g2 ge|"D"defg afde|"D"fdfg a2 ag||

           

CROSS RIG. AKA and see "Cross Reel."

           

CROSS ROAD [1]. AKA and see “The Three Merry Sisters.” American (?), Reel. E Mixolydian. Standard tuning. AABB. The melody is the first two parts of the Irish reel “Three Merry Sisters.” Cole (1000 Fiddle Tunes), 1940; pg. 36.

 

CROSS ROADS [2]. Irish, Double Jig. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 221, pg. 25.

X:1

T:Cross Roads [2]

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 4, No. 221 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

cEE FEF|cEE Bcd|cEE FEE|ABA AFE|cEE BEE|

ABc def|efe dcB|ABA GFE::cee Bcd|cee Bcd|

cee Bee|ABA AFE|cee Bcd|cde efg|agf edc|BcA GFE:|

           

CROSS THE FENCE. AKA and see “Across the Fence,” “Reilly’s (Hornpipe).” See “Crossing the Fence,” below.

           

CROSS THE WATER. English, Country Dance Tune (cut time). A Major. Standard tuning. AABB. One of the "missing tunes" from Willian Vickers' 1770 Northumbrian dance tune manuscript. It was first printed by London publisher Charles and Samuel Thompson in their 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 130.

X:1

T:Cross the Water

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:A

(e/4d/4c/4B/4)|A2 A,4 (dc/B/)|cA a4 “tr”c2|(3def ed dcBA|(3cde dc {c}B3 (e/4d/4c/4B/4)|A2 A,4 (dc/B/)|

cA a4 gf|a<gf<e g<fe<^d|{^d}e2e2e2::e/=d/|cAEC A,CEA|cAaA fAeA|

cAfA ecdB|(3cde dc {c}B2 ed|cAEC A,CEA|cAaA fAeA|(3fga ec dBAG|{G}A2A2A2:||

           

CROSS WELL OF EDINBURGH, THE. Scottish. Glen (1891) finds the earliest printing of the tune in Robert Bremner's 2nd collection, 1768 (pg. 110).

           


CROSSBOW, THE. English, Jig. England, North‑West. B Flat Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 63.

           

CROSSED COUPLE, THE. English, Jig. D Major. Standard tuning. AAB. The Plain Brown Tune Book notes the tune dates from c. 1660, from Manchester, England. Plain Brown Tune Book, 1997; pg. 6.

                       

CROSSES OF ANNAGH [1], THE (Crosbhóithre an Eanaigh). AKA and see "Down the Broom," "Paddy Canny's" (Martin Hayes), “Paddy Cronin’s [2],” "Tommy Coen's" (Hill and Linnane), "Denis Ryan's," "Martin Rochford's." Irish, Reel. A Dorian. Standard tuning. AABB. “Crosses of Annagh” is Matt Molloy’s title for this variation of the tune usually known as “Down the Broom.” It has several alternate titles, usually named after sources. The Crosses of Annagh is (or was) a popular music pub located about ¾ of a mile from Miltown Malbay, County Clare, and about two miles from the home of the late Clare fiddler Junior Crehan.  Scully Casey lived across the street from the establishment. See also variants by fiddler Paddy Ryan and piper Felix Doran in Breathnach’s Ceol Rince na hÉireann (vol. 2), Nos. 221 & 226 respectively (they appears as untitled tunes). Source for notated version: flutist Matt Molloy (Ireland) [Breathnach]. Breathnach (CRÉ II), 1975; Nos. 221 & 226 (both appear as untitled tunes). Breathnach (CRÉ III), 1985; No. 171, pg. 78. Mulligan Records LUN 017, "Matt Molloy, Paul Brady, Tommy Peoples" (1978). Outlet SOLP 1044, Josephine Keegan - “Irish Traditional Music.”

X:1

T:Crosses of Annagh

M:C|

L:1/8

R:Reel

K:Ador

EAAG A2Bd|eggd edBA|~G3B AEGE|DGBG AGED|

EAAG A2Bd|~g3d edBA|GABd gedB|1 GAAG ~A3G:|2 GAAG A2Bd||

|:eg~g2 a2ga|b2af gedB|d^cde ~g3a|bgaf gefd|

eg~g2 a2ga|b2af gedB|GABd gedB|1 GAAG A2Bd:|2 GAAG ~A3G||

 

CROSSES AT ANNAGH [2], THE. AKA and see “Bobby Casey’s (Reel) [1],” “Hump in the Bed,” “Michael Dwyer’s Reel.” Irish, Reel. Composed by tin whistle player Michael Dwyer (brother of musicians Finbar and Richard). The alternate title “Hump in the Bed” comes from Kevin Ryan. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 31 (appears as “Bobby Casey’s”).

X:1

T:Michael Dwyer's Reel

T:The Crosses of Annagh

T:The Hump in the Bed

C:Michael Dwyer

Z:transcribed by Paul de Grae

R:reel

M:4/4

L:1/8

K:D

DFAB‑B2 AB|~d2 fd edBd|DFAB‑B2 AB|d2 gf edBd|

DFAB‑B2 AB|dcdf efge|fgaf g2 fe|defd edBA:|

|:d3 f eA ~A2|defg afge|d2 fd eB ~B2|gB ~B2 dBAB|

d2 fd edfe|defe edBd|ABdf bafb|afeg fd d2:

           

CROSSING THE BOGS. AKA and see "Out On the Ocean [1]."

           

CROSSING THE CATSKILLS. Bluegrass, Breakdown. Composed by Vassar Clements (Fla.). Rounder C‑11565, Vassar Clements ‑ "Rounder Fiddle" (1990). Rounder 0016, Vassar Clements ‑ "Crossing the Catskills."

           


CROSSING THE CHANNEL (Ag Trasnáil na Caoile). Irish, Slip Jig. D Major. Standard tuning. AABB. Source for notated version: Bernard Bogue (Counties Monaghan & Tyrone)[Breathnach]. Breathnach (CRE IV), 1996; No. 49, pg. 23. Kerr (Merry Melodies), vol. 4; No. 203, pg. 23.

X:1

T:Crossing the Channel

M:9/8

L:1/8

R:Slip Jig

B:Kerr – Merry Melodies, vol. 4, No. 203  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A2A AFA (B2d)|f2f fed (e2f)|aba afd cBA|def gec d3:|

|:a2a aba fed|gfa ged cBA|a2a aba fed|def gec d3:|

           

CROSSING THE FENCE. AKA – “Cross the Fence.” AKA and see “McGlinchey’s (Hornpipe),” “Over the Broken Bridge,” “Over the Fence,” “Reilly’s (Hornpipe).” Irish, Hornpipe. A three part hornpipe composed by Brendan McGlinchey. The tune appears as “Crossing the Fence” on the CD by Turas.

                                   

CROSSING THE FIELD. Irish, Reel. G Major. Standard tuning. AB. Breathnach (1976) finds this tune related to “The Heather Breeze” family of tunes (see note for “Heather Breeze [1]”). 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]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 276.

X:1

T:Crossing The Field

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:G

DGBG DGBG|DFAF DFAF|DGGA Bcde|fdcA BGAF|

DGBG DGBG|DFAF DFAF|DGGA Bcde|fdcA BG G2||

g2 gf gfde|f2 fe fdcA|fdde fgag|(3efg fa gfga|

bgag fddg|fdcA BGAF|DGGA Bcde|fdcA BG G2||

           

CROSSING THE MINCH. AKA and see “McNab’s,” “McNab(b)’s Hornpipe.” Scottish, "Pipe Hornpipe." D Major. Standard tuning. AABBCCDD. Minch = sea. "Traditional," states Aly Bain in his collection, though Christine Martin credits it to Pipe Major Donald Shaw Ramsey, while Paul Cranford credits it to Pipe Major Donald MacLeod (1917-1982, born in Stornoway, Isle of Lewis). The melody was known as “McNab’s” or “McNabb’s Hornpipe” by Cape Breton fiddlers until quite recently, explains Cranford, due to an influential recording by Winston Fitzgerald. He called the tune “McNabb’s Hornpipe” on the 78 RPM release, pairing it with “The Farmer’s Daughter,” and it proved to be one of his most popular recordings, making it onto the Canadian ‘hit parade’ of the time. Bain (50 Fiddle Solos), 1989; pg. 4. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 52. Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Green Linnet GLCD 1145, Wolfstone – “Year of the Dog.” Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

           

CROSSING THE OILY RIVER. Irish, Jig. A version of “The Sit-in Jig” or “Con Cassidy’s (Jig) [2].” Duval & Jones (A Dossan of Heather: Irish traditional music from Packie Manus Byrne of Donegal for tin whistle, fiddle or flute), 2000.

                                   

CROSSING THE SHANNON. AKA and see “The Funny Reel.” Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 39. Mulvihill (1st Collection), 1986; No. 176, pg. 48. James Keane (et al) – “The Big Squeeze.”

X: 1

T:Crossing the Shannon

M:C|

L:1/8

R:Reel

K:D

A~d3 AdFd|A~d3 fdBd|A~d3 AdFd|AGFD EFGB|!

A~d3 AdFd|A~d3 fdBd|Adfa gefa|gece d2FG:||!

A~d3 fage|fage edBd|A~d3 AdFd|AGFD EFGB|!

A~d3 fage|fage edBd|Adfa gefa|gece d2fg:||

           

CROSSING THE STREAM. AKA and see "Come Over the Stream To Charlie." Irish, Scottish, English; Air (3/4 time, "playfully"). G Major. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 153, pg. 27.

X:1

T:Come Over the Stream to Charlie

T:Crossing the Stream

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

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

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

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

           


CROSSING TO IRELAND (“An t-aiseadh do dh’ Eireann” or “An t-aiseag do dh’Eireann” Scottish, Canadian; Slow Air (12/8 or 3/4 time) or Waltz. Canada, Cape Breton. E Minor (Barnes, Matthiesen): E Dorian (Cranford, Dunlay & Greenberg): F Minor (Fraser): A Minor (Johnson). Standard tuning. AB (Barnes): AAB (Cranford, Dunlay/Greenberg, Fraser, Johnson, Matthiesen). The Gaelic title translates literally as “The Ferryboat to Ireland.” "The editor discovered this air in an ancient manuscript in the possession of his father, of some of the band music of the 78th regiment, to which he belonged, raised by the late General Fraser of Lovat in the year 1757; it seems to be quick‑march time, built upon Lord Kelly's strathspey, unless antecedent to it. MacArthur, the master of the band, was instructed with the view of becoming minstrel to the Kilravock family, and had access to much of the music of the Mairnshire gentlemen formerly mentioned" (Fraser). The tune is sometimes played as a waltz (as in Winston Fitzgerald’s recording), though this is frowned upon by traditionalists. It was recorded by Cape Breton musicians Winston 'Scotty' Fitzgerald (c. 1950's in the key of F Dorian) and Dougie MacDonald. Source for notated versions: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford, Dunlay & Greenberg]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 144 (appears as “Winter Waltz”, the name of a dance by Fried de Metz Herman set to the tune). Cranford (Winston Fitzgerald), 1997; No. 224, pg. 90. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 84. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 95, pg. 36. Johnson (The Kitchen Musician No. 10: Airs and Melodies of Scotland’s Past), 1992 (revised 2001); pg. 19. Matthiesen (Waltz Book I), 1992; pgs. 56‑57. Avocet Records, Glasnotes ‑ "Live from Contrafornia." ACC-49195, Dougie MacDonald - “Staying in Tune.” Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 59). Celtic SCX 59, BBMCD 001, Winston Fitzgerald - “A Selection of New Jigs, Reels, Strathspeys.” Culburnie CUL110, Abby Newton – “Crossing to Scotland” (1997). Shag Rock SOTH 0001, Marcel Doucet - “Tarbot Anthology.”

X:1

T:Crossing to Ireland

T:An t-aiseadh do dh’ Éireann

M:12/8

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:F Minor

F/4=E/4F/4G/4|A<FF C<FF A,<FF c>BA|G<EE B,<EE G,<EE B>AG|

A<FF C<FF A,<FF c>BG|AA/B/c/=d/ e>dc BAG F2:|

f/g/|a<ff c<ff AFF F2 b/a/|gee Bee GEE E2 f/4=e/4f/4g/4|a<ff c<ff A<Fa g2f|

AA/B/c/=d e>dc BAG Fz c’/b/|aff cff FAc f/g/a/b/ c’|gee Bee EGB e/f/g/a/ b|

a2 g/f/ g2 f/=e/ f_ec BAG|AA/B/c/=d/ e>dc BAG F2||

           

CROSSMAGLEN. Irish, Reel. D Dorian. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 67, pg. 73.

X: 1

T:Crossmaglen

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:I'm told that the road from Carrickmacross to Crossmaglen

N:is lined with your worst sort of rogues. The verse

N:perhaps comes from some old cantankerous Irishman

N:who probably never himself walked this road. If he had,

N:he would surely have been charmed with the likes of what he

N:saw and heard. (Another tune to delight Ed's close friend

N:from Armagh: Lou Quinn).

K:F

de | fedc ADDE | FDAD FDDF | Ec=Bc ECCE | Ddd^c d2 de | fgdf edce |

(3ddc AF EDCE | DE^FG AdcA | GECE D2 :: de | fefg afdf | ec (3cBc Gceg |

fefg afdf | ed^ce d2 fg | afdf ed^ce | (3ddc AF EDCE | DE^FG AdcA | GECE D2 :||

                       

CROSSMOLINA LASSES [1], THE.  Irish, Reel. G Major. Standard tuning. AAB. There are jigs of the same title. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 29, pg. 9.

 

CROSSMOLINA LASSES [2], THE.  Irish, Jig. D Major. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 25a, pg. 8.

 

CROSSMOLINA LASSES [3], THE.  Irish, Jig. A Dorian. Standard tuning. AABB. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 25b, pg. 8.

 

CROSSROADS CEILI. Irish, Barndance. G Major. Standard tuning. AA’B. Philadelphia fiddler Ed Reavy and his band Erin’s Pride Orchestra recorded this tune on a 78 RPM under the title “The Stack of Oats,” although it appears in his Music of Corktown as “Crossroads Ceili.” 

X:1

T:Crossroads Ceili

T:Stack of Oats

R:Barndance

N:The transcription doesn't really catch the true 'flavour' of the tune

D:John Carty:At The Racket

Z:Adrian Scahill

M:4/4

L:1/8

K:G

GA|B2B2 BAGE|D3E DEGA|B2AB c2B2|E3F E3F|\

AGFG A2DF|GFGA B2e2|dBcA F2D2|1 (3GAG FA GDGA:|2 G2FA GABc||\

d2d2 g3e|dedB GABc|d2d2 g2e2|f3g f2AB|\

cBcB cdeg|f3e f3d|e3f ed^ce|d3e dcBc|\

d2d2 gbge|dgdB GABc|d2d2 g2d2|b6z2|\

abaf d3a|gagd B3e|dBcA F2D2|GAFA GDGA||\

                       


CROSSROADS DANCE [1], THE (Rince Botair-Na-Criosa). Irish, Hornpipe. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB. Crossroads were a favorite assembling place for dancing in late 18th and early 19th century Ireland, although David Taylor (1992), for one, believes that such social events took place before the 1700's. He also notes that the dance in those days was more important than the music, "and so the popularity of the dance ensured a healthy music tradition...The crossroads was the ideal meeting-place. The more roads arriving at one point the better, as more villages could then take part. At such a point, it is likely there would be enough space for the sets, on hard, level surfaces. Furthermore, there would probably be milestones, fences and grass to sit upon. It is known that a minor 'revival', for want of a better word, of crossroads dancing which took place in remote areas during the 1920's and '30's, platforms upon which to dance were sometimes constructed. Some were wooden, which were the best for the dance but could be broken up and taken away. Others were concrete, which solved the problem of their removal...but created a surface much the harder on feet and footwear." Donal Hickey (Stone Mad for Music, 1999) dates the construction of crossroads platforms to the 19th century and says that several in the Sliabh Luachra region (the Cork/Kerry border area) continued to function into the 20th century. These facilitated the dances which were generally held on Sunday afternoons.  Although structures have disappeared, the places where they were are still identifiable in local memory, such as the timber-floored platform at Tureenglanhee, Knocknagree, run by a tailor named Maurice Manley, who was also a musician and music teacher. Another platform was at Newquarter bridge which spans the Blackwater between Gneeveguilla and Ballydesmond. O'Neill (1913) states:

***

Every Irishman knows, the meeting place almost invariably was some

crossroads, where a piper or fiddler played enlivening music for the

youthful dancers, while their elders gossiped in the old familiar way.

Those more interested in athletics than in music and dancing, found

no lack of that kind of entertainment also. Those national customs

were observed until well beyond the middle of the 19th century...

***

Interestingly, Taylor points out that, with the advent of the waltz and quickstep, the authorities (with the strong backing of the clergy) repressed such community gatherings, leading to the regulation of dance-halls. This was the demise of the crossroads dances, and to some extent the older set dances, but was to give rise to the modern ceili band who found a venue in the new halls.

***

Much ancient lore and traditional meaning (some probably stemming from pagan times) was associated with crossroads, a fact which probably factored into the clergy’s condemnation of dances there. Éamon Kelly (Foreword, Stone Mad for Music, 1999) recalled being sent as a child to walk from Carrigeen in Glenflesk, Sliabh Luachra, to Gullane to bring family tidings to his grandparents:

***

From our house to theirs was a tidy step, and even in the daylight I

was fearful passing Béalnadeaga because of a story my mother told

us about that crossroads. A spirit used to appear there at the dead

of night and men out late were frightened to death by her. She had

the power to drag a man from a galloping horse, and was said to

blind her victim by squirting her breast-milk into his eyes. Priests

came to bless the place where she haunted, but the spirit remained

until a holy friar in a brown habit read over the spot. His reading

of Latin was effective. He banished the spirit to the Dead Sea and

the sentence he pronounced on her was that she should drain its

waters with a silver spoon for all eternity.

***

O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1568, pg. 291.

X:1

T:Crossroads Dance, The

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1568

Z:AK/Fiddler’s Companion

K:G

D2 | GB/A/ GB/A/ | G/A/B/c/ de/f/ | g/f/e/d/ e/d/c/B/ | c/B/A/G/ G/F/E/D/ |

GB/A/ GB/A/ | G/A/B/c/ de/f/ | g/f/e/d/ e/g/f/a/ | g/b/a/f/ g2 :|

|: B2 | ee/f/ gg/a/ | bg fe | dd/e/ ff/g/ | af ed | ee/f/ gg/a/ | bg fe |

b/^a/b/c’/ b/=a/g/f/ | eg e2 :|

           

CROSSROADS DANCE, THE. Irish, Jig. E Minor. Standard tuning. AA’BB’. Reavy (The Collected Compositions of Ed Reavy), No. 78, pg. 86.

X: 1

T:The Crossroads Dance

R:jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:It was a popular place for holding dances in the old

N:tradition. Ed was not much of a dancer, but he went along

N:just the same in hopes that an "odd good player might be

N:manning the fiddle."

K:G

e/2f/2 | gfe dcB | A2 E E2 F | GFG DEF | G2 D D2 f | gfe dcB |

A2 E E2 F | GFG DEF | G3 G f || gfe dcB | e2 E E2 F | GFG DEF |

G2 D D2 f | gfe dcB | e2 E E2 F | GFG DEF | G3 G2A ||

||: B^cd efg | dcB A2 B | cBA a2 g | fdf gdB | GBd gfg |

dcB A2 B | cBA a2 g |1 fdf g2 A :|2 fdf g2 f :||

           

CROSSROADS FLING. Irish, Slide (12/8 time). D Major. Standard tuning. AABB. Gael Linn CEF176, Jackie Daly - “Many’s a Wild Night.”

X:1

T:Crossroads Fling

D:Jackie Daly, "Many's a Wild Night", track 13(a)

N:From the album notes by Ma/ire O'Keeffe:

N:"The Crossroads Fling" is a slide associated with the

N:playing and teaching of the renowned fiddle master,

N:Pádraig O'Keeffe.

M:12/8

L:1/8

R:slide

K:D

"D" d2 e f2 d "Em" e2 d BAB | "D" def a2 f "G" g3 "D" f2 e |

d2 e f2 d "Em" e2 d BAB |1 "D" a2 g "A" f2 e "D" d2 A "G" B2 c :||

2 "A" a2 g f2 e "D" d3 d2 e ||

||: "D" fgf fef "Em" gag gfe | "D" fef a2 f "A" e3 ede |

"D" fgf fef "G" gag gfg |1 "D" a2 g "A" f2 e "D" d3 d2 e :||

2 "A" a2 g f2 e "D" d3 d3 ||

***

D / Em / | D / G D (bass F#) | D (bass D) / Em /|1 D A D G :|| 2 A / D / ||

||: D / Em / | D / A / | D / G / |1 D A D / :|| 2 A / D / ||

           

CROSSROADS FROLIC, THE. AKA and see "Crossroads Dance"???, "Barranna mora Chlann Donncha," "The Bridge of Athlone [1]," "Deel of the Dance," "Dever the Dancer," "Dillon's Fancy [2]," "The Humours of Whiskey [2]," "The Peeler's/Policeman's Return," "Plearaca an Fuisce." See note for "Crossroads Dance."

           

CROST COUPLE, THE. AKA and see “Hyde Park [2].” English, Air (6/4 time). B Flat Major. Standard tuning. AAB. Printed in the reign of Charles II. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 315.

           

CROTON DAM REEL, THE. Irish, Reel. D Major. Standard tuning. AABB. Composed by American Irish-style flute and whistle player Joannie Madden, who was born near the Croton Dam in New York’s Westchester County, above New York City. Black (Music’s the Very Best Thing), 1996; No. 32, pg. 16.

X:1

T: Croton Dam

C: J.Madden

Z: transcribed by B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

d2 fe dB B2 | AF F2 DF F2 | dffe defg | afeg fBBA |

d2 fe dB B2 | AF F2 AB d2 | f2 ec dBAF | GAEA D4 :|

a2 af ge e2 | fedf eA (3AAA | abaf g2 ag | faeg fd d2 |

a2 af ge e2 | fedf eA (3AAA | (3Bcd ef geag | faef d4 :|

           

CROTON HORNPIPE. American, Hornpipe. C Major. Standard tuning. AABB. The title perhaps refers to the town of Croton, Weschester County, north of New York City. Cole (1000 Fiddle Tunes), 1940; pg. 96. Ryan’s Mammoth Collection, 1883; pg. 130.

X:1

T:Croton  Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:C

G | c/e/d/f/ e/g/f/a/ | g/e/f/d/ e/c/d/B/ | c/d/e/c/ f/e/d/c/ | BGG G | c/e/d/f/ e/g/f/a/ |

g/d/e/B/ c/A/B/G/ | A/B/c/f/ e/c/d/B/ | ccc :: (e/f/) | g/e/f/d/ e/c/d/B/ | c/B/A/G/ A/G/F/E/ |

f/d/e/c/ d/B/c/A/ | B/c/d/c/ B/G/A/B/ | c/e/d/B/ G/g/e/c/ | A/a/g/f/ e/d/c/B/ | c/a/g/f/ e/d/c/B/ | ccc :|

           

CROTTY'S LAMENT [1]. Irish, Slow Air or Lament (4/4 time). G Major. Standard tuning. AB. This air was composed in 1742 commemorating an Irish highwayman and was well known in the counties of Waterford, Kilkenny and Wexford, states Flood (1906). The tune and the background of the individual of the title were probably well known to piper O’Farrell, who included the tune in his 1810 volume 4 of his Pocket Companion for the Union Pipes. There are numerous County Waterford place-names and connections throughout O’Farrell’s volumes, suggesting that he was a native or resident of the county.  The following is taken from John Edward Walsh’s book Ireland Sixty Years Ago (1847, republished by M.H. Gill & Son Ltd., 1911) which originally appeared as a series of articles in the Dublin University Magazine. He has this to say about Crotty:

***

His den, still known as "Crotty's Hole," is on the south-eastern point of the Comeragh mountains, in the west of the county of Waterford. It is on an eminence commanding a view of the subjacent country, east and west, almost from Dungarvan to Carrick, and south, to Tramore. There is scarcely a place in Ireland commanding a more extensive view of high roads. The eminence is accessible from below with some difficulty, and the descent into "the hole" is very steep and precipitous.

The interior of this cave consists of one large chamber, from which branch off some smaller recesses. These were occupied by Crotty for sleeping and other domestic purposes; but tradition assigns to them a more horrible use. Crotty was reputed to be a cannibal, and he was believed to fill these recesses with stores of human flesh, on which he fed. Hence he was called the "Irish Sawny Bean," after the Highland robber of that name, who is said to have had a taste for the same diet.

Crotty was a man of desperate courage and unequalled personal agility; often baffling pursuers even when mounted on fleet horses. His accomplice was a man named David Norris, who was superior to Crotty in ability and the cunning of his craft, though his inferior in strength and activity. Their depredations were usually designed by Norris, and entrusted to Crotty for execution; and Norris often stimulated Crotty to acts of violence and wanton cruelty, to which he would have been otherwise indisposed. Among other instances of their barbarity recorded by tradition is the following:- Passing one night by a cabin on the roadside, they saw a light in the window; on looking in, they perceived a man and his wife at their supper; the former of whom having peeled a potato, was raising it to his mouth. "Now, for any bet," said Crotty, "the ball in my pistol shall pass his lips before the potato." He fired, and the poor man fell dead, the ball having pierced his mouth while yet the potato was at his lips. Crotty was afterwards taken, having been disabled by a shot in the mouth, and the peasantry, to this day, affirm it was the judgment of heaven inflicted on him for this act of cruelty. Though well known personally to all the county, Crotty never hesitated to appear at fairs and markets, where he was generally well received. Like many other highwaymen, he was in the habit of sharing with the poor what he plundered from the rich; and thus acquired popularity sufficient to procure him immediate warning of any danger which might threaten him. He frequented the fair green of Kilmacthomas, and openly joined with the young men in hurling and foot-ball on Sunday evenings, danced with the girls at wakes and patterns, and familiarly entered respectable houses.

He once visited a widow lady, named Rogers, near Tramore, while she was entertaining a large company at dinner. The guests were terror-stricken when he stalked into the room and displayed his arms; but he calmly desired the servant to give him the plate on the side-board, and his directions being instantly complied with, he walked out without committing any further depredation. The servant was immediately charged with being his accomplice, and threatened with prosecution; whereupon he ran after Crotty, and implored him to restore the plate. Crotty complied, turned to the house, and handed back the property to Mrs. Rogers.

She was profuse in her thanks, but he desired her to observe he was only lending the plate to her, and peremptorily demanded it back. She again surrendered it, and he said: "Now, madam, remember it was you, and not your servant, who gave this to me, and do not charge him with the loss." Such was the terror of his name that no attempt was made to pursue him.

Crotty's depredations becoming intolerable, and his retreat known, a gentleman, named Hearn, who lived within three miles of it, at length determined to capture him. Hearn was a man of uncommon strength and indomitable resolution. He bribed Norris's wife to give him notice when Crotty would be found "at home." She met Mr. Hearn one day on the road, and as she passed, said, slily, and without looking at him, "the bird's in the nest." He was unaccompanied, but, being well armed, he acted on the hint, and went directly to "the hole." He called Crotty by his Christian name, "William," and the robber, without suspicion, came up. The moment his head appeared, Mr. 'ream, knowing he must be well armed and his desperate character, fired at him, and wounded him severely in the mouth. He succeeded, however, in effecting his escape. Mr. Hearn determined still to watch him; and in a short time afterwards, received secret information from 'Norris's wife that Crotty was in Norris's house. He proceeded thither directly, well armed, and took Crotty by surprise, who was wholly unprepared, and imagined himself secure. The latter submitted to be arrested, without further resistance, saying, he long knew Mr. Hearn was the man who would take him.

As in many of his countrymen, the extremes of ferocity and kindly feeling were combined in Crotty. When Mr. Hearn was leading him away, he asked him why, as he lived so near, and had so frequent opportunities of taking his life, he had not done so. "I often intended it," said the malefactor; "and last Christmas I went to shoot you; but I saw through the parlour window you and your wife and children sitting so happily round the fire, that, though I had the pistol cocked and you covered, my heart failed me, and I could not draw the trigger. I often followed you, too, when you were fishing in the Clodagh; but your son was with you, and I felt sure if I killed you, he would shoot me, and I could not bring myself to take both your lives."

The gun with which Crotty was shot was preserved, and shown as a curiosity at Shanakill House, which was the residence of Mr. Hearn. It was labeled "Crotty's gun," and the interest attached to it proves how the service must have been estimated, in those days of imperfect police, of ridding the country of such a dreaded desperado.

At Crotty's trial, a woman, who lived with him as his wife, appeared in court, in a state of pregnancy usually exhibited by felons' female companions on such occasions; and when the jury returned a verdict of guilty, and the judge was beginuing to pass sentence, the criminal cried out, "A long day, my lord, a long day." "I see no reason for granting it," said the judge. "Oh, my lord," said the woman, "there is great reason, if it was only to let him see the face of his child;" and she stood up and exhibited her condition to the court.

The request was denied to the cruel felon, and he was executed next day. His wife appeared at his wake, and her lament is recorded in a popular dirge, which was often sung at wakes in the county of Tipperary. Subjoined will be found the score of this plaintive Irish melody, taken by a lady who often heard it sung by the peasantry. The two first verses of the song commonly appropriated to it are as follows:

"William Crotty I have often tould you,
That David Norris would come round to you. *
In Your bed, when you lay sleeping,
An leave me here in sorrow weeping,
Och-hone, oh!

"Oh, the judge but he was cruel,
Refused a long day to my jewel;
Sure I thought that you would, maybe,
See the face of your poo baby,
Och-hone, oh!"

* Var. lect - "Have sould you." But the reading in the text is correct for the Irish peasantry never regarding the consonants in their rhymes.

Crotty was decapitated, according to his sentence, and his head was placed on a spike over the gate of the county gaol, which was at a great thoroughfare, and often a resting-place for those who brought milk to the markets. In a few days the head became in a state of putrid solution, and began to distil drops of gore into the milk-cans, for some time before it was discovered, to the inexpressible disgust and horror of all who had been drinking the milk. The hair did not decay with the flesh - it grew on the bony cranium; and there for a long time the ghastly skull of this miscreant excited as much horror after his death as his cruel actions had during his life.

When a criminal was executed for an offence for which his body was not liable to be given to the surgeons for dissection, his friends were allowed to take it. It was washed, and then laid on a truss of straw in a public street, with or without a head, and a plate was laid on the breast, with a halfpenny on it, as an invitation to passengers to contribute to the funeral. It formed sometimes a solemn spectacle, with the felon's widow at the head, wailing with dishevelled hair, and singing, in a low, dismal chant, her lament, her children ranged at the foot. But the utter indecency with which executions were then accompanied sometimes occasioned the most revolting and horrible scenes.

About the same time at which the abominable occurrence just mentioned of Crotty's head took place, three highwaymen, Stackpole, Cashman, and Hierly, were hanged in Waterford. Their bodies were given to their friends, and were brought to the fish-house to be washed. While in the act of being washed, the bell rung to intimate a fresh arrival of fish; the bodies were hastily removed from the boards which they occupied, and the fish were thrown down in their place, swimming in the loathsome washings and blood of the corpses. The latter were then exposed on straw in the street, and an elderly gentleman, who communicated the circumstance, was brought by his nurse to see them, as a sight worthy of contemplation. The belief was, that if the beholder did not touch the body he saw, the ghost of it would haunt him; so he was led up by his nurse for the purpose, and laid his 'lands on them one after the other. The cold, clammy feel and the ghastly spectacle never left his memory, but haunted him ever after.

***

Crotty’s Rock, Comeragh Mountains, County Waterford.

***

O’Farrell (Pocket Companion, vol. IV), 1810; pg. 79. O’Neill (1913), pg. 117.

X:1

T:Crotty’s Lament [1]

M:C
L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

GA | B2 AG G2 G>A | B2B2B2 AG | A2A2A2A2 | B2d2 “tr”e2d2 || B |

d2 (ef) g2B2 | g2g2 f2 ed | e>fg>f e>dBA | GEGA B2 AG | E2 G>A G2 ||

 

CROTTY'S LAMENT [2]. Irish, Slow Air or Lament (3/4 time). G Major. Standard tuning. AB.

X:1

T:Crotty’s Lament [2]

M:3/4

L:1/8

R:Slow Air

Z:AK/Fiddler’s Companion

K:Eb

EG | B4 (GE) | F2G2A2 | (A2G2) g>e | c<e e2 (cF) | F3 dfa | (g<b) (e<g) (c<e) |

B<G G<E “tr”F2 | E4 |: E G | B4 G E | F2G2A2 | {A}G4 E2 | B4 c>B |

B<G G<E F2 | E4 B>c | _d4 BG | F2 FG/B/ | {A}G4 EG | B4 {d}c>B |

(B<G) (G<E) F2 | E4 (EG) | B4 {d}c>B | B<G G<E F2 | E4 g>e |

c< e e(dfa) | (g<b) (e<g) (c<e) | (B<G) (G<E) F2 | E4 :|

           

CROTUIRIM AN CEATARNAC. AKA and see "Connie the Soldier."

           

CROUGHLY. Scottish, Strathspey. D Minor. Standard tuning. AAB. Composed by William Marshall (1748-1833). Croughly is an old farmhouse with parts that date from 1560, with later additions in 1760; it is a farmhouse to the present day, although combined with a bed and breakfast lodging. Moyra Cowie (The Life and Times of William Marshall, 1999) says the house was occupied in Marshall’s day by James Gordon of Croughly (1726-1812). He had six sons and fourteen grandsons who entered military service, serving through the Victorian era, one, William Alexander Gordon (1769-1856) attaining the rank of Major General.

***

Croughly was the site of an illicit still, Cowie continues, the ancestor of the famous Glenlivet Label. The still became a distillery founded by Robert Gordon at Knoc of Croughly, who, after a dispute with the duke’s factor in 1843 moved the enterprise to Delnabo near Tomintoul, and finally to Minmore. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 54. Stewart-Robertson (The Athole Collection), 1884; pg. 242.

X:1

T:Croughly

L:1/8

M:C

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

c|A<(d d)>e f2 d>f|e>d c<g a/g/f/e/ c>e|A<(d d)>e f2 d>f|e>c a/g/f/e/ d2 d:|

E|~F>GA>B c<FA<F|~E>FG>c G/F/E/D/ C>E|~E>GA>B c<FA<g|f>d f/e/d/^c/ d2 D<E|

~F>GA>B c<FA<F|E>FG>c G/F/E/D/ C>E|F<AG<B A<fe<g|f>d f/e/d/^c/ d2d||

           

CROUSADO, LA. French, Bourree (3/8 time). France, Province of Auvergne (Central France). C Major. Standard tuning. AA'BB'. Stevens (Massif Central), 1987, vol. 2; No. 41.

           

CROW BLACK CHICKEN. Old‑Time, Song Tune. Folkways FA 2494, "Sing Songs of the New Lost City Ramblers" (1979). Columbia 15318 (78RPM), Leake County Revelers.

                       

CROW CALL. Old-Time, Breakdown. USA, Indiana/Ohio line. The tune was learned by source Harold Zimmerman from his grandfather, and is an imitation of a bird call. Rounder CD 0441, Harold Zimmerman (et al) – “Along the Ohio Shores” (2002). Rounder Heritage Series 1166-11592-2, Harold Zimmerman (et al) – “The Art of Traditional Fiddle” (2001).

           

CROW LITTLE ROOSTER. Old-Time, Breakdown. A Major. Standard tuning. AB. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 29.

                                   

CROW MOLLY. Old-Time. Rounder CD 0397, Scott Nygaard - "Dreamer's Waltz" (1996).

           


CROWDIE. AKA and see "Three Times Crowdie in One Day," "The Wayward Wife," "Bide Ye Yet [2]," "O That I Had Ne'er Been Married." Bayard says the first strain of his "Lost Indian" [version II] was derived from the opening of "Crowdie."

           

CROWHILLOCK. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Archibald Duff, who published his first Collection in 1794. Duff was born in Montrose, but later moved to Aberdeen to assume the music/dancing master practice of the famous Francis Peacock. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 2. Hunter (Fiddle Music of Scotland), 1988; No. 119.

X:1

T:Crowhillock

M:C

L:1/8

S:Glen Collection

Z:AK/Fiddler’s Companion

K:A

E | A>BAa ecce | E>Fec e/d/c/A/ GBc|cA>BAa e<cce | d/c/B/A/ G>B A/A/A A :|

f | a>bae c>dec | d>edc B>cdB | a>bae c>dec | d/c/B/A/ GB A/A/A Af | a>bae c>dec |

d>edc B>cdB | A<Ec<A e<ca<c | d/c/B/A/ G>B A/A/A A ||

           

CROWLEY TWO-STEP. Cajun, Two-Step. USA, southwestern Louisiana. A Major. Standard tuning. AABB. Raymond Francois (1990) remarks that this tune is often used by Cajun bands as a theme song. Francois (Yé Yaille, Chère!), 1990; pg. 106. Flyright Records FLY-609, Leroy "Happy Fats" LeBlanc (reissue). Kajun Records Kj-1053, Aldus Roger.

           

CROWLEY’S. See also “Master Crowley’s.”

 

CROWLEY'S [1] (Ríl Uí Chruaidhlaoich). Irish, Reel. D Major. Standard tuning. AB (Breathnach, Harker/Rafferty, Moylan): AAB (Miller & Perron): AABB (Mulvihill, Taylor). The reel is commonly played along with the second Crowley reel and together are known as "Crowley's Reels." The Irish fiddle master Michael Coleman (b. 1891, Co. Sligo ‑ d. 1945, New York) is the source for most versions of this tune, although accordion player Joe Cooley (Peterswell, County Galway) also helped popularize it. David Taylor (1992) thinks the tune was probably originally called "Crowley's" by Coleman, who, like other Irish musicians, frequently named tunes after his associates. Coleman’s associate, of whom little is known, is sometimes referred to as “Master” Crowley. Coleman recorded the melody, paired with “Crowley’s No. 2” below, in New York for Decca Records in 1935. Sources for notated versions: fiddler Tommy Potts (Ireland) [Breathnach]; Michael Coleman (Co. Sligo/New York) [Miller & Perron, Williamson]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; John Clancy (Bronx, NY) [Mulvihill]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 137, pg. 55. Harker (300 Tunes from Mike Rafferty), 2005; No. 47, pg. 15. Lyth (Bowing Styles in Irish Fiddle Music), 1981; 39. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 41. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 59. Moylan (Johnny O’Leary), 1994; No. 309, pg. 178. Mulvihill (1st Collection), 1986; No. 226, pg. 61. Taylor (Through the Half‑Door), 1992' No. 34, pg. 25. Taylor (Music for the Sets: Yellow Book), 1995; pg. 18. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 18. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 84. Ace of Hearts AH56, Michael Coleman (reproduction of an old 78 RPM recording). Columbia, Michael Coleman, mid‑1930's. Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000. Learned from the Coleman 78’s). Decca Records, Michael Coleman (1935). Gael‑linn CEFCD 114, Tony MacMahon & Noel Hill - “ "I gCnoc na Graí” ('In Knocknagree'). Green Linnet SIF-1051, Jackie Daly, Seamus and Manus McGuire - "Buttons and Bows" (1984). Green Linnet SIF1122, Kevin Burke - "Open House" (1992). Green Linnet GLCD 1175, Cherish the Ladies – “New Day Dawning.” Green Linnet GLCD 1187, Cherish the Ladies – “One and All: the best of Cherish the Ladies” (1998). Philo 2001, "Jean Carrignan" (learned from Coleman's recordings). RCA 5798-2-RC, "James Galway and the Chieftains" (1986).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Crowley’s [1]

M:C|

L:1/8

K:D

B|A3dB2dB|ADFD ADFD|A3A BABc|dfeg fddB|ADFA B2 dB|ADFD ADFD|

A3A BABc|d2 eg fdde||f3a g2fg|eA c/B/A eA c/B/A|f3a g2 fg|afge fdde|f3a g2fg|

eA c/B/A eA c/B/A|f3a g2 fg|afge fd d||

 


CROWLEY'S [2]. Irish, Reel. D Major {most versions}: D Major (‘A’ part) & D Mixolydian (‘B’ part) {Harker}. Standard tuning. AB (Moylan): ABB (Miller & Perron): AABB (Harker/Rafferty). Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]; New York/Sligo fiddler Michael Coleman [Bulmer & Sharpley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 19. Harker (300 Tunes from Mike Rafferty), 2005; No. 48, pg. 15. Lyth (Bowing Styles in Irish Fiddle Music), 1981; 40. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 42. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 59. Moylan (Johnny O’Leary), 1994; No. 310, pg. 178. Taylor (Music for the Sets: Yellow Book), 1995; No. 18. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 84. Decca Records, Michael Coleman (1935). Green Linnet GLCD 1175, Cherish the Ladies – “New Day Dawning.” Green Linnet GLCD 1187, Cherish the Ladies – “One and All: the best of Cherish the Ladies” (1998).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Crowley’s [2]

R:reel

Z:id:hn-reel-429

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

M:C|

L:1/8

K:D

e|:f2df edBc|dBBA BAFA|1 ~B3d AFDE|FEED E2de:|2 ~B3d AFDF|EFGE FDFA||

|:d2dc dAFA|BABd cA~A2|BGAF GEFD|1 EFGE FDFA:|2 EFGE FDD||

                            

CROWLEY’S REEL [3]. AKA and see AKA and see “The Bluebells,” “Miss Patterson,” "Miss Patterson's Slipper," “Shark’s Favorite.” Irish, Reel. E Minor (Mulvihill): E Dorian (Miller). Standard tuning. AA’BB (Miller): AABC (Mulvihill). Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Miller (Fiddler’s Throne), 2004; No. 143, pg. 94. Mulvihill (1st Collection), 1986; No. 221, pg. 60. Claddagh Records CC13, Tommy Potts – “The Liffey Banks” (1972).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Miss Patterson’s Slipper

T:Crowley’s Reel

T:Master Crowley’s

R:reel

H:See also #685

D:The Gathering (Matt Molloy)

D:Paddy Glackin: Ceol ar an bhFidil le Paddy Glackin.

Z:id:hn-reel-179

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

M:C|

L:1/8

K:Edor

B,E~E2 B,EFE|EDB,D A,DFD|B,E~E2 B,EFE|FAdA FEED|

B,E~E2 B,EFE|EDB,D A,DFD|B,E~E2 B,EFE|1 FAdA FEED:|2 FAdA FEEA||

|:Bbba fgeg|fd~d2 adfd|Bbba fgfe|dBAF FEEA|

Bbba fgeg|fd~d2 adfd|EFGA ~B3d|1 AFDE FEEA:|2 AFDE FEED||

“Variations”

B,GEG B,GEG|F2DF A,DFD|B,E~E2 B,EGB|AFdF FEED|

B,E~E2 EFGE|EDB,D A,DFD|B,E~E2 B,EGB|AFdF FEED:|

|:Ebab fgeg|fdad bdad|Bbab ~f3e|dBAd BEEA|

Bbab fgeg|fd~d2 adfd|EFGA ~B3d|1 AFDE FEEA:|2 AFDE FEED||

                       

CROWLEY’S RECOLLECTION. Irish, Jig. G Major. Standard tuning. AA’BB’. Accordion player Luke O’Malley named the tune obtained from his friend Paddy Crowley, who never remembered the title, but always remembered it was close to “Cook in the Kitchen.” Source for notated version: the Gavins of Ballina [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1076; No. 98, pg. 49.

X: 1

T: Crowley's Recollection

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Jig

K: G

DGG GAG | FEF D2 c | BAB GBd | cAG FDC |

DGG GAG | FEF D2 B/c/ | ded cAG |1 AGF GAG :|2 AGF G2 B/c/ ||

|: d2 g fdc | ded cAG | dge dcA | GFG ABc |

def gfg | agf g2 e | ded cAG |1 AGF GAG :|2 AGF G2 ||

                       

CROWN POINT [1]. American, Reel. G Major. Standard tuning. AABB. Crown Point is the name of a Colonial fort in upper New York, famous during the French and Indian War. Ford has another tune, perhaps a companion piece of sorts called “Ticonderoga.” Ford (Traditional Music in America), 1940; pg. 94.

X:1

T:Crown Point [1]

M:2/4

L:1/8

B:Ira Ford – Traditional Music in Amercia (1940)

Z:AK/Fiddler’s Companion

K:G

B/c/|de/c/ dc/A/|B/d/A/F/ GA/B/|c/d/A/F/ DE/F/|G/E/D/B,/ G,B/c/|

de/c/ dc/A/|B/d/A/F/ GA/B/|c/d/B/c/ A/F/D/A/|G2 G:|

|:e/f/|ga fd|e/f/e/d/ BG/A/|Be e/f/e/d/|BA Ae/f/|

gabf|a/b/a/g/ eA/B/|c/d/B/c/ A/F/D/A/|(G2 G):|

 

CROWN POINT [2]. American, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. No relation to "Crown Point [1]." Source for notated version: Roy Watrous (Guilford, Conn.) [Sweet]. Sweet (Fifer’s Delight), 1964/1981; pg. 46. 

           

CROWN THE YEAR.  English, Country Dance Tune (3/2 time). B Minor. Standard tuning. AABB. Barnes dates the tune to 1712 without giving a source. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 25.

           

CROWS ARE COMING HOME, THE. Irish, Air (3/4 time). A Dorian. Standard tuning. AB. "From the whistling of Phil Gleeson of Coolfree: about 1851" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 35, pg. 20.

X:1

T:Crows are coming home, The

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Ador

dB|A2 BAAG|A2B2d2|e2d2B2|AA G2 dB|A2 BAAG|A2B2d2|e2d2B2|AB A2||

e/f/|g2a2 (3age|g2a2 ag|e2d2B2|AA G2 dB|A2 BAAG|A2B2d2|e2d2B2|AB A2||

 

CROW'S NEST, THE (Nead An Preacain). Irish, Slip Jig (9/8). D Major. Standard tuning. AAB. Source for notated version: Chicago fiddler John McFadden, originally from County Mayo [O’Neill]. O'Neill (Krassen), 1976; pg. 87. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1167, pg. 220.

X:1

T:Crow’s Nest, The

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Music of Ireland (1903), No. 1167

Z:AK/Fiddler’s Companion

K:D

d2A A2G FED | A2d dzg fed | c2A A2G FED | A2B c2B cde :|

|| d2g f2d ezc | A2d d2c dcA | B2g f2d ezc | A2B c2B cde |

d2g f2d ezc | A2d d2c dcA | efg f2d e2c | A2B c2B cde ||

           

CROYDON FRISK.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. Originally published in Charles and Samuel Thompson’s third country dance collection (London, 1773). It was entered (as were several tunes from the Thompson’s 1773 collection) in the 1788 music manuscript copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 67.

X:1

T:Croydon Frisk

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

GGGG|B2G2|AAAA|c2A2|dBBd|cAAc|BGGG|G4::Bddd|e2c2|cAAA|d2B2|

BGGG|cAAA|edcB|A2 BA|GGGG|B2G2|AAAA|c2A2|dBBd|cAAc|BGGG|G4:||

           

CRÚ CAPAILL, AN (The Horse Shoe). Irish, Double Jig. G Major? E Minor?. Standard tuning. AABB. As Kelly had no name for the tune, Breathnach supplied one of his own making. The Horse Shoe was the name of the shop John Kelly owned and ran in Capel Street,Dublin, just a few blocks from the Piper's Club and other notable musical venues. Source for notated version: fiddler John Kelly/Sean O'Kelly (Dublin, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 52, pg. 21.

                       

CRUAC SUAS NA CEIRTEACA. AKA and see "Stack the Rags."

                       

CRUACH FRAOCH, AN. AKA and see "The Heathery Cruach." Cruach is the Gaelic word for mountain peak.

 

CRUACH MHÁRTAIN.  See “An Tuirin Garbh.”

                       

CRUACHA GORMA, NA. Irish, Hornpipe. G Major. Standard tuning. AB. Treoir.

X: 1

T: Na Cruacha Gorma

S: "Treoir"

M: 4/4

L: 1/8

R: hornpipe

Z: Transcribed by Bill Black

K: G

(3DEF | G2 (3BAG FA (3DEF | GB (3def gedB |

AE (3E^DE cABG | (3ABA (3GFE D2 (3DEF |

G2 (3BAG FA (3DEF | GB (3def gedB |

(3A^GA fe cFAF | (3ABA FE G2 ||

Bd | e2 (3fed edBd | e2 (3fed B2 (3AB^c |

d2 (3edc dAFG | (3AGF GE D2 (3DEF |

G2 (3BAG FA (3DEF | GB (3def gedB |

(3A^GA fe cFAF | (3ABA FE G2 ||

                       

CRUEL DELANY. Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. Source for notated version: Mr. J. McKenzie of Newtownards, "a great lover of Irish music," c. 1879 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 324, pg. 151.

X:1

T:Cruel Delany

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Eb

E2E2F2|E2E3B|c>B G2F2|E2E2zB|e2e3d|c2B2G2|c2B2B2|B3 zB2|

e2e2G2|A2A2zc|c3 BAG|F2F2 GF|E2e3c|Bc G3E|F2E2E2|E4||

 

CRUEL FATHER, THE. AKA and see “The Killfadda.”

 

CRUEL WILLIE. Old‑Time, Bluegrass; Breakdown. D Major. DDad tuning. Learned from Arthur Smith (Tenn.) by Nashville session fiddler Howdy Forrester, to whom it is sometimes attributed. It was also recorded by the Bing Brothers, Howdy Forrester and Junior Daugherty, and Lester Woody used to play it with the Stanley Brothers in the 1950’s. Words have been set to the tune by Bill Caswell (formerly of Nashville, now an Oklahoman) and recorded by the Bing Brothers. Briar 4204, Earl Collins - "That's Earl" (1975). Rounder SS‑0145, J.P. Fraley (Rush, Ky.) ‑ "Traditional Music on Rounder: A Sampler" (1981. The tune was learned by Fraley from Howdy Forrester). Jim Moss – “Sleeping Lady.” Tony Ellis – “Sounds Like Bluegrass to Me” (played by Lester Woody).

 


CRUINNEACHADH IOMLAN LUTHMHOR, AN. AKA and see "The General Gathering, 1745." At the battle of Quebec, 1760, the British troops were retreating before the French in disorder and the general complained to a field-officer in Fraser’s regiment of the bad conduct of his corps. O’Neill (1913) reports the officer rejoindered, “Sir, you did very wrong in forbidding the pipers to play; nothing dispirits the Highlanders so much; even now they would be of some use.” “Let them blow, in God’s name, then!” said the general; and the pipers forming skirlled “Cruinneachadh” (Gathering), on which the Scots formed in the rear and bravely returned the charge.

 

CRUISCIN DIGE, AN. AKA and see "The Jug of Punch."

 

CRUISCIN LAN. AKA and see "Cruiskeen Lawn."

 

CRUISGIN BEAG, AN (The Little Jug/Pot). Irish, Air (2/4 time). B Flat Major. Standard tuning. One part. O'Sullivan (1983) believes this tune probably to be a variant of "An Cruiscin Lan," which he remarks is "still sung today in West Cork." The earliest recorded version of the tune is in an English ballad opera entitled The Beggar's Wedding by the Irishman Charles Coffey, performed in 1728. Source for notated version: the tune was noted from "Miss Murphy, Dublin, 1839" by the Irish collector Edward Bunting (1840). O'Sullivan/Bunting, 1983; No. 130, pg. 188.

                       

CRUISKEEN LAWN (Cruiscin Lan). AKA and see "O'Sullivan's Return," "The Men of '82," "The Wife Who Was Dumb," "Dumb, Dumb, Dumb." Irish, Air (4/4 time). G Minor (O’Neill): A Minor (O’Farrell). Standard tuning. AB (O’Neill): AABB (O’Farrell). "Cruiskeen Lawn" is the Englished form of the Gaelic title "Cruiscin Lan," which means 'The Full Little Jug'. Flood (1905) reports that Dr. Sigerson, in "The Bards of the Gael and Gall, believes this tune evidences strong Scandinavian musical influences from the period of the Norse invasions of Ireland c. 800‑1050. He is in error,” states Flood, who doubts the tune dates from the Norse period or even mediaeval days. Cazden (et al, 1982) finds the earliest publication of the song to be a sheet-music copy printed in New York by Edward Riley, dated between 1823 and 1831, and notes that the song became a favorite on both sides of the Atlantic during the mid-19th century. As a popular tune it was used for several other ballads and hymns, including the American shape-note piece "Consolation" (Sacred Harp, 1848). See also note to "An Cruisgin Beag" and “We’ll take again a cruiskeen, a cruiskeen laun.” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 41 (appears as “Cruskeen Lawn”). O'Neill (Music of Ireland: 1850 Selections), 1903/1979; No. 254, pg. 44.

X:1

T:Cruiskeen Lawn

M:C

L:1/8

R:Air

N:”With expression”

S:O’Neill – Music of Ireland (1903), No. 254

Z:AK/Fiddler’s Companion

K:G Minor

G/^F/ | D<GGA B2 AB | .c.B.A.G F3 D/C/ | D<GGA B>ABc |

d6 zd | d>BBd f2 ed | cBAB c2 Bc | d>c B<G d2D2 | G2A2B2 Bc |

d>c B<G d2 D2 G6 z || G/A/ | B>A B<d f<d f2 | c>A F<A c<A c2 |

d>c B<G d2D2 | G2A2B2 Bc | d<g d>c B2A2 | G6 ||

                       

CRUISKIN, THE. Irish. G Major. Standard tuning. One part. Source for notated version: from manuscripts in the possession of Chicago Police Sergeant James O’Neill, originally from County Down, and Francis O’Neill’s ‘scribe’ and collaborator [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 88.

X:1

T:Cruiskin, The

M:4/4

L:1/8

S:Sergt. James O'Neill manuscripts

Z:Paul Kinder

K:G

Bc|d2 de dBAB|d2 de d2 BA|Beee efge|defa g2 g2|abag fagf|

egfe d2 BA|Beee egfe|defa g2 eg|edcB AcBA|G2 GG G2||

                       


CRUMB CREEK POSEY. AKA and see "My Love is/She's But a Lassie Yet [1]," "The Kings Head," "Lindsay Munnell Tune," "The Virginia Reel," "The White Cockade." American, Reel. USA, southwestern Pa. D Major. Standard. AB (irregular time). Except for the first, the alternate titles were local southwestern Pa. titles, and, in this case, floaters. However, all versions of the tune were derived from the Scottish original "My Love She's But a Lassie Yet." Source for notated version: James Bryner (Fayette County, Pa., 1946) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 323D, pgs. 283‑284.

 

CRUSHING OF TWIGS, THE (Mill na Máidí). AKA and see “Mil na Maidí,” “Muilleann na Maidí.”

 

CRY OF THE EAGLES. See “The Eagles Whistle.”

                       

CRYING WALTZ. Old-Time, Waltz. A Major. Standard tuning. AB. Source for notated version: Floyd Engstrom [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 30.

                       

CRYSTAL SCHOTTISCHE. American, Schottische. USA; Missouri (presumably Ford's version), Pennsylvania. G Major ('A' and 'C' parts), D Major ('B' part), & C Major ('D' part). Standard tuning. AABCDD (Ford): AABB (Bayard). Bayard (1944) identifies this tune as a favorite schottische, in various forms (some of which differ markedly from the sheet music), all over western Pennsylvania. See also Henry Reed’s “Kiss Waltz [2]” (a schottische, despite the title) which employs part of “Crystal Schottische” as the third part. The time was recprded as
Two-Step Schottishe” by Leizime Brusoe on 78RPM. Sources for notated versions: Mrs. Sarah Armstrong, (near) Derry, Pennsylvania, November 18, 1943 [Bayard, 1944]: Thoma Patterson (Elizabeth, Pa., 1930's), Steffy (1949), Levi Hall (Fayette County, 1944), James Taylor (Greene County, Pa./Wetzel, W.Va., 1930's) [Bayard, 1981]. Bayard (Hill Country Tunes), 1944; No. 36 (listed as untitled "Schottische"). Bayard (Dance to the Fiddle), 1981; No. 422, pgs. 399‑401. Ira Ford (Traditional Music in America), 1940; pg. 157. Henry Ford (Good Morning), 1941; pg. 79. Howe's (Diamond School for the Violin) 1861; pg. 54.  Rounder CD1518, Various Performers – “American Fiddle Tunes” (1971. Played by Leizime Brusoe).

X:1

T:Crystal Schottische

M:C

L:1/8

B:Ira Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

B>G F>A G2D2|Bd b>a g4|f2A2f2e2|d>F G>A B2A2|

B>G F>A G2D2|Bd b>a g4|f2A2 e2F2|G>A G>F G4:|

K:D

A>g f>e ^d2e2|f2 f>g a4|b2 e>f g2c2|({e}d>)c d>e f4|

A>g f>e ^d2e2|f2 f>g a4|b2 e>f ag Bc|d2d2 d4||

K:G

B>G F>A G2D2|BD b>a g4|f2A2f2e2|d>F G>A B2A2|

B>G F>A G2D2|Bd b>a g4|f2A2 e2F2|G>A G>F G4||

K:C

C>E G>c e2c2|E>G c>e g3a|(g2 f)B (e2 d)F|(c2 B)E A2G2|

C>E G>c e2c2|E>G C>e g3a|(g2 f)B (ed) AB|c2c2 c4:|

                       

CRYSTAL SPRING, THE. English, Hornpipe. G Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 201.

                       

CRYSTAL SPRINGS. Old-Time, Breakdown. G Major. Standard tuning. AABB. Crystal Springs, in Fort Worth, Texas, was one of the seminal arenas for the development of Western Swing in the 1930’s, with the Light Crust Doughboys, and a teenage fiddler named Jesse Ashlock. Source for notated version: Frank Maloy (Englehard, N.C.), learned from a radio fiddler in the 1940’s [Devil’s Box]. Devil’s Box, vol. 21, No. 4, Winter 1987; pg. 16.

X:1

T:Crystal Springs

M:2/4

L:1/8

S:Frank Maloy – Devil’s Box (1987)

K:G

B/A/ | G/A/B/A/ G/D/E/G/ | D/E/D/C/ B,/A,/G,/A,/ | B,/C/D/E/ G/A/B/d/ |

e/d/B/G/ AB/A/ | G/A/B/A/ G/D/E/G/ | D/E/D/C/ B,/A,/G,/A,/ | B,/C/D/E/ G/A/B/e/ |

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

B/e/d/B/ AB/A/ | G/A/B/d/ g/d/B/A/ | G/A/c/d/ e/f/g/e/ | d/e/d/c/ B/A/G/B/ | A/c/B/A/ G :|

                       

CRYSTAL STREAM WALTZ. Old‑Time, Waltz. USA, Missouri. F Major. Standard tuning. AB (Beisswenger & McCann): AAB (Phillips): AABB (Christeson). Sources for notated versions: Virgil Smith (Mo.) [Christeson]; Stuart Williams [Phillips]; Dean Johnston (1919-2007, Lamar, Barton County, Mo.), learned from Nowlin Boone (northern Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 74. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 161. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 249. Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time." Rounder 0436, Dean Johnston – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain” (2000),

 

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