The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

CAPT - CAPU

[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] 

CAPTAEN ROC. AKA and see "Captain Rock."

                       

CAPTAIN AND HIS WHISKERS, THE. AKA and see "Captain with his Whiskers," "Balance the/a Straw [1]," "Lads a Bunchum [1]" (Laudanum Bunches?).

           

CAPTAIN ANGUS L. MACDONALD. Canadian, Slow March (6/8 time). D Major. Standard tuning. AABB. Composed by Pipe Major Fraser Holmes in honor of his close friend MacDonald, “the last Gaelic speaking Premier of Nova Scotia and a veteran of World War I” (Shears). Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 75.

                       

CAPTAIN BELLOW'S DANCE. English, March (6/8 time). G Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 191.

                       

CAPTAIN BING. See “Captain Byng.”

                       

CAPTAIN BLUETT'S MARCH. AKA and see “Grand March of Normal [1],” “Russian (Grand) March.” Irish, March. D Major. Standard tuning. AABB. Roche Collection, 1982; vol. 2, pg. 53, No. 319.

 

CAPTAIN BOURN’S FANCY.  English, Jig. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 16, pg. 6.

                       

CAPTAIN BOVER. English, Air (3/4 time). England, Northumberland. G Major. Standard tuning. AAB. "The ballads and tunes illustrating the doings of the press‑gang in this district have deserved greater attention and more searching investigation from the lovers of historical knowledge than has hitherto been accorded to them. This oppressive mode of recruiting for the navy acted with great severity upon sailors, keelmen, and all others of the working population whose avocations partook in the least degree of a nautical character. Harsh and tyrannical measures committed by the officers of the navy in the conducting of 'a press' invited determined resistance, and resulted in riot and bloodshed. The arrival of a vessal 'On His Majesty's Service' in the Tyne was regarded with mixed feelings of aversion and fear by those who were liable to be called upon, and the press‑gang was a fertile theme for local rhymsters from the earliest period of its operations down to living memory. 'Captain Bover' and the three following melodies ('Here's the Tender Coming,' 'Liberty for the Sailors,' 'Sailors Are All At the Bar') are interesting memorials of these stirring times, and as expressions of the popular feeling towards this tyrannical mode of appeal to the patriotism of sailors.  The tune was taken down by Mr. Thomas Doubleday, who was unable to recover more than one verse of the ballad. On the wall of the north aisle of the nave of St. Nicholas' Church, Newcastle, is a small marble tablet bearing this inscription: 'Near this place lie the remains of John Bover, Esq., Post Captain in the Royal Navy, who died 20th May, 1782, having for several previous years filled with the highest credit the arduous situation of regulating officer of this port'" (Bruce & Stokoe).

***

Where hes ti' been, maw canny hinny?

Where hes ti' been, maw winsome man?

Aw've been ti' the norrad, Cruising back and forrard,

Aw've been ti' the norrad, Cruising suir and lang;

Aw've been ti' the norrad, Cruising back and forrard,

But daurna come ashore For Bover and his gang. (Bruce & Stokoe)

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 125‑126.

X:1

T:Captain Bover

M:3/4

L:1/8

S: Bruce & Stokoe – Northumbrian Minstrelsy (1882)

Z:AK/Fiddler’s Companion

K:G

G2 F>G A2|(B>d) (c/B/) (A/G/) FD|G2 F>G A2|(B>d) (d/c/) (A/F/) G2:|

B>d d>e cA|BG (c/B/) (A/G/) FD|B>d d>e cA|BG (d/c/) (A/F/) G2|

B>d =f(e/d/) cA|BG (c/B/) (A/G/) FD/D/|G>G FG A>G|Bd (d/c/) (A/F/) G2||

                       

CAPTAIN BRISBANE’S FROLIC. English, Country Dance Tune (2/4 time). F Major. Standard tuning. AABB. Captain Sir Charles Brisbane (d. 1829) was a career Royal Naval officer during the wars with Napoleon (as was his brother James, who became an admiral). This excerpt, which describes an incident in 1807 that is perhaps Charles’s ‘frolic’, appears in Burke’s genealogy of high-ranked commoners (1835).

***

Sir CHARLES BRISBANE entered the naval service about the year 1779, on board the Alcide, of 74 guns, under the

auspices of his father, whom he afterwards accompanied into the Hercules, another third rate. This ship formed part of

Sir George Rodney's fleet, in the memorable engagement of the 12th April, 1782, wherein Mr. Charles Brisbane was

wounded. In 1790, he was promoted to the rank of lieutenant; in 1793, proceeded with Captain Tyler in the Meleager

frigate to the Mediterranean, and during the two following years served with distinction under Hood and Nelson. In 1795,

he was made commander, and in the following year obtained a post captain's commission.  In 1815, he was nominated a

Knight of the Bath, and advanced to the rank of rear admiral, 12th August, 1819. The following exploit of the gallant

admiral cannot be omitted even in the limited space to which we are confined. Towards the end of the year 1806,

Captain Brisbane was dispatched from Jamaica, with a squadron of frigates, consisting of the Arethusa, Latona, and

Anson, to reconnoiter the island of Curacoa, and to ascertain whether the inhabitants were disposed to an alliance with

Great Britain. And on the 1st January, 1807, the little squadron, reinforced by the Figgard frigate, arrived off Curacoa. 

No orders, whatever, had been given to attack the island, but having by means of the pilots taken on board at Aruba,

perfectly ascertained the situation of the place, Captain Brisbane determined to capture it by a coup de main; and

imparting his intention to the respective captains under him, and taking the sole responsibility on himself, he led his

ships into the harbour. It is well deserving of remark, that previously to this, and unknown to their officer, the men,

participating in the spirit of their gallant leader, had arranged themselves for attack, and when called to quarters, they

were found with the words "Victory or Death," chalked upon their hats. Under cover of a severe and destructive

cannonade, Captain Brisbane landed with his boat's crew, when fort Amsterdam was instantly captured, the

commodore himself being the first to scale the walls ; and by ten o'clock the same night the British flag, hoisted

on fort Republique, announced the surrender of the entire island. For this gallant exploit, Captains Brisbane and

Wood received the gold medal, and were knighted.

***

Goulding (Twenty Four Country Dances for the Year 1808), 1808; No. 10.

X:1

T:Captain Brisbane’s Frolic

M:2/4

L:1/8

B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)

N:”With proper Tune & Directions to each Dance (as they may be

N:performed at Court, Bath, and all Public Assemblys.”

Z:Transcribed and edited by Flynn Titford-Mock

Z:abcs’s:AK/Fiddler’s Companion

K:F

A/B/|cA/B/ cf/a/|c3 A/B/|cc/B/ AA/G/|AF FA/B/|cA/B/ cf/a/|c3 A/B/|cc {d}cB/A/|A2 A:|

|:BGG e/f/|g[ce] [ce]z|c[FA][FA] f/g/|a[Af] [A2f2]|dbca|BgAf|c/B/A/B/ c/B/A/G/|FAF:||

 

CAPTAIN BROUN'S REEL. Scottish. The tune appears in the 1768 Gillespie Manuscript of Perth.

           

CAPTAIN BROWN’S FAVORITE.  Irish, Jig. G Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 79.

X:1

T:Captain Brown’s Favorite

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:G

GAG G2c | BAB G2B | ABA ABd | e3 e2f | g2e f2d | BcB g2e |

DBG A2B | E3 E3 :: g2e f/g/af | d2B BdB | g2e f/g/af | d2d def |

g2e f2d | BcB g2e | dBG A2B | E3 E3 :|

                                   

CAPTAIN BYNG (An Taoiseac Buinge). AKA and see “Colonel Byng’s Favorite.” Scottish (originally), Irish; Reel or Polka. Ireland, County Kerry. G Major. Standard tuning. AB (Surenne): AAB (Athole, Gow, Skye): AABB (Taylor): AABB' (Kerr). Composed by Scottish fiddler, ensemble leader, music publisher and composer Nathaniel Gow (1766-1831) as “Colonel Byng’s Favorite”. It is popular in several genres: as a fiddle tune set as a both a polka and a reel in Irish and Scottish traditions, and as a bagpipe tune for the Great Highland Bagpipes. There was a Captain George Byng, who in 1805 commanded the Bellinqueux, a 64 gun ship-of-the-line in the Royal Navy. He became a Captain in 1795, in time for the wars with France during the Napoleonic era, and in 1806 he was involved with the capture of Capetown, South Africa. However, since the Irish tune appears to be derivative of Gow’s melody, probably the title “Captain” was simply a substitution for “Colonel”, rather that referring specifically to a person named Captain Byng. See also the extremely similar tune “Miss Betsy Robertson.” Anthony Buffery says there is a tune family in Ireland derived from “Captain Byng,” which includes the polkas “Captain Byng,” “Mrs. Ryan’s,” and “Brosna Polka No. 3;” the slide “The Stool of Repentance;” the reels “The Pope’s Toe,” “Templeglantine Reel [1],” “The Maids of Mitchellstown,” “O’Rourke’s,” “The Westport Chorus,” “The Silver Slipper;” and a fling. “They are all different settings but recognizably the same tune,” says Anthony. Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 5, pg. 14 (appears as “Captain Bing”). Breathnach (CRÉ II), 1976; No. 113 (appears as untitled polka). Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 74. Carlin (The Gow Collection), 1986; No. 239. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 4. Jordan (Whistle and Sing), 1975; 45. Kerr (Merry Melodies), vol. 2; No. 111, pg. 14. MacDonald (The Skye Collection), 1887; pg. 93. Mallinson (101 Polkas), 1997; No. 17, pg. 7.O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 736, pg. 129. Stewart-Robertson (The Athole Collection), 1884; pg. 167. Surenne (Dance Music of Scotland), 1852; pg. 98. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 36 (polka setting). Taylor (Music for the Sets: Blue Book), 1995; pg. 21 (polka setting). CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999).

See also listing at:

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

X:1

T:Captain Byng

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

g|fdgd BGGB|cAag fdef|gfgd BGGB|cedc BGG:|

c|BGdG BGGB|cAeA cAAc|BGdG BGGB|cedc BGGc|

BGdG BGGB|cAeA cAAc|BGdB cedc|BdAc BGG||

X:2

T:Captain Byng

M:2/4

L:1/8

R:Polka

K:G

g2 g>e | dB GA/B/ | cA a>g | fd ef | fg g>e | dB GA/B/ | cA dF | AG G2 :|

|: BG dG | BG GA/B/ | cA eA | cA A>c | BG dG | BG GA/B/ | cA dF | AG G2 :|

                       

CAPTAIN CAMERON'S VOLUNTEERS MARCH--BALVENIE. Scottish, March. E Flat Major (Johnson/2003, Marshall): D Major (Johnson/1992). Standard tuning. AB. Composed by William Marshall (1748-1833). Moyra Cowie (The Life and Times of William Marshall, 1999), finds that Captain Cameron lived at Balvenie farm, near Dufftown. Unfortunately, the Captain was not always forthcoming in his payments to his landlord, Alexander, the 4th Duke of Gordon, for whom Marshall worked as Steward of the Household, and the Duke’s solicitor in Banff directed Marshall to send a bill of sequestration to the family. As it turned out, relates Cowie, Marshall’s grand-daughter married into Captain Cameron’s family, as her mother-in-law was a relation. S. Johnson (The Kitchen Musician No. 10: Airs and Melodies of Scotland’s Past), 1992 (revised 2001); pg. 16. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 31. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg.25.

X:1

T:Captain Cameron’s Volunteers March—Balvenie

M:C

L:1/8

S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:Eb

[G,2E2] [G,2E2] [G,3E3] G|B>AG>F EB,A,G,| [G,2E2] [G,2E2] [G,3E3] G|

BAGA [B,2F2] z2|[G,2E2] [G,2E2] [G,3E3] G|B>AG>F EB,A,G,|A,3C B,3A|

G2 [G,2E2] [G,2E2] z2||[B3g3] [Af] [G2e2] [G2e2]|~D>e f/e/d/c/ [D2B2] z2|

||[B3g3] [Af] [G2e2] [G2e2]|[F2d2] (B/c/d/e/f/g/) [B2f2]z2|||[B3g3] [Af] [G2e2] [G2e2]|

~d>e f/e/d/c/ [D4B3]A|(G3B) (e3d)|[Ac][GB][FA][EG] [E2G2][D2F2]||

                       

CAPTAIN CAMPBELL OF CARRICK’S REEL. Scottish, Reel. D Major. Standard tuning. AB. The title may possibly refer to Captain John Campbell of Carrick, a Scottish soldier who met his death at the Battle of Fontenoy in Flanders. Carrick was fighting with the forces of the Duke of Cumberland (William Augustus, King George’s son) who had ambitions of thwarting the French in their bid to capture the Netherlands (during the War of the Austrian Succession). There were several Highland units fighting with the British at that time, and the Duke was anxious as to their performance, as there was strong Jacobite sentiment at the time (Culloden would only be a year later). The Scottish soldiers made an admirable fight, however, and quickly allayed the Duke’s fears. One strapping Highlander famously lay about with his broadsword and slew nine French soldiers before being stopped by a musket-ball that took off his arm. Sir Robert Munro of Fowlis, their lieutenant-colonel and an accomplished soldier, commanded the Scottish troops. He understood the Highland mentality and fighting customs, which were sometimes at odds with established British army procedure. He obtained leave of the Duke to allow his troops to fight in their own manner, practiced in the centuries of war with the English. The Highlanders, rather than standing amass in formation to receive the fire of the enemy, would display in front of the enemy until they perceived the foe was ready to volley. Just before the enemy fired the Highlanders quickly dived to the ground, escaping the fusillade just in time, only to rise up and individually rush the enemy line to discharge their weapons before their antagonists had reloaded. All except their commander, that is, for Sir Robert had a great corpulent body. When in trenches he was of necessity hauled out by the legs and arms by his own men! He was not without considerable reserves of energy, however, and was everywhere with his troops. While his regiment clapped to the ground to evade the enemy fire, however, Sir Robert’s great bulk would not suffer him to rise so quickly. As a consequence Sir Robert stood while all his troops dove for cover, braving alone the volley of the French. Miraculously, he was not killed or even wounded, and his preservation was the surprise and astonishment of the whole army.

***

Captain Campbell was not so lucky, his head having been carried off by a cannon ball early in the action. An account of the army unit the Black Watch in Flanders describes him as one of the most accomplished gentlemen of his day, a mannered and brave man who was also an agreeable companion who “was regarded by the people as one of those who retained the chivalrous spirit of their ancestors. A poet, a soldier, and a gentleman, no less gallant among the ladies than he was brave among men; he was the object of general admiration; and the last generation of Highlanders among whom he was best known, took great pleasure in cherishing his memory and repeating anecdotes concerning him.” This is perhaps the spirit that could have given rise to his being honored by the reel may named after him.

*** 

John Campbell of Carrick also received posthumous notice for events that took place after his death, at least in legal circles. The Black Watch account gives that he married a sister of General Campbell of Mamore, afterwards Duke of Argyll, however, while it may have been a de facto marriage, it was not a legal union. Leah Leneman published an article called “The Scottish Case that Led to Hardwicke’s Marriage Act” published in the Law and History Review (17:1, Spring, 1999). The abstract reads: “By going back to the original Edinburgh Commissary Court records the detail of the Scottish case alleged to have precipitated the ending of irregular marriage in eighteenth-century England has been ascertained. Jean Campbell had lived with Captain John Campbell of Carrick for some twenty years, but after his death in 1746 another woman, Magdalen Cochran, claimed that the Captain had secretly married her prior to his irregular marriage to Jean, and that she was therefore his lawful widow. The case ran for seven years, with an enormous amount of oral evidence. During its course it was appealed more than once to the Court of Session and finally, after that court upheld the Commissary Court's decision that Jean Campbell was the lawful widow, to the House of Lords. The ramifications led Parliament to legislate for an end to all forms of irregular marriage in England. Scotland, however, continued to contend that in spite of such potential pitfalls, free consent was the only thing necessary to constitute a marriage, and thus the laws of the two lands diverged.” McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 9.

X:1

T:Captain Campbell of Carrick’s Reel

M:C|

L:1/8

R:Reel
S: McGlashan – Strathspey Reels (c. 1780/81)

Z:AK/Fiddler’s Companion

K:D

D3F A/A/A A>F|A>Bd>A F/F/F F>D|E3F B/B/B B>A|d>fe>d B/B/B B>d|

D3F A/A/A A>B|A>BdA F/F/F F>D|(G2 G>)B (F2 F>)A|(E2 E>)F B/B/B B>d|

(D2 D>)F A/A/A A>F|A>Bd>A F/F/F F>A|E3F B/B/B B>A|d>fe>d B/B/B Bc/d/|

(D2 D>)F A/A/A A>B|A>Bd>A F/F/F F>D|G>BG>B F>AF>A|

E>DE>F B/B/B B>A||d3f d/d/d d>A|B>Ad>A F/F/F F>D|e3f e/e/e e>f|

a>ef>d B/B/B B>A|(d2 d>)f d/d/d d>A|B>Ad>A F/F/F F>D|G3B F3A|

E3F B/B/B B>A|(d2 d>)f d/d/d d>e|B>Ad>A F/F/F F>A|(e2 e>)f e/e/e ef/g/|

a>ef>d B/B/B B>e|(d2 d>)f d/d/d d>A|B>Ad>A F/F/F F>D|(G2 G>)B (F2 F>)A|E>Deg f>def||

                                                           

CAPTAIN CAMPBELL OF CARPHEN. Scottish, Strathspey. A Dorian. Standard tuning. AABB. The tune appears in M. McDonald's 2nd collection, dedicated to the Earl of Breadalbane. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 46. MacDonald (A Second Collection of Strathspey Reels), 1789; pg. 8.

X:1

T:Captain Campbell of Carphen

M:C

L:1/8

R:Strathspey
S:MacDonald – 2nd Collection of Strathspey Reels (1789)

Z:AK/Fiddler’s Companion

K:Amin

E | A/A/A AB cABE | G/G/G Gc {B/c/}d>cBG | A/A/A (AB) cABG | e>dgB A2A :|

B | Aa “tr”a>g e/g/e/d/ cd | e^fge (d/c/)B/A/ GB | Aa”tr”a>g e/g/e/d/ ce | dBgB A2 A2 |

ea”tr”a>g e/g/e/d/ cd | e^fge d/c/B/A/ GB | cAdB e>dce | dBgB A2A ||

                                   

CAPTAIN CAMPBELL'S RAMBLE. English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 354.

                       

CAPTAIN CAMPBELL('S STRATHSPEY). AKA ‑ "Captain Campbell." Scottish (originally), Canadian; Strathspey. Canada; Cape Breton, Prince Edward Island. A Minor or Dorian. Standard tuning. AAB (Hunter, Kerr, Martin, Perlman): AABB' (Athole, Carlin, Lerwick): AA'BB' (Little). Alasdair Fraser says the tune appeared in print as early as 1789. Some see similarities with the Shetland tune “Up and Down/Doon the/da Harbour.” Sources for notated versions: Cape Breton style fiddler Harvey Tolman (Nelson, N.H.) [Little]; Eddy Arsenault (b. 1921, St. Chrysostom, East Prince County, Prince Edward Island) [Perlman]; Jean-Ann Callender (Aberdeen) [Martin]. Carlin (Master Collection), 1984; pg. 72, No. 108. Hunter (Fiddle Music of Scotland), 1988; No. 70. Kerr (Merry Melodies), vol. 1; Set 12, No. 6, pg. 9. Lerwick (Kilted Fiddler), 1985; pg. 29. Little, 1984; pg. 34. Lowe (A Collection of Reels and Strathspeys), 1844. Martin (Traditional Scottish Fiddling), 2002; pg. 131. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 194. Stewart-Robertson (The Athole Collection), 1884; pg. 51. Culburnie Records CUL102c, Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988). Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996). Tartan Tapes CDTT1004, Amy Geddes – “Heat the Hoose” (1998).

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:Captain Campbell

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Aminor

A|E<A A>B c>A B<G|E<G G>A Bd c/B/A/G/|E<A A>B c>Bc>e|

d<B g>B A2A:|B|A<a a>g e>d c<e|d>eg>e d/=c/B/A/ GB|1

A>a a<g e>d c<e|d<B g>B A2A:|2 c<A d>B e>d =c<e|d<B g>B A2A||

                       

CAPTAIN CAR. AKA and see "The Sick Tune."

                       

CAPTAIN CARRICK'S RANT. AKA and see "Mrs. McInroy of Lude [2]."

 

CAPTAIN CARRICK’S REEL. Scottish, Reel. D Major. Standard tuning. AB. The tune appears in Kirkmichael, Perthshire, fiddler and composer . English, Hornpipe. A Major. Standard. AABB. Composed by Nick Dennerly. The Captain Clark of the title could possibly refer to one of the principles in a duel in England, in March, 1750, although there is no established connection whatsoever. Captain Clark met a Captain Innes with sword and pistol on a fair morning in Hyde Park, and, from a distance of four yards turned an fired, mortally wounding him. Although Innes forgave him on his deathbed and acknowledged the duel was honourably conducted, Clark was arrested under the laws equating duelling with murder. He was tried and convicted, although the court recommended the King grant him clemency. This was obtained and Clark was released from Newgate Prison.

***

Knowles (Northern Frisk), 1988; No. 151.

                       

CAPTAIN COLLINS. AKA and see "Bob Ridley [2]" (Pa.), "The Bell Cow" (Pa.), "Fifer's March" (Pa.), "The Belling Tune" (Pa.), "Montrose's March" (Playford), "Rock and the/a Wee Pickle Tow, A" (Stokoe), "The Old Woman Tossed Up in a Blanket" (O'Neill), "The Highlander's March" (Oswald), "O'Sullivan Mor(e's March) [1]" (Roche), "The Ribbels (Rebels) March" (Dovey), "The Cowboy's Jig" (Cole), "Blackeyed Biddy" (O'Neill), Untitled "Air" (Joyce, 1909; No. 836). American, Jig. USA, southwestern Pa. G  Major. Standard tuning. AB. Bayard (1981) says the tune is in the standard repertory of fifers in southwestern Pa., and one of the older tunes to be found there, having its origins in the 17th century. It can be found in Playford's Musick's Hand‑Maid, editions of 1663 and 1678, his Musick's  Recreation of 1669 (where it appears as "Montrose's March"), and in Oswald's 1740 collection. Beside's "Montrose's March" other titles for this tune, well and widely known in the British Isles, have been "The Rock and the Wee Pickle Tow" (Northumberland, Scotland) and "The Old Woman Tossed Up in a Blanket" (Ireland, England), which latter title Bayard says is derived from the nursery rhyme beginning:

***

There was an old woman tossed up in a blanket,

Seventy times as high as the moon.

***

One southwestern Pennsylvania title, "The Belling Tune," derived from the custom of well‑known local fifer Sam Palmer to play the tune tune for "serenades," or the welcoming home of the newlyweds "with a hellish din of fife‑and‑drum, bells, gunshots, beaten metal tubs, firecrackers, etc." (Bayard, 1981). Source for notated versions: Bayard collected the tune from nine southwestern Pa. fifers and fiddlers. Bayard (Dance to the Fiddle), 1981; No. 567A‑I, pgs. 504‑507.

              

CAPTAIN COMMIN’S RAMBLE. English, Jig. G Major. Standard tuning. AABB. As “Capt. Cummin’s Ramble” the tune appears in the 1776 music manuscript copybook of Revolutionary War fifer William  Morris, inscribed “William Morris, First Regament [sic] Hunterdon” (County, New Jersey). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2) 1765; No. 58.

X:1

T:Capn. Commin’s Ramble

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

GDG BGB|dBd g3|ded dcB|ABA AFD|GDG BGB|dBd g3|faf ge^c|d3 D3:|
|:dBG ecA|dBG AFD|dBG efg|ABA AFD|dBG ecA|efg gfe|dcB BAG|DEF G3:||

              

CAPTAIN COOPER’S RAMBLE.  English, Slip Jig (9/8 time). C Major. Standard tuning. AABB. The melody was originally published by Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London, 1773), although dance directions appear in the Thompson’s 24 Country Dances for the Year 1768. As with many of the Thompson’s 1773 tunes, it was entered into 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. 160.

X:1

T:Cap. Cooper’s Ramble

M:9/8

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:C

c>dc e2d cGE|c>dc e2c dBG|c>dc e2d cGE|FEF DcB c3:|
|:g>ag gec dBG|g>ag gec|fga |g>ag gec dBG|FEF DcB c3:||

                                                  

CAPTAIN CORBETT’S HORNPIPE. AKA and see “Captain John’s Hornpipe.” Irish, Hornpipe. D Major. Standard tuning. AABB. P.W. Joyce (1827-1914) prints the tune as “Captain John’s Hornpipe” in his 1909 collection. Source for notated version: Francis E. Walsh (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 309.

X:1

T:Capt. Corbett's Hornpipe

M:4/4

L:1/8

S:Francis E. Walsh, San Francisco

Z:Paul Kinder

R:Hornpipe

K:D

sfgs|af{a}sges dfed|scesAA sABsAG|FAdf .g.e.c.e|(3efe (3dcB A2 sfgs|

afge dfed|ceAA sABsAG|FAdf gece|d2 dd d2:|

|:cd|seAsAA fAgA|seAsAA f2 sefs|sgfgse dfec|sdcdsB A2 sAGs|

FA (3AAA sGBs (3BBB|AFAd sgfsed|cdef sgesce|d2 dd d2:||

                          

CAPTAIN CORK’S DEATH. Scottish, Air. Captain Cook’s death? The original air published by James Johnston and Robert Burns in the Scots Musical Museum is attributed to Lucy Oswald of Hilton (later Mrs. Oswald of Auchincruive), to which Burns's song “Thou lingering star with lessening ray” was set. The modern air to which the song is now commonly sung, however, is a composition of John Lowe, called “Mary’s Dream.” Lowe was a Galloway divinity student and minor poet who died in America in 1798. See note for “Miss Johnston of Hilton’s Fancy” for more on the Oswalds.

                          

CAPTAIN CUFFE’S.  English (?), Waltz. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 105, pg. 25.

              

CAPTAIN CUNINGHAM OF AUCHINSKEIGH. Scottish. Glen (1891) finds the tune earliest in print in John Riddell's (1782?) collection (pg. 40).

                                      

CAPTAIN CUNINGHAM OF CORSEHILL. Scottish. Glen (1891) finds the earliest printing of the tune in John Riddell's (1782?) collection (pg. 13).

                                      


CAPTAIN DAVID STEWART 42nd ROYAL HIGHLANDERS. Afterwards GENERAL STEWART. AKA and see “General Stewart,” “Lady Muir MacKenzie,” “Mrs. Muir MacKenzies.” Scottish, Reel. D Mixolydian. Standard tuning. AAB. The 42nd Royal Highlanders were the 1st Battalion of the famous Black Watch. The tune was printed in the 4th collection of Malcolm MacDonald of Dunkeld, a volume dedicated to the Countess of Breadalbane. When Stewart-Robertson reprinted the tune a bit less than a hundred years later he was able to add that Captain Stewart had attained the rank of General during his career. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 112. ACC-49394, Howie MacDonald & Natalie MacMaster - “Gift of Music” (appears as “Captain David Stewart’s Reel”). DMP6-27-2-4, Doug MacPhee -”The Reel of Tulloch” (1985. Appears as “Captain David Stewart’s Reel”).

X:1

T:Captain David Stewart 42nd Royal Highlander’s Reel

M:C|

L:1/8

R:Reel

B:MacDonald – 4th Collection of Strathspey Reels (1797)

Z:AK/Fiddler’s Companion

K:D

E | D(dd)A FDAF | E=ccG ECEG | D(dd)A FGAg | fdef d/d/d d :|

g | “tr”f>eda fdaf | ge=cg ecge | “tr”f>eda dfaf | ecge d/d/d dg |

“tr”f>eda fdaf | ge=cg ecge | dfeg fagb | afge d/d/d d ||  

                                                  

CAPTAIN DECATUR’S HORNPIPE.  American, Hornpipe. G Major. Standard tuning. AABB. The melody was printed in Samuel Holyoke’s Instrumental Assistant (Exeter, New Hampshire, 1800). Mattson & Walz (Old Fort Snelling/Fife), 1974; pg. 56.

X:1

T:Captain Decatur’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:HolyokeInstrumental Assistant (1800)

K:G

G2 GA B2Bc|d2g2e2d2|edcB cBAG|E2 AG GFED|

G2GA B2Bc|d2g2e2d2|gfed Bd^ce|d2d2 d4:|

|:e3f gfed|edcB cBAG|EDEF G3A|BcBA GFED|

G2 GA B2 Bc|d2g2e2d2|cBAG EGFA|G2G2 G4:|

 

CAPTAIN DRIVER'S DELIGHT. English, Country Dance Tune (4/4 time). A Major. Standard tuning. AABB. The melody is from John Johnson's Choice Collection of 200 Favourite Country Dances (vol. IV., pg. 3, 1748). Kidson (Old English Country Dances), 1890; pg. 12.

X:1

T:Captain Driver’s Delight

M:C
L:1/8

S:Frank Kidson – Old English Country Dances  (1780)

Z:AK/Fiddler’s Companion

K:A

e2 cd e3f|edcB c2 BA|e2 cd e2a2|e2 dc B4:||

|:BAGA Bcdf|edcB c2 BA|a2 ec f2 dB|ecdB A4:|

                                      

CAPTAIN DUNNE'S HORNPIPE. AKA and see "The Jockey [1]." G Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 380, pg. 182.

X:1

T:Capt. Dunne’s Hornpipe

M:C

L:1/8

R:Hornpipe

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

(3DEF | G2 BG E2 (3DEF | G2 Bd gedB | cedc BdcB | AGFE DcBA | G2 BG E2 (3DEF |

G2 Bd gedB | cedc BGAF | G2 GG G2 :: dc | Bddd eddd | gdBd eddd | cedc BdcB |

AGFE DcBA | G2 BG E2 (3DEF | G2 Bd gdBd | cedc BGAF | G2 GG G2 :|

                                      

CAPTAIN DUNNE'S MARCH. Irish, March (2/4 time). D Major (Roche): G Major (Miller & Perron, Mulvihill). Standard tuning. AABB. Source for notated version: Assaroe Ceili Band (Ballyshannon area, Co. Donegal) [Miller & Perron]. Miller & Perron (Irish Tradtional Fiddle Music), 1977; vol. 2, No. 15. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 149. Mulvihill (1st Collection), 1986; No. 12, pg. 106. Roche Collection, 1982; vol. 3, pg. 80, No. 208. Blarney Castle Records BC‑509, Assaroe Ceili Band – "Best of Irish Dance Music."

                                      

CAPTAIN ELPHINSTON. Scottish, Strathspey. G Dorian. Standard tuning. AAB (Gow): AA'B (Athole). Composed by Nathaniel Gow (1766-1831). The title possibly refers to one of the most famous naval figures of the Napoleonic era, Viscount Keith, Knight of the Bath, Admiral of the Red (1746-1823), born George Elphinstone, the youngest son of Lord Elphinstone. He rose to the rank of post captain in 1775 during the American War of Independence, and received his knighthood in 1794, at which time he was raised to Rear Admiral. During the wars with Napoleon, Lord Keith succeeded Lord Vincent as Admiral of the Mediterranean fleet, and then commanded the North Sea Fleet, and finally, the Channell Fleet in 1812. He bought his estate of Tulliallan Castle in 1798, mainly from prize money from his engagements. Carlin (The Gow Collection), 1986; No. 19. Stewart-Robertson (The Athole Collection), 1884; pg. 234.

X:1

T:Captain Elphinston

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G Dorian

G<G d>B G2 D>B|G<G G>B d>cB>g|G<G d>B G2 D>E|1 F>GA>B c>BA>f:|2 ~F>GA>B c>ff>a||

g<g b>a ~g2 de/^f/|g<g g>a b>ag>d|g<g b>a ~g2 dc/B/|A<fc<f A>GF>a|

g<g b>a ~g2 de/^f/|g<g g>a b>ag>d|g<g b>g a<fg<e|f<cd>f A<Fc>A||

                                      

CAPTAIN FIFE. Scottish, Strathspey. F Major. Standard tuning. AAB. The melody appears in Charles Duff's collection. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 36. Stewart-Robertson (The Athole Collection), 1884; pg. 238.

X:1

T:Captain Fife

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

F2 F>A c>dc>A|B>GA>F G>FD>G|F>CD>B, A,>B,C>B|A>F cB/A/ G2F2:|

c<f f2 d<fc<f|A>cf>a g<d d2|c<f f2 d>fB>d|c>F cB/A/ G2F2|

c<f f2 d>fc>f|A>cf>a g>d d2|C>FA,>F C>F f>d|c>F cB/A/ G2F2||

                                      

CAPTAIN FLASH. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

                                      

CAPTAIN FLETCHER'S FAVORITE. Scottish, Strathspey. F Major. Standard tuning. AABCAA. Composed by Nathaniel Gow (1766-1831), perhaps another of his compositions honouring Napoleonic-era naval heroes, Joseph James Abraham Isaac Fletcher. Carlin (The Gow Collection), 1986; No. 20. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 34.

X:1

T:Captain Fletcher’s Favorite

M:C

L:1/8

R:Strathspey

N:”Slow”

C:Nathaniel Gow (1763-1831)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:F

A/>G/|FCC>E (F/E/).F/.G/ FA/B/|~cc ~dd G3 A/>G/|FCC>E “tr”F>G A/c/d/e/|~ff ~aa A3:||

A/B/|(c/d/)(e/f/) (g/a/)(e/g/) fd ~df/d/|~cc ~dd G3 A/>B/|(c/d/)(e/f/) (g/a/)(e/g/) ~ff~gg|~aa {G}A3 f/d/|

“tr”c>d “tr”f>a {a}g/f/(g/a/) f>d|~cc ~dd G3 {B}A/>G/|FF DD CC A,”tr”f/g/|aa [Ec][Ec] [F3A3]||

“Dolce”

(F/A/c/)|c2 BA A2 Bc|(dB) “tr”G>F {F}E2 (F/G/)(A/B/)|c>(d/2c/4) BA “tr”d>e fd|cA BG F/A/B/c/ d/e/f/g/|

a2 gf {e}d3 f/d/|~cc fa (a2 g) f/g/|a>b/2a/4 gf (e/d/)(f/e/) (g/f/)(e/d/)|cA BG F3||

                                      

CAPTAIN FRANCIS O’NEILL.

X:1

T:Captain Francis O'Neill

C:Tadhg O'Crowley

B:A Harvest Saved: Francis O'Neill and Irish Music in Chicago

B:Nicholas Carolan, Ossian Publications, Cork, 1997

R:march

N:a warpipe tune, published in Cork after O'Neill's death in 1936

M:6/8

L:1/8

K:A

e/d/|c>BA c2 e|e>dc f2 e/d/|c>BA c<ec|B3 B2 e|

c>BA c2 e|e>dc f2 e/d/|c<ec B>A=G|A3 A2:||f/g/|

a3 c2 e|f>ec A2 c/e/|a>ed c2 e|B3 B2 g|

a3 c2 e|f>ec A2 c/d/|c<ec B>A=G|A3 A2 f/g/|

a3 c2 e|f>ec A2 c/e/|a>ed c2 e|B3 B2 e/d/|

c>BA c2 e|e>dc f2 e/d/|c<ec B>A=G|A3 A2||:e|

A3 c3|e>cA f>dB|A2 A c<ea|B3 B2 e|

A2 A c<Ac|e>cA f>ed|c<ec B>A=G|A3 A2:||f/g/|

a2 f =g2 e|f<da e2 d|c>BA c<ea|B3 B2 g|

a>gf =g2 e|f<da e2 d|c<ec B>A=G|A3 A2 f/g/|

a2 f =g2 e|f<da e2 d|c>BA c<ea|B3 B2 e|

A2 A c<Ac|e>cA f>ed|c<ec B>A=G|A3 A2||

                                                  

CAPTAIN FRANCIS WEMYSS. Scottish, Strathspey. D Major. Standard tuning. AB (Glen): AABB' (Kerr). Captain Francis Wemyss (pronounced ‘Weems’) was a member of the ancient family who possessed lands in Fife since the 12th century. The melody appears in John Bowie's collection. Nigel Gatherer finds the tune played in Ireland as a slide, under the title “The Game Cock” (An Coileach Comhraic). Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 29. Kerr (Merry Melodies), vol. 3; No. 1, pg. 3.

X:1

T:Captain Francis Wemyss

M:C

L:1/8

R:Strathspey

S:Glen Collection, Vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:D

A|F<A d>A B>Ad>A|B<d A>F E/E/E E2|F<A d>A B>Ad>A|B<d A>F D/D/D D:|

g|f>ed>e d>ef>g|a<d a>f e/e/e e>g|f>ed>e d>ef>e|d>BA>F D/D/D D>g|

f>ed>e d>ef>g|a<d a>f e/e/e e>g|f<a e>f d>eB>d|A>Fd>F D/D/D D||

                                      

CAPTAIN FRANCIS WEMYSS DELIGHT. Scottish, Strathspey. A Dorian. Standard tuning. AB. Kerr (Merry Melodies), vol. 3; No. 149, pg. 18.

X:1

T:Captain Francis Wemyss Delight

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 149  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Minor

A2 A>B c>de>^f|g>ed>c (B<G)G2|A2 A>B c>de>^f|g>e e/d/c/B/ (c<A) A2|

A2 A>B c>de>^f|g>ed>c (B<G)G2|A2 A>B c>de>^f|g>e g/e/d/c/ B<A Ae||

a>ba>g (a/g/)(a/b/ a(b/a/)|d>g Bg/d/ B<G Ge|a>ba>g (a/g/(a/b/) a(b/a/)|g>e g/e/d/c/ B<A Ae|

a>ba>g (a/g/)(a/b/) a(b/a/)|d>g Bg/d/ B<G G>B|A2 A>B c/B/c/d/ e(e/^f/)|g>e e/d/c/B/ B<A A2||

                                      

CAPTAIN GEORGE HUNTER. Scottish, Strathspey. B Minor. Standard tuning. AABB. Stewart-Robertson (The Athole Collection), 1884; pg. 133.

X:1

T:Captain George Hunter

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:B Minor

F<B B>c e>cB>A|F<B B>c e>c B2|F<B B>c d>ef>d|c<A e>c f/e/d/c/ B2:|

|:d/e/f/g/ a>f (3efd (3cBA|d/e/f/g/ a>f d>f a2|(3gbg (3faf (3efd (3cBA| F<B B>c d>c B2:|

                                      

CAPTAIN GILLAN(S). Scottish, Slow Strathspey. A Major. Standard tuning. AAB (Hunter): AABB (Skye). Composed by William Christie (1778‑1849), a dancing master in Cuminestown, Aberdeenshire, who published his collection in 1820. Henderson (Flowers of Scottish Melody), 1935. Hunter (The Fiddle Music of Scotland), 1988; No. 116. MacDonald (The Skye Collection), 1887; pg. 27.

X:1

T:Captain Gillans

M:C

L:1/8

R:Slow Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

E|:E<E E>F E>FA>B|(c<e)B<c A>B A<E|F>GF>E F>Ad>f|1 (g/e/)d/c/ (d/c/)B/A/ A<F F>A:|2 (f/e/)d/c/ (e/d/)c/B/ A2A2||

c<e e>f e>fa>e|(f/g/a/f/) e>c A>B A<E|F<f f>g a>gf>e|f/e/f/g/ a/g/f/e/ f2 f>e| f<ae<a d<eB<c|A<cB<c A>B A<E |

F<f f>g a>gf>e|1 (d/c/B/A/) (B/d/c/B/) A<F F>A:|2 (d/c/B/A/) (B/d/c/B/) A2A2||

                                      

CAPTAIN H. MUNRO. Scottish, Reel. G Minor. Standard tuning. AA'B. Not melodically related to the strathspey "Captain Hugh Munro." Stewart-Robertson (The Athole Collection), 1884; pg. 303.

X:1

T:Captain H. Munro

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

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

K:G Minor

d|BG G2 DGBd|cBAG FfcA|1 BdBG AcAF|DG^FA GG,G,:|2 BgBG AfAF|

DG^FA BGG||g/a/|bg g2 dgbg|af=ef cfaf|bg^fa bgga|

bg g2 dgbg|af=ef cacA|BbBG AaAF|DG^FA BGG||

                                      

CAPTAIN HAWKERS FAVORITE. Irish (?), Air or March (2/4 time). G Major. Standard tuning. AABBCCDD. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 47.

X:1

T:Captain Hawkers Favorite

M:2/4

L:1/8

R:Air or March

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:G

G | d/c/B/A/ G>B | GB GB | A>B AB | A/B/A/B/ ce | d/c/B/A/ G>B | GB GB |

Ec (B/A/G/F/) | {F}G2G :: dc BA  | (cB) AG | BA GF | GG D2 | dc BA |

cB AG | BAGF | G2G :: B2 B>c | B2 Be | BAGF | E>F E(G/A/) | B2 Bc |

B2 Be | BAGF | E2E :: d2 BG | F/G/A/F/ G2 | d2 A>{B}c | BG z2 :: BcBe |

ddcB | dc BA | Bd gb | Bc Be | edcB | dc BA | G2G :|

                          

CAPTAIN HAWKER’S MARCH. Irish?, March (4/4 time). G Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 168.

X:1

T:Captain Hawker’s March

M:C

L:1/8

R:March

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:G

B/A/ | G2 GG G2 D/G/B/G/ | A2 AA A2 D/F/(A/c/) | B/d/(g/f/) e/d/(c/B/) | A2 AA A3c |

Bdga bgdB | ce(ab) c’a{g}f{e}d | B/d/g/d/ (g/e/)d/c/ B2 “tr”A2 | G2 GG G2 :|

|: G | (Bc)dB edcB | ABcA dcBA | Bd(gf) ed(cB) | A2 AA A3A | Bdga bgdB |

ceab c’a{g}f{e}d | B/d/g/d/ (f/e/)d/c/ B2 “tr”A2 | G2 GG G2 :|

                          

CAPTAIN HAY. AKA and see "The Forth Brig [1]" (?).

                                      

CAPTAIN HENRY O'KAIN. AKA and see "Captain O'Kane."

                       

CAPTAIN HIGGINS. Irish, Planxty (Cut time ‑ A & B parts, 6/8 time C & D parts). A Minor. Standard tuning. ABCD. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 57, pg. 54‑55.

                       

CAPTAIN HILLMAN’S MARCH.   See “Lord Lindsay’s March.”

                       

CAPTAIN HOLMES. AKA and see “Cornelius Curtin’s Big Balloon,” “Hide and Go Seek.” American, Irish; Jig. E Dorian. Standard tuning. AABB. The tune has been identified as a “Hills of Glenorchy” variant. Paul de Grae finds related melodies in the “Apples in Winter [1]” family. Breathnach (CRÉ III), No. 22. Cole (1000 Fiddle Tunes), 1940; pg. 70. Ryan’s Mammoth Collection, 1883; pg. 101.

X:1

T:Captain Holmes

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Edor

d | BGE EGE | EGE BGE | DFA dcB | AFD DB=c | BGE EGE |

EGE dcB | ABA FGA | BGE E2 :: B | eBe gfe | bge efg | ded fed |

afd def | efe gfe | bge ega | BcB AGF | BGE E2 :|

                       

CAPTAIN HORN(E). Scottish, Strathspey. D Major. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 18. Philo 10‑‑, Boys of the Lough ‑ "Good Friends, Good Music" (1977).

                       

CAPTAIN HUGH MUNRO. Scottish, Strathspey. E Flat Major. Standard tuning. AB. Composed by D. Macintyre, appearing in this 1795 collection. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 31.

X:1

T:Captain Hugh Munro

M:C

L:1/8

R:Strathspey

S:Glen Collection, Vol. 2  (1895)

Z:AK/Fiddler’s Companion

K:Eb

B/4c/4d | e>EC>E B,>EG,>E | B,>E A/G/F/E/ DFF B/4c/4d | e>EC>E B,>EG,>E |

D/E/F B,>A G/E/E B/4c/4d | e>EC>E B,>EG,>E | B,>E A/G/F/E/ DF FG/A/ |

BGEe cADc|B<G F>A GEE || g | e>Be>g e>cBG | AFGE DFFA | G<BE<e d<fB<a |

g<bf<a g<ee<a|g>edf e<cB<G | A<FB<E D<FF G/A/ | G>EB>_D C2 A,<c | B<G F>A GE[G,E] ||

                       

CAPTAIN JAS. ROBERTSON 76th REGIMENTS REEL.  AKA and see “Byer’s Maggot,” “Boyer’s Maggot.”

 


CAPTAIN JINKS/JINX. AKA and see "Down the Ohio." American (originally), Canadian; Single Jig and Air. USA; Pa., New York State: Canada, Ottawa Valley. G Major (Bronner, Ford, Guntharp, S. Johnson, Roche, Shaw): D Major (Bayard, Begin, Phillips, Sweet). Standard tuning. AB (Begin, Shaw, Sweet): AAB (Guntharp, Phillips): ABB (Bayard): AABA (S. Johnson): AABB (Bronner, Ford, Roche). The title is taken from a popular song of the 19th century, "Captain Jinks of the Horse Marines," which Sigmund Spaeth (A History of Popular Music in America) states was composed by an English music hall singer named William Horace Lingard who had emigrated to America. Lingard was the manager of Wood’s Theatre in New York City…”a protean man who was an accomplished female impersonator, the lyricist for ‘Captain Jinks of the Horse Marines’, and, in 1867, the much acclaimed renderer of Lingard’s Great Statue Song, a quick-change routine in which, with only a few seconds’ pause between metamorphoses, he transformed himself from Mayor John T. Hoffman to Governor Horatio Seymour to Horace Greeley to Benjamin F. Butler to Ulysses S. Grant to President Andrew Johnson.” (E. J. Khan, The Merry Partners: the Age and Stage of Harrigan & Hart, 1955, pg. 152). Confirming that Lingard wrote the lyrics, Denes Agay (Best Loved Songs of the American People, pgs. 156‑157) however, credits the music to a T. Maclagan. Musicologist Sam Bayard (1991) traces the tune "ultimately (and indirectly)" back to a piece called "The Mill Mill O,” a commonly printed and played duple time march from the 18th and early 19th centuries, and to the jig "Merrily Danced the Quaker('s Wife)," one of which was derived from the other. Another researcher cited by Bayard traces the melodic material in these tunes all the way back to 14th century plain‑chant, although Bayard himself does not confirm or deny that line of thinking. He does believe that the mid‑19th century tune known as "Captain Jinks" (and also the melody "Hundred Pipers") is an offshoot of the first part of the Mill air, via "The Quaker's Wife." It was listed as having been commonly played in the Orange County, N.Y. area for dances in the 1930's (Lettie Osborn, New York Folklore Quarterly, pgs. 211‑215), about the same time Bayard collected the melody from western Pennsylvania sources, and Norman Cazden collected it from Catskill Mountian, N.Y. dances of the era. The original words to the song begin:

***

 

I'm Captain Jinks of the Horse Marines,

I feed my horse on corn and beans,

And often live beyond my means,

Tho a captain in the army.

 

 

 

“Captain Jinks, Hero” by Mark Twain. Frontispiece by Dan Beard.

 

***

Bronner (1987) notes that the lyrics reinforce the tune's connection to dancing:

***

I teach young ladies how to dance,

How to dance, how to dance,

I teach young ladies how to dance,

For I'm the pet of the army.

***

Bruce E. Baker communicates that he finds reference to the tune in WPA-collected narratives from 1937 with former slaves in South Carolina (reprinted in Edmund L. Drago’s Hurrah For Hampton: Black Red Shirts in South Carolina During Reconstruction, Fayetteville: University of Arkansas Press, 1998, pg.100). One interviewee, Charley Barber, born near Winnsboro, Fairfield County, South Carolina, remembered the piece from his slavery days. He recalled “Captain Jenks” (sic) thus:

***

A tune was much sung by de white folks on de place and took wid de niggers.  It went lak dis:

'I'm Captain Jenks of de Horse Marines

I feed my horse on corn and beans.

Oh! I'm Captain Jenks of de Horse Marines

And captain in de army!'"

***

Sources for notated versions: Floyd Woodhull, 1976 (New York State) [Bronner]; Archie Miller (Lewisburg, Pa.) [Guntharp]; Walter Neal (Armstrong County, Pa., 1952) [Bayard]; Don Woodcock [Phillips]; caller George Van Kleek (Woodland Valley, Catskill Mtns., New York) [Cazden]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Adam, No. 11. Bayard (Dance to the Fiddle), 1981; No. 596, pg. 523‑524. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 69, pg. 79. Bronner (Old Time Music Makers of New York State), 1987; No. 17, pg. 80. Cazden (Dances from Woodland), 1945; pg. 16. Cazden, 1955; pg. 15. Ford (Traditional Music in America), 1940; pg. 120. Guntharp (Learning the Fiddler’s Ways), 1980; pg. 77. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 3. Kraus, pg. 65. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 361. Roche Collection, 1982; vol. 2, pg. 23, No. 249. Shaw (Cowboy Dances), 1943; pg. 379. Sweet (Fifer’s Delight), 1964/1981; pg. 19. Victor 36401A (78 RPM), Woodhull's Old Tyme Masters, 1941.

See also listing at:

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

X:1

T:Captain Jinks

L:1/8

M:6/8

Z:AK/Fiddler’s Companion

S:Shaw – Cowboy Dances  (1943)

K:G

B2D D^CD | E2D G2B | A2c E2F |G2A B3 | B2D D^CD | E2D G2B |

A2c E2F | G3G3 || c2c ccc|c2B B3 | B2A A3 | A2G G3 | c2c ccc |

c2B B3 | B2A AB^c | d3 d3 ||

X:2

T:Captain Jinks

L:1/8

M:6/8

K:D

f2d ABA | {B/c/}(B2A) [D2d2]f | efg (B2c) | (d2e)(f2g) | aba A>AA |

[D2B2]A d2 (3fgf | efg (B2c) | e2[Dd] [Dd]Ad || [B3g3] [Bg]ag |

(f2d) Adf | e^de ede | fdB B/c/BA | [B3g3] gag | (f2d) f>gf | e>^de e>f^g | a>ba (ag) ||

                       

CAPTAIN JOHN WHITE. Irish, Jig. Front Hall FHR‑024, Fennig's All‑Star String Band ‑ "Fennigmania" (1981. Learned from the McCusker Brothers Ceili Band).

                       

CAPTAIN JOHN'S HORNPIPE. AKA and see “Captain Corbett’s Hornpipe.” Irish, Hornpipe. D Major. Standard tuning. AABB. "Learned in childhood from fiddlers" (P.W. Joyce, 1827-1914). O’Neill prints the tune as “Captain Corbett’s Hornpipe” in Waifs and Strays of Gaelic Melody (1922). Joyce (Old Irish Folk Music and Songs), 1909; No. 51, pg. 28. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 27. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 113.

X:1

T:Captain John’s Hornpipe

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:D

fg | afge dfed | ceAA ABAG | FA df gfed | ceAA A2 fg |

afge dfed | ceAA ABAG | FA df gedc | d dd d2 :|

|: cd|eAAA fdfd | eAAA fdfd | gfed dcBA | GBBB B2AG |

FAAA dcBA | cdef gedc | dfaf bgec | d2dd d2 :|

                       

CAPTAIN KEELER. AKA – “Captain Keller.” AKA and see “Black-eyed Lassie.” Scottish (originally), Canadian; Reel. Canada; Ontario, Cape Breton. B Flat Major ('A' part) & G Minor ('B' part) {most versions): A Major (‘A’ part) & F Sharp Minor (‘B’ part) {Surenne}. Standard tuning. AB (Cranford/Fitzgerald, Kennedy, Surenne): AAB (Athole, Gow, S. Johnson, Honeyman, Kerr): AABB (Hunter, Skye, Welling). Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 47), as “Captain Keller.” O’Neill (1922) remarks: “The above clever tune first appeared in 1761 in A Collection of the  Newest and the Best Reels and Country Dances, published in Edinburgh by Neil Stewart. As ‘Capt. Keller's Reel’ it has been reprinted in recent years, but without the spirited second finish.” Sources for notated versions: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; Gow (Complete Repository, Part First) [S. Johnson]. Begin (Fiddle Music from the Ottawa Valley), 1985; No. 62, pg. 71 (appears as “Captain Keller”). Cranford (Wintson Fitzgerald), 1997; No. 104, pg. 43. Gow (Complete Repository), Part 1, 1799; pg. 9. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 29. Giblin (Collection of Traditional Irish Dance Music), 1928; No. 53, pg. 28. Hunter (The Fiddle Music of Scotland), 1988; No. 266. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 37. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 17, pg. 6. Kerr (Merry Melodies), vol. 1; Set 21, No. 4, pg. 13. MacDonald (The Skye Collection), 1887; pg. 123. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 209. Ryan’s Mammoth Collection, 1883; pg. 70. Stewart-Robertson (The Athole Collection), 1884; pg. 186. Surenne (Dance Music of Scotland), 1852; pg. 42. Welling (Welling’s Hartford Tune Book), 1976; pg. 19 (appears as the last tune of "The F Medley"). Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 44). Greentrax CDTRAX 9009, John ‘Dancie’ Reid (1869-1942) - “Scottish Tradition 9: The Fiddler and his Art” (1993). Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1998. Holland cites Winston “Scotty” Fitzgerald as his source). Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

X:1

T:Captain Keeler

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Gmin

F|~B2 d/c/B fBbB|~B2 d/c/B AFcA|~B2 d/c/B fBbB|cAFA BGG:|

B|DGBG dGBG|DGBG AFcA|DGBG dGBG|cAFA BGGB|

DGBG dGBG|DGBG AFcA|DGBG dGBG|cAFA BGG||

X:2

T:Capt. Keller's Reel

M:4/4

L:1/8

S:McGoun's Repository c.1803

Z:Paul Kinder

R:Reel

K:Bb

A|B2 (3dcB fdbd|B/2B/2B (3dcB AFcA|B2 (3dcB fdbd|c>AFA BG G2:|

|:G|DGBG dGBG|DGBG AFcA|1DGBG dGBG|cAFA BG G2:|

2DGBG dBgd|c'afa bg g2||

X:3

T:Captain Keeler

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 42  (1852)

Z:AK/Fiddler’s Companion

K:A

G | A2 (3cBA eAaA | A2 (3cBA GEBG | A2 (3cBA eAaA | BGEG AFFG |

A2 (3cBA eAaA | A2 (3cBA GEBG | A2 (3cBA eAaA | BGEG AFF ||

A | CFAF cFAF | CFAF GEBG | CFAF cFAF | BGEG AFFA |

CFAF cFAF | CFAF GEBG | CFAF cFAF | BGEG AFF ||

                       

CAPTAIN KELLER. See “Captain Keeler.” 

                       


CAPTAIN KELLY('S)/KELLEY REEL [1] (Cor An Taoisig Ui Ceallaig). AKA and see "The Monsignor's Blessing,” “New Policeman [3],” “Twin Brothers [1]." Irish, Reel. G Major (Cole, Kerr/Vol. 2, O'Neill {4 editions}): D Major (Allan's, Kerr/vol. 4)). Standard tuning. AB (Allan's, O'Neill/1001, 1915 & 1850): ABB (Cole): ABB' (O'Neill/Krassen): AABB (Kerr/vol. 2): AABB’ (Kerr/vol. 4). The Captain was an illustrious 19th century piper of County Kildare, who was given a set of ebony, silver-mounted pipes by King George IV after he played before the visiting monarch. The musician engraved his name and the year 1809 on the stock. William Kelly (d. 1858) was called ‘Sporting’ Captain Kelly due to his love and support of sporting events; he once trained a championship boxer and kept a stable of racehorses, several of whom he named after parts of the pipes, such as “Chanter,” “Drone” etc. (O’Neill, 1913). “Captain Kelly’s Reel” is also related to “The Monsignor’s Blessing” and "The Humors of Newcastle." The tune was recorded in the 78 RPM era by County Sligo/New York fiddler James “Professor” Morrison, and by Leitrim flute player Charlie Higgins. Allan's Irish Fiddler, No. 72, pg. 18. Cole (1000 Fiddle Tunes), 1940; pg. 6. Kerr (Merry Melodies), vol. 2; No. 286, pg. 31. Kerr (Merry Melodies), vol. 4; No. 171, pg. 20. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 258, pg. 133. O'Neill (Krassen), 1976; pg. 120. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1330, pg. 249. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 588, pg. 108. Ryan’s Mammoth Collection, 1883; pg. 30. Green Linnet SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985).

X:1

T:Captain Kelly’s Reel

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 588

Z:AK/Fiddler’s Companion

K:G

D2|GBAF G2 ge|dBAc B~E3|GBAF G2 ge|dBcA BG G2|G2 ef (3ggg ge|

DBAc B~E3|G2 Bd {a}gfge|dBAB G2||d2|g2 bg agbg|egdg egdf|g2 bgt agbg|

dgfa g2d2|g2 bg agbg|egdg egdf|gafg efdf|(3efg fa gedB||

 

CAPTAIN KELLY('S) REEL [2]. AKA and see "The Monsignor's Blessing.” Irish, Reel. According to Brendan Brethnach (CRE III, No. 157), fiddler Kathleen Collins also called this tune “Captain Kelly’s Reel”, which Breathnach noted was a similar tune in O’Neill’s collections.

                       

CAPTAIN KENNEDY'S (REEL). AKA and see "Robert Kennedy's Reel." Scottish, Reel or Strathspey. F Major. Standard tuning. AB (Surenne): AAB (Gow, Shears). Barry Shears identifies his strathspey as a “Cape Breton composition from the MacNeil manuscript,” referring to the c. 1915 music manuscript collection of Cape Breton piper Captain Angus J. MacNeill of Gillis Point. However, the composition was printed in Scotland by the Gows a century earlier, set as a reel. Carlin (The Gow Collection), 1986; No. 501. Gow (Complete Repository), Part 2, 1802; pg. 29. Shears (Gathering of the Clans Collection, Vol. 1), 1986; pg. 43 (pipe strathspey). Surenne (Dance Music of Scotland), 1852; pg. 16.

X:1

T:Captain Kennedy’s Reel

M:C|

L:1/8

R:Reel

S:Gow – 2nd Repository   (1802)

Z:AK/Fiddler’s Companion

K:F

A|(F/G/A/B/) cF dFcF|fdc>A BGGA|(F/G/A/B/) cF dFcF|BG (A/B/c/B/) AFF:|

A|(F/G/A/B/) cf dfAf|BfAf gGGA|(F/G/A/B/) cf dfcA|BGc>B AFFA|

(F/G/A/B/) cf dfcf|BfAf gGGA|(F/G/A/B/) cf dfcA|BGc>B AFF||

                       

CAPTAIN LOCKHART OF THE TARTAR. Scottish, Reel. C Major. Standard tuning. AAB. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection. Captain John Lockhart (later Lockhart-Ross, 1721-1790), was the first captain of the 28-gun frigate HMS Tartar, built in 1756 at Rotherhithe (wrecked in 1797).  A recently discovered copy of a newspaper, The Exeter journal and advertiser, printed by Thomas Brice near Eastgate, Devon (issue number 162, dated 18 March 1757), has recently surfaced which briefly mentions Lockhart:

***

"Plymouth, March 15. We have no news here, only last Night, I hear, there was a terrible Fray at the Dock between the Sailors and Soldiers; and it is said, the brave Captain Lockhart, of the Tartar and a Lieutenant is killed. But I hope it is not true."

***

During his two-years command during the Seven Years War, Lockhart gained a reputation for capturing some seven French privateers of similar size in the Channel and the Baltic, and he was wounded during the action with the 20-gun Mont Ozier.

***

Lochart of the Tartar is probably the same man as Sir John Lockhart-Ross, who rose to the rank of Vice-Admiral and became a member of Parliament.  Unfortunately, this Lockhart-Ross is the infamous landlord who introduced Cheviot sheep to the highlands, and who began the first wave of the great Highland clearances in 1782.  Many say the Highlands have not recovered from the clearances to this day. Bremner (A Collection of Scots Reels), 1757; pg. 27. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 9.

X:1

T:Captain Lockhart of the Tartar

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:C

e|c(GG)F “tr”E2 DC|D(dd)e fede|c(GG)F E(c”tr”BA)|GEFD C/C/C C:|

f |ecgc e(g”tr”fe)|defg afda|ecgc e(g”tr”fe)|fdge c/c/c cg|egcg ecgc|

fdad fdad|egde cdA|GEcE C/C/C C||

                       

CAPTAIN LOCKER.  Irish, Reel. C Major. Standard tuning. From the playing of the Reilly family of Drumreilly, County Leitrim. A transcription of the melody is in the Grier Manuscript (a collection of Leitrim tunes). The tune is perhaps Bremner’s “Captain Lockhart of the Tartar.” Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004).

 

CAPTAIN LUCAS’S FANCY.  English, Country Dance Tune (cut time). G Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 134.

X:1

T:Cap. Lucas’s Fancy

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:G

GABc dBAG|ABcd edcB|cBAG AGFE|FEFD G2 G,2:|
|:bagf gfed|edcB cBAG|ecBA dBAG|Agfa g2 G2:||

 

CAPTAIN MAC BEAN’S REEL.  English, Jig (12/8 time). C Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 63.

X:63

T:Capt. Mac Bean’s Reel

M:12/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:C

G|”tr”c>dc GEG “tr”c>dc GEG|cCD EFG AGF EDC|”tr”c>dc GEG “tr”c>dc GEG|edc {g}^f2g B(d/c/B/A/) G2:|

|:d/c/|B(d/c/B/A/) (GA)B c2d e2 (g/f/)|e(g/f/e/d/) (cd)e f2g a2g|(a/g/f/e/)d (ge)c (f/e/d/c/)B (ec)A|(G/A/B/c/)d EFD C3 C2:||

 

CAPTAIN McDONALD’S FAVORITE. AKA and see “Come Under My Dimity.” Irish, Slip Jig. G Major. Standard tuning. AABB. Source for notated version: copied from O’Farrell’s Pocket Companion (1804-10) [O’Neill]. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 11, pg. 4. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 136. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 194.

X:1

T:Capt. McDonald's Favorite (#194)

M:9/8

L:1/8

S:O'Farrell's Pocket Companion 1804-10

Z:Paul Kinder

K:G

g|dBB BAB GEE|dBG ABc e2 g|dBB B2 A GAB|BAG ABd e2:|

|:f|gfg a/2g/2fe dBB|gfg agf e2 f|gfg agf efg|dBG ABd e2:||

                       

CAPTAIN MACDUFF/McDUFF [1]. Scottish, Reel. A Major. Standard tuning. AB (Surenne): AAB (Athole, Gow, McGlashan, Skye): AABB' (Kerr). Composed buy Daniel Dow, an Edinburgh composer and music teacher who lived from 1732 to 1783, perhaps most famous as the composer of “Money Musk.” Dow published a collection of Scots tunes called Thirty-seven new reels and strathspeys (1775) which appears to be the first collection to include the word "strathspey" in its title. His family is known to have stayed in Strathardle and his son (John Dow) was born at Kirkmichael. Dow, whose first name has been given as Daniel or Donald (both acceptable translations for the Gaelic ‘Domhnull’) was buried in the Canongate Kirk,  Edinburgh on January 20th, 1783. The earliest printing of “Captain MacDuff” was Dow’s c. 1775 collection (pg. 6), according to John Glen (1891). Carlin (The Gow Collection), 1986; No. 418. Gow (Complete Repository), Part 3, 1806; pg. 27 (appears as “Captain Macduff’s Reel”). Kerr (Merry Melodies), vol. 2; No. 171, pg. 20. MacDonald (The Skye Collection), 1887; pg. 27. McGlashan (A Collection of Reels), c. 1786; pg. 28. Stewart-Robertson (The Athole Collection), 1884; pg. 22. Surenne (Dance Music of Scotland), 1852; pg. 61.

X:1

T:Captain McDuff

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

a|ecBc A2 EF|Acec B/B/B Ba|ecBc A2 EF|Afec A/A/A A:|

d|cee>f ecae|cee>f ecBd|cee>c acdf|ecBc A/A/A A>d|

cee>f ecae|cee>f ecBd|ceea faef|ecBc A/A/A A||

 

CAPTAIN McDUFF [2]. Scottish, Reel. G Minor. Standard tuning. AAB. John Glen (1891) finds the earliest printing of this tune in Neil Stewart's 1761 collection (pg. 68). Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 17.

X:1

T:Captain McDuff  [2]

M:C

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:Gmin

d|BGdG Bd2 f|AcFc A c2 d|BGdB cfAg|fdcA BGG:|

d|gdBd GdBd|gdfc AFFd|gdBd gdbg|fdcA BGGd|

gdBd GdBd|gdfc FcAc|Bdbg fdBd|cAFA BGG||

                       

CAPTAIN M'DUFF'S DELIGHT. Scottish. Glen (1891) finds the earliest printing of this tune in Robert 'Red Rob' McIntosh's 1783 collection (pg. 31).

                       

CAPTAIN MACDUFF'S FAREWELL. Scottish, Reel. E Minor. Standard tuning. AAB. The melody appears in the 4th collection of Malcolm MacDonald of Dunkeld, a volume dedicated to the Countess of Breadalbane. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 263.

X:1

T:Captain MacDuff’s Farewell to the Parliament House

M:C|

L:1/8

R:Reel

B:MacDonald – 4th Collection of Strathspey Reels (1797)

Z:AK/Fiddler’s Companion

K:Emin

e | BEEF GABG | FdAd FDAF | BEEF GABa | gef^d e/e/e e :|

f|g/f/e Be gbeg | fdAd fafd | g/f/e Be gbeg | Bgf^d e/e/e e2 |

g/f/e Be gbeg | fdAd FdAF | EGFA GBAc | Bgf^d e/e/e e ||

                       

CAPTAIN MACGREAL OF CONNEMARA. Irish, Air (2/4 time). C Major. Standard tuning. AABB. "A Ninety‑eight song was written to this air. There is a setting of this in 6/8 time elsewhere in Forde, called 'Johnny Gibbon's March'" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 460, pg. 257.


                       

CAPTAIN MACINTOSH [1]. AKA – “Captain “McIntosh.” English; March or Reel. A Major (Trim/Hardy): D Major (Kennedy) . Standard tuning. AB (Kennedy): AAB (Trim): AABB (Mattson & Walz). “Captain Mackintosh” was published in Button & Whitaker’s Pocket Collection of Favorite Marches, for Two German Flutes, Violins, or Fifes (London, 1780). It also appears in Samuel Holyoke’s Instrumental Assistant, vol. 1 (pg. 31), published in 1800 in Exeter, New Hampshire. In manuscript form it appears in the Thomas Hardy family collection, Dorset England. Source for notated version: Holyoke’s Instrumental Assistant [Mattson & Walz]. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 18, pg. 6. Mattson & Walz (Old Fort Snelling), 1974; pg. 55. Trim (Thomas Hardy), 1990; No. 95.

X:1

T:Captain Mackintosh [1]

M:C

L:1/8

R:March

S:Button & Whitaker’s Pocket Collection of Favorite Marches, for Two German Flutes, Violins, or Fifes (London, 1780).

Z:AK/Fiddler’s Companion

K:D

A|d>e df dA AA|d>e df a3f|(bg)(ge) (af)(fd)|ef ge (dc) BA|d>e df dA AA|

d>e df a3f|(bg)(ge) (af)(fd)|(ge)(ec) d3::d|a>b a>b ge ef|g>a g>a f3d|

A(d/e/ f)d B(e/f/ g)e|bg ed (dc) BA|d>e df dA AA| d>e df. A3f|(bg)(ge) (af)(fd)| (ge)(ec) d3:|

 

CAPTAIN McINTOSH [2].  AKA and see “Captain Macintosh’s Fancy.” AKA – “Captain MacIntosh.” Scottish, Country Dance Tune (whole time or 2/4). A Major. Standard tuning. AB. The Gows include the tune in their 1788 2nd Collection, in a section denoted for country dances fashionable in Edinburgh in the 1787-88 season. The melody appears as “Captain Macintosh’s Fancy” in the key of ‘D’ major in the music manuscript collection of the Winder family of Dolphinhome, Wyresdale, Lancashire, penned by various members (and generations) of the family from 1789 to 1841. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 35 (3rd ed.). Jones [Ed.] (Complete Tutor Violin), c. 1815; pg. 3. Wilson (Companion to the Ballroom), 1816; pg. 113.

X:1

T:Capt. McIntosh [2]

R:Country Dance

M:C

L:1/8

B:Complete Tutor Violin  (c. 1815)

Z:Dr. Evan Jones, 2005

K:A

U:T=!trill!

TE | A>BA>B AEETE | A>BAc e2 (ec) | fddf ecTc>A  | TB>cdB AGFE | A>BAB AEEE | A>BA>B (cde)(e/g/) |

Tf>dd>f  ecA>c | TB>ABc A2A || (c/d/) | e>fe>f d>BB>c | d>ede cAAc | (FB/c/) (dB) (Ac/d/) (eg) |

Tf>dBA B<GFE | A>BAB GEEE | A>BAc e2 (eg) | fdTd>f eccA | B>AAc B2 B |]

                       

CAPTAIN MACKENZIE [1]. Scottish. Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 36).

 

CAPTAIN M'KENZIE [2]. Scottish, Strathspey. A Minor. Standard tuning. AABB.  Glen (1891) finds the earliest printing of the tune in Robert Ross's 1780 collection (pg. 2). The melody was included by Kirkmichael, Perthshire, fiddler and composer Robert Petrie in his Second Collection of Strathspey Reels and Country Dances (1796, pg. 9). Kerr (Merry Melodies), vol. 4; No. 137, pg. 17.

X:1

T:Captain McKenzie [2]

T:Inverey's Strathspey

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 9

% Gore's Index gives earliest publication as John Hamilton's

% "A Choice Coll of Scots Reels, or C.C. & Str."  no date, Petrie's may be older

L:1/8

M:C

R:Strathspey

K:Am

A>Bc>e eA/A/ ce|G<GB>A G2 G>B|A>Bc>e eA/A/ ca|g<eg>B A2 AB:|

c>BA<a ge    g2|G<GB>A G2 G>B|c>BA<a ge    g2|a>eg>B A2 AB |

c>BA<a g<e   g2|G<GB>A G>AB<G|A>Bc<A c>de<a  |g<eg<B A2 A2|]

                       

CAPTAIN MAGAN. Irish, Planxty (6/8 time). G Minor. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes, 1984; No. 93, pg. 73.

                       

CAPTAIN MAGUIRE. AKA and see “Dan O’Leary’s [2],” “Humours of Listowel [1].” Irish, Polka. D Major. Standard. AA’BB’. See also “Tuar Mór [2]” for a closely related tune. Mallinson (100 Polkas), 1997; No. 63, pg. 24.

                       

CAPTAIN MAITLAND'S. Scottish, Strathspey. G Major. Standard tuning. AAB. Composed by Nathaniel Gow (1763-1831), another of his compositions dedicated to Scottish Napoleonic-era naval heros. Captain Frederick Maitland (1777-1839) of Lindores House, Fife, commanded the HMS Bellerophon, when on July 15th, 1815, Napoleon surrendered to him at Rochefort. Maitland’s Napoleonic duties were primarily as a fighting frigate captain, but his successful career enabled him to purchase the estate of Lindores. He died of a fever in India, however, where he had been appointed commander-in-chief of the East Indies station. Carlin (The Gow Collection), 1986; No. 452.

                       

CAPTAIN MARSHALL'S FANCY. Scottish, Reel. A Major. Standard tuning. AB. Composed by William Marshall (1748-1833). Marshall had four sons in the military (two of whom attained the rank of Captain or above), though three died young from service connected circumstances. The surviving son lost an arm at Waterloo and returned home. Cowie (The Life and Times of William Marshall, 1999) says the tune was dedicated either to John Marshall of the 16th Foot who died of cholera in Madras, India, or his older brother, who rose to the rank of Colonel in the 79th Cameron Highlanders. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 14.

X:1

T:Captian Marshall’s Fancy

L:1/8

M:C|

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:A

(AG)AB (AB)cd|edcB AcBA|(BA)Bc (dc)de|fedc BAGE|(AG)AG (AB)cd|

edcB AcBA|dfed cedc|FBGE A2A2||(A,CE)(A ce)ag|(ag)fe (fe)dc|(B,EG)(B eg)ba|

(gb)ag (ag)fe|||(A,CE)(A ce)ag|(ag)fe (fe)dc|dfBd ceAc|FBGE A2A2||

                       

CAPTAIN MONEY'S MARCH. AKA and see "Give Me the Girl That's Ripe for Joy." Once a popular fife tune. The earliest known version was printed in Rutherford in 1756; Bayard believes Oswald may have been influenced by the tune, popular during the time, when he wrote "The Tulip," to which it bears a resemblance. See also "Balance a Straw." Dovey MS, pg. 44. Keller Gibbs, pg. 14. Longman and Broderip, pg. 24. Mattson Fife, pg. 63. Preston, pg. 16. Rutherford, pg. 18. Skillern, pg. 24. Thompson, pg. 21. (The above are fife publications).

                       

CAPTAIN MOONLIGHT’S ARMY. AKA and see “Downey’s (Polka),” “Séamus Cussen’s [1].”

                       

CAPTAIN MORGAN’S MARCH. Welsh, March. The tune first appears in Edward Jones' Musical and Poetical Relicks of the Welsh Bards, 1st ed., 1784. “Captain Morgan’s March” was reprinted in the 1794 edition of that work. Parry included it in his 1809 Welsh Melodies, but altered the terminal notes, which is the present form of the air. Kidson (Groves) says that, like many Welsh airs, great antiquity has been claimed for it, as, for example did Jane Williams in her History of Wales (1869) when she associated the tune with the rising of Rhys ap Morgan in Glamorganshire in 1294, and suggested the march was ‘probably composed or selected by this Prince to animate the march of his followers’. Kidson himself finds no evidence of great antiquity, and on structural terms dates it the no later than the middle of the 18th century.  He classifies it as one of the martial tunes that as a genre were immensely popular in the second half of the 18th century, and says that “it most likely is the composition of a regimental band-master, who has named it after some Captain Morgan associated with the regiment.”

                       

CAPTAIN MOSS. Irish, Hornpipe. B Flat Major. Standard tuning. AABB. Similarities to “Cuckoo’s Nest [14].” O'Neill (O’Neill’s Irish Music), 1915; No. 354, pg. 172.

X:1

T:Captain Moss

M:C|

L:1/8

R:Hornpipe

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:Bb

de | fdBd fdBd | fdcd B2 cd | ecAc ecAc | ecAc F2 GA | BABc dcde | fbab “tr”f3e |

dfdB AcAF | B2B2B2 :: Bc | dBdB fdcB | cAcA ecBA | dBdB fdcB | ABcA FEDC |
B,DFB DFBd | FBdf Bdfb | fedc BAGF | B2B2B2 :|

                       

CAPTAIN MULLIGAN. English, Jig. England, Northumberland. G Major. Standard tuning. AABB'. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 34.

                       

CAPTAIN MURRAY'S REEL. AKA – “Captain Murray’s Fancy.” AKA and see "Polly's Reel," "The Tap House," "Cock Your Pistol, Charley/Charlie [2]," “Gooseberry Blossoms,” "Hopetoun House," "The Youngest Daughter [1]," "The Mountain Lark [7]," "Sweet Molly [4]," "Baintreach na Radaireacht."

                       

CAPTAIN NORMAN ORR-EWING. Scottish, March (2/4 time). D Major. Standard tuning. AABCCD. Composed by Pipe Major W. Ross. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 32.

                       

CAPTAIN O'CLERY'S FANCY (Roga an Taoisaig Ui Cleirig). Irish, Hornpipe. A Major. Standard tuning. AABB. 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'Neill (Krassen), 1976; pg. 202. O'Neill (Music of Ireland: 1850 Melodies),1979; No. 1719, pg. 319.

X:1

T:Captain O’Clery’s Fancy

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1719

Z:AK/Fiddler’s Companion

K:A

E2|A>Bc>d e>ca>f|(3efd (3cdB A2 BA|G>AB>c d>cf>e|dcBA GBEG|

A>Bc>d e>ca>f|(3efd (3cdB Aceg|agfe gfe^d|eBgf e2:|

|:f>g|a>ga>f e>ca>f|(3efd (3cdB A2 BA|G>AB>c d>cf>e|dcBA GBEg|

a>ga>f e>ca>f|(3efd (3deB Aceg|agfe gfe^d|eBgf e2:|

                       


CAPTAIN O'KANE/O'KAIN. AKA and see “Cailin tighe moir,” "Captain Henry O'Kain," “Giolla an Bimhoir,” "The Wounded Hussar," "The Small Birds Rejoice." Irish, Air or Planxty (6/8 time). E Aeolian (Johnson, Matthiesen, O'Neill, O’Sullivan): G Aeolian (Gow): A Minor (O’Farrell): D Minor (Martin). Standard tuning. AB (Complete Collection, Matthiesen, O'Neill, O’Sullivan): AAB (Johnson, Martin): AABB (Gow, O’Farrell). O’Farrell directs: “Slow.” “Captain O’Kane” is thought to have been composed by blind Irish harper Turlough O'Carolan (1670‑1738) for his friend Captain O’Kane (or O’Cahan), a ‘sporting’ Irishman of a distinguished County Antrim family who was well-known in his day as “Slasher O’Kane”(O’Sullivan, Carolan, The Life and Times, based on information in Hardiman’s Irish Minstrelsy, 1831). O’Carolan authority Donal O’Sullivan could find no attribution in any source to O’Carolan, but says the style is his and he generally accepts it is a composition of the bards.  O’Sullivan also could find no further information on ‘Slasher’ O’Kane. O’Neill (1922) says: “We learn from Alexander Campbell’s song ‘The Wounded Hussar’ printed with the music in Smith’s Irish Minstrel (Edinburgh, 1825) the O’Kain was Captain Henry O’Kain who died of his wounds ‘on the banks of the dark rolling Danube.’” O’Sullivan’s attribution is based on a comment by Hardimann (who said O’Carolan wrote it) and because of stylistic similarities with other O’Carolan works. O’Neill (1913) quotes Patrick O’Leary, an Australian correspondent, who wrote that the Captain of the title was “the hero of a hundred fights, from Landon to Oudenarde, who, when old an war-worn, tottered back from the Low Countries to his birthplace to die, and found himself not only a stranger, but an outlawed, disinherited, homeless wanderer in the ancient territory that his fathers ruled as Lords of Limavady.” The earliest printing of the tune Captain Francis O’Neill could located was in James Aird’s 1788 Selection of Scotch, English, Irish and Foreign Airs (vol. 3), although he also found it (under the title “Captain Oakhain: A Favourite Irish Tune") in McGoun's Repository of Scots and Irish Airs, Strathspeys, Reels, etc.(Glasgow, 1803)—the same title and presumably the same tune was printed in Alexander McGlashan’s 1786 collection. Gow also gives “Irish” as the tune’s provenance.

***

The song “The Wounded Hussar” was written to the melody by Alexander Campbell (O’Sullivan gives his name as Thomas) and appears in Smith's Irish Minstrel (Edinburgh, 1825). It was also included in Surenne's Songs of Ireland without Words (Edinburgh, 1854). The Scots poet Robert Burns wrote his song “The Chevalier’s Lament” to the tune of “Captain O’Kean”. It goes:

***

The small birds rejoice at the green leaves returning,

The murmuring streamlet runs clear the vale;

The primroses blow in the dows of the morning,

And wild scattered cowslips bedeck the green dale.

But what can give pleasure, and what can seem fair,

When the lingering moments, are numbered by care;

No birds sweetly singing, nor flowers gaily sprining,

Can soothe the sad bosom, of joyless despair.

***

The deed that I dared, could it merit their malice,

A king and a father, to place on his throne;

His right are these hills, and his right are these valleys,

Where wild birds find shelter, but I can find none.

But ‘tis not my suff’ring, thus wretched forlorn,

My brave gallant friends, tis your ruin I mourn;

Your faith proved so loyal, in hot bloody trail,

Alas, can I make it, no sweeter return.

***

Carlin (The Gow Collection), 1986; No. 325. Complete Collection of Carolan's Irish Tunes, 1984; No. 133, pg. 95. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 23. Hardiman, Irish Minstrelsy, 1831. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 5 (includes a harmony part). Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2. Martin (Taigh na Teud), 1990; pg. 14 (appears as “Captain O’Kean”). Matthiesen (Waltz Book II), 1995; pg. 10. McGlashan (A Collection of Reels), c. 1786; pg. 36 (appears as “Captain Oakhain”). O’Farrell (Collection of National Irish Music for the Union Pipes), c.1799‑1800. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 45. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 627, pg. 111. O'Neill (Krassen), 1976; pg. 245. O’Neill (Waifs and Strays of Gaelic Melody), 1922. O’Sullivan (Carolan: The Life Times and Music of an Irish Harper), 1958; No. 133, pg. 173. Green Linnet GLCD 1151, Seamus McGuire - “The Wishing Tree” (1995). Maggie's Music MM107, "Music in the Great Hall" (1992).

X:1

T:Captain O'Kain, or The Wounded Hussar

B:O'Neill's Waifs & Strays of Gaelic Melody, 1922

Z:Paul de Grae

S:McGoun’s Repository (1803)

R:air

M:6/8

L:1/8

K:Em

E/D/|B,EF G2 F/E/|F/G/A/G/F/E/ DEF|GBG B/A/G/F/E/D/|

B,EE E2 E/D/|B,EF G2 F/E/|F/G/A/G/F/E/ DEF|

GBB B/A/G/F/E/D/|B,EE E2 E/F/|

GBB B2 A/G/|FAA A2 d/c/|Be^d e>fg|Be^d e2 e/f/|

g>fe d>cB|AFd DEF|GBG B/A/G/F/E/D/|B,EE E2||

X:2

T:Captain Oakhain

L:1/8

M:6/8

N:”A favourite Irish Tune”

S:McGlashan – Reels  (c. 1786)

Z:AK/Fiddler’s Companion

K:G Minor

G/F/|DBA B2 A/G/|A/B/c/B/A/G/ FGA|BdB cB/A/G/F/|DGG G2:|

|:G/A/|Bdd d2 c/B/|Acc c2f|d>g^f g>ab|dg^f g2 g/a/|bag f>ed|

d/c/B/A/f  FGA|BdB d/c/B/A/G/F/|DGG G2:|

X:3

T:Captain O'Kain.

M:6/8

L:1/8

B:Complete Tutor Violin (c. 1815)

Z:Dr. Evan Jones [Ed.]

K:Bb

U:T=!trill!

U:w=!wedge!

(G/F/) | (DG)wA TB2 (A/G/) | (A/B/)(c/B/)(A/G/) F>GA | wBwdwB (d/c/)(B/A/)(G/^F/) | wDwGwG G2 :||: (G/A/) Bdd Td2 (c/B/) | Acc c2 (f=e) |

d>g^f Tg>ab | d>g^f g2 (g/a/) wbwawg f>ed | (d/c/)(B/A/)!fermata!f F>GA | wBwdwB (d/c/)(B/A/)(G/^F/) | (DG)wG G2 :|]

                       


CAPTAIN O'NEILL (An Taoiseac Ua Neill). AKA and see "Charms of Music," "Push About the Jorum [1]," “Rattle the Bottles [1],” "The Rowan Tree [1].” Irish, Reel. G Major. Standard tuning. AAB. “Push about the Jorum” is a related tune. O'Neill (Krassen), 1976; pg. 100. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1222, pg. 230. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 499, pg. 95.

X:1

T:Captain O’Neill

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 499

Z:AK/Fiddler’s Companion

K:G

ge|dGBG FGAc|BGBd g2 fe|dGBG FGAc|BGAF G2:|

||z2|d>g {a}(3gfg a>g {a}(3gfg|d>g {a}(3gfg a2 a2|

d>g {a}(3gfg agfd|(3efg fa g2g2|d>g {a}(3gfg a>g {a}(3gfg|

d>g {a}(3gfg a2 ga|bgaf gfed|(3efg fa g2||

                       

CAPTAIN O'NEILL'S MARCH. AKA and see "A Hard Road to Travel."

                       

CAPTAIN PATRICK McKENZIE’S STRATHSPEY.  Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Robert Petrie, of Kirkmichael, Perthshire. Petrie (Collection of Strathspey Reels and Country Dances), 1790; pg. 17.

X:1

T:Captain Patrick McKenzie's Strathspey (standard tuning)

C:Robert Petrie

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/19/04

N:Petrie's First Collection, page 17

N:transposed from scordatura by Steve Wyrick

L:1/8

M:C

R:Strathspey

K:A

%Petrie's original is in scordatura (tuning: A,EAe); see X:2 -SW

 A | A,<A,A,>C (EF/G/)TA>G | TF>EF<A B/A/B/c/ B<c | A,<A,A,>C (EF/G/) Af | (3(ef)d (3(cd)B  c<AA :|

(e/f/4g/4) | Ta>ga>e  c<ea<c | d<Be>A (GBBd) | c<ae<a f<aB<d | ceEd cAA (e/f/4g/4) |

Ta>ga<e c<ea>c | d<Be>A G<BB>E | F<AE<A D<AC>A | B,C/D/ E/C/C/B,/ CA,A, |]

X:2

T:Captain Patrick McKenzie's Strathspey

C:Robert Petrie

S:Petrie's Collection of Strathspey Reels and Country Dances &c., 1790

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 3/19/04

N:Petrie's First Collection, page 17

N:Scordatura, tuning A,EAe -SW

L:1/8

M:C

R:Strathspey

K:A

%See X:1 for my version in standard tuning -SW

"^Scordatura"

G | G,<G,G,>B, (DE/F/)TG>F | TE>DE<G  B/A/B/c/ B<c | G,<G,G,>B, (DE/F/) Gf | (3(ef)d (3(cd)B c<AA :|

(e/f/4g/4) | Ta>ga>e c<ea<c | d<Be>A (FBBd) | c<ae<a f<aB<d | ceDd cAA (e/f/4g/4) |

Ta>ga<e c<ea>c | d<Be>A F<BB>D | E<GD<G C<GB,>G | A,B,/C/ D/C/B,/A,/ B,G,G, |]

 

CAPTAIN PETERSON OF MELBY.  Scottish, Reel. Scotland, Shetland Islands. Composed by Shetland fiddler Frank Jamieson. RC2000, George Wilson – “Royal Circus” (2000).

 

CAPTAIN POPKIN'S FANCY. English, Jig. England, North‑West. D Major. Standard tuning. AABB. Knowles (Northern Lass), 1988; No. 110.

                       

CAPTAIN PRINGLE OF YAIR.  Scottish, Strathspey. D Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pgs. 92-93.

X:1

T:Captain Pringle of Yair

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 92-93  (1852)

Z:AK/Fiddler’s Companion

K:D

B | A>BA>F A>Bd>e | (f<d)g>f (e<E)E>F | A>BA>F A>Bd>g | (f/4g/2<a) (e/4f/2<g) (f<d)dB |

A>BA>F A>Bd>e | (f<d)g>e (e<E)E>F | A>BA>F A>Bd>g | (f/4/g/2<a) (e/4f/2<g) (f<d)d ||

f/g/ | (a<f)(f<a) (b<g)g>b | a>f (g/f/e/d/) (c<e) ef/g/ | (a<f)(f<a) (b<g)(g>b) | a>f (g/f/e/d/) (A<d)d>f |

(a<f)(f<a) (b<g)g>b | (b/a/g/f/) (g/f/e/d/) (c<e) ef/g/ | a>fg>e f>de>c | (3Bcd (3efg (f<d)d ||

 

CAPTAIN PUGWASH. AKA and see “Trumpet Hornpipe [2].”

                       

CAPTAIN REED’S DELIGHT.  English, Country Dance Tune (whole time). D Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 163.

X:1

T:Capt. Reed’s Delight

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:D

D2|F2 D>F A2 F>A|d2 A<d f2 d>f|a2 b>a g2 (3fef|e2 e>e e2 D2|F2 D>F A2 F>A|

B>cd>e {d}c2 B>A|B>cd>g f2 “tr”e2|d2 d>d d2::A|d2 f>d B2 d>B|AfdB AFED|

FAdc BAGF|E2 E>E E2D2|F2 D>F A2 F>A|B2 g>e {d}c2 B>A|B>ba>g f2 “tr”e2|d2 d>d d2:||

 

CAPTAIN REED'S MARCH. English, March (4/4 time). England, North‑West. D Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 67 (includes 2nd fiddle part).

                       

CAPTAIN ROBERTSON LUDES. Scottish, Strathspey. D Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 21, pg. 5.

X:1

T:Captain Robertson Ludes

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 21  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

F|A,<D D>E F>GA>B|A>Bd>F G/F/E/D/ B,<D|A,<DD>E F>GA>B|A>FE>F D/D/D D:|

|:f|d>fa>f a>ba>f|e>de>f d>B B>d|1 d>fa>f a>ba>f|e>de>f d/d/d d:|2 A>Bd>e f>ga>f|e>de>f d/d/d d||

                       

CAPTAIN ROCK(E’S) [1]. AKA and see "The Humours of Ballyconnell [1]," “O’Neill’s Maggot [1].” Irish, Reel. D Major. Standard tuning. ABC. The title comes from a street song set to the air, which was also employed for the songs "Pratie Apples," "McKenna's Dream," "Under the Rose," "The Grand Conversation of Napoleon," "Napoleon's Farewell to Paris," "The Bold Sportsman," "The Carpenter's March." Captain Rock is a fictitious name assumed by the leader of certain Irish insurgents in 1822, etc. All notices, summonses, and so on, were signed by this name. Tipperary was notorious for "Whiteboy" activities, as was most of Munster and much of Ulster, but groups were active to varying degrees, at different times, all over Ireland. The groups had various names: Rockites, led by "Captain Rock" (whom some say was a Fitzmaurice), Rightboys, "Captain Midnight", Molly Maguires, Houghers (who specialized in cutting the hamstrings/hocks of farm animals), The Duagh Boys, Whitefeet, Terry Alts, Hearts of Steel (Steelboys), Hearts of Oak (Oak Boys, active in Ulster), Greenboys, etc.). Fintan Vallely believes the tune is a version of Neil Stewart’s “The Duke of Athole’s Rant,” published in 1761 in Scotland. Nowadays “Humours of Ballyconnell” is the name most frequently associated with the tune, popularized by the Boys of the Lough and others; however, the Ballyconnell title was originally only the local County Fermanagh title for the tune, which was usually known as “Captain Rock” [Boys of the Lough]. Source for notated version: fiddler Fred Finn (1919-1986, Kiltycreen, Kilavil, County Sligo, Ireland) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 84 (appears as "Captain Rockes"). Coleman Music Center CHC 009, fiddler Phil McConnan – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

X:1

T:Captain Rockes [1]

M:C|

L:1/8

R:Reel

S:Flaherty – Trip to Sligo (1990)

K:D

FA|:d2 fe dB A2|BFAF E2 FA|d2 fe dB A2|BFAF D2 FA|

d2 fe dBAF|BFAF E2 FA|d2 fe dBAF|BFAF D2 DE||

FDAD FDAD|GEBE GEBE|FDAD FDAD|BFAF D2 DE|

FDAD FDAD|GEBE GEBE|FDAD FDAD|BFAF D2 fg||

~a3f ~a3f|gece gece|~a3g abag|fgef d2 fg|

~a3f ~a3f|gece gece|~a3g abag|fgef d2 AB||

 

CAPTAIN ROCK [2] (Captaen Roc). AKA and see “The Bush Reel,” “The Long Hills of Mourne,” “The Old Bush (Reel).” Irish, Reel. D Major. Standard tuning. AB. See also the cognate "The Bush's Reel," "The Old Bush (Reel)," "Cnoic Fhada Mhughdhorna,” and, more distantly, the “Greenfields of America [1]” family of tunes. The tune was first recorded on a Columbia 78 RPM (No. 33068) in New York in 1925 by the great Sligo fiddler Michael Coleman in a duet with flute player Tom Morrison, preceded by the (other) “Captain Rock [1]”/”Humours of Ballyconnoll” tune. Brian McNamara (notes to “A Piper’s Dream”, 2002) remarks that the tune was a favorite of Clare piper Willie Clancy’s, and was also associated with the playing of Paddy Canny, P.J. Hayes and Peter O’Loughlin. However, “Captain Rock” may have been an earlier title (by which it appears in the older collections of Petrie (1880) and O’Neill (1903). Petrie suggested provenance for the tune to County Clare. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 781, pg. 136. Columbia 33068-F, Michael Coleman & Tom Morrison (78 RPM).

X:1

T:Captain Rock [2]

M:C|

L:1/8
R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 781

Z:AK/Fiddler’s Companion

K:D

G|AGAB cAGB|Adde fdec|(3AAA AB cAGc|dfed cAGB|AD (3DDD cAGB|

Adde f2 fg|(3agf (3gfe fdec|dfed cAA||f|g2 gec2 e|g2 ge d3e|f2 fd e2 ec|

dfed cAAf|g2 ge a2 af|gfge abag|f2 fd efec|dfed cAA||

X:2
T:The Old Bush [1]
T:The Long Hills of Mourne
N:printed settings include CRE I 105, O'Neill's DMI 781
N:("Captain Rock") and Petrie's "Complete Collection" no. 907
R: reel
M:4/4
Z:Transcribed by Paul de Grae
L:1/8
K:Dmix
A2 GA cA ~A2 | d^cde fdec | A2 GA cAGA | dfef cAdc |
A2 GA cAGB | Add^c defg | (3agf (3gfe fde^c | dfed cA A2 ||
eg ~g2 edcd | efge ~c3 d | eg ~g2 afge | dfed cA A2 |
eg ~g2 ag ~g2 | fgfe defg | (3agf (3gfe fde^c | dfed cA A2 ||

                       

CAPTAIN ROCK'S FAREWELL. English, Waltz or Air (6/8 time). G Major. Standard tuning. One part. A modern composition by Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 205.

                       

CAPTAIN ROSS [1]. Scottish, Reel. A Major (most versions): G Major (Aird, Howe). Standard tuning. AAB (Athole, Gow): AABB (Aird, Bremner, Howe): AABB' (Kerr). The tune appears in the Bodleian Manuscript, residing in the Bodleian Library, Oxford. It is inscribed "A Collection of the Newest Country Dances Performed in Scotland written by D.A. Young, W.M. 1740". Glen (1891), evidently not knowing of the earlier publication, finds the earliest printing of the tune in Robert Bremner's 1757 collection. Aird (Selections), vol. II, 1782; No. 45, pg. 17. Bremner (A Collection of Scots Reel), 1757; pg. 8 (appears as “Captain Ross’s Reel”). Carlin (The Gow Collection), 1986; No. 414. Gow (Complete Repository), Part 3, 1806; pg. 26. Howe (1000 Jigs and Reels), c. 1867; pg. 148. Kerr (Merry Melodies), vol. 3; No. 112, pg. 14. Stewart-Robertson (The Athole Collection), 1884; pg. 22.

X:1

T:Captain Ross

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

c|E2 E>c BAFB|A/A/A cA eAcA|E2 E>c BAFf|ecdB A/A/A A:|

f|ef/g/ ac BA Ff|ef/g/ ae fe ae|f/g/a ec B>A Ff|efac A/A/A Af|

ef/g/ ac B>A Ff|ef/g/ ae feae|fg/a/ ec B>A Ff|ecdB A/A/A A||

X:2

T:Captain Ross’s Reel

L:1/8

M:C

R:Reel

B:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

D3B A>GEA | G/G/G BG dGBG | D3B (A>G)Ee | de/f/ gB GG/G/ G2 :|

|: (de/f/) gB A>GEe | (de/f/ g)d edgd | e>gdB A>GEe | (de/f/ g)B G/G/G G2 :|

 

CAPTAIN ROSS [2]. English, Reel. England, Northumberland. G Major. Standard tuning. AAB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 37. Raven (English Country Dance Tunes), 1984; pg. 184.

X:1

T:Captain Ross [2]

M:C

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:G

dc | BGdG eGdG | BG B/c/d g2 dc | BGdG eGdG | cAAB c2 :|

Bc | dBGB gBGB | dBGB d3e | dBGB gBGB | cAAB c3e |

DBGB gBGB | dBGB d2 ef | gefd ecdB | cAAB c2 ||

                          

CAPTAIN ROSS’ FAVORITE. Scottish, March (2/4 time). D Minor. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 75.

X:1

T:Captain Ross’ Favorite

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:D Minor

D>E Dd | c(B/A/) c2 | GE EB | cE E>F | DE Dd | A/B/c/A/ d2 | FDDc | dA A2 :|

|: de fd | ge fd | e>d c>e | ge c2 | d>e fg | a>bag | fd e/f/g/e/ | fd d2 :|

                          

CAPTAIN RUTHEVEN’S FANCY. English, Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 19, pg. 7.

                          

CAPTAIN SIMON FRASER OF KNOCKY’S FAVORITE. Scottish, Slow Air (4/4 time). A Dorian. Standard tuning. AABBCCDD. Gow (1817) notes: “The musical world is much indebted to this Gentleman for his successful labours in rescuing from oblivion many beautiful native Airs that must ever be dear to the Scot & the Highlander in his work entitled The Airs & Melodies peculiar to the Highlands of Scotland.” Gow (Complete Repository), Part 4, 1817; pg. 18.

X:1

T:Captain Simon Fraser of Knocky’s Favorite

M:C

L:1/8

R:Air

N:”Slow with expression”

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:Amin

A|(E<A) A>^G A>B cA|(E<A) A>^G {G}A3 =G/F/|(E<A) A>^G A>Bce| d>cB>A G3:|

|:~B|(c<e) e>A (d/c/)(B/A/) eA|(c<e) ec A3B|ce e>c e>^f g>e|d>cB>A G3:|

|:a|(e<a) a>^g a>bc’a|(e<a) a>^g {g}a3 {b}c’|(e<a) a>^g a>bc’e’| {e’}d’>c’ {c’}b>a g3~:|

|:b|(c’<e’) e’>a (d’/c’/)(b/a/) e’>a|(c’<e’) e’>c’ a3b|(c’<e) e’>c’ e’^f’g’e’| {e’}d’>c’ {c’}b>a g2g:|

                                      


CAPTAIN SINCLAIR. Scottish, Reel. A Major. Standard tuning. AAB. Scottish collector John Glen (1891) found a tune by this name earliest in print Daniel Dow's c. 1775 collection (pg. 13). It presumably is the same tune that later appeared in print in James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. 5 (1797, pg. 12), although I have not seen the Dow melody. Aird’s version can be found in a few musician’s manuscript collections; that of fiddlers John Burks (dated 1821) and John Rook (1840), both virtually note-for-note the same. Unfortunately, nothing is known of Burks—although he may have been from the north of England—while Rook was from Cumbria.

X:1

T:Captain Sinclair’s Reel

M:C|

L:1/8

R:Reel

S:John Rook manuscript copybook

Z:AK/Fiddler’s Companion

K:A

a|A/A/A cd e2 ea|efce fBBa|A/A/A cd e2 ea|ceac eA A:|

|:e|cAec aefc|B/B/B cd fBBd|cAec aefc|e/e/e ac eAAe|

cAec aefc|B/B/B ce fBBd|cedf ceBd|ceac ec A:|

                       

CAPTAIN SLATTERY. Irish, Air (6/8 time). F Major/Mixolydian. Standard tuning. One part. Source for notated version: “From F. Keane” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 392, pg. 99.

X:1

T:Captain Slattery

M:6/8

L:1/8

R:Air

N:”Allegretto”

S:Stanford/Petrie (1905), No. 392

Z:AK/Fiddler’s Companion

K:F

B | A2G A2c | B2G A2B | c2A B2G | F2F F2B | A2G A2B |

c3 c2d | _e2d c2B | A2B c2B | A2G A2B | c3 c2d | _e2d c2B |

A2B c2B | A2G A2c | B2G A2B | c2A B2G | F2F F2 ||

                       

CAPTAIN SUDLEY. AKA and see "Planxty Sudley," "Carolan's Dowry." Irish, Air. D Major (Complete Collection): C Major (Heymann). Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1678-1730). The tune may have served as dowry for the marriage of Carolan’s daughter Siobhán to an English army captain named Sudley who was stationed in Ireland. The harper Patrick Lynch preserved the words which were collected by Edward Bunting and appear in his manuscripts at Queens University, Belfast. There is some indication from Lynch’s notes, written in Irish, that the marriage took place “against his/her will”, although the statement is ambiguous and it is not known which of the parties (including Carolan) might have been dissatisfied at the union. The second verse contains the passage “Well did you play your card,” addressed to the daughter, leading some to believe that it was not Siobhán who might have been unhappy. Complete Collection of Carolan's Irish Tunes, 1984; No. 163, pg. 110-111. Heymann (Off the Record), 1990; pgs. 8-9. Clairseach Records 2381, Ann Heymann – “Ann’s Harp” (1981).

                                   

CAPTAIN TAYLOR’S. Irish, March. A military march. O’Neill (1913) reports the tune was played during a Melbourne, Australia, concert in 1883 by Irish Uilleann piper John Coughlan.

                       

CAPTAIN THOMPSON. AKA and see "Maid of Castlecraigh,” “Stormy Voyage." Irish, Air (4/4 time). D Minor. Standard tuning. AB. "An indifferent setting of this fine melody, under the name of 'The Maid of Castlecraigh,' was published in 1842, in The Native Music of Ireland. I give here what I believe to be a much superior setting, as I heard it sung from my earliest days among the people of Limerick, and as it was published in 1872 in my Ancient Irish Music. The first part closely resembles the first part of the air to which Moore has written his song 'Oh, Arranmore, loved Arranmore'" (Joyce).

***

As we were safely sailing to a place called Newfoundland,

The wind arose ahead of us, and our ship was at a stand:

“All hands aloft”—bold Thompson cries—“or we’ll be cast away;

All firmly stand or we ne’er shall land in the North of Amerikay!”

***

Howe (1000 Jigs and Reels), c. 1867; pg. 18. Joyce (Old Irish Folk Music and Songs), 1909; No. 380, pg. 188.

X:1

T:Captain Thompson

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

N:”Slow”

K:Dmin

(3A=Bc|d3e f2e2|(d3c) A2 GE|D3E F2G2|A6 A2|d3e f2e2|(d3c) A2 GE|A2 GE D2D2|D6||

AG|F2F2F2 ED|E2E2E2DC|D3E F2G2|A6A2|d3e f2e2|(d2c2)A2 GE|A2 GE D2D2|D6||

                       

CAPTAIN THORNTON'S DELIGHT. AKA and see "Get Up Old Woman and Shake Yourself," "Conor O'Sullivan's Vision," "Growling Old Woman," "Irish Whim," "Last Night Amid Dreams," "O'Tuomy's Drinking Song."

                       

CAPTAIN TOM CONNOLLY’S. Irish, Reel. G Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988). Connolly was a fiddler from New York and a friend of Reavy’s, to whom Reavy had promised a tune. Reavy (The Collected Compositions of Ed Reavy), No. 70, pg. 77.

X:1

T:Captain Tom Connolly's

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:For an old New York friend of Ed's and a fine fiddle

N:player himself. This fulfills a promise to Tom made

N:several years ago.

K:G

Bc | dBgB cAFA | DGBG FGAF | DGBd gdBd | cBAG FGAF | DGBG B,DFA |

GABd cABc | dg (3gfg defd | cAFA G2 :|| ef | g2 dg Bgdg | Bcde fdde | fgaf defa |

gfge fddf | gbag fagf | d^cde fefg | (3agf (3gfe defd | cAFA G2 :||

                       

CAPTAIN TYRRELL'S MARCH. Irish, March. Grattan Flood (1906) reports that MacGeoghegan wrote of an incident which took place in early September, 1597, in which this tune played a prominent part. Captain Richard Tyrrell and 400 native Irishmen ambushed and annihilated an Anglo‑Irish force of men of Meath, led by Lord Trimelston at Tyrrell's Pass, near Fertullagh, Co. Westmeath. As part of his force lay in ambush Tyrrell led the rest of his men in an attack, and "caused the drums and fifes to play 'Captain Tyrrell's March,' this being the signal agreed on for an attack" (pg. 129).

                       

CAPTAIN WARD. AKA and see "Lusty Gallant."

                       


CAPTAIN WHITE('S JIG) [1]. Irish, English, Canadian; Jig and Country Dance Tune. D Major ('A' and 'C' parts) & A Major ('B' part). Standard tuning. ABC (Kerr): AABC (Kennedy, Messer & Raven): AABCC (Miller). Donegal fiddlers play the tune as an untitled single jig, according to Caoimhin Mac Aoidh. It was played, for example, by Mairead ni Mhaonaigh and Frankie Kennedy in the 1980’s. A similar jig is in the Fleishman index (6566), originally from a publication by Thomas Mooney called A History of Ireland (Boston 1846), where it is called “Rockeby or Captain Wyake,” itself similar to another jig in the same index (5454) called “Lady Pert’s Reel or Rockeby,” originally from Maurice Hime’s Hime’s New Collection of Country Dances (Dublin, 1814). There may be some relationship to the first part of “The Belfast Boat” (CRÉ IV, No. 2) and to “Tim Clifford's” or “Micho Russell's.” Source for notated version: a c. 1957 recording of Eugene Leddy’s Ceili Band (County Cavan—Leddy {1913-2002}, a dairy farmer and fiddler, founded his band in 1938 and performed throughout Ireland, but was a regular at Cornafean Hall, Cavan) [Miller & Perron]. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 83, pg. 41. Kerr (Merry Melodies), c. 1875, vol. 1; No. 9, pg. 28. Messer (Way Down East), 1948; No. 76. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 134, pg. 88. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 58. Miller & Perron (Irish Traditional Fiddle Music, 2nd Edition), 2006; pg. 17. Raven (English Country Dance Tunes), 1984; pg. 109. Blarney Castle Records BC‑507, Eugene Leddy’s Ceili Band "Ceili Bands of Ireland" (c. 1957. Various artists)

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Captain White

R:Jig

M:6/8

L:1/8

K:D

DFA d2f|edc B2d|A2d F2B|AGF EFE|\

DFA d2f|edc B2d|A2d F2B|1 ABc dAF:|2 ABc d3||\

efe A2f|ece a2f|efe dcB|A2B c2d|\

efe A2f|ece a2f|efe dcB|1 ABA c2d:|2 ABA GFE||\

D2f fef|d2A AFG|A2f fef|g2f edB|\

A2f fef|d2A AFA|Bcd ecA|d2A GFE:||

 

CAPTAIN WILLIAM McLEOD’S FANCY, OF THE 6th VETERAN BATTALION. Scottish, Jig. F Major. Standard tuning. AABB. Composed by William Marshall. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 54.

X:1

T:Captain William McLeod’s Fancy, of the 6th Veteran Battalion

L:1/8

M:6/8

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:F

f2c cdB|A2G F3|gab agf|e2d c3|d2B b2B|c2A a2A|1 GAB AGF|EGF EDC:|2

AGF CDE|[A,3F3] [A,3F3]||

|:CCC C2f|ef/g/e c2z|CCC C2f|fg/a/f c3|b2g a2f|g2e f2c|dcB ABG|F3 F3:|

           

CAPTAIN WITH HIS WHISKERS, THE. AKA and see "The Month of May," "The Captain and His Whiskers." English, Morris Dance Tune (4/4 or 2/2 time). G Major. Standard tuning. AB x7, A (Mallinson): AABA (Howe). A comic music hall song by Hayness Bayly that found its way into traditional dance accompaniment and military use. The morris version is from the village of Brackley, Northamptonshire, England. The following ditty was sung by the morris dancers during the performance of the dance:

***

Oh! I wish he'd do it now,

Oh! I wish he'd do it now,

Oh! the captain with his whiskers,

Oh! I wish he'd do it now.

***

The above appears to come from a bawdy song to the same tune called "I Wish They'd Do it Now," which begins "I was born of Geordie parents, one day when I was young..." The tune and title were known in tradition in America:  it was in the repertoire of fiddler and Confederate veteran Arnold A. Parrish (Willow Springs, Wake County, N.C.), as recorded by the old Raleigh News and Observer. Parrish was a contestant at fiddler’s conventions held in Raleigh prior to World War I. The title also appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954. Source for notated version: Cecil Sharpe, and Dr. Kenworthy Schofield from Blackwell & Giles, 1937 [Bacon]. Bacon (The Morris Ring), 1974; pgs. 100 & 104. Howe (Diamond School for the Violin), 1861; pg 78. Howe (1000 Jigs and Reels), c. 1867; pg. 33. Journal of the English Folk Dance and Song Society, Dec. 1955. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 27, pg. 19. Raven (English Country Dance Tunes), 1984; pg. 81.

X:1

T:Captain and His Whiskers

M:4/4

L:1/8

S:Howe – 1000 Jigs and Reels (c. 1867) 

Z:AK/Fiddler’s Companion

K:G

GA | B2 BB B2cB | BAAA A2 Bc | d2 cB dcBA | AGGG G2 :|

gf | eccc c2 ge | dBBB B2 dB | cAAA A2 cA | G2G2z2 ||

           

CAPTAIN WYAKE. AKA and see “Captain White(’s Jig) [1].”

 

CAPTAIN WYNNE’S. Donegal fiddler John Doherty’s name for the reel “Martin Wynne’s.”

 

CAPTAIN'S MAGGOT, THE. English. The 'A' part is similar to "The Lass of Peatie's (Peaty's/Paty's) Mill." Also similar in the 'A' part and the beginning of the 'B' part to Bayard's (1981) No. 289 ("Old March"). Walsh (Compleat County Dancing Master, vol. 1), 1731; No. 130.

 


CAPTURE OF SERINGAPATAM, THE. Scottish. This melody appears in William Campbell's 16th Book of Strathspey Reels, Waltz's, and Irish Jiggs (c. 1801), though it was not composed by him but by Duncan MacIntyre. MacIntyre was a Scotsman who had gone to India and who probably served as a Master of Ceremonies to the Governor‑General's Court, though little else is known of him. There was a Battle of Seringapatam in 1809, a great victory for the British in honor of which the Honourable East India Company awarded medals for all those who took part--gold for generals, silver for all other officers, bronze for non-commissioned officers and tin for privates (Farwell, 1981).

                       

CAPUCHIN, (THE). English, Jig. England, Yorkshire. D Major. Standard tuning. AABB. The title refers either to a Franciscan friar or a type of ladies garment involving a cowl and hood. Cappuccino coffee derives from this word: it is said the first cappucinno coffee served had little peaks of milky foam that resembled the pointed hoods of the friars. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Aird (Selections), vol. 2, c. 1786; Pg. 5, No. 13. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 49, pg. 41.

X:1

T:Capuchin, The

M:6/8

L:1/8

R:Jig

S:Aird, vol. II

Z:AK/Fiddler’s Companion

K:D

A | d2d dcd | e2e efg | fed dcd | ecA A3 | d2d dcd | e2e efg | fed edc | ddd d2 :|

|: g | f2f fdf | g2g gbg | f2f fed | ecA A3 | f2f fdf | g2g gbg | fed edc | ddd d2 :|

                                                  

CAPUCHINE COTILLON, LA. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1988, Part 3; No. 544.

 

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