The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT3] 

 

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]

 

 

[COMMENT4] 

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). Ireland, Munster. G Major. Standard tuning. One part. An anonymous 18th century Munster song, expressing the desire for political and cultural freedom. Cranitch (Irish Fiddle Book), 1996; pg. 101. Ó Canainn (Traditional Slow Airs), 1995; No. 106, pg. 90. Columbia 35612, "The Chieftains" (1978. Appears as part of the medley "Dochas"). RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991).

 

CAITH AN tSLIS LÉI. AKA and see “Throw the Beetle at Her.”

 

CAITHNESS. Scottish, Strathspey. G Major. Standard tuning. AABB. Caithness’ (in Gaelic, Gallaigh) origins are in the original Pictish division of Cat. The area, which juts into the North Sea at the extreme northeastern corner of Scotland, came under Norse raids toward the end of the first millennium and under Thorfinn the Norse earls of Orkney became earls of Caithness. It was not until 1222 that the Scots under Alexander II completely regained the territory. Hardings All-Round Collection, 1905; No. 160, pg. 50.

X:1

T:Caithness

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:|

 

CAITHNESS RANT, THE. Scottish, Reel. C Minor. Standard tuning. AABB'. Caithness’ origins are in the original Pictish division of Cat. The area came under Norse raids toward the end of the first millennium and under Thorfinn the Norse earls of Orkney became earls of Caithness. It was not until 1222 that the Scots under Alexander II completely regained the territory. Stewart-Robertson (The Athole Collection), 1884; pg. 271.

X:1

T:Caithness Rant, The

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 Ireland. Source for notated version: the 1861 manuscript collection of James Goodman, an Anglican cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 14, pg. 9.

                       

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 (Dublin, 1793). A version of the tune in 6/8 time can be found as “The Little Red Lark.” Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 23, pg. 26. Roche Collection, 1982; vol. 3, pg. 7, No. 25 (second setting). Island ILPS 9501, "The Chieftains Live" (1977). Rounder Records 3067, Alan Stivell ‑ "Renaissance of the Celtic Harp" (1982).

                       

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. USA, northwest Alabama. The tune was mentioned in newspaper articles about northwest Alabama fiddler Tom Freeman of Cullman County, and in his autobiography, according to Cauthen (1990).

                       

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."

 


CALABRIA. Scottish, Reel. F Major. Standard tuning. AAB. Calabria is a region in Italy; the toe of the ‘boot’. Stewart-Robertson (The Athole Collection), 1884; pg. 227.

X:1

T:Calabria

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. Calabria is a region in Italy; the toe of the ‘boot’. The earliest printing appears to be in the 18th century McFadyen manuscript (pg. 40), in 3/8 time. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 104, pg. 25. Wilson (Companion to the Ballroom), 1816; pg. 155.

 

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 Aberdeen.” Directions for this country dance were recovered from the Holmain Manuscript from Dumfries‑shire (c. 1710‑1750).

 

CALCASIEU WALTZ. See "Valse de Calcasieu."

 

CALDER FAIR. AKA and see “Cawdor Fair,” “The Hawthorne Tree,” "Sing a Song of Sixpence" or "Song of Sixpence." Scottish, English; Reel or Highland Scottische. England; Lincolnshire, Shropshire. D Major (Kennedy, Raven): F Major (Hardings): G Major (Ashman, Howe, Kershaw). Standard. AABB (most versions): AABBCCAABB (Howe). Calder Fair was a cattle, hiring and settling market. Calder is the old name for Cawdor (see “Cawdor Fair”). Lady Nairne wrote lyrics, called "Bonnie ran the Burnie doon," set to the ancient tune of “Calder Fair,” although the melody is better known in Scotland as “The Hawthorne Tree of Cawdor” (see note for that tune for more info.). John Glen (Early Scottish Melodies, 1900) maintains that the tune was carried across the border to England in the reign of Charles I, where it became popular. Both Glen (1900) and Chappell (1859) reference a song from the Ashmolean manuscript called “Ballad on a Scottish Courtship” the ballad being named “By the border side as I did pass.” It is from Captain Ashmole who held a commission under Charles I in the English civil war, who noted it down from hearing it sung. Glen thought the words were “from his own pen, as it is evident no Scotsman would sing such nonsense to his lass…” Ashmole employed a variant of the melody, although in 6/8 time (see abc’s below).

***

The melody is in the music manuscript book of Thomas Sands (possibly from Lincolnshire), dated March 12th, 1810, with the note:

***

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 (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 4. Wilson (Companion for the Ballroom), 1816; pg. 64.

X:1

T:Calder Fair

M:2/4

L:1/8

R:Reel

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 County Donegal, Ireland, under the alternate title. Cole (1000 Fiddle Tunes), 1940; pg. 27. Ryan’s Mammoth Collection; 1883; pg. 53.

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."

 


CALEDONIA, LE (quatrieme partie). AKA - "The Caledonian." French-Canadian, Reel. D Major. Standard tuning. AA'BB'. This is the fourth part of a five part French-Canadian quadrille. According to editor Joyal, the dance 'the Caledonia' is particularly popular in the Gaspé region of Québec. The melody appears in other French-Canadian pieces; for example, in "Set Americain (premiere partie) by accordionist Theodore Duguay and as the second part of "Caledonia" by accordion player Gerard Lajole (Joyal). The set "The Caledonian Quadrilles" was first published between 1820 and 1830, according to Flett & Flett (1964) and (as "The Caledonians") was one of three surviving quadrille sets in Scottish tradtion, along with "The Lancers" (first published about 1817) and the original First Set of Quadrilles, this latter of which became known simply as "The Quadrilles."  F. Rhodes notes that The Caledonians was a dance that was introduced into Cape Breton dances between 1890 and 1900, along with other square and couple dances. Source for notated version: Jean-Marie Verret (Lac Saint-Charles, Québec) [Joyal]. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pgs. 79 & 120. Carnaval C-402, Gerard Lajoie. Folkways RBF 115, Theodore Duguay - "Masters of French Canadian Music 4." MCA Coral CB33028, Gerard Lajoie. Philo Forerunner Series 42016, Jean-Marie Verret - "La Famille Verret, vol. 2" (1974). Vox A-108 (78 RPM), Theodore Duguay (1945).

 

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 Yorkshire gentleman, Colonel Thornton, visited in 1786 and gave this account:

***

A charming scene of confusion; cooks, ladies' servants, waitresses

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

Tweed with families and friends and also members of the Caledonian

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 Britain and Ireland: Reels and Rants), 1997; No. 15, pg. 6. Kerr (Merry Melodies), vol. 1; Set 20, No. 3, pg. 13. MacDonald (The Skye Collection), 1887; pg. 54. O'Neill (Waifs and Strays of Gaelic Melody), 1922; No. 265. Ryan’s Mammoth Collection, 1883; pg. 164. White's Excelsior Collection, pg. 71.

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 Edinburgh” by Gow. The Gows dedicated their second volume to the “Noblemen and Gentlemen of the Caledonian Hunt.” The antiquarian William Chappell wrote an article in 1867 on the subject of the air, entitled “The Caledonian Hunt’s Delight, ‘Ye Banks and Braes o’ Bonnie Doon’, and Robert Burns,” in which he states that Mr. Miller was said to have been an excellent singer. “Mr. Miller” was James Miller, a writer who served for many years as clerk in the Teind Office, Edinburgh. Burns set his song “The Banks o’ Doon” or “Ye banks and braes o’ bonnie Doon,” to the melody in Johnson’s Scots Musical Museum (vol. IV, 1792). In 1794 Burns wrote to his editor, Thomson, regarding the air:

***

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 Ireland among the old women; while, on the other hand, a Lady of fashion, no less

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" (Pa.). Scottish, March (4/4 time). D Major. Standard tuning. AABB. McDonald (Gesto Book of Highland Music, 1895) believed the air "to be of great antiquity" and “was a  great favourite with Duncan MacDonald of Dalness, colonel of the 57th Regiment of Die Hards, one of the heroes of the Peninsular War.” The reference to Die Hards stems from the Battle of Albuhera in 1811, when the commander of the regiment, a Colonel Inglis, knowing his men were hard pressed by the enemy, urged them to “Die hard, 57th, die hard!” David Murray, in his book Music of the Scottish Regiments (Edinburgh, 1994), says: “The tune of this march is the same as that of the ‘Roussillon March’, the slow march of the former Royal Sussex Regiment, raised in 1701, absorbed like the Middlesex into The Queen’s Regiment in 1966 and, until 1881, the 35th Foot, otherwise ‘The Orange Lilies’, from its facing colour. The 35th defeated the French regiment Royal Roussilon at Quebec in 1759, and incorporated the Roussillon, the white plume of Henry of Navarre, in its crest and ultimately in its cap badge. As published in the Gesto book, the Scotch Snap is prominent, but as played by the Royal Sussex the figure was reversed, the long note falling on the beat” (pg. 211). See also Bayard's (1981) note for "The Dusinberry March" and the "Star of Bethlehem," both closely related Pennsylvania collected marches. See also the Irish tunes “An Comhra Donn” and “Centenary March,” melodically similar in the ‘A’ part. Howe's School for the Violin, pg. 17. Kerr (Merry Melodies), vol. 1; No. 27, pg. 49. McDonald, 1895 (Gesto Collection); pg. 110. Greentrax CDTRAX 9009, Pat Shearer (Orkney Islands) - “Scottish Tradition 9: The Fiddler and his Art” (1993).

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>E Fg|

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:

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Don't care where in the world I go,