Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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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]

 

 

 

CHA BHAS THIG AIR LAOCH. AKA and see "A Hero Never Dies."

                       

CHA BHI MI GAD THALADH (I will not be singing you a lullaby). Scottish, Slow Air (3/4 time). G Dorian. Standard tuning. AA. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 13.

                       

CHA DEAN MI'N OBAIR (I Won't Do the Work). See "I Won't Do the Work," "Behind the Bush in the Garden [1];" variant appears as "Wha'll Be King But Charley."

                       


CHA TILL MACCRUIMEN/MACCRUIMEIN (Macrimmon Will Never Return). AKA and see "MacCrimmon's Lament."

                       

CHA TILL MI TUILLE/TUILLEADH. AKA and see "MacCrimmon's Lament" or "Never More Shall I Return."

                       

CHA TILL MIS' A' SEOLADH (South Georgia Whaling Song). Scottish, Slow Air (3/4 time). G Major. Standard tuning. One part. Composed by Donald MacMillan. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 10.

                       

CHA TILL MOR MO BHEAN. AKA and see "Lochaber No More."

                       

CHACE, THE. AKA and see "The Chase." Scottish, Reel. C Major. Standard tuning. AAB. Glen (1891) finds the tune first in print in Joshua Campbell's 1778 collection. Carlin (The Gow Collection), 1986; No. 471. Gow (Complete Collection), Part 2, 1802; pgs. 20-21. Jones [ed.] (Complete Tutor Violin), c. 1815; pg. 2.

X:1

T:Chace, The

L:1/8

M:C

S:Gow – 2nd Repository

Z:AK/Fiddler’s Companion

K:C

c2 ec GcEG|c2 ec GEDC|c2 ec B2dB|AcBA G2G2:|

~G2 cG e(GF)E|~F2 BF d(FE)D|EFGE cE DC|G,2 B,2 CDEF|

~G2 cG e(GF)E|~F2 BF d(FE)D|E>FGE cE DC|G,CB,D C2C2||

           

CHADWELL STATION. Old-Time, Breakdown. A tune popularized by Seattle’s Canote twins.

           

CHAFFPOOL POST [1], THE. AKA and see “James Gannon’s (Barndance) [2],” “Shannon Waves.” Irish, Barndance. G Major. Standard tuning. AABB. Chaffpool is a townland in Tubercurry, south County Sligo, which grew up around a country manor house, Chaffpool House. Coleman Center CD CC004, P.J. Hernon & Maria Lynn McHugh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources  (“Shannon Waves”)

Alan Ng’s Irishtune.info

X:1

T:Chaffpool Post (The)

M:4/4

L:1/8

Q:190

R:barndance

Z:Philippe Varlet (9/10/99)

K:G

A | B2AB e2dB | d2cA E2FG | A2AB cAFA | GABG D2B,D |

B2AB e2dB | d2cA E2FG | A2AB cAFA | G2g2 g3 :||

f | e^def gfga | b2d2 d3 B | cBAB cdef | g2B2 B2gf |

e^def gfga | b2d2 d3 B | cBAB cdef | g2fa g3 :||

 

CHAFFPOOL POST [2].  AKA and see “Curlew Hills,” “Glenbeigh Hornpipe,” “Military Schottische,” “Original Schottische Polka.” Irish, Barn Dance. The tune was called “Chaffpool Post” by fiddler Michael Gorman, originally from County Sligo. Apparently, Gorman was the only one to do so, and the title “Chaffpool Post” is usually associated with the unrelated “Chaffpool Post” [1], above. Topic TSCD S25D, Michael Gorman – “The Sligo Champion: The Fiddle Music of County Sligo” (2001).

                       

CHAIDH MO LEANNAN NULL THAR SAL. AKA and see "My Love Has Gone to Sea."

                       

CHAILINI, AN BHFACA SIBH CEOIRSE?, A. (Girls, have you seen George?" AKA and see "Chonchubhar Mhac Coireibhe" (Conor Macareavy)."

                       

CHAILLACH OIDCHE. See "Chailleach Oidche."

                       

CHAILLEACH, DO MHAIRÍS MÉ (Oh, Hag, You Have Killed Me). AKA and see “Oh Hag, You Have Killed Me.”

                       

CHAILLEACH IS A CEAG AR A GUALAINN, AN (The Hag with the Keg on her Shoulder). AKA and see "Kitty's Rambles," "The Rambles of Kitty," "The Ladies Triumph," "Kitty's Rambles to Youghal," "The Heart of my Kitty for me," "The Heart of Kitty still warms to me," "I'm a man in muself like Oliver's Bull," "Linehan's Rambles," "Murray's Maggot," "Strop the Razor [1],” "Young Ettie Lee." Irish, Double Jig. D Mixolydian. Standard tuning. AABB. Breathnach (1976) remarks that the tunes “The Cobbler” and “Dan the Cobbler” have the same second parts as this group of tunes, although the first parts differ. Source for notated version: flute and whistle player Micko Russell, 1969 (Doolin, Co. Clare, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 36.

                       

CHAILLEACH MHUSGACH. AKA and see "The Drunken Wife."

                       

CHAILLEACH ODHAR. AKA and see "The Dunn Carline." Scottish, Strathspey. D Major. Standard tuning. AABB'. Stewart-Robertson (The Athole Collection), 1884; pg. 85.

X:1

T:’Chailleach Odhar

T:Dunn Carline, The

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

d|A>DF>D A<D D>B|A>DF>D F/G/A d2|A>DF>A D<AF<A|G<B A>F E/E/E B2:|

|:A<d d>f e>dc>A|A<d d>f ef/g/ f>e|1 A<d d>f e>dc>A| B<dA<d E/E/E B2:|2

f<a e>f d>fB>d|A>dF>d E/E/E B2||

                       


CHAILLEACH OIDHCHE. AKA - “An Cailleach Oiche.” AKA and see "Miss MacKenzie of Gairloch." Scottish, Strathspey. A Mixolydian. Standard tuning. AAB (Athole): AABB' (Kerr). MacDonald identifies his setting as a "Pipe set." Irish, Reel. Caoimhin Mac Aoidh (1994) explains the title directly translates as “The Night Hag” but literally means “The Owl.” The usage is derived from the belief that witches (i.e. hag) had the ability to transform themselves into the form of an owl to help conduct their nocturnal business. Kerr (Merry Melodies), vol. 2; No. 33, pg. 6. MacDonald (The Skye Collection), 1887; pg. 6 (appears as “Caillach Oidhche”). Stewart-Robertson (The Athole Collection), 1884; pg. 35.

X:1

T:’Chailleach Oidhche

M:C|

L:1/8

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

Z:AK/Fiddler’s Companion

R:Strathspey

N:Pipe set

K:A

e|AAe>A f>Ae>=g|=GGd>B =gedB|AAe>A f>Ae>=g|=GGB>d e>AA:|

g|a2 e>g a>ec>A|=g2 d>g B>gB>=G|a2 e>g a>ec>A|B<=GB<d e>AA>g|

a2 e>g a>ec>A|=g2 d>g B>gB>=G|A>B=c>d e>dB>=g|=G>GB>d eAA||

                       

CHAILLEACH SA TORNOIG, AN. AKA and see "The Old Hag in the Kiln."

                       

‘CHAILLIGH, DO MHAIRIS MÉ. See “Oh Hag You Have Killed Me.”

                       

CHAIN COTILLION. AKA and see “La Novelle Holendoise.” English, Country Dance Tune (4/4 time). As “La Novelle Holendoise” it can be found in James Aird’s Selection of Scotch, English, Irish and Foreign Airs, volume 3 (1788), and in an anonymous English music manuscript. “Chain Cotillion” is called “The Louisa” in Jonathan Johnson’s Choice Collection of 200 Favourite County Dances, vol. 5 (London, 1750), and is similarly titled as “La Louise” in the manuscript book of S. Dawes (1818), now in the British Library. The music manuscript of the Bosham Band (Sussex) from the mid-19th century has the tune simply as “The Cotillion” [Barry Callaghan, 2007].

***

“Chain Cotillion” appears in several American music manuscripts of the late 18th century, including John Turner’s Liber manuscript compiled in Norwich, Connecticut in 1788, the Wilkes Allen Apollo copybook (1790-1801), the manuscript book of Massachusetts harpsichord player Hannah Dawes (1790), fifer and fluter John (?) Treat’s commonplace book (1779, Durham?), Joseph Cabot and John Bartlett’s commonplace book entitled “New Instructions for the German Flue” (Cambridge and Salem, Massachusetts, 1784-1789), and the John Greenwood Manuscript (1785, pg. 72).  Greenwood was a Fife Major in the United States Army, and was perhaps from Massachusetts, however, his music copybook contains mostly dance tunes and rather few martial or marching airs.  Nevertheless, in modern times the “Chain Cotillion” has been popular for martial use by various Revolutionary and Civil War fife-and-drum re-enactors. Callaghan (Hardcore English), 2007; pg. 31.

X:1

T:Chain Cotillion

M:2/4

L:1/8

S:John Greenwood manuscript (c. 1785, Massachusetts?)

N:Greenwood was a Fife Major in the Revolution, according

N:to his manuscript, although his copybook contains mostly

N:dance music, not martial or marching airs.

Z:AK/Fiddler’s Companion

K:G

G2d2|BA/B/ GA/B/|cB AG|F/G/A/F/ D>D|E2F2|G/F/G/A/ Gd|

BA/G/ AG/F/|1 G3 z:|2 G3 d||d/e/d/c/ Bd|d/e/d/c/ Bd|ed ef|g3 de/f/|

Gf/e/ dc/B/|ed/c/ BA/B/|cB AG|FE/F/ D>D|E2F2|

G/F/G/A/ Gd|BA/G/ AG/F/|1 G3 a:|2 G3 z ||

                       

CHAIN LIGHTENING. GRT Records SP 203, “Ward Allen Presents Maple Leaf Hoedown, vol. 1” (reissue).

                       

CHAINE DE REEL, LA. French‑Canadian, Jig. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Carlin (Master Collection), 1984; No. 79, pg. 53.

                       

CHAISSE'S RETREAT. American. Some similarity to "Johnnie Cope.” Murphy MS., 1790; pg. 4.

                       

CHAISSON REEL, THE. AKA and see “Kennedy’s Reel,” “The Northside Reel [2].” Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AABB. This reel, states Perlman (1996) is associated with the musical Chaisson family of Bear River, Kings County, Prince Edward Island, though it is probably Irish in origin. “The Northside Reel” is an alternate title from southern Kings County, PEI. Source for notated version: Peter Chaisson, Sr. (b. 1929, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 52.

                       

CHALK AND CHEESE. Irish, Reel. C Major. Standard tuning. AA’BB’. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 89.

X:1

T: Chalk and Cheese

C: © B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: C

G,A,B, |: C2 EC DEFA | ^FAdA G2 AB | c2 Bc AG G2 | FDEC DGGE |

C2 EC DEFA | ^FAdA G2 AB | cE (3EDE FA (3AGA |1 GEDE CG,A,B, :|

|2 GEDE C3 || D | EGAB cege | d^faf g2 g=f | ecBc acBc | efdc BGAB |

c2 ec gcec | ag^fa g2 g=f | ec (3cBc AF (3FEF |1 GEDE C3 :|2 GEDE C4 ||

                       

CHALK SUNDAY. AKA and see “Johnny Dennehy’s,” “Pretty Jane,” “Tom Billy’s (Jig) [3],” “The White Pony.” Irish, Jig and Air. G Major. Standard tuning. AABB. "From Davy Condon, thatcher, of Ballyorgan, 1844. Chalk Sunday was the Sunday after Shrove Tuesday, when those young men who should have been married, but were not, were marked with a heavy streak of chalk on the back of the 'Sunday coat,' by boys who carried bits of cholk in their pockets for that purpose, and lay in wait for the bachelors. The marking was done while the congregation were assembling for Mass: and the young fellow ran for his life, always laughing, and often singing the concluding words of some suitable doggeral such as:‑‑"And you are not married though Lent has come!"  This custom prevailed in some parts of Limerick, where I saw it in full play: but I think it has died out" (Joyce). The tune corresponds to the first two parts of "The Dublin Jig" (Bayard, 1981; No. 517, pg. 466). The melody appears as one of "The Farranfore Jigs" by the group Shegui (with John Skelton) on their album "Around the World for Sport" (1980), whose source was given as Sliabh Luachra fiddlers Tom Billy (Murphy) and Jack Dennehy (sic) {Dennehy’s home was Farranfore, County Kerry}. O’Neill calls the tune “Pretty Jane” and it appears in Levey’s (1973) second collection under the title “The White Pony.”  See also “Johnny Dennehy’s.” Joyce (Old Irish Folk Music and Songs), 1909; No. 19, pgs. 12‑13.

X:1

T:Chalk Sunday

M:6/8

L:1/8

R:Air and Jig

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

Z:AK/Fiddler’s Companion

K:G

B/A/ | G>AG B>AB | GBd g2e | dBG AGE | A>BA A2 B/A/ | G>AG BAB | GBd g2 e |

dBG AGE|G2G G2 :: (3d/e/f/ | g>ag fed | ede/f/ g2 f/e/ | dBG cBc | ABd e2 (3d/e/f/ |

gag fed | ede/f/ g2e | dBG AGE | G2G G2 :|

                                   

CHALK’S HORNPIPE.  AKA and see “Geld Him Lasses,” “Rusty Gulley [1].”

 

CHALLENGE BREAKDOWN, THE. Scottish, Hornpipe. G Major. Standard tuning. AABB. Twists in and out of four keys. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 47.

X:1

T:Challenge Breakdown, The

M:C|

L:1/8

R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)

Z:AK/Fiddler’s Companion

K:G

D2 G>A (3BBB B>e|d>BG>A (3BBB B>^c|d>B A2 A>^GA>B|A>GF>E (3DFA d2|

D2 G>A (3BBB B>e|d>BG>A (3BBB B>^c|d>^cd>e f>ed>c|B2 d2 B2:|

|:z2|e>^de>=f e>fe>=d|c>Bc>^c d>AB>=c|d>^cd>e d>=cB>A|G>FG>A B>AG>F|

E>^GA>B c>d e2|D>FG>A B>^cd2|^c>df>e d>=cB>A|G2 B2 G2:|

                       

CHALUIM BHIG, A (Little Calum).  Scottish, Air (2/4 time). D Major. Standard tuning. One part. A puirt a beul (Gaelic mouth music) melody, attributed to Iain MacLean (Martin). Martin (Traditional Scottish Fiddling), 2002; pg.10.

 

CHAMBERLAIN, THE. AKA and see “Reel à/de Rémi,” “Reel de l’hôtelier.” Canadian, Reel. D Major. Standard or ADae tunings. AABB (Messer): AA’BB’ (Hart & Sandell). Louis Beaudion (1921-1980, Burlington, Vt.) called this tune by the generic title “Galope,” while influential Quèbec fiddler Joseph Allard called it “Reel de l’hôtelier.” See also the ‘A’ part of Arthur Scott Robertson’s “Laxo Burn.” Source for notated version: fiddler Louis Beaudoin, via Lisa Ornstein (Me.) [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 16, pg. 48. Messer (Way Down East), 1948; No. 10. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 30, pg. 27. La Bottine Souriante – “Chic & Swell” (appears as “Reel à Rémi,” learned from fiddler Rémi Laporte). Cuillerier – “Joseph Allard, Grand violoneux, Hommage.”

X: 1

T:The Chamberlain Reel

R:Reel

M:2/4

L:1/16

L:Transcribed by Bruce Osborne

K:D

AG|FDDD DFAd|BGGG G2ed|cAAA Aceg|fddd d2AG|

FDDD DFAd|BGGG G2ed|cAAA Aceg|fddd d2:|

|:f2|gagf g2fg|abaf d2f2|edef gece|defg a3f|

gagf g2fg|abaf d2f2|edef gece|dfec d2:|

                       

CHAMI MA CHATTLE. AKA and see “Cold frosty morning [2],” “"Ta me ma Chulla's na doushe me" (I am asleep, and don't waken me). Scottish. The melody appears in Stuart's Music for TTM, c. 1725/6, though it appeared earlier in Neale’s A Choice Collection of the Most Celebrated Irish Tunes, c 1724, under the “Ta Me...” title. Bruce Olson finds this the earliest published Gaelic tune title in Scotland. In later British ballad operas it can be found as “Cold, frosty morning.”

                       

CHAMOIS O'BRIEN. AKA and see "Shamus O'Brien."

                       

CHAMPAGNE CHARLIE. American, March (4/4 time). D Major. Standard tuning. AB. A Tin-Pan-Alley song. Sweet's note indicates the melody was played by the Chester, Connecticut, Fife and Drum Corps. Sweet (Fifer’s Delight), 1964/1981; pg. 80.