The Fiddler’s Companion
© 1996-2008 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] |
CAIT AN CAIDIL AN
RIBHINN AN NOCHD. AKA and see "Where Will She Rest Tonight?"
CAIT BHÓIDHEACH (Bonnie Kate). AKA and see “Bonnie Kate [1].”
CAIT DEAS. AKA and see "Bonnie Kate."
CAIT NI DHUIBHIR (Kitty O’Dwyer). Irish, Air (4/4 time).
CAITH AN tSLIS LÉI. AKA and see “Throw the
Beetle at Her.”
X:1
T:
M:2/4
L:1/8
R:Strathspey
S:Harding’s All Round Collection, No. 160 (1905)
Z:AK/Fiddler’s Companion
K:G
G|Bd g2|(a/g/).f/.e/ g2|Bd
g2|aAAG|Bd g2|a/g/f/e/ g2|BdAc|BGG:|
|:c|Bd dc/B/|ce ed/c/|Bd
dc/B/|eAAd|Bd dc/B/|ce ed/c/|Bd Ad/c/|BGG:|
X:1
T:
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C Minor
e/d/|c2 BG FECD|E2EG BGEe|c2 BG FECc|eceG F/F/F F:|
|:d|efgf e/e/e ed|cBce f/f/f fg|1 efgf e/e/e ed|cBGB c/c/c c:|2
egfg
efde|cBGB cede||
CAITHTEACH CHRON, AN. AKA and see "The Brown
Winnowing Sheet."
CAITILÍN BEAG
m-CATARNAIG. AKA and see "Little Katie Kearney."
CAITILÍN NÍ UALLACHÁIN. See “Caitlin Ni Haullachain.”
CAITILÍN SAN SRAIDIN. AKA and see "Kitty in
the Lane."
CAITILÍN UA UBALL-GORT. AKA and see "Kitty of Oulart."
CAITLIN AG TEACT O'N
REATA. AKA and see "Kitty Got a
Clinking Coming From the Races."
CAITLIN NI AGHRA (Kitty O'Hara). AKA and see "Kitty O'Hara."
CAITLIN NI HUALLACHAIN (h-Uallachain). AKA – “Caitilín Ní Uallacháin (Kathleen
O’Houlihan),” “Katty/Kitty Nowlan [1].”
Irish, Air (3/4 time, “Marked time, not too slow”). D Major. Standard tuning.
AB. A song and harp tune of the Jacobite period in favor of the Stuart
rebellion. The title is an allegorical name for
CAITLIN NI CHUINN. AKA and see "Kitty Quinn."
CAITLIN TIRIAL (Kitty Tyrell). AKA - “Caitlin Triall.” AKA and see "Kitty Tyrell [2]." Irish, Air (3/4
time). A Major (Roche): G Major (Ó Canainn). Standard tuning. AB (Roche): AAB (Ó Canainn). The melody
appears in Cooke’s Selection of Favourite
Original Irish Airs arranged for Pianoforte, Violin or Flute (
CAJUN BANDSTAND. See "Valse d'Evangeline."
CAJUN HOP. Cajun, Dance Tune. Arhoolie 5027, Harry
Choates ‑ "The Fiddle King of Cajun Swing ‑ Original
Recordings 1946‑1949."
CAJUN SPECIAL. See "O.S.T. Special."
CAJUN STRIPPER. See "Bosco Stomp."
CAJUN WALTZ. See "Valse de 'Cadien."
CAKE WALTZ. Old‑Time, Waltz.
CAKE'S ALL DOUGH. AKA and see "Hop High Ladies
(the Cake’s All Dough)," "Miss
McLeod's/MacLeod’s Reel [1]," "Green Mountain [1]," "Walk Jaw Bone [1]," "Billy Boy [2]," "Did You Ever See the
Devil, Uncle Joe?" "Uncle Joe."
X:1
T:
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
f|cffg a2 gf|a2 gf egga|cffg a2gf|ecde ~f2f:|
c|~f2 fd cAAc|BGAF EGGe|~f2 fd cAAc|BgcA F2 Fe|
~f2
fd cAAa|bgaf egga|fefd cAAc|dfeg ~f2f||
CALABRIAN, THE. English
(?), Waltz. A Major (‘A’ and ‘B’ parts) & D Major (‘C’ part). Standard
tuning. AABBCC.
CALAD EOCAILL. AKA and see "Youghal
Harbor."
CALAHAN. AKA and see "Callahan," “Callaghan,” "Callahan's
Reel," "Callahan Rag," "Last of Callahan."
CALAHAN RAG. AKA and see "Callahan" and "Callahan Rag."
CALALY MILL. Northumbrian. One of the "lost tunes" of Vickers' 1770
manuscript.
CALAM (CALLUM)
BREUGACH {Lying Malcolm}. See “Calum
Breugach.”
CALD KALE. Scottish. Perhaps “Cauld Kale in
CALDER FAIR. AKA and see “Cawdor Fair,” “The Hawthorne Tree,” "Sing a Song of Sixpence" or
"Song of Sixpence." Scottish, English; Reel or
***
The melody is in the music
manuscript book of Thomas Sands (possibly from
***
If you had followed wisdom as I have followed care,
You’d never have lost your maidenhead by going to Calder Fair!
***
Sources for notated versions: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]; contained in the 19th
century Joseph Kershaw Manuscript—Kershaw was a fiddle player who lived in the
remote area of Slackcote, Saddleworth, North West England, who compiled his
manuscript from 1820 onwards, according to Jamie Knowles [Kershaw]; the 1823-26
music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near
Market Rasen, Lincolnshire Wolds), where the tune is set for three
instruments [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 26b,
pg. 7. Harding’s All Round Collection,
1905; No. 13, pg. 4. Howe (1000
Jigs and Reels), c. 1867; pg. 126. Kennedy (Fiddlers Tune Book),
vol. 1, 1951; No. 46, pg. 23. The Joseph
Kershaw Manuscript, 1993; No. 43. Raven (English Country Dance Tunes), 1984; pg. 177. Sumner (
X:1
T:Calder
Fair
M:2/4
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
g/f/e/d/ gd
| dd de/f/ | g/f/e/d/ gd | A/B/c/d/ ee :: d/g/g d/g/g ea ag/a/ |
b/a/g/f/
g/f/e/d/ | e/g/f/a/ gg :|
K:G Minor
b/a/g/a/
b/a/g/b/ | a/g/f/g/ a/g/f/g/ | b/a/g/a/ b/a/g/b/ | ad d2 :|
X:2
T:By the
Border Side As I Did Pass
M:6/8
L:1/8
S:Ashmolean
manuscripts (Nos. 46 & 37, article 128)
K:A Minor
A/A/|A2A
A2G|A2c E3|GGG G2E|G2E G2G|A2A A2G|A2c E2E|EFD E2E|A3 A2||
CALE SMITH'S PASTIME. AKA and see “Fair and
Forty Hornpipe,” “Seven Up.” American,
Reel. A Major. Standard tuning. AABB. Caoimhin Mac Aoidh remarks that the tune
is well known in
X:1
T:Cale Smith’s Pastime
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
E|.A(A/c/) .e(c/e/)|f/g/a/f/
f/e/c/e/|e/d/B/d/ d/c/A/c/|B/c/B/A/ G/E/F/G/|
.A(A/c/) .e(c/e/)|f/g/a/f/
f/e/c/e/|e/d/B/d/ d/c/A/c/|B/E/G/B/ A:|
|:e|a(a/b/) c’/a/e/c/|{g}f/^e/f/g/
a/e/c/e/|a(a/b/) c’/a/e/c/|f/a/g/b/ a(a/b/)|
c’/b/a/g/ a/g/f/e/|f/g/a/f/
f/e/c/B/|A(A/c/) e(c/e/)|f/a/g/b/ a:|
CALEDONEAN LADDIE. See "Caledonian Laddie."
CALEDONIAN CLUB. American, Strathspey. Ryan’s Mammoth Collection, 1883; pg.
168.
CALEDONIAN HORNPIPE. AKA and see "The Caledonian
Laddie."
CALEDONIAN HUNT [1],
THE. AKA – “Caledonean Hunt.” AKA - "My Love is
in the House." AKA and see "Moniemusk" [Bayard's No. 2]. Scottish;
Strathspey or Fling. D Major (most versions): C Major (Harding). Standard
tuning. AB (most versions): AAB (Kerr's): AABB (Harding). Composed by Sir
Alexander Don, 5th Baronet of Newton Don (1751-1815), who, in 1777
along with other local gentry, formed a Society called the Caledonian Hunt,
which met twice a year. (See note for “Sir
Alexander Don [1]” for more on him). The Cross Keys Hotel in Kelso (Borders
region) was used as a base. A
***
all running against
each other, being the time of Kelso Races. The
company is composed of
gentlemen of the Turf on both sides of the
Hunt. Foxhounds and
harriers hunt alternately in the mornings. There
is also a concert and
races and next night the gentlemen of the Hunt
give a handsome ball.
After the ladies retired therefrom, the gentlemen
formed a party to
drink their healths and when I got up at 8 they were
still drinking and
meant to sit till hounds went out. This meeting, I heard,
is most expensive of
any. An English Steward was obliged to pay 10
guineas for his room,
though only there 5 nights.
***
The annual event of the Caledonian Hunt was the famous
Caledonian Hunt Ball, an event so fashionable as to be attended by the majority
of gentry of Scotland, and not a few from England. Nathaniel Gow’s band performed music for the
occasion for many years, until music and dance fashions changed fashion. In
1822 King George IV attended the ball and took pleasure in expressing the
satisfaction he derived from Gow’s music.
When Gow presented his bill to the sponsors of the event, he added, “…my
own trouble at pleasure, or nothing, as his majesty’s approbation more than
recompensed me.” At the end of his life, when Gow became infirm and financially destitute from
the failure of his publishing business, the noblemen and gentlemen of the Hunt
voted Gow 50 pounds per annum for the remainder of his years in remembrance of
his services to them.
***
O’Neill (1922) remarks: “This
favorite first appeared in Ross' Choice
Collection of Scots Reels Country Dances and Strathspeys, Edinburgh 1780.” Carlin (The Gow Collection), 1986; No. 17. Cole (1000 Fiddle Tunes), 1940; pg. 125. Gow (First Collection of Niel Gow’s Reels), 1794 (revised 1801); pg. 7. Harding’s All Round Collection, 1905;
No. 38, pg. 11. Howe (Musician's Omnibus),
No. 2. Huntington (William Litten's),
1977; pg. 20. Joyce (Old Irish Folk Music
and Songs), 1909; pgs. 111‑112. Kennedy (Traditional Dance Music of
X:1
T:Caledonian Hunt, The [1]
M:C
L:1/8
R:Strathspey
B:The Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
A|F>A dA B<d A>F|G<B
A>F B(EE>)G|FAdA BdAF|G<B A>G F(DD>)G|
F>A dA B<d A>F|G<B
A>F B(EE>)G|F>Ad>A B/c/d A>G|F>AD>g f<dd||
f|d/e/f/g/ a>f
b>ga>f|d/e/f/g/ a<f g<e e>f|d/e/f/g/ a>f b<ga<f|A<a
a>g fd d>f|
d/e/f/g/ a>f
b>ga>f|d/e/f/g/ a>f gee>g|f>d e<f d>B A<F|A>Bd>e
f>dd||
X:2
T:Caledonian Hunt, The [1]
M:4/4
L:1/8
S:Aird's Selections 1782-97
Z:Paul Kinder
R:Reel
K:D
A|FAdA BdAF|GBAF BEEA|FAdA BdAF|GBAG FDDG|
FAdA BdAF|GBAF BEEG|FAdA B/2c/2d AG|FA Eg fdd||
f|sd/2e/2f/2g/2s af bgaf|sd/2e/2f/2g/2s af geef|sd/2e/2f/2g/2s af bgaf|
Aaag feef|d/2e/2f/2g/2 af bgag|d/2e/2f/2g/2 af geeg|fdef
dBAF|ABde fdd||
CALEDONIAN HUNT [2], THE. Scottish, Reel. A Mixolydian. Standard tuning.
AAB (Glen, Johnson): AABB (Skye). Glen (1891) finds the melody first in print
in Robert Ross's 1780 collection (pg.
6). Glen (The Glen Collection of Scottish
Dance Music), vol. 1, 1891; pg. 3. S. Johnson
(A Twenty Year Anniversary Collection),
2003; pg. 42. MacDonald
(The Skye Collection), 1887; pg. 54. WS 031703, Wendy MacIsaac – “Timeline” (2003).
X:1
T:Caledonian Hunt, The [2]
M:C|
L:1/8
R:Reel
B:MacDonald – The Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
e|cA A/A/A EAA=c|BGdB gded|cA A/A/A
EAA=c|BGgB AA/A/ A:|
|:g|agab abae|gaeg BGdB|agab
abae|degB A/A/A Ag|
abga egdg|Bgdg BgdB|=cAdB dega|gegB
A/A/A A:|
CALEDONIAN HUNT'S
DELIGHT, THE. AKA and see "Ye Banks and Braes."
Scottish, Air (6/8 time). D Major. Standard tuning. AABB. The composition was
credited to “Mr. Miller of
***
Do you know the history of the air”—It is curious enough.—A goo many
yeas ago a Mr. Jas. Miller,…
was in company with our friend, [the organist Stephen] Clarke; & talking of Scots music, Miller
expressed an ardent ambition to be able to compose a Scots air.—Mr.
Clarke, partly by way of
joke, told him, to keep to the black keys of the harpsichord, &
preserve some kind of rhythm; &
he would infallibly compose a Scots air.—Certain it is, that in a few
days, Mr. Miller produced the
rudiments of a air, which Mr. Clarke, with some touches and corrections,
fashioned into the tune
in question…Now to shew you how difficult it is to trace the origins of
our airs, I have heard it
repeatedly asserted that this was an Irish air; nay, I met with an Irish
gentleman who affirmed he
had heard it in
than a Countess, informed me, that the first person who introduced the
air into this country was a
Baronet’s Lady of her acquaintance, who took down the notes from an
itinerant piper in the Isle of
Man. [quoted in The
Life and Works of Robert Burns, 1896, by Robert Burns].
***
See “Caledonian
Hunt [1],” above, for more information on the subject of the title. In
fact, the Hunt as an organization was a supporter of Robert Burns, and Burns
dedicated a later edition of the work to the Caledonian Hunt, writing a new
Dedication in 1787 “To the Noblemen and Gentlemen of the Caledonian Hunt.” He
was rewarded when the Hunt led the subscription list, ordering 100 copies.
***
English musicologists, such as
William Chappell, have pointed out the air bears more than a little resemblance
to a melody in Playford’s Apollo’s
Banquet (1690), called “Lost is my quiet for ever.” Chappell even ascribes
an English provenance for it.
***
Gow (The Second Collection of Niel Gow’s Reels), 1788 (revised edition);
pg. 1.
|
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:Caledonian Hunt’s Delight, The
M:6/8
L:1/8
R:Air
S:Gow – Second Collection of Niel Gow’s Reels (1788)
Z:AK/Fiddler’s Companion
K:D
A,|:D3 E3{DE}|F>GF
{F}EDE|{DE}F>ED DB,A,|”tr”A,>B,D E>GF/E/|D3 “tr”E3|
F>GF {F}EDE|{DE}F>ED
DB,A,|”tr”A,B,D D3::A2”tr”B AFD|A2”tr”B (AF).D|
(AF).D (AF).D|[G,DB>]AF
E>G/F/E/|D3 “tr”E3{DE}|F>GF {F}EDE|{DE}F>ED DB,A,|”tr”A,B,D D3:|
CALEDONIAN/CALEDONEAN LADDIE. AKA‑ "Caledonian Hornpipe." Scottish, Hornpipe. D Major
(most versions): B‑Flat Major (Howe). Standard tuning. AAB (O’Farrell):
AABB (Cole, Ford, Gatherer, Huntington): AA'BB (Kerr's). Cole (1000 Fiddle Tunes), 1940; pg. 116. Ford
(Traditional Music in America), 1940;
pg. 115 (appears as "Caledonian Hornpipe"). Gatherer (Gatherer’s Musical Museum), 1987; pg.
40. Howe, Musician's Omnibus, No. 2.
Huntington (William Litten's), 1977;
pg. 20. Kerr (Merry Melodies), vol.
2; No. 298, pg. 32. O’Farrell (Pocket
Companion, vol. II), c. 1806; pg. 152. Ryan’s
Mammoth Collection, 1883; pg. 153. White's Unique Collection, 1899; pg. 21.
X:1
T:Caledonian
Laddie
M:C
L:1/8
R:Hornpipe
S:O’Farrell
– Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s Companion
K:D
D2 | D3E {G}FE FA | {c}BA Bd e3f | (dc) (BA) (Bd) (AF) | (GB) (E2 E)G (FE) |
D3E {G}FE FA | {c}BA Bd e3f | (dc) (BA) (Bd) (AG) | FA D2D2 :| de |
f2f2 (gf) (ed) | (cd) (ec) A2 Bc | d2B2 (Bc) (de) | f2B2B2 (cd) | A3B (AF) (EF) |
D2d2d2 (cB) | A3B (BA) (GF) | B2E2E3F | D3E (FD) (FA) | d2d2 {d/e/} f3D |
E3F (GE) (GB) | e2e2 {e/f/} g2 (ef) | (gf) (e^d) eBe=d | (dB) (ce) A2 (Bc) | d3F (EF) (GA) | F2D2D2 ||
CALEDONIAN MARCH. AKA and see "Bonaparte Crossing the
Rhine [1]," "March
of the Die Hards," "Star of
Bethlehem" (
X:1
T:Caledonian March
T:Caledonia
M:4/4
L:1/8
S:Sharon Shannon
R:March
D:Sharon Shannon CD "Out The Gap"
Z:Barney
K:A
DF|:AB AF A2 de|fe fa f2 ed|~B3 d AF ED|DE ED E2 DF|
AB AF A2 de|fe fa f-a ed|B3 d AF EF|
1 D2 DE D2 DF:|2 D2 DE D2 de||
fa af a2 fe|~d3 e f2 de|fd fa ba fa|e2 ef eA de|
fa ab a2 fe|dB de d2 cB|AF dB AF EF|
1 D2 DE D2 de:|2 D2 DE D2 DF||
CALEDONIAN QUICKSTEP. New England, Quickstep. G Major. Standard tuning. AABB. Composed by
Ralph Page. Page (Ralph Page Book of
Contras), 1969; pg. 7.
CALEDONIAN SOCIETY OF
LONDON, THE. Scottish, Strathspey. A Major.
Standard tuning. ABCD. Martin (Ceol na
Fidhle, vol. 3), 1988; pg. 12.
CALEDONIA'S WAIL FOR NIEL GOW, HER FAVOURITE MINSTREL (Caoidh Na H-alb Airson Neill Ghobha). Scottish, Slow Strathspey. B Minor. Standard tuning. AB (Emmerson, Hunter): AAB (Fraser, Skye): AABB (Skinner). The air was the work of the Scottish fiddler and composer Captain Simon Fraser of Knockie (1773‑1852), born at Ardachie near Fort Augustus. Regarding the composer, Hunter (1988) reports that Fraser's contemporary, a fiddler named Captain Macdiarmid, said of him "I never heard anyone make the fiddle speak Gaelic so beautifully." Fraser himself says of his tribute to that most famous of Scots fiddlers, Niel Gow: "This is an effort of the editor's to pay a public tribute of admiration to the memory of that sterling and original genius, Niel Gow, attempted in his own strain. The editor is aware how unnecessary this was, as while there exists any taste for the sprightly national style, brought to such perfection by this individual and his family, his name will live in the models his genius carved out for the cheerful, innocent, and rational amusement of youth; the strain of his music inducing a style of dancing highly conducive to health, athletic agility, and a general elevation of the spirits; and when prudently combined with their juvenile lessons for acquiring a prompt and genteel address, tends to the same effect throughout their advance in years, by giving universal delight. Were this tribute, therefore, worthy of its object, it becomes more due to a self‑taught genius, who has rendered it innecessary by bequeathing to posterity so very captivating a memorial of himself. Vide Vignette." The great Scottish fiddler-composer, J. Scott Skinner, included the tune in his Harp and Claymore collection, and appended in his handwriting on the manuscript page below the music: “The above is a beautiful melody.” Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 99, pg. 177. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 148, pg. 60. Hunter (The Fiddle Music of Scotland), 1988; No. 15. MacDonald (The Skye Collection), 1887; pg. 183. Skinner (Harp and Claymore), 1904; pg. 11. Lismor Records, Ron Gonella – “Fiddle Gems” (1976). Scottish Records, Yla Steven – “Back to the Hills” (c. 1977). Rounder Records 82161-7032-2, Bill Lamey – “Full Circle.” Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).
X:1
T:Caledonia’s Wail for Niel Gow Her favourite Minstrel
T:Caoidh na h-Alb airson Neill Ghobha
M:C
L:1/8
R:Slow Strathspey
S:Fraser Collection (1874)
Z:AK/Fiddlers’ Companion
K:D
F|:D<B, B,>C D>EFB|A>FF>E DA,A,(F/E/)|D<B,
B,>C D>
f>d (e/d/)c/d/ B2 (Bc/d/|D<B, B,>C D>EF>B|A<F F>E D>E/F/ A,(F/E/)|
D<B, B,>C D>E Fg|f>d (e/d/)c/d/ (B2B):|
f/^a/|b>c’ d’>c’ b>=af>d|a<f f>e dAAf/^a/|b>c’ d’>c’ b>a f/^a/b/c/’|
d’f (e/d/)(c/e/) B/d/f/d/ B(d/e/)|f[fd’][fd’]e/>d/ c[ca][ca]d/>c/|
[DB]>c d/c/d/^e/ f[F^A][F^A] D/=E/|[DF][DF][DF] (C/D/) [CE][CE][CE] (D/C/)|
B,/C/D/^E/
F<^A, (B,2 B,)||
CALEN O CUSTURE ME. AKA and see "Cailin og
a stuair me."
CALENDAR, THE (An Feilire). AKA and see "Finger the Shift," "Reice an Mhi‑adha." Irish,
Double Jig. E Dorian. Standard tuning. AABBCCDD. See also the related “Young Francis Mooney.” Source for
notated version: fiddler James McEnery, 1965 (Co. Limmerick, Ireland)
[Breathnach]. Breathnach (CRÉ II),
1976; No. 32, pg. 19.
CALGARTH HORNPIPE. English, Hornpipe. F Major. Standard. AABB. Knowles (A Northern Lass), 1995; pg. 19.
CALGARY POLKA. AKA and see "Gaudet Polka."
American (?), Canadian {?}; Polka. F Sharp Minor/A Major. Standard tuning.
AA'BCAA'. Calgary, Alberta, was named in 1876 by Colonel MacLeod, after his
boyhood home, “a little inlet on the sparsely populated island of Mull, with a
few grey cottages and one big house” (Matthews, 1972). The word is Norse in
origin and may have meant an enclosure for calves. Source for notated version:
Mark O'Connor [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 337.
CALIBACHAN. Scottish, Reel. Green Linnett GLCD 1146, The
Tannahill Weavers - "Capernaum" (1994). Green Linnet GLCD 1182, The
Tannahill Weavers - “Choice Cuts” (1997).
CALICO. AKA and see "Want to go to Meeting
and Got No Shoes." Old‑Time, Breakdown. USA; Mississippi,
south-central Kentucky. A Mixolydian (‘A’ part) & A Major (‘B’ part). The
‘Calico’ fiddle tuning, or AEac#, was so-called because it is employed in this
piece. ABB. Calico is an all-cotton fabric woven in plain, or tabby,
weave and printed with simple designs in one or more colors. Calico originated
in Calicut, India, by the 11th century, if not earlier, and in the 17th and
18th centuries calicoes were an important commodity traded between India and
Europe.
***
A tune by this name was learned by
south-central Kentucky fiddler Jim Bowles (1903-1993) from local musicians,
although his cross-tuned version was supposedly not widely known outside his
area. Jim Nelson maintains that Bowles learned the tune from Thomas Page
(Titon, 2001). Titon says the melody is similar to Marcus Martin’s “Citaco.”
The tune was recorded by Herbert Halpert for the Library of Congress
from the playing of Lauderville County, Mississippi, fiddler Stephen B. Tucker
in 1939. A rhyme sung to the tune goes:
***
Don't care where in the world I go,