The Fiddler’s Companion

© 1996-2007 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

CA - CAIS

[COMMENT3] 

[COMMENT4] 

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]

 

 

 

C B C REEL. Canadian, Reel. Canada, Cape Breton, Nova Scotia. F Major. Standard tuning. AABB'. CBC = Canadain Broadcasting Corporation. A modern reel composed by Cape Breton fiddler Natalie MacMaster and Tracey Dares. Fiddler Magazine, vol. 3, No. 2, Summer, 1996; pg. 10.

 

C B C’s GLEN AND CARL. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AA’BB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Glen and Carl (Karl) are Glenn Meisner and Karl Falkenham. Cranford (Jerry Holland’s), 1995; No. 116, pg. 34. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1999).

                       

C D STRATHSPEY, THE.  Scottish, Strathspey. Composed by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972), dedicated to a lecturer at the University of Aberdeen named Charles Davidson. Henderson (Flowers of Scottish Melody), 1935.

 

C. K. SHARPE ESQ. FAVOURITE. Scottish, Air (6/8 time). G Major. Standard tuning. ABCD. Nigel Gatherer found the tune in a manuscript letter in the possession of the Perth Library. It dates from 1834 and was written by a former employee of Nathaniel Gow,  the famous musician, bandleader, composer and music publisher. The letterwriter was a musician who had either sustained a financial setback or was trying to raise money to publish some of his compositions or both. He evidently sent out letters to many potential patrons asking for "...any mark of favor from your charitable goodness to inable me to publish the Book...any small sum you may please to give for these airs will be gratefully received..." The letter in the library was written to Charles K. Sharpe and contained two tunes, airs named "C K Sharpe's Favourite" and "Miss Sharpe's Delight".

X:1

T:C K Sharpe Esq Favourite

C:A Pirie

S:MS, Atholl Collection, Perth

Z:Nigel Gatherer

M:6/8

L:1/8

K:G

(3B/c/^c/|d2 B g2 D|b2 g gfg|afd def|gdB GBc|d2 B g2 d|

b2 g gfg|afd def|a3 g2||z|B2 c d2 e|d2 g b2 g|f2 e a2 g|

fge d2 c|B2 c d2 e|d2 g b2 g|fea def a3 g2||B|[G3B3e2] [B3^d3f3]|

g2 g gfe|^d2 b b2 a|agf e2 B|e3 B3|c2 A F2 c|b3 B^c^d|

e3 e2||(3B/c/^c/|d2 B g2 D|b2 g gfg|afd def|

gdB GBc|d2 B g2 d|b2 g gfg|afd def|a3 g2|]

                       

C. L. WRIGHT. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 48.

 

C. N. E. BREAKDOWN. Canadian, Breakdown. A Major (‘A’ part) & E Major (‘B’ part). Standard tuning. AABB. Composed by Ontario fiddler Ward Allen, who won numerous contests in the 1950’s and who carved out a successful career as a radio fiddler. GRT Records SP 203, “Ward Allen Presents Maple Leaf Hoedown, Vol. 1” (reissue). GRT Records 9230-1031, “The Best of Ward Allen” (1973).

X:1

T:C.N.E. Breakdown

C:Ward Allen

R:Breakdown

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:A

A2|CEAE FAEA|cAeA ceAc|GBeB ceBe|gebe gbge|

CEAE FAEA|cAeA ceAc|eagf edcB|A2c2 A2:|

K:E

c2|B4 -BcBA|GBef g2fg|a4 -agfa|gfeg fe^dc|

B4 -BcBA|GBef g2fg|a2fa bf^df|e2g2 e2:|

 

C T’S A MONKEY.  English, Country Dance Tune (cut time). G Minor. Standard. AB. Geoghegan gives the alternate title “Sleg’s Hornpipe.” Geoghegan (Compleat Tutor for the Pastoral or New Bagpipes), c. 1745-46; pg. 31.

X:1

T:C t’s a Monkey or Sleg’s Hornpipe

M:C|

L:1/8

R:Country Dance Tune

S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)

Z:AK/Fiddler’s Companion

K:G Minor

g4 (ba)(gf) | gedc fdcB | ecBA dBAG | gdc=B cbag | acBA Bag f | gBcB Agfe |

fABA Gced | cBAG G2^F2 || de f2 =Bc d2 | Gfed ed c2 | cd e2 AB c2 | Fedc BA B2 |

dBGE DBcd | e2c4B2 | cBAG FGAB | d2 B4 (g/a/b) | a2 c4BA | Bd g4 fe | dBAG D2E2 | G6 ||

 

CA b-FUAIR TU I? AKA and see "Where Did You Find Her?"

 

CA' HAWKIE (THROUGH THE WATER). AKA and see "Drive Hakky," "Lord Elphinston(e’s)." Scottish, English; Strathspey, Reel and/or Air (2/4 time). England, Northumberland. B Flat Major & G Minor (Bruce & Stokoe): A Minor (Athole, Kerr, Martin). Standard. AB (Bruce & Stokoe ): AABB (Martin): AABBCCDD (Kerr). Christine Martin (2002) explains that ‘Hawkie’ is pet name in Scots dialect for a cow with a white face.

***

Ca' Hawkie, ca' Hawkie,

Ca' Hawkie through the water,

Hawkie is a sweir beast,

And Hawkie winna wade the water.

Hawkie is a bonny cow,

Though she's loth to wade the water;

While she waits the work'll stand,

So ca' Hawkie through the water. (Bruce & Stokoe)

***

Source for notated version: fiddler and teacher Jean-Ann Callender (Aberdeen) [Martin]. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 121. Kerr (Merry Melodies), vol. 2; No. 70, pg. 10. Martin (Traditional Scottish Fiddling), 2002; pg. 12. Stewart-Robertson (The Athole Collection), 1884; pg. 54. Philo FI 2018, "Jean Carignan Plays the Music of Coleman, Morrison & Skinner" (played as a reel).

X:1

T:Ca’ Hawkie Through the Water

T:Lord Elphinston

M:C|

L:1/8

R:Reel or Strathspey

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

Z:AK/Fiddler’s Companion

K:Aminor

a|g<e e>d c>de>a|g<e e<d c<A A>a|g<e e>d c>de>g|e<a a>^g a<A A:|

B|c2 c>e d2d>e|c2 c>e d>BG>B|c2 c>e d2 d>f|e<a a>^g a<A A>B|

c2 c>e d2 d>e|c2 c>e d>BG>B|c>ec>e d<gd<g|e<a a>^g aAA||

|:c|G<E E>D C>DE>A|G<E E>D C<A, A,>A|G<E E>D C>DE>G|

E<A A>^G A>A, A:|

B,|C2 C>E D2 D>E|C2 C>E D>B,G,>B,|C2 C>E D2 D>F|

E<A A>^G A<A, A,>B|c>ec>e d>ed>e|c>ec>e d>BG>B|

c>ec>e d>gd>g|e<a a>^g a<AA||

X:2

T:Ca’ Hawkie Through the Water

M:2/4

L:1/8

S: Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G Minor

B2 Bd|c2 ce|B2 Bd|(c/B/)(A/G/) FA|BB Bd|c2 ce|dg g^f|

gG GG||fd dB|cd e2|fd dB|cA AF|fd dB|cd ee|(dg) g^f|gG GG||

 

ÇA IRA. See “Downfall of Paris.” French, Air and March. The air, played as a march, was adopted by the West Yorkshire Regiment of the British army as their regimental march. David Murray, writing in Music of the Scottish Regiments (Edinburgh, 1994), gives this account:

***

At the Battle of Famars in May, 1793, the 14th Foot—

later the West Yorkshire Regiment—were being attacked

by the French, whose band was playing the revolutionary

song ‘Ça ira’:

“Ah, ça ira, ça ira, ça ira,

a la lanterne, les aristos!

Ah, ça ira, ça ira, ça ira,

Les aristocrats, on les pendra!”

The Commanding Officer of the 14th ordered his drummers to

strike up ‘Ça ira!’ and, turning to his men, cried, ‘We’ll beat

them to their won damned tune!” This the 14th did, and made

‘Ça ira’ their own.   (pg. 182).

***

The following passage is from A Contribution to the History of the Huguenots of South Carolina (1887) by Samuel Dubose and Frederick Porcher. It describes a country dance in Craven County, South Carolina in the early 1800’s:

***

Nothing can be imagined more simple or more fascinating that those Pineville balls.

Bear in mind, reader, that we are discussing old Pineville as it existed prior to 1836.

No love of display governed the preparations; no vain attempt to outshine a com-

petitor in the world of fashion. Refreshments were provided of the simplest character,

such only as the unusual exercise, and sitting beyond the usual hours of repose, would

fairly warrant. Nothing to tempt the pampered appetite. Cards were usually provided

to keep the elderly gentlemen quite, and the music was only that which the gentlemen’s

servants could produce. The company assembled early. No one ever though of

waiting until bedtime to dress for the ball; a country-dance always commenced the

entertainment. The lady who stood at the head of the dancers was entitled to call for

the figure, and the old airs, Ca Ira, Moneymusk, Haste to the Wedding, and La Belle

Catharine were popular and familiar in Pineville long after they had been forgotten, as

dances, everywhere else.

***

Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

 

CA RAbHAIS ANOIS A CAILIN bIG. Irish, Air. D Major. Standard. AB. Roche Collection, 1982; vol. 3, pg. 6, No. 20.

           

CA THE EWES TO THE KNOWS. AKA - “Ca’ the Yowes.” Scottish, Air (2/4 time). B Minor. Standard. AB. The title means ‘drive the ewes to the knolls’. The tune is composed virtually on a pentatonic or hexatonic scale (except for a passing note or two). As “Ca’ the Yowes” it is the title of a Robert Burns (1759-1796) song, first published in the Scots Musical Museum (1790), although he adapted it from an older song and claimed only the second and last verse as his own. The chorus goes:

***

Ca’the yowes to the knowes,

Ca’ them where the heather grows,

Ca’ them where the burnie rowes,

My bonie Dearie.

***

The original song (upon which Burns’ based his adaptation) was attributed to Isobel ‘Tibbie’ Pagan (c. 1741-1821), an old woman from Muirkirk, East Ayrshire, who bartered in unlicensed whiskey (and smuggled it to!), and who was known for the stories she told as she dispensed her wares to her customers from her private ale-house. In fact, Pagan, is said to have been illiterate and to have dictated her poems to an amanuensis, a tailor named William Gemmell (who, along with transcribing them probably altered their reputedly characteristic bawdiness for public consumption.) When her collection of poems and songs was published in Glasgow in 1805, however, “Ca’ the Yowes” was not included. Local lore has it that she was a friend of Burns’. See note for “Maid that Tends the Goats.”

***

O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 66.

X:1

T:Ca the Ewes to the Knows

M:2/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:B Minor

E>F B2 | A<F A2 | F>E Dd | c>d e2 | f>B B>B | A>d F2 | E2 F>A | B2 B ||

E>F B>B | A>F A2 | F>E D>d | c>d e2 | f<f B/BB/ | A>d F2 | E>EF>A | B2B2 ||

                       

CA' THE STIRKS FRAE OUT THE CORN. AKA and see "Lucky Can You Link Ony," "Mither Put Me to the Well [1]." Scottish, Strathspey. A Minor. Standard. AABB. Said to be a very old Scottish air. Stirks = bullocks. Gatherer (Gatherer’s Musical Museum), 1987; pg. 37. Kerr (Merry Melodies), vol. 2; No. 68, pg. 10. Lowe (Lowe's Collection of Reels, Strathspeys and Jiggs", Book 5 (1844‑45). MacDonald (The Skye Collection), 1887; pg. 114. Stewart-Robertson (The Athole Collection), 1884; pg. 53.

X:1

T:Ca’ the Stirks

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:A Minor

a|A/A/A B>A B<d e2|d>gB>g a>G E2|D<G B>G A>GB>G|D/D/D E>G B>AA:|

|:g|a>b a<g b>a a2|g>ab>a g>ed>e|g>age d>e g2|e>gd>g B>AA:|

 


CA' THE WETHERS TO THE HILL. AKA and see “Glen Tilt Lodge,” "Glentilt." Scottish, Cape Breton; Strathspey. A Major. Standard or AEAE. AAB (Gow): AABB' (Dunlay & Reich, Kerr). This double-tonic melody appears in Stewart-Robertson's "Athole Collection" as "Glentilt" (in reel time) and in Alexander McGlashan’s A Collection of Reels (1786) as the “Duke of Athol’s Forest Lodge, Glen Tilt.” Source for notated version: John Campbell (Cape Breton) [Dunlay and Reich]. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 30. Gow (Complete Repository), Book 4, 1817; pg. 34. Kerr (Merry Melodies), vol. 3; No. 117, pg. 14. JC 124, John Campbell‑ "Cape Breton Violin" (1979. Appears as "Traditional Strathspey"); DMP 6‑27‑1, Doug MacPhee‑ "Cape Breton Piano III" (1981. Appears as "Traditional Strathspey"). RDRC 850, Raymond Ellis - “Dedicated to Mom and Dad” (1994). SA93130, Donny LeBlanc - “Rosining Up the Bow” (1993).

X:1

T:Ca’ the Wethers to the Hill

M:C|

L:1/8

R:Strathspey

S:Gow – 4th Repository   (1817)

Z:AK/Fiddler’s Companion

K:A

c|A(aa>)g feac|A(aa)c B>cdB|A(aa)g feac|dfec B2A:|

d|cAec A/A/A e2|dfec BcdB|cAec A/A/A e2|dfec B2 Ad|cAec A/A/A e2|

dfec B>cdB|Aaga faea|dfec B2A||

 

CA' THE YOWES. See “Ca the Ewes to the Knows.” Scottish, Song Air.

 

CAALD NIGHTS O WINTER. Shetland, Shetland Reel. Shetland; Nesting, Whalsay. A Mixolydian/D Major. Standard. AB. A popular tune from Whalsay, notes Tom Anderson (1970).

***

Jack Campin found the following passage in the memoirs of Elizabeth Grant of Rothiemurchus. She grew up in a manor in the Highlands in the early 19th century, and here she writes about the year 1812, when at age fifteen she and her sister arose under the direction of her governess:

***

In winter we rose half an hour later, without candle, or fire,
or warm water.  Our clothes were all laid on a chair overnight
in readiness for being taken up in proper order.  My Mother
would not give us candles, and Miss Elphick insisted we should
get up.  We were not allowed hot water, and really in the high-
land winters, when the breath froze on the sheets, and the water
in the jugs became cakes of ice, washing was a cruel necessity,
the fingers were pinched enough.  As we could play our scales
well in the dark, the two pianofortes and the harp began the
day's work.  How very near crying the one whose turn set her at
the harp I will not speak of; the strings cut the poor cold
fingers so that the blisters often bled.  Martyr the second put
her poor blue hands on the keys of the grand-pianoforte in the
drawing room, for in those two rooms the fires were never lighted
till near
nine o'clock - the grates were of bright steel, the
household was not early and so we had to bear our hard fate.

***

Source for notated version: A. Hutchinson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 25.

X:1

T:Da Caald Nights O Winter

M:4/4

L:1/8

Q:1/4=220

C:Trad Shetland

R:reel

Z:Chris Hoseaso

K:D

e|eaaf gefd|BBge d2 dd|eaaf gafd|efdf e2 e:|!

A|AAcA eAcA|BBge d2 df|eAcA eAce|efdf e2 e:|!

 

CABER FÉIDH (Deer's Antlers). AKA ‑ "Caber/Caper Fey/Fei/Feigh," "Caberfei,"  "The Cameronian(‘s) Rant," "The Copperplate," "The Deer's Horn(s)," “Jack Smith’s Favorite,” "Rakish Paddy."  Scottish, Canadian, Shetland; March, Reel and Country Dance. Canada, Cape Breton. C Major (most versions): D Major (Jean Carignan, Martin/2002, O’Farrell). Standard. AB (most versions): AABB (Begin, Martin, O’Farrell). A particularly popular reel that has long been a mainstay of Scottish tradition and has been subsumed into the Irish. The earliest record of the tune is in Scottish musician David Young's MS. of 1734, called the Drummond Castle MS (because it was in the possession of the Earl of Ancaster at Drummond Castle) or The Duke of Perth MS, where it is set with variations. The MS is inscribed 'A Collection of the best Highland Reels written by David Young, W.M. & Accomptant." The melody also appears in Young's Bodlein MS (1740, named for the Bodlein Library, Oxford, where it is kept), the McLean Collection (published by James Johnson in Edinburgh in 1772), and in the McFarland MS of 1740 (where it is credited to David Young). In Robert Bremner’s 2nd Collection (1768) it is printed in four parts in the key of C (with both f sharp and f natural accidentals). Cooke prints the following words to the tune, collected in the Shetland islands:

***

Mary made away being good luck wi' Teddie

All grown doss (toss?) makin me a dock an piddie.

***

The piece is often played in Scotland as a medley with "The Bob of Fettercairn," and is the tune for the famous Highland Dance called the "Caber Feidh," in which the dancers symbolically simulate the shape of deer's antlers with arms and fingers. From time immemorial a march version has been the clan march, rallying call, and insignia of the MacKenzie clan, "and in the eighteenth and nineteenth centuries it was the official march used to signal the charge of Highland troops" (Cowdery). Pipers generally consider the strathspey, reel and even jig versions of the tune to be relatively recent adaptations; in point of fact, the strathspey version is by Pipe Major W. Ross (a member of the Scots Guards from 1896 to 1918) while the jig is by a modern musician, D. Johnstone. Cape Breton fiddler and editor Paul Stwart Cranford (1995), however, suspects that Bremner’s 1768 variations may have been a strathspey setting due to his particular grouping of sixteeth notes. Jean Carignan, taxi driver and famous Canadian fiddler from Montreal Canada, played the tune in the relatively rare (for this tune) key of D Major.

***

With adaptations made necessary (according to Paul Stewart Cranford) by the scale available to 19th century Irish pipes, the tune also entered into Irish tradition. Despite its Scottish origins, it is a member of the tune family Cowdery (1990) classifies under the Irish reel "Rakish Paddy."  See also "Rakish Paddy," "Padraig Reice," "Glastertown's Downfall," "The Castle Street Reel," "Copperplate," "Sporting Pat [1]," "Cameronian Rant." O’Neill (1922) remarks: “When first received with a batch of fine tunes noted down by our unselfish friend Francis E. Walsh from the playing of clever San Francisco musicians, the foregoing reel under a slightly different name was recognized as a variant of ‘Rakish Paddy’ previously printed in The Music of Ireland, and O'Neill's Dance Music of Ireland. Another variant named ‘Sporting Pat’ is to be found in O'Neill's Irish Music for Piano or Violin. Under the circumstances, another variant seemed superfluous, but coming from such a famous fiddler as John Kelly of Roscommon, it has been cheerfully welcomed to our pages. A favorite with all capable pipers and fiddlers of our acquaintance for many years, the tune under any of its recognized names does not appear in the Bunting, Petrie or Joyce publications. As ‘Caper Fey’ it was printed in Bremner's Second Collection of Scots Reels or Country Dances, London 1768; yet omitted from The Glen Collection of Scottish Dance Music, Edinburgh 1891. Most Highland Bagpipe note books include a suitable setting of the tune under the correct title as above, in Gaelic and English.”

***

Source for notated version: Mike MacDougal (Ingonish, Cape Breton, 1928-1982) via Jerry Holland (Invernesss, Cape Breton) [Cranford]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 25, pg. 38. Cranford (Jerry Holland’s), 1995; No. 20, pg. 6. Cranford (Winston Fitzgerald), 1997; No. 117, pg. 48. Hunter (Fiddle Music of Scotland), 1988; No. 186. Kerr (Merry Melodies), vol. 1; Set 23, No. 4, pg. 14. MacDonald (The Skye Collection), 1887; pg. 117. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 42. Martin (Traditional Scottish Fiddling), 2002; pg. 86. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 82 (appears as “Caper Fey”). O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 252. Sannella, Balance and Swing (CDSS). Stewart-Robertson (The Athole Collection), 1884; pg. 60. Tolman (Nelson Music Collection), 1969; pg. 10. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 40). Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Cabar Féidh

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:C Major

G|~c2ed ~c2GB|~c2GF ECCE|Ddd^c d2Ac|d2AG FDDB|

~c2ed ~c2GB|cGAF ECCE|DEFG ABcA|d2 AG FDD||

f|ecgc acgc|ecgc ecce|fdad bdad|fgag fddf|ecgc acgc|GAcd eccg|

afge fdf^c|d2AG FDD||

X:2

T:Cabar Feigh

T:Deer's Horns, The

M:4/4

L:1/8

S:setting by John Kelly, San Francisco

Z:Paul Kinder

R:Reel

K:G

A/2B/2|:c2 dB cGAB|cBAG EC C2|d2 ec d2 (3ABc|dABG ^FGAB|

c2 dB cGAB|cBAG ECCE|DE=FG ABce|dcAG FD D2:|

|:ecgc acgc|egfg ecce|fdad bdad|faga fddf|

ecgc acgc|egfg ecce|dcBc ABce|1dcAG FD D2:|2dcAG FGAB||

 

CABIN BUCK. See “Cavan Buck.”

 

CABIN CREEK [1]. See "Barlow Knife." “Cabin Creek” is Ed Haley’s (Ashland, Ky.) version of “Barlow Knife.” Rounder 1133, Ed Haley Vol 2 – "Grey Eagle".

 

CABIN CREEK [2]. AKA and see "Salt River."

 

CABIN DOWN THE LANE. Scottish, Hornpipe. G Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 290, pg. 31.

X:1

T:Cabin Down the Lane

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 290  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(Bc)|d2 (ed) dBGA|BGEG D3B|c2 (cd) edcB|A2A2A2 (Bc)|

d2 (ed) dBGA|BGEG D3B|BdBG EcAF|G2G2G2||: (AB)|

cBcd c2 (Bc)|dBBG A2 (Bc)|d2 BG (ed)cB|A2A2A2 (Bc)|

dBec dBGA|BGEG D2 (GA)|BdBG AcAF|G2G2G2:|

 

CABIN HUNTER, THE (An Biadánaí). Irish, Reel. County Clare. E Minor. Standard tuning. AB. See also "Mearacan an Tailliura," "Seomra in Uachtar." Randy Miller (2006) notes that some have suggested the title refers to one who likes to collect gossip from door to door. The ‘A’ part is very similar to that of Charlie Lennon’s “The Road to Cashel,” though the ‘B’ parts differ. Breathnach (1963) thought this might have been a composite tune, with the first part derived from 'The Tailor's Thimble' (CRÉ I, 125) and that the turn [second part] from the second part of  The Upper Room” (CRÉ I, 130). It has been pointed out that the ‘B’ part of “Cabin Hunter” is also similar to the turn of “Pigeon on the Gate.” Reportedly, Lennon claims the tune as his composition, despite the differences between “Road to Cashel” and “Cabin Hunter.” Paul de Grae remarks that in 1998 Finbar Boyle recalled hearing John Kelly senior playing at a session more than twenty years previously, where he introduced "The Cabin Hunter" as "an old Clare reel". Kelly recorded the tune in 1968. It appears to have been part of the tradition predating Lennon’s “The Road to Cashel,” concludes de Grae. Sources for notated versions: Éamonn de Stabaltún/Ned Stapleton (Ireland) [Breathnach/CRE I]; John Kelly [Breathnach, CRÉ III]. Breathnach (CRÉ I), 1963; No. 190. Breathnach (CRÉ III), 1985; No. 143 (appears as “Gan ainm/No title”). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 18. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 54. Green Linnet 1052, Kevin Burke – “Up Close” (1984).

X:1

T:An Biadánaí

T:The Cabin Hunter

B:Breathnach, CRE I, no. 190

S:Ned Stapleton, flute

Z:Transcribed by Paul de Grae

R:reel

M:4/4

L:1/8

K:Edor

EF|(3GFE FE ~E3 F|GE ~E2 dAFD|(3GFE FD ~E3 F|DFAF DFAF|

(3GFE FE ~E3 F|GE ~E2 dAFD|(3GFE FD ~E3 F|DFAF DFAF||

Beed efed|Bdef {a}gfed|Beec dedB|AF ~F2 DFAF|

Beed efed|Bdef g2 fg|eg ~g2 efge|dcdB ADFA||

 

CABISTER HEAD. Shetland. Composed by Shetland fiddler Bobbie Peterson.

           

CABLE STITCH, THE.  Irish, Jig. A Major (‘A’ part) & D Major (‘B’ part). Standard. AABB’. Composed by fiddler and piano player Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. The title refers to a knitting stitch, common in Aran patterns (Keegan was also knitted as a hobby for some years). Keegan (The Keegan Tunes), 2002; pg.61.

                       

CABOT HORNPIPE. Canadian, Hornpipe. Canada, Cape Breton. D Major. Standard. AA’BB. Composed by Cape Breton, Nova Scotia, fiddler Winston Fitzgerald (1914-1987). Cranford (Winston Fitzgerald), 1997; No. 30, pg. 11.

 


CABRI WALTZ. Canadian, American; Waltz. American, New England. G Major. Standard. AB (Matthiesen): AA'BB' (Brody). Source for notated version: Fennig's All Stars (N.Y. State) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 60. Matthiesen (Waltz Book I), 1992; pg. 19. Front Hall 01, Fennig's All Stars‑ "The Hammered Dulcimer." Vermont Performing Arts League ‑ "A Vermont Sampler." Voyager 306‑S, Joe Pancerzewski‑ "The Fiddling Engineer."

X:1

T:Cabri Waltz

M:3/4

L:1/8

R:Waltz

K:G

zB,A,B, | “G”G,2B,3D | “G7”D3D (3B,A,G, | “C”C2E3G | “C#dim”E3G FE | “D”D>E F>G A>B |

“D7”(3c>dc B2A2 | “C” G3 A G>E | “D”D4 (3B,A,B, | “G”G,2B,3D | “G7”D4 (3DB,G, |

“C”C2E3G | “A”E3G FE | “D”D>E F>G A>B | “D7”c2B2A2 | “G”G2 G>A “C”G>F |

“G”G3A Bd || g4 (3gag | “D”f4 Ac | “C”e2 e>g ed | “G”B4 (3Bc^c | “D7”d3e d=c | A3D FA |

“G”G3A “C”A>G | “G” G4 ||

 

CABRIOLET, THE. English, Jig. England, Yorkshire. F Major. Standard. AABB. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 59, pg. 43.

 

CABRIOLET, LE.  French, Country Dance (2/4 time). D Major. Standard. AABBCC. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 31.

X:1

T:Cabriolet, Le

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 31

Z:AK/Fiddler’s Companion

K:D

DD/D/ FA | DD/D/ GB | DD/D/ fa | {g}fe/d/ {f}ed/c/ | DD/D/ FA | DD/D/ fa |

f/d/f/d/ e/c/e/c/ | dd/d/ d2 :: f>d f/d/f/d/ | e>c e/c/e/c/ | d>D F/D/F/D/ | AA/A/ A2 |

DD/D/ FA | DD/D/ fa | f/d/f/d/ e/c/e/c/ | dd/d/ d2 :: d>f a/f/a/f/ | c>e g/e/g/e |

d>f a/f/a/f/ | ee/e/ e2 | DD/D/ FA | DD/D/ fa | f/d/f/d/ e/c/e/c/ | dd/d/ d2 :|

 

CACHE TES FESSES. French-Canadian, Jig (3/2 time). G Major. Standard. AA’BB. A ‘crooked’ tune, probably derived from a traditional song. Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle Tunes), 1997; No. 18. Les Têtes de violon - “Le talencourt.”

 

CACINA. AKA and see "Cacinameronian's Rant." Scottish, Country Dance Tune (6/8 time). G Major. Standard. AABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 42.

X:1

T:Cacina

M:6/8

L:1/8

S:McGlashan – Collection of Scots Measures (c. 1780)
Z:AK/Fiddler’s Companion

K:G
B2A B2A|G2G GAB|c2 Bc2B|A2A A2B|c2c cde|edc Bcd|dcB AGA|G2G G3:|

|:d2d dBG|e2e e3|c2c cAF|d2d d3|G2D B2G|d2B g2d|edc BAG|AFD CB,A,:|

 

CACINAMERONIAN'S RANT. AKA and see "Hickity Crackity," "Cassino," "Cacina," "French March [2]," "Baltimore [1]," "Cotillon Oats Peas Beans." Scottish, English, American; Country Dance Tune (6/8 time). The melody, which is recognizable as the singing game "Oats, peas, beans and barley, oh!," appears in Aird (Selections), vol. I, No. 100.

 


CACKLIN' HEN [1].  See "Old Hen Cackle(d) [1]," "Old Hen She Cackled," "Hen Cackle(d)," "Cluck Old Hen [1]," "Cackling Pullet," "Chicken in the Barnyard," "Old Man Depression Get On Your Way." Bluegrass, Old Time; Breakdown. USA, widely known. G Major. Standard. AABB (Brody, Ruth, Shumway); AA'BB (Phillips): ABBCDD (Thede). Many variants of this widely known tune appear under titles which include the adjective "cluck" or "cackling," often with the word "old" also appendaged (see alternate titles above).  It has been a fiddle contest standard, and is often still heard at fiddler's gatherings; for example, it is mentioned in a 1931 account of LaFollette, northeast Tenn., fiddlers' contest, and, in 1899 in a contest in Gallatin, Tenn., "Cackling Hen" was one of the 'catagory' tunes  (where each fiddler would play the same tune with the winning version winning a prize {Charles Wolfe, The Devil's Box, Vol. 14, No. 4, 12/1/80}). The piece was reworked by the early 20th century Georgia group called the  Skillet Lickers, and was recorded by them in the early 30's as "Old Man Depression Get On Your Way." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, and it was in the repertoire of West Virginia fiddler Edden Hammons. Sources for notated versions: Chubby Wise (Brody), Jubal Anderson (Pottawatomie County, Ok.) [Thede]; Kenner C. Kartchner (Arizona) [Shumway]; Robert Wise [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 60. Ford (Traditional Music in America), 1940; pg. 92. Phillips (Traditional American Fiddle Tunes), 1994; pg. 43. Ruth (Pioneer Western Folk Tunes), 1948; No. 94, pg. 34. Shumway (Frontier Fiddler), 1990; pg. 266. Thede (The Fiddle Book), 1967; pg. 123. Briar 4206, "Scotty Stoneman." Chubby Dragon CD1008, Brad Leftwich, Bruce Molsky et al – “Mountairy.usa” (2001). Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, Vol. 1” (reissue). Flying Fish 102, New Lost City Ramblers‑ "20 Years Concert Performances" (1978. Learned from Joe Stewart's Folkways album). Folkways FA2314, Joe Stewart ‑ "American Banjo Scruggs Style." Kicking Mule, Reed Martin‑ "The Old‑Time Banjo in America." Rounder C11565, Fred Price (northeastern Tenn.) ‑ "Rounder Fiddle" (1990). Rounder 0009, Clint Howard, Fred Price & Sons ‑ "The Ballad of Finley Preston." Rounder CD 0383, Mike Seegar and Paul Brown - “Down in North Carolina.” Stoneway 104, Chubby Wise‑ "Chubby Wise and His Fiddle." Stoneway 148, Chubby Wise‑ "Fiddle Hoedown." Martin, Bogen and Armstrong‑ "Barnyard Dance." Recorded for OKeh in 1925 by Dedrick Harris (b. 1868) {Tenn., Asheville N.C.}, one of only two fiddle solos he made. Edden Hammons Collection, Disc 2.

 

CACKLING HEN [2].