The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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CCU - CETT

[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] 

CCUIMIN LEAT?, A. Irish, Air (3/8 time). E Flat Major. Standard. AB. Petrie notes in pencil “Remember thee, yes while there’s life in this heart.” Source for notated version: Mary Madden [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1514, pg. 379.

                       

CE BHEADH SA TINE NACH N-EIREODH?  AKA and see "Sugradh na hOiche Areir," "Hush the cat from under the table," "Paddy be aisy," "Last Night's Fun [2]," "Miss Brown's Fancy [3]," "Wink and she'll follow you."

                       

CEAD BLIADHAIN O SHIN. Irish, Pipe Air. Ireland, County Donegal. Collected by Padriag Mac Aodh O’Neill in 1903 from the playing of fiddler Padraig Mac Suibhne and published in Songs of Uladh. Caoimhin Mac Aodh (1994) remarks that apparently this tune was used as an introduction to a longer descriptive piece called “Brian Boroimhe’s March.”

                          

CEAD LA BEALTEINE, AN. AKA and see "The First of May."

                          

CEAD LA MARTA, AN. AKA and see "The First of March."

                       

CEAD LA MI MEADON SAMRAID, AN. AKA and see "The First of June."

                       

CEAD MI SAMRAD, AN. AKA and see "The First Month of Summer."

                       

CEAD OIDCE ANN AMERICA, AN. AKA and see "The First Night in America."

           

C(H)EAD PHUNNANN, AN.  AKA and see “Jimmy Ward’s Jig.”

           

CEADBLIADAIN NUAD, AN. AKA and see "The New Century [2]."

                       

CEAN DE NA BUACAILLIB. AKA and see "One of the Boys."

                       

CEAN DUB DILIR [1]. Irish, Air (6/8 time). Ireland, Londonderry. E Flat Major. Standard tuning. AAB. “Set in the county of Londonderry” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1061, pg. 269.

 

CEAN DUB DILIR [2]. Irish, Air (6/8 time). Ireland, Derry. E Falt major. Standard tuning. AABB. “Set in the count of Derry” [Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 1062, pg. 269.

                       

CEANN AN FHEIDH. AKA and see "The Fraser Arms."

                       

CEAN DUB OILIR. AKA and see "Black‑Haired Dearie."

                       

CEANC AGAR COILEAC A D’IMTIG LE CEILE. Irish, Air (6/8 or 12/8 time). G Major/Mixolydian: E Flat Major. Standard tuning. AB. Source for notated version: “From T. Mac Mahon” [Petrie]. Stanford/Petrie (Complete Collection), 1905; Nos. 1508-1509, pg. 377.

                       


CEANGA(I)L NA RIBÍNÍ. AKA and see "Tie the Ribbons [1]."

                       

CEANGAL AN BOINEAD. AKA and see "Tie the Bonnet."

                       

CEANGAL AN COTA-MNA NIOS DAINGNE. AKA and see "Tie the Petticoat Tighter."

                       

CEANGAL NA RIBINI. AKA and see "Tie the Ribbons [2]."

           

CEANGULLA POLKA. AKA and see “Ceanngulla Polka.” Irish, Polka.

           

CEANN DUBH DILIS. AKA and see "Black Headed Dearie," "The Auld Jew."

                       

CEANN IS FEARR ANNSA MALA. AKA and see "The Best in the Bag."

                       

CEANN NA DROCHAID BIG (The Head of the Little Bridge). Scottish, Pipe Pibroch. This well-known pipe pibroch was likely composed by one of Montrose’s pipers, according to Francis Collinson (1975), in celebration for the victory at Inverlocy on February 2nd, 1645.  Montrose won by employing a stunning outflanking march in which he doubled-back across mountain passes in the depths of winter from Killcumin (now Fort Augustus) to Inverlochy, where he fell upon the flank of Argyll and his Campbells in a dawn attack.  During the attack not only did the trumpets sound the salute reserved for the royal standard (as Montrose had changed sides to become ‘the King’s Lieutenant’) but pipers played the Cameron picbroch “Sons of dogs, come and I will give you flesh.”

                       

CEANNABHÁIN BHÁNA, NA (The Little Fair Cannavans). Irish, Air or Slip Jig. D Major. Standard tuning. AABB. The melody was lilted as an infant-dawdling song, with appropriate lyrics, and was collected in Connemara from Colm Ó Caoidheáin by Séamus Ennis in the 1940’s. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 41. Comhaltas Records, Tommy Keane (1983. Learned from Seamus Ennis). CCF 30, Liam O'Flynn, Sean Keane & Matt Molloy – “The Fire Aflame.” Piping Pig Records PPPCD001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996).

X:1

T:Na Ceannabháin Bhána

L:1/8

M:9/8

R:Slip Jig

Z:Transcribed by Karen Lowe

K:G

BGG AGE GED|EGD DEG A2c|BGG AGE GED|EGD DEF G2c:|

Bdd edd BAG|Bdd edB A2c|Bdd edd BAG|GED DEF G3:|

                       

CEANN-RARA. AKA and see "Kinrara."

                       

CEANNGULLA POLKA, THE. AKA and see "Banks of Inverness." Irish, Polka. D Major. Standard tuning. AAB. The title is source O’Leary’s, named for a village located between the abodes of fiddlers Denis Murphy and Padraig O’Keeffe, as he could not remember from which he obtained the tune. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region), recorded in recital at Na Piobairi Uilleann, November, 1990 [Moylan].  Moylan (Johnny O’Leary), 1994; No. 166, pgs. 95-96.

                       

CEANNGULLA SLIDE. AKA and see “Baile Bheachain,” “Gleanntán Frolics [2].” Irish, Slide (12/8 time). Ireland, Sliabh Luachra, County Kerry. D Major. Standard tuning. AABB. This tune is the second in a set of three slides recorded by Seamus Ennos from the playing of Sliabh Luachra fiddle great Padraig O’Keeffe. Source for notated version: fiddler and fiddle-maker Andrew McCarthy via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; Nos. 308A&B, pgs. 177-178. RTE CD174, “The Sliabh Luachra Fiddle Master Padraig O’Keeffe” (appears as “Gleanntan Frolics” [2]). Spin CD 1001, Eoghan O’Sullivan, Gary Harrington, Paul De Grae - “The Smoky Chimney” (1996. Appears as “Gleanntan Frolics”).

                       

CEANNUIDE SUGAC, AN. AKA and see "The Merry Merchant."

                       

CEANNUIGHE O'N EARNA, AN. See "The Merchant from the Erne."

                       

CEANNUIGHE/CEANNAIDHE SUGACH, AN AKA and see "The Jolly Pedlar."

                       


CEAPACH NA FASACH (Keppoch a Wilderness). Scottish, Slow Air (9/8 time). E Minor. Standard tuning. AA. "Ceapach na Fasach" was composed by the Reverend Patrick Macdonald of Kilmore, Argyllshire, who was the compiler of the first setting for Highland pipe tunes for the violin and piano (according to Josephine Macdonell), though his brother Joseph, who was also an accomplished musician, may have been responsible for the work. Neil (1991) relates the story the tune commemorates (also the theme of a poem entitled "Murt Na Ceapaich" by one Iain Lom), regarding an infamous 17th century murder in which the next in line of the family of Macdonell of Keppoch conspired to slay his two brothers, in order to inherit both lands and clan title. The title comes from the fact that the fields of Inverlair (the area the murderers inhabited) had their field sowed and harrowed, while the acreage of the murdered men in Keppoch lay fallow and desolate, there being none to manage. Iain Lom was a contemporary of the Highlandmen involved in the crime and was tireless in his pursuit of justice, resting only when the murderers were caught and executed. Another melody inspirated by the same poem was Simon Fraser's 1816 "Cheapuich Na Fasoch" (Keppoch Desolate), and Neil thinks both airs may have been written as the music for Lom's work. Neil (The Scots Fiddle), 1991; No. 159, pg. 205.

           

CEARBHALL BÁN MO CHROI. Irish, Slow Air. The tune to a ballad of the Rising of 1798, composed by Fenian poet John Keegan Casey (1846-1870), although Gearóid Ó hAllmhuráin (1999) thinks it may have been based on an older sean nós air.  The song tells the tale of a woman grieving for her lover, who has been executed by hanging for his part in the rebellion. It begins:

***

It was in the town of Wexford, they sentenced him to die,

And in the town of Wexford, they built his gallows high;

It being one summer’s morning, as beamed the gentle dawn,

Upon that cursed gibbet they hung my Cearbhall Bán.

***

Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from Ó hAllmhuráin’s father Francie, who had it from Killnamona fiddler Joe Commane in the 1940’s).

                                   

CEARC AGAR COILEAC A D’IMTIG LE CEILE. AKA and see “(A) Hen and a Cock Went Out Together.”

                       

CEARC AGUS COILLEACH A D-IMTHIGH LE CHEILE. AKA and see "(A) Hen and a Cock Went Out Together."

                       

CEARDCA UI CATAIL. AKA and see "Cahill's Workshop."

                       

CEART NA CINE DAONA. AKA and see "Rights of Man."

                       

CEASE NOT TO ROW BRAVE BOYS (Fhearaibh mo rùin na diultaibh iomairt). Scottish, Jig. C Major. Standard tuning. AAB. This tune "was acquired from Dr. Morison, formerly mentioned as a native of Lews; the words describe a boat or vessel in imminent hazzard, and the hands overpowered with fatigue, whilst one of the number strikes up this ditty to cheer them up, and keep time,‑‑ alluding to the knowledge and skill of their steersman, and the power of Providence to send them instant relief,‑‑ the sure way to obtain which, was by every man performing his duty" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 197, pg. 82.

X:1

T:Cease not to row, brave Boys

T:Fhearaibh mo rùin na diultaibh iomairt

M:6/8

L:1/8

R:Jig

S:Fraser Collection

Z:AK/Fiddler’s Companion

K:C

C|CEE E2G|(EG)F EDC|(CE)E E2c|B>A^G A2c|(CE)E E2G|E(GF) EDC|

CEE Ece|dcB A2c:|

c>eg ceg|(c/B/c/d/)e/f/ gec|cec’ (a/g/)f/e/d/c/|deg ~a2 c’|

c>eg ceg|(c/B/c/d/e/f/) gec|(f/e/)d/c/B/A/ GF/E/D/C/|DEG A2e|c>eg ceg|

(c/B/c/d/e/f/) gec|cec’ (a/g/)f/e/d/c/|deg ~a2c’|ceg (e<c)e|(d<B)d c>de|

(CE)E (EA)c|B>A^G A2c||

                       

CEASE, RUDE BOREAS. AKA and see "The Sailor's Complaint." Ritson states this song, to the tune of "The Sailor's Complaint" was written by G.A. Stevens.

                       

CEASE YOUR FUNNING [1]. AKA and see "Lofty Mountains," "Constant Billy." English, Air (6/8 time). The song appears in John Gay's Beggar's Opera (1729) and The Fashionable Lady (1730). Chappell reminds us that the tune is, as are all the tunes in Gay's famous work, older than the opera. Kidson (1922) dates the tune to the late 17th century where he finds it on half‑sheet music attached to the song "Constant Billy."  In fact, the air appears as "Constant Billy" in the third volume of Playford's Dancing Master. Sharp (1907) explores the relationship between “Constant Billy” and “Cease Your Funning,” and points out that Gay was not a musician himself and employed the services of a German, Pepusch, by name, to note down and arrange the airs which Gay sang to him. “It needs but a cursory examination of this opera to see that the airs are anything but faithful transcriptions of genuine peasant-tunes…” and concludes that Gay or Pepusch, or both, were guilty of alterations or ‘improvements.’ “The rhythm of the fine old melody ‘Constant Billy’ is changed that it might fit the metre of the new words of ‘Cease Your Funning’, and the tune adorned with a dominant modulation at the middle cadence.”

***

In the Beggar’s Opera the untitled lyric goes:

***

Cease your funning, Force or cunning,

Never shall my heart trepan;

All these sallies Are but malice

To seduce my constant man.

‘Tis most certain, But their flirting,

Women oft have envy shown;

Pleas’d to ruin Others’ wooing,

Never happy in their own.

***

There have been some claims that “Cease Your Funning” was derived (‘stolen’) from the Welsh tune “The Ash Grove,” despite the fact that the latter first appeared in print in the Bardic Museum of 1802. As above, it clearly derives from “Constant Billy,” and the claim for Welsh provenance has no merit, according to Kidson (Groves).

***

Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 119‑120. Raven (English Country Dance Tunes), 1984; pg. 61. Sharp (English Folk-Song), 1907; pg. 113.

X:1

T:Cease Your Funning [1]

L:1/8

M:6/8

S:Sharp – English Folk-Song (1907)

Z:AK/Fiddler’s Companion

K:B_

B2f dB2|e2c AF2|d2B GE2|cFA B3|B2f dB2|e2c AF2|d2B GEG|cFA B3:|

||B2b b2f|B2g g2e|A2f fBA|Gf =e f3|B2f dB2|e2c AF2|d2B GEG|cFA B3||

 

CEASE YOUR FUNNING [2]. Scottish, Reel. B Flat Major. Standard tuning. AAB. This melody first appeared in Joseph Lowe's Collection of Reels, Strathspeys and Jigs, Book 5 (c. 1846). Source for notated version: J. Murdoch Henderson, 1902-1972 (Aberdeen, Scotland) [Hardie]. Hardie (Caledonian Companion), 1986; pg. 40.

                       

CEASUL DIN ROGOZ. AKA and see “The Rogoz Clock.”

                       

CECIL McEACHERN'S JIG. Canadian, Jig. D Major. Standard tuning. AABB. Composed by Cecil McEachern. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 151, pg. 100.

           

CECILIA [1]. Irish, Air (?). G Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. III), 1808; pg. 24.

X:1

T:Cecilia

M:C

L:1/8

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

Z:AK/Fiddler’s Companion

K:G

GB | d>edB d>edB | G2 (ga) g3e | d>edB degB | B3 (A/B/) A3 (G/B/) |

d>edB d>edB | G2 g2 (ag)(fe) | de(fg) dB”tr”AB | G6 :: d |

fgfd fgfd | g2 gb ag(fe) | d>edB degB | B3G A2 (G/A/) |

(Bc)BG dedB |(cB)ce ag(fe) | db (a/g/)f/(g/4e/4) dB”tr”AB | G6 :|

 

CECLIA [2].  English, Country Dance Tune (cut time). A Minor. Standard tuning. AAB. The name of a dance composed by English collector, choreographer and folk dance teacher Pat Shaw. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 18.

                                   

CEDAR GAP. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: Owen “Snake” Chapman [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 45.

                       

CEDARS OF LEBANON, THE. Irish, Reel. Composed by County Tipperary fiddle player Seán Ryan (1985). Bulmer & Sharpley (Music from Ireland), vol. 4; 45 (appears as untitled reel). Ryan (The Hidden Ireland); 29.

                       

CEILEABRAD CAOINE, AN (The Sad Lament). Irish, Air. From the Roche Collection Airs and Fantasies. Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993).

                       

CEILI BANDIT, THE. Irish, Hornpipe. A modern composition by Clodagh Warnock and Eoghan O’Brien. Green Linnet SIF 1173, Deanta – “Whisper of a Secret” (appears as part of “Paddy and the Bandit” set). 

                                                  

CEILI NA gCNOC. See “Ceo na gCnoc.”

 

CEILIER, THE. Irish, Reel. G Major/Mixolydian. Standard. AABB. A “double tonic” tune composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 17, pg. 18.

X:1

T:The Ceilier

M:2/2

L:1/8

C:Ed Reavy

R:Reel

N:He would come with his fiddle to "make his ceili."

N:And he would never come without a new tune or some new version of an

N:old tune he heard since his last visit. He could also tell an odd

N:good story or two.

Z:Joe Reavy

K:G

Bc | d<GBd c=Fac | BGBd gfdc | Bcde =fdeg | ^fdBd c=Fac |

BGGF GABc | d<GBd c2 Bc | dgfa gbag | fdcA G2 :||

|: Bc | dggf g2 gf | dgBg dcBc | de=fe f2 fe | d=fcf dcBc |

dggf gfga | (3bag (3agf gfde | =f2 fe fdeg | ^fdcA G2 :||

                       

CEIMSIOS PARAIS. AKA and see "The Downfall of Paris."

                       

CEIRTLÍN SNÁITHE IN AIMHRÉIDH, AN (The Ravelled Hank of Yarn). AKA and see “The Ravelled Hank of Yarn.”

                       

CEITHRE THURRAING, AN. AKA and see "The Four Shoves."

                       

CELEBRATED OPERA REEL, THE. AKA and see “Doon Reel [3],” "Haye's Fancy," "Gleann Eoghain." Not to be confused with “Opera Reel.”

                       

CELEBRATED STRATHSPEY MINUET, THE. AKA and see "Mrs. Biggs  (of Newcastle's) Delight." Scottish, Dance Tune. A strathspey‑minuet was an 18th century creation in which a twosome danced to a strathspey. The tune appears in Watlen's collection of Celebrated Circus Tunes (1791), inscribed "The celebrated Strathspey Minuet as danced by Mr. Lassells and Mrs. Parker at the Royal Circus, London and Edinburgh."

                       

CELEBRATED STOP HORNPIPE. American, Hornpipe. B Flat major (Cole, Ryan): D Major (Miller). Standard tuning. AABB. Probably a late 19th century stage-hornpipe novelty. Cole (1000 Fiddle Tunes), 1940; pg. 86. Miller (Fiddler’s Throne), 2004; No. 280, pg. 168. Ryan’s Mammoth Collection, 1883; pg. 119.

X:1

T:Celebrated Stop Hornpipe

M:2/4

L:1/8

R:Hornpipe

N:The notes with the asterisk before them are to be held extra length,

N:as the dancer chooses.

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

(F/E/) | D/d/c/B/ A/g/f/e/ | g/f/ *d2 f | (f/e/)(e/d/ (d/c/)(c/B/) | B/d/ *F2 (F/E/) |

D/d/c/B/ A/g/f/e/ | g/f/ *d2 (f/g/) | f/e/c/A/ .F(G/A/) | BdB :: b/g/ | f/d/B/F/ D/F/B/d/ |

e/c/A/F/ E/F/C/E/ | D/F/B/A/ G/B/e/d/ | c/=B/c/d/ .c(b>g) | f/d/B/F/ D/F/B/d/ |

e/c/A/F/ E/F/C/E/ | D/F/B/F/ G/e/c/A/ | BdB :|


                       

CELIA CONNELLAN (Sigile Ni Conallain). AKA and see “My Love’s the Fairest Creature,” “My Only Joe and Dearie O.” Irish, Slow Air (2/4 time). D Minor/F Major (O’Neill): A Minor (Heymann). Standard tuning. AB. Bunting says the composer of this air is Irish harper Thomas Connellan (c. 1640-1700), and published two versions in his Ancient Music of Ireland (1840). A Scottish version is found as “My Only Jo(e) and Dearie O,” says Heymann, but the relationship (at least between O’Neill and Gow’s “My Only…”) seems distant at best. As “Shiely Ni Conolan” it was one of the tunes recorded in the Belfast Northern Star of July 15, 1792, as having been played in competition by one of ten Irish harp masters at the last great convocation of ancient Irish harpers, the Belfast Harp Festival, held that week. Heymann (Off the Record), 1990; pgs. 26-28. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 596, pg. 105. Clairseach Records 2381, Ann Heymann – “Ann’s Harp” (1981).

X:1

T:Celia Connellan

M:2/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 596

Z:AK/Fiddler’s Companion

K:D Minor

A/4B/4 A/G/|Ad dd/4e/4f/4e/4|{^c}d2 d=c/A/|{=B}c2 G/E/G/A/|

{=B}c2 d/c/ {A/B/}A/G/|Ad dd/4/e/4/f/4/e/4|{^c}d2 d=c/A/|{B}c2 E>D|

CA, CD/E/|F2 z||FG/A/ cA/4G/4F|E2 A/G/F/E/|D>E DA,|DE F/G/F/G/|

Ad/e/ fe|{^c}d2 d=c/A/|{B}c2 AG/E/|G/F/E/D/ D>D| D3||

                       

CELIA O'GARA (Sighile ni Ghadharadh). AKA and see "The Kilruddery Hunt," "The Irish Hunt," "Oh! Had We Some Bright Little Isle." Irish, Air (3/4 time). G Mixolydian/Major. Standard. AB. A song, "The Kilruddery Hunt," was written to this air in 1744 by Thomas Mozeen and Owen Bray of Loughlinstown, Co. Dublin. It soon became enormously popular, according to Grattan Flood (1906), and was called by Ritson "The Irish Hunt" (who incorrectly ascribed it to St. Leger). Kane O'Hara used the tune in his "Midas" in 1760.  The "Kilruddery Hunt," was a "prime favorite" of the Irish patriot Theobald Wolfe Tone, and Thomas Moore used the air in 1813 for his song "Oh had We some Bright Little Isle of our Own." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 366, pg. 63.

X:1

T:Celia O’Gara

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 366

Z:AK/Fiddler’s Companion

K:G

BA|G2B2B2|A2c2c2|G2B2B2|c4 BA|G2B2d2|c2A2d2|B2G2G2|g4||

D2|GABCde|=f4 ag|^f2d2B2|c4 BA|G2B2d2|g4 ag|f2d2f2|g4 BA|

G2B2B2|A2c2c2|G2B2B2|c2e2g2|ed cB AG|FG AB cA|B2G2G2|G4||

                       

CELINA LE BLANC. AKA and see "Flannigan's Polka." Canadian, Polka. Canada, British Columbia. C Major ('A' part) & G Major ('B' part). Standard tuning. AA'BB'. Source for notated version: Ned Landry (White Rock, British Columbia) via Joe Pancerzewski (northwestern USA) [Reiner & Anick]. Reiner & Anick (Old‑Time Fiddling Across America), 1989; pg. 150. Voyager VRLP‑306, Joe Pancerzewski ‑ "The Fiddling Engineer."

                       

CELLAR DOOR KEY, THE. English, Old Hornpipe? (3/4 time). England, Northumberland. G Mixolydian. Standard tuning. AABB. In Vickers' MS. the time signature was 6/8 but notes were grouped in 3/4 (Seattle). See also the closely related “Jack Lintel’s Jig.” Seattle (William Vickers), 1987, Part 2; No. 377.

                       

CELLO. American, March (?. 4/4 time). USA; Ohio, Michigan. A Minor ('A' part) & C Major ('B' part). Standard tuning. AAB. The title is pronounced with a soft 'C', as in "celebrity." Al Smitley collected the tune from an elderly fiddler by the name of Ray Shepard whom (in May, 2000) was still playing in his 80th decade. Smitley says: “Shepard grew up in southern Ohio and it was there that he learned the tune.  He moved to Michigan (south of Saline) when he was a young man.” Source for notated version: fiddler Al Smitley of Michigan’s Ruffwater Stringband [Johnson]. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), vol. 7, 1986‑87; pg. 12.

                       

CELTIC CEILIDH. Canadian, Reel. Canada, Cape Breton. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Atlantica Music 02 77657 50222 26, Carl MacKenzie - “Atlantic Fiddles” (1994). CLM Records, Carl MacKenzie - “Celtic Ceilidh” (1986).

                       

CELTIC HUMOR. Irish? Jig. A Minor. Standard tuning. ABB. Harding’s All Round Collection, 1905; No. 104, pg. 33.

X:1

T:Celtic Humor

M:6/8

L:1/8

R:Jig

B:Harding’s All Round Collection, No. 104  (1905)

Z:AK/Fiddler’s Companion

K:A Minor

c/d/|efe dBd|cBA ABc|dBc dBA|GAG Gef|gfe dBd|

e^f^g aba|gfe dBe|AAA Aef||gfe dBd|e^f^g aba|gfe dBe|ABA A2:|

                       

CELTIC SOCIETY'S QUICKSTEP, THE. Scottish, March (2/4 time). A Mixolydian. Standard tuning. AAB (Lerwick): AABB (Kerr). Kerr (Merry Melodies), Vol. 3 (c. 1885); No. 416, pg. 46. Lerwick (The Kilted Fiddler), 1985; pg. 67. Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1983).

X:1

T:Celtic Society’s Quickstep, The

M:4/4

L:1/8

R:March

K:A Mixolydian

e2 | A2 AA c2 BA | c2 e2 e2 a2 | A2 AA c2 BA | dcBA GABG |\

A2 AA c2 BA | c2 e2 e2 g2 | B2 AB GABd | e2 A2 A2 :: e2 |\

a2 e2 c2 BA | c2 e2 e2 ^g2 | a2 e2 c2 BA | g2 B2 B2 g2 |1\

a2 e2 c2 BA | c2 e2 e2 g2 | B2 AB GABd | e2 A2 A2 :|2\

a2 ^gf g2 fe | f2 ed e2 dc | B2 AB GABd | e2 A2 A2 ||**

                       

CELINA REEL [1]. French Canadian, Reel. B Flat Major. Standard. AABB. Carlin (Master Collection), 1984; pg. 44, No. 59. Voyager 322, Louis Boudreault - "Old Time Fiddler of Chicoutimi, Québec" (1977-1993).

 

CELINA REEL [2]. French-Canadian, Reel. G Major. Standard. AABB. Source for notated version: Sara Hiebert via Dan Compton (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 47. “Québec Pure Laine.”

                       

CENNEAG MOR. Scottish, Country Dance Tune (4/4 time). D Major. Standard. AABB.

X:1
T:Cenneag Mor
D:Wick S.C.D., A Call From the North (1973)
O:Scotland
Z:Nigel Gatherer
L:1/8
M:4/4
K:D
z|f2 f>e d>BA>B|d2 e>d B2 A2|f2 f>e d>BA>B|d>BA>B d2 d:|
A|d2 e<f a>fe<f|a>fe<f e>dB<A|d2 e<f a>fe<f|a>Af>e d2 d:|

                       

CENTENARY, THE. Irish, Jig. D Major. Standard tuning. AABB. McNulty (Dance Music of Ireland), 1965; pg. 17.

                       

CENTENARY MARCH, THE. AKA and see “St. Patrick’s (March).” Irish, March (2/4 time). D Major. Standard tuning. AB. Sean Maguire’s recording of the melody popularized this tune for Ceili band sessions. However, it apparently was composed by one Arthur Kearney from Drumquin, County Tyrone, according to his grand-daughter Emma O’Neill, to commemorate the Christian Brothers having been in Omagh for 100 years. The march has become quite popular with East Anglia trad. musicians as well as elsewhere in Britain, according to Barry Callaghan (2007). The ‘A’ part has melodic similarities to that of “Bonaparte Crossing the Rhine,” ”An Comhra Donn” and ”Caledonian March,” and can be found in the British Isles and North America as well as Ireland. Callaghan (Hardcore English), 2007; pg. 31. O’Brien (The Golden Eagle). Sullivan (Dublin Banjos). Old Hat Music OH!02, "Old Hat Dance Band" (1992). Outlet OLP 1001, Tom McHaile (1969). Outlet SOLP 1031, Sean Maguire (1977). Gallowglass Ceili Band.

X:1

T:Centenary March, The

R:March

M:2/4

L:1/8

K:D

FG|A2 A>B|AF ED|f2-f>d|ed Bd|A2 A>B|AF ED|E2 E>F|E2 DF|!

A2 A>B|AF ED|f2-f>d|ed Bd|A2 d>e|fe dc|d2 d>e|d2||!

Ad|f>e fa|Ad fa|g2 f2|e2 f>g|af dA|FA GF|E2 E>F|E2 FG|!

AD FA|dF Ad|fa gf|ed cB|Aa ^ga|ge cA|d2 d>e|d2||

                       

CENTENNIAL, THE. AKA and see "The Home Town Band." USA, southwestern Pa.

                       

CENTENNIAL BREAKDOWN, THE. Canadian, Reel. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. Presumably composed in honor of the Canadian Centennial in 1967. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 17, pg. 16.

                       

CENTENNIAL HORNPIPE [1]. American, Hornpipe. B Flat major. Standard tuning. AABB. The title presumably honors the United States’ Centennial of 1876. “As performed by R. Tyson,” notes Ryan. "Can be used as a Clog." Cole (1000 Fiddle Tunes), 1940; pg. 99. Ryan’s Mammoth Collection, 1883; pg. 135.

X:1

T:Centennial Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:B_

(dc) | B>Fd>c B>Fd>c | B>Fe>d c2 (fe) | d>fB>d c>eA>c | B>ba>g f>ed>c |

B>Fd>c B>Fd>c | B>Fe>d c2 (fe) | d>f(Bd) c>eA>c | B2d2B2 :: (AB) |

c>f=e>g f2 (AB) | c>f=e>f f2 (AB) | c>=eg>b a>gf>e | f>=ef>g f2 (AB) | c>f=e>g f2 (AB) |

c>f=e>g f2 (AB) | c>=eg>b a>gf>=e |1 f2a2f2 :|2 {g}f>=ef>g f>_ed>c || 

 

CENTENNIAL HORNPIPE [2].  Canadian, Hornpipe. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989) in honor of the 1967 Canadian Centennial. John was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

                       

CENTENNIAL POLKA. Canadian, Polka. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989) in honor of the 1967 Canadian Centennial. John was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene fonr his compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

 

CENTENNIAL WALTZ.