The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
CROO - CRY |
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
CROOKED HORN EWE, THE. AKA and see “Ew(i)e wi’ the crooked horn
[1].”
CROOKED HORNPIPE.
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,
CROOKED RIVER, THE. Canadian, Jig.
CROOKED ROAD, THE. Irish, Reel. G Major. Standard. AB. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon”
(1995).
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
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
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.
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.
CROOKED WAY TO
T:Crooked
Way to
M:C
L:1/8
R:Reel
S:Levey – Dance Music of
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
CROOSTING CAP. AKA and see "The Sod of Turf."
Irish, Jig.
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
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
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,"
"
***
‘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
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").
X:1
T:Croppy Tailor, The
M:3/4
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of
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."
X:1
T:
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.
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
X:1
T:Cross of
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].
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 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
CROSSBOW, THE. English, Jig.
CROSSED COUPLE, THE. English, Jig. D Major. Standard
tuning. AAB. The Plain Brown Tune Book notes the tune dates from c.
1660, from
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 (
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.
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
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
X: 1
T:Crossing the
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
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
X:1
T:Crossing to
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
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
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
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:
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),
_______________________________
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.