The Fiddler’s
Companion
© 1996-2007 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
|
CA - CAIS |
|
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.
C B C’s GLEN AND CARL. Canadian, Reel.
C D STRATHSPEY, THE. Scottish, Strathspey. Composed
by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972),
dedicated to a lecturer at the
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,
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.
C. N. E. BREAKDOWN. Canadian, Breakdown. A Major (‘A’ part) & E Major (‘B’ part).
Standard tuning. AABB. Composed by
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).
***
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 (
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<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 (
***
At the
later the
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
***
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
***
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>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,
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
***
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
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.
***
Mary made away being good luck wi' Teddie
All grown doss (toss?) makin me a dock an
piddie.
***
The
piece is often played in
***
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
***
Source
for notated version: Mike MacDougal (Ingonish, Cape Breton, 1928-1982) via
Jerry Holland (Invernesss,
|
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,
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 (
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.
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
CABOT HORNPIPE. Canadian, Hornpipe.
CABRI WALTZ. Canadian, American; Waltz. American,
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.
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,
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."