Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

CHA - CHENY

[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]

 

 

 

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."

 

CHA TÒIR IAIN MÒR AN NIGHEAN DHOMH (Big Iain won‘t give me his daughter).  Scottish, Strathspey. The melody is also air to a song published in Òrain an Eilein (Gaelic Songs of Skye). Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).

                       

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 QUADRILLE DE L’ONCLE ADELME (Uncle Adelme’s Chain Quadrille).  French-Canadian,   In the repertoire of fiddler Yvon Mimeault (b. 1928, Mont-Louis, Gaspé), leaned from his father. Yvon Mimeault – “Y etait temps!/It’s About Time.”

           

CHAĪNE 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.

                       

CHALFORD BOTTOM.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody and dance directions first appeared in John Hinton’s periodical Universal Magazine of Knowledge and Pleasure (London, 1755). It also appeared in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). Chalford Bottom is the name of a valley in Gloucester, through which runs the River Froome. It was a cloth manufacturing center in the 18th century, with some estates. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 120.

X:1

T:Chalford Bottom

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

d2 (3fed|eA A2|d2 (3fed|ea a2|d2 (3fed|eA A2|(3Bcd (3edc|d2 D2:|
|:(3fga (3fga|ga b2|(3efg (3efg|fg a2|(3Bcd ed|”tr”c>B A2|(3efg fd|Ac d2:||

 

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.

X:1

T:Champagne Charlie

M:4/4

L:1/8

R:March

S:Sweet – Fifer’s Delight (1965)

Z:AK/Fiddler’s Companion

K:D

A | FF F/E/D/F/ A4 | AA A/G/F/A/ d2 z(3A/B/c/ | d>c d>e dc c>d | cB B>c BA A>A |

FFF/E/D/F/ A4 | AA A/G/F/A/ d2 z(3A/B/c/ | d>c d>e fd AF/G/ | AAG/F/E D3 || A |

FA d>c c/BB/ | GB cB A3A | FA BA AG2G | cc {B/c/|BA F3A | FA d>c cB2B |

GB cB A3A | FA Bc dF c>B | AA G/F/E D3 ||

 

CHAMPAGNE CHARLIE GALOP. American, Galop. D Major. Standard tuning. AA’B. Howe (1000 Jigs and Reels), c. 1867; pg. 56.

X:1

T:Champange Charlie Galop

M:2/4

L:1/8

R:Schottische

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

Z:AK/Fiddler’s Companion

K:D

A |: F2A2 | e2d2 | c2B2 | B2G2 | E2G2 | c2B2 | (A4 | A2) zA |1 F2A2 | B2F2 |

A2G2 | G2G2 | c2c2 | B2G2 | (F4 | F2) zA :|2 ^A2 B2 | c2d2 | d2F2 | c2B2 |

A2^G2 | =G2E2 | (D4 | D2) a2 || f2f2 | f>e d>e | (a4 | a2) z2 | A2A2 | A>D F>A |

(d4 | d2) z2 | d2d2 | d>c d>f | d2c2 | c2z2 | c2B2 | {c}B>^A B>c | B2 A2 |

A2 z2 | f2f2 | f>e d>f | (a4 | a2) z2 | a2a2 | a>g f>a | (d’4 | d’2) z2 |

d2d2 | d>c d>e  | f4 | d2f2 | a2a2 | a>g e>f | (d4 | d2) z2 ||

                       

CHAMPAGNE CLOG (Clog de Champagne). AKA and see "Clog de William Durette" (William Durette's Clog). French-Canadian, Clog. D Major. Standard tuning. AA'BB'. Source for notated version: French-Canadian accordion great Philippe Bruneau who learned the tune from a 78 RPM recording from Alfred Montmarquette, another French-Canadian accordion player [Begin]. Begin (Philippe Bruneau), 1993; No. 1, pg. 9. 

                       

CHAMPAGNE POLKA. English, Polka. England, Yorkshire. B Flat Major ('A' and 'C' parts), G Minor ('B' part), E Flat Major ('D', 'E' and 'F' parts). Standard tuning. AABBCCDDEEFF. 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. 104, pg. 58.

                       

CHAMPION [1]. American?, "Straight Jig" (2/4 time). D Major. Standard tuning. AA'BBAA’. Appears to be a type of old‑time banjo tune rather than an Irish jig, named perhaps because of the type of dancing ('jig dancing') associated with it, or from a derogatory term for African‑Americans. Harding’s All-Round, 1905; No. 72, pg. 22.

X:1

T:Champion [1]

M:2/4

L:1/8

R:”Straight Jig”

B:Harding’s All Round Collection, No. 72   (1905)

Z:AK/Fiddler’s Companion

K:D

z/A,/4D/>F/ BA|B(C C/>)D/C|z/A,/3C/>E/ BA|B(D D/>)E/D|z/D/4F/>A/ dc|d(E E/>)F/E|1

c(E E/>)F/E|G(C C/)B,/A,/z/:|2 BC_BC|DF Dz||: E(d d/>)d/F/>F/|^GB,(^DE)|

E(c c/>)C/E/>^E/|FA,(^DE)|E(d d/>)d/F/>F/|^GB,(^DE)|E(e e/>)d/B/>F/|[Ec] [DB] [CA] z:||

 

CHAMPION [2]. AKA and see “Coleman’s Cross [4],” “John Kimmel’s Jig,” “Kimmel’s (Jig) [2],” “Smash.” English, American; Jig. USA; Pennsylvania, New England. E Minor ('A' part) & G Major ('B' part) {Raven}: A Minor ('A' part) & C Major ('B' part) {Reiner & Anick}: F Major ('A' part) & D Minor ('B' part). Standard tuning. AABB. The 'A' and 'B' parts are reversed in Stacy Phillips' collection. A variant of this tune is Adam’s “Big Chief.” Source for notated version: Jehile Kirchuff {1908‑1981} (Susquahanna County, Pennsylvania) [Reiner & Anick]. Callaghan (Hardcore English), 2007; pg. 57. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 362. Raven (English Country Dance Tunes), 1984; pg. 122. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 51 (includes harmony part). Sannella, Balance and Swing (CDSS).

X:1

T:Champion [2]

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

K:Emin

Bef gfe | bef gfe | f^dB fdB | agb af^d | e^ef gf=e | bef gfe | bc’b agf | gee e2 :|

|: B | d2 e/d/ c2 d/c/ | Bdg bgd | cBc afd | gba gfe | ded cdc | B dg bgd | cBa cdf | gba g2 :|

 


CHAMPION (JIG) [3], THE. Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. AABB’. The tune can be found (with parts reversed) as part of “Flanagan’s (Jig) [2]” Cranford (Jerry Holland’s), 1995; No. 251, pg. 72. A & M Records 79602 2000-2, Ashley MacIssac - “Close to the Floor” (1992). Celtic CX34 - Winston Fitzgerald. JEMF-105, Joe Cormier – “New England Traditional Fiddling” (Appears as last tune of “Clay Pipe Medley”). Rounder Heritage Series 1166-11592-2, Joe Cormier (et al) – “The Art of Traditonal Fiddle” (2001. Appears as last tune of “Clay Pipe Medley”).

                       

CHAMPION DOUBLE CLOG DANCE. American, Clog (4/4 time). A Major. Standard tuning. AABB. Howe notes that his source was Jimmy Norton, the ‘Boss Jig Player’, perhaps a band-leader or principal instrumentalist for a band in the Boston, Massachusetts area. The tune was arranged for 9 parts—violins, clarionet (sic), coronet, bass, flute, viola, trombone, cello and piano—in another of Howe’s publications, Howe’s Full Quadrille Orchestra (No. 262). Howe (1000 Jigs and Reels), c. 1867; pg. 31.

X:1

T:Champion Double Clog Dance

M:C

L:1/8

R:Clog

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

Z:AK/Fiddler’s Companion

K:A

c>B | A>cE>G A>ce>c | d>fB>d g>ab>g | a>ec>a f>dB>A | G>AB>c d>EG>B |

A>cE>G A>ce>c | d>fB>d g>ab>g | (3agf (3edc | B>EG>B | A2a2A2 :|

|: c>d | e>ec>A A>ce>=g | f>fd>d B>df>a | (3gag (3efe (3BcB (3GAG |

(3EGB (3egb e’2 c>d | e>ec>A A>ce>=g | f>fd>d B>df>a | g>fe>d c>BA>G | A2a2A2 :|

                       

CHAMPION HORNPIPE [1]. American, Hornpipe. USA; Nebraska, Missouri. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. Perhaps the earliest recording is from 1905 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; J. Hand [Cole]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 23. Cole (1000 Fiddle Tunes), 1940; pg. 94. Ryan’s Mammoth Collection, 1883; pg. 128. Caney Mountain Records CLP 228, Lonnie Robertson ‑ "Fiddle Favorites," c. 1971‑72. Green Linnet SIF1035, Brian Conway & Tony De Marco - "The Apple in Winter" (1981. Learned from a 78 RPM recording of Irish-American fiddler Lad O'Beirne and Louis Quinn, who perhaps picked the tune up from Cole's 1000).

X: 1

T: Champion, The [1]

M: 4/4

Q: 300

L: 1/8

R: hornpipe

Z: Transcribed by Bill Black

K: Bb

de | f=efg f_edc | BABc dBFD | EGce DFBd | (3cdc (3BAG F2 de |

f=efg f_edc | BABc dBFD | EGce dcBA | B2 d2 B2 :|

AB | cf=ef afef | dg^fg bgfg | dbca BgAf | Gg^fg =f2 AB |

cf=ef afef | dg^fg bgfg | dbca BgAf | feca b2 :|

X: 2

T: Champion, The [1]

M: 4/4

Q: 300

L: 1/8

R: hornpipe

Z: Transcribed by Bill Black

K: A %Transposed from Bb

cd | e^def e=dcB | AGAB cAEC | DFBd CEAc | (3BcB (3AGF E2 cd |

e^def e=dcB | AGAB cAEC | DFBd cBAG | A2 c2 A2 :|

GA | Be^de gede | cf=f^f af=f^f | caBg AfGe | Ff=f^f e2 GA |

Be^de gede | cf=f^f af=f^f | caBg AfGe | edBG A2 :|

 

CHAMPION HORNPIPE [2]. Canadian, Hornpipe. B Flat Major ('A' part) & G Minor ('B' and 'C' parts). Credited to John Mooring. Standard. AABBCC. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 128, pg. 84‑85.

 

CHAMPION HORNPIPE [3]. Scottish, Hornpipe. E Minor ('A' part) & G Major ('B' part). Standard tuning. AABB. This is perhaps the “Champion Hornpipe” credited in Kohler’s Violin Repository (Edinbury 1881-1898) to the great 19th century fiddler and composer James Hill, of Tyneside, Newcastle. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 47.

X:1

T:Champion Hornpipe [3]

M:C

L:1/8
S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)

Z:AK/Fiddler’s Companion

K:Emin

E>FG>A Be zB|c>BA>c Be zB|c>BA>c B>AG>B|A>GF>A G>FE>B,|

E>FG>A Be zB|c>BA>c Be zB|c>BA>c B>AG>B|A>GF>G (E2 E2):|

|:d>^ce>d BG z2|g>fa>g ec z2|D>EF>G A>Bc>d|e>d^c>d (B2 B2)|

d>^ce>d BG z2|g>fa>g ec z2|D>EF>G A>Bc>d|e>d^c>d (G2 G)z:|

                       

CHAMPION JIG, THE. See “Champion (Jig) [3].”

                       

CHAMPION MARCH, THE.  Scottish, March (2/4 time). A Mixolydian. Standard tuning. AB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 36.

X:1

T:Champion March, The

M:2/4

L:1/8

R:March

Q:112

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:Amix

e/c/ | A/<A/A/B/ c/B/c/d/ | (ef) (ec/A/) | (ef) (ec/A/) | (de) (dB/G/) | A/<A/A/B/ c/B/c/d/ |

(ef) (ec/A/) | (a/e/c/A/) (e/c/d/B/) | ({B}c)AA || (3efg | (ac/A/) (ec/A/) | (a/A/c/A/) (ec/A/) |

(gB/G/) (dB/G/) | (g/G/B/G/) (dB/G/) | (ac/A/) (ec/A/) | (a/f/d/f/) (ec/A/) | a/e/c/A/ e/c/d/B/ | ({B}c)AA ||

 

CHAMPION OF THE SEAS, THE. Scottish, Hornpipe. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

           

CHAMPS DE BLUETS (Cornflower Fields). AKA and see “Joli à la California.” French-Canadian, Reel. A Major (‘A’ part) & A Mixolyian/Major (‘B’ part). Standard or AEae tunings. AA’BB’.

           

CHA’N IOGHNADH NA GILLEAN (No wonder young men). Scottish, Air (6/8 time). C Major. Standard tuning. One part. Morison (Highland Airs and Quicksteps, vol. 1), No. 12, pg. 6.

X:1

T:Cha’n ioghnadh na gillean

T:No wonder young men

M:6.8

L:1/8

R:Air

S:Morison – Highland Airs and Quicksteps, vol. 1

Z:AK/Fiddler’s Companion

K:C

C | (c>BA) (AGF) | (G>EG) (CDE) | (c>BA) (AGE) | GEC D2C |

E>GE D>CC | c>Bc d>cd | e>dc A<cA | (GEC) D2C ||

 

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

           

CHANCELLOR, THE.  AKA and see “Humors of Ballinlass.”

           

CHANCES. English. Slip Jig. G Major. Standard tuning. AA’BB. The melody also appears in John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). “The Chancess” is one of the "missing tunes" from William Vickers' 1770 Northumberland dance tune manuscript, although whether it was the one in Thompson/Johnson is unknown. There are other tunes by that name. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 126.

X:1

T:Chances, The

M:9/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

c|”tr”B2G Bcd efg|”tr”B2G Bcd cAF|B2G Bcd efg|1 [G,2G2] g (f/g/a)f g2:||2 [G,2G2] g (f/g/a)f g3||

[G,2G2] g (f/g/af gdB|[G,2G2] g faf bge|[G,2G2] g (f/g/a)f gdB|ecA dBG AFD:||

                       

CHANCY CHERRY (CHEORY) REEL. Irish, Reel. D Dorian (?). Standard tuning. AAB. A variant of the Irish tune called "Jack in the Fog" or, in Gaelic, "Sean sa Ceo/Cheo." Carlin (Master Collection), 1984; pg. 132, No. 226.

                       

CHANDLER'S HORNPIPE. American, Hornpipe. C Major. Standard tuning. AABB (Cole): AA’BB’ (Cranford). Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 112. Cranford (Winston Fitzgerald), 1997; No. 27, pg. 10. Ryan’s Mammoth Collection, 1883; pg. 149.

X:1

T:Chandler’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection  (1883)

Z:AK/Fiddler’s Companion

K:C

(GF) | EGce g2 (GE) | FAcf a2 (ba) | gecB cege | f2d2d2 (GF) | EGce g2 (GE) |

FAcf a2 (ba) | gecB cdec | d2c2c2 :: (fg) | aAcf a2 (ba) | gGce g2 (ag) |

fGBd bafd | cBcd e2(fg) | aAcf a2(ba) | gGce g2(ag) | ^fgba g=fed | e2c2c2 :|

                       

CHANDELIER, THE. Irish, Reel. D Major. Standard tuning. AA’BB’. Composed by Chicago fiddler Liz Carroll. Michael McGoldrick & John McSherry – “At First Light.”

X:1

T:Chandelier, The
M:C|
L:1/8
C:Liz Carroll
R:reel
K:D
DFAF A,CEC|DFAc d2cd|Bggf gbed|cAed cAGE|
DFAF A,CEC|DFAc dced|cAAG ABAG|1(3FGA EC D2A,D:|2 (3FGA EC DEFA||
d2ba afgf|ed~d2 cABc|dAbf afgf|ed~d2 cdeg|
fddc defd|ecAG ABcA|BGGF GABF|1 AFEF DEFA:|2 AFEF D4||

X: 2
T:Chandelier, The
M:C|
L:1/8
C:Liz Carroll
R:reel
D:The Carberry's: Memories from the Holla
Z:Devin McCabe
K:D
D2FD ADFG|AdFA dfed|Bggf gfed|cAed cAGE|
!D2FD ADFG|AdFA dfed|cA A/2A/2A cded|1cAGE EFFE:|2cAGE DABc|
!:dfbf afeg|fedf eABc|dfbf afeg|fede cdeg|
!f/2f/2f fe defd|eAA^G ABcA|BAGF GBdB|1AFEA DABc:|2AFEA EFFE||

                       

CHANSON DE LIMONADE (Lemonade Song). Cajun, USA, Louisiana. D Major. Standard tuning. One part. Raymond Francois (1990) believes this song comes from the New Orleans Creoles. A related song is "Mon Cher Cousin." Source for notated version: Thomas Langly and accordionist Nathan Abshire (Basile, La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 201-202. Goldband Records GB-1048, Leroy Broussard. Swallow Records SW-LP6014, Nathan Abshire.

                       


CHANSON DE MARDI GRAS (The Mardi Gras Song). Cajun, Two-Step (4/4 time). USA, Louisiana. A Minor. Standard tuning. A(Vocal)B(Vocal)C(Vocal)D(Vocal)E(Vocal)A. The accompaniment is simply an A minor chord. Raymond Francois (1990) states the tune can be traced to medieval France. He relates that the Cajun tradition of Mardi Gras (the Tuesday before Ash Wednesday, the beginning of the Lenten season--Mardi Gras means 'Fat Tuesday') was celebrated differently in New Orleans and the southwestern Louisiana countryside. The rural communities each had their own celebration, which involved a ritual akin to the British Isles mummers. Costumed riders would go from farm to farm collecting goods from each household to be used for a community feast, usually a gumbo. The leader, or captain, of the riders was always unmasked and first approached the head of the household for permission to visit. Upon recieving an affirmative he would signal with a flag the rest of the group who would ride up to perform tricks or dance in return for food. "The household will contribute ingredients for the communal gumbo: rice, oil, flour, sometimes even a live chicker, which is thrown to the riders; it is their task to catch it, which can lead to more clowning." There were no dances held during Lent, though they were permissable on Easter. A related song is "Danse de Mardi Gras [1]." Source for notated version: Bee Deshotels [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 218-222. Arhoolie Records AR-5009, Bee Deshotel.

                       

CHANTER'S TUNE, THE (Fonn an Ceolraide). AKA – “Song of the Chanter.” Irish, Slow Air (2/4 time) or March. D Mixolydian (Vallely): G Mixolydian (Johnson, O'Neill): G Minor (O'Sullivan/Bunting). Standard tuning. AB (O’Neill, O’Sullivan/Bunting): AABB (Johnson, Vallely). Probably a piper's piece, from the title. It is often given as a beginner’s tune for pipers, as it may be rendered entirely without having to ‘overblow’ into the next octave. Source for notated version: the melody was given to the Irish collector Edward Bunting by one "E. Shannon, Esq." in 1839, though no words have been found [O’Sullivan/Bunting]. Source for notated version: Clare piper Willie Clancy (Miltown Malbay) [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 79. Bunting (The Ancient Music of Ireland), 1840. Johnson (The Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 7. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 143, pg. 25. O'Sullivan/Bunting (Ancient Music of Ireland), 1983; No. 147, pgs. 204-205. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; pg. 19. Front Hall FHR‑08, Alistair Anderson ‑ "Traditional Tunes" (1976. Learned from a recording by Irish piper Willy Clancy).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Song of the Chanter, The

C:trad

B:H. C Clarke "The New Approach to Uilleann Piping”

Z:Mistakes by Phil Sexton

M:4/4

L:1/8

Q:60

K:D Mixolydian

GF|D2{A}D2A2GF|D2{A}D2c2Bc|d2A2{d}A2GF|c2BcA2GF|!

D2{A}D2A2GF|D2{A}D2c2Bc|d2A2{d}A2GF|D4{A}D2FG|!

A2{d}ABc2Bc|AGABc2c2|d2A2{d}A2GF|c2BcA2GF|!

D2{A}D2A2GF|D2{A}D2c2Bc|d2A2{d}A2GF|D4{A}D2:|

X:2
T:Chanter's Tune
S:March
M:C
L:1/8
Q:80
K:HP
|: {Gdc}dB|{e}A2{GAG}A2{gef}e2{g}dB|
{g}A2{GAG}A2g2fg|{ag}a2{ef}e2{g}e2dB|
g2fagedB|{e}A2{GAG}A2{gef}e2{g}dB|
{g}A2{GAG}A2g2fg|{ag}a2{ef}e2{g}ecdB|
{g}A4{GdGe}A2:| |:
cd|e2{g}efg2fg|edefg2fg|{ag}a2{ef}e2{g}e2dB|
g2fagedB|{e}A2{GAG}A2{gef}e2{g}dB|{g}A2{GAG}A2g2fg|
{ag}a2{ef}e2{g}ecdB|{g}A4{GdGe}A2:|

                                   

CHANTEUSE, THE. English, Reel. D Major. Standard tuning. AABB. Source for notated version: an 1845-47 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 19.

           

CHANTIERS, LES.  French-Canadian, Reel. D Major. Standard tuning. AABB’. From the repertoire of highly influential Québec fiddler Joseph Allard (1873-1947), born in Woodland, near Montréal.

X:1

T:Chantiers, Les

M:2/4

L:1/8

R:Reel

Z:Transcribed by Pascal Gemme (http://tradquebec.over-blog.com/45-index.html)

K:D

|:A/d/c/d/ A/d/c/d/|e/c/d/e/ f/d/B/B/|g/B/f/f/ e/d/c/d/|e/d/c/B/ A/G/F/G/|

A/d/c/d/ A/d/c/d/|e/c/d/e/ f/d/B/B/|g/B/f/f/ e/d/c/d/|e/f/d/c/ dF/G/:|

|:A/B/A/G/ F/D/(3D/D/D/|B/Dc/D/ dd/B/|Ad/B/ A/F/D/F/|G/E/E/D/ EF/G/|

A/B/A/G/ F/D/(3D/D/D/|B/d/c/D/ dc/d/|e/f/e/d/ c/A/B/c/|1 d/f/e/c/ dF/G/:|2 d/f/e/c/ d/B/B/||

           

CHAORA CHROM. AKA and see "Ewe With the Crooked Horn."

                       

CHAPEL BELL, THE. AKA and see “MacCallum’s.”  Irish, Double Jig. D Mixolydian. Standard tuning. AABB. Composed by the late Frank McCollam, of Ballycastle, County Antrim. See also “Trip to Killavil.” Mulvihill (1st Collection), 1986; No. 85, pg. 83. Green Linnet SIF 1052, Kevin Burke – “Up Close.”

X:1

T:Chapel Bell, The

R:Jig

D:Session tape, Doolin 1987

Z:Bernie Stocks

M:6/8

L:1/8

K:Edor

B2E EFG | Bde d3 | edB BAB |1 d2e dBA :|2 AGE E3 :|

Bee efe | dff f2e |1 dBB BAB | d2e dBA :|2 d2B BAF | AFE E3 :|

                       

CHAPEL GATE, THE. Irish, Reel. A Major/Mixolydian. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). The chapel gate of the title is from the Knockbride parish chapel, the church the Reavy family attended in County Cavan. Reavy (The Collected Compositions of Ed Reavy), No. 45, pg. 47.

X:1

T:Chapel Gate

R:Reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:The Chapel Gate is Knockbride's, the family parish. Many a good wedding

N:party started there featuring the wedding fiddler and his charming

N:selection of nuptial tunes.

K:A

A2 EA cdef | gfga gede | a^ged cdeg | aged cA=GD | E=GAB =cBAG |

E=GGF G2 AB | ^cde^g aged | cA=GB A2 z :|| cd | eaag a2 ag |

ea (3aga bgag | edBd =gfgf | (3ef=g dg edcd | eaag a2 ag |

(3ba^g (3a=gf gfed | cdef gfec | dB=GB A2 z :||

                       

CHAPEL HILL MARCH. AKA – “Chapel Hill Serenade.” AKA and see "Over the River to Charley's," "New Rigged Ship [1]." Old‑Time. USA, S.W. In the repertoire of legendary fiddler Emmett Lundy of Galax, Va., under this title.


                       

CHAPEL HILL SERENADE. AKA – “Chapel Hill March.” AKA and see “Coleman Killed His Wife,” "Green Willis [1]," “Old Hickory,” "The Raw Recruit," "Jackson's March." Old-Time, Waltz (3/4 time). A version of the tune also known as “Green Willis [1]” and “The Raw Recruit.” Luther Davis, of Galax, Virginia, also said the melody was called “Rockabye Baby” in his region.

                       

CHAPEL KEITHACK. AKA and see "Chapel Keithing." Scottish, Slow Air (3/4). B Flat Major. Standard tuning. AAB. Composed by William Marshall (1748-1883), of Fochabers, Morayshire. The Gaelic 'keithack' translates as wood, so the title presumably means 'chapel in the wood' or 'wooden chapel'. Neil (1991) states that the structure of the title was thought to have been sited somewhere along the hilly road which links Dufftown and Huntly, and finds that a place of the same name existed there in 1636, situated near the modern village of Mortlach. Alburger (1983) relates that one Father George Gordon was a priest at Keithack ("near Dufftown") who was a fine musician and in a position to circulate Marshall's music to a wider public.  "It has been suggested he furnished bass lines for Marshall's second collection; perhaps Marshall's outstanding slow air 'Chapel Keithack'...was a musical offering in return for the Father's help" (Alburger, 1983). Cowie (The Life and Times of William Marshall, 1999) points out that Catholics needed to maintain a low profile after the defeat of the Highland army at Culloden, and that the chapel where Father Gordon held his services “would in all probability the upper part of his home where a simple altar would have been erected.”

***

Some have found the composition lacking. Emmerson (1971) for one gives the critique:

***

There is no doubt that as far as the idiom of Scottish dance

music is concerned, Marshall had all the craftsmanship he

required, but the beautiful slow air, or airs, "Chapel Keithing,"

amounts to an exasperating stillbirth of two beautiful melodies

which Haydn, whose name comes to mind when one hears them,

could have developed as a masterly adagio in a quartet. Marshall

begins very well, but the second tune cries out for further development,

and just then, as though caught red‑handed, he drops it with a conventional

but meaningless run to change key and return to the original.

***

Some parts of the composition are easier to play in third position. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 55, pg. 81. Carlin (Gow Collection), 1986; No. 536. Hardie (Caledonian Companion), 1992; pg. 93 (arranaged by Hector MacAndrew). Hunter (Fiddle Music of Scotland), 1988; No. 49 (arranged by James Hunter). S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 29. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 6. Martin (Traditional Scottish Fiddling), 2002; pg. 113. Neil (The Scots Fiddle), 1991; No. 82, pg. 111.

X:1

T:Chapel Keithack

M:3/4

L:1/8

R:Slow Air

S:Marshall – 1822 Collection

Z:AK/Fiddler’s Companion

K:Bb

d4 (c>A)|B4 F2|(GF) e2 (d/f/e/d/)|d3c F2|d4 (c>A)|B4 F2|(GE)(DC)(B,A,)|B6:|

f4 (d/b/a/g/)|g>f f2 df|gfedcB|(d3c) ~F2|f4 (d/b/a/g/)|(g>f) f3 =e/f/|ga/b/ a2 g>=e|

f6|d4 (c>A)|B4 F2|(G>F) e2 (d/f/e/d/)|(d3c) F2|d4 (c>A)|B4 F2|(GE)(DC)(B,A,)|B6||

                       

CHAPEL KEITHING. See  "Chapel Keithack."

           

CHAPLET.  English, Country Dance Tune (cut time). D Major. Standard tuning. AABB. A popular melody printed in several 18th century country dance collections, beginning with John Johnson’s Choice Collection of 200 Favourite Country Dances (London, 1751). This was followed by appearances in Walsh’s Compleat Country Dancing Master, vol. 5 (London, 1754), David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756), Charles and Samuel Thompson’s 1757 collection, and James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. 3 (Glasgow, 1788). It was also penned by London musician Thomas Hammersley into his 1790 music manuscript collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 21.

X:1

T:Chaplet

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

a2 f/g/a g2 e/f/g|fdAf ec A2|dAfd afbg|f/g/a Ac d2D2:|

|:AF/G/ Af ec A2|AF/G/ Ag f2e2|AF/G/ Af edef|gfed c2e2|

a2 f/g/a g2 e/f/g|fdaf ecAc|dAfd afbg|f/g/a Ac d2D2:||

           

CHAPMAN'S DANCE. English, Jig. England, North‑West. F Major. Standard tuning. AABB. A 'Chapman' was a term for a hawker or peddler. Knowles (Northern Frisk), 1988; No. 117.

                       

CHAPPLE IN WARDEL (Weardale). English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

                       


CHAPULTEPEC. AKA and see "Sam Palmer." American, March (6/8 time). USA, southwestern Pa. D Major. Standard tuning. AABB. Bayard (1981) notes that this was one of the "best‑loved and most commonly used" fife tunes in southwestern Pa. and West Va. The title is undoubtedly from the Mexican War conflict of the late 1840's. The 'A' part of "The Steamboat" (Kennedy) corresponds with most versions of this tune. Sources for notated versions: Bayard collected the tune from 6 southwestern Pa. fifers. Bayard (Dance to the Fiddle), 1981; No. 599A‑F.

                       

CHARGE IS PREPARED, THE. AKA and see "Bonny Dundee." English, Air. The air appears under this title in Gay's Beggar's Opera (1729).

                       

CHARGE OF BONAPARTE, THE. AKA and see "Dry and Dusty [2]," “Napoleon’s Charge,” “Piney Ridge.”

                       

CHARK’S HORNPIPE. English, (Old) Hornpipe (3/2 time). D Major. Standard tuning. AABB. The melody appears in Walsh’s third volume of Lancashire tunes (Lancashire Jigs, Hornpipes and Joaks, etc.) published around the year 1730.

X:1

T:Chark's Hornpipe

B:Walsh

M:3/2

L:1/8

K:D

d2 A2 F2 D2 A2 d2| cde2 Bcd2 c2 A2| d2 f2 ef g2 fg a2| A2 d2 cdec d4::\

fefg fedc B2 d2| c2 e2 d2 B2 ^A2 F2| BcdB cdec de f2| F2 B2 ^ABc^A B2 AG|\

FEFD GFGE AGAF| BABG cBcA dcdB| efed c2 A2 dcde| fg a2 A2 c2 d4:|

                       

CHARLE LORRAINE, LA.  French, Country Dance (6/8 time). G Major. Standard tuning. AABB. 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; 2nd tune.

X:1

T:Charle Lorraine, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757)

Z:AK/Fiddler’s Companion

K:G

DGG FGG | DGG BGD | G,B,D GDB, | ECA, DB,G, | G,GG EGG |

DGG BGD | gdB ecA | dBF {F}G3 :: Bdd dgb | {e}dcB {d}cAF |

DFA cfa | {d}cBA BGD | G,GG EGG | DGG BGD | Ggf gdB | {d}cAF {F}G3 :|

                       

CHARLES ATTWOOD. AKA and see “Attwood.” English, Hornpipe. A composition of Tyneside fiddler and composer James Hill.

 

CHARLES GUITEAU. Old-Time, Breakdown. G Major. Standard tuning. AABBCC. Source for notated version: Jere Canote [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 46.

                       

CHARLES HARDIE. Scottish, Strathspey. A Major. Standard tuning. AABB. Composed by the Aberdeenshire, Scotland, fiddler and composer J. Murdoch Henderson (1902-1972) in 1933 in honor of fiddler Charles Hardie (1849-1893), the ‘Methlick Wonder’. Hardie was a carpenter by trade and “one of the best violinists of his day.” He was invited to perform before Queen Victoria at Balmoral Castle, and she later expressed regret at his untimely death at the age of 44. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 70, pg. 32. Henderson (Flowers of Scottish Melody), 1935. 

                       

CHARLES JOHN FORBES ESQ.--OF NEWE. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by fiddler and composer Alexander Walker. Walker's note says that the person named in the title was the son of Sir Charles Forbes of Castle Newe. Walker was employed as a gardener at the castle after he had come to the attention of Sir Charles for inventing some surveying instruments. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 5, pg. 2.

                       

CHARLES LESLIE. Scottish, Strathspey. D Major. Standard tuning. AB (Athole): AABB' (Kerr). Kerr (Merry Melodies), vol. 2; No. 163, pg. 19. Stewart-Robertson (The Athole Collection), 1884; pg. 114.

X:1

T:Charles Leslie

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

F|D>EF>d A<F F>d|A<F F>d A<F F>d|D<E F>d A<F F>d|

A>F G/F/E/D/ E2 E>F|D>EF>d A<F F>d|A>FB>G A<F F>A|

d>e f<a e>fd>f|B>d B/A/G/F/ ~E2E||A|d>gf>e d<B B>d|

A<F F>d A<F F>A|d>gf>e d>B B>d|A<F G/F/E/D/ E2 E>A|

d>gf>e d<B B>d|A>F F>d A<F F>A|d>ef>a e>fd>f|B>d B/A/G/F/ ~E2E||

                                      

CHARLES LYNCH'S WALTZ. Old‑Time, Waltz. Source for tune: Henry Reed (Glen Lyn, Virginia) via Janet Kerr [New Victory Band]. Topic 12TS382, New Victory Band ‑ "One More Dance and Then." 1978.

                                      

CHARLES MACHUGH (Catal Mac Aoda). Irish, Air (3/8 time). G Minor. Standard tuning. AB. The melody is not the same as either Bunting's "Cathal Mhac Aodh" or Joyce's "Charles McHugh, the Robber," though the personage of the title, Charles McHugh/Magee/McHugh is apparently the same. Charles had a rather short career as a highwayman in Ulster. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 369, pg. 64.

X:1

T:Charles Mac Hugh

M:3/8

L:1/8

R:Air

N:”Plaintive”

S:O’Neill – Music of Ireland (1903), No. 369

Z:AK/Fiddler’s Companion

K:G Minor

G/F/|DGG|G2 A/B/|c/d/c/B/A/G/|FGA|BB/c/d/e/|fdc/B/|AFF|F2 G/F/|DGG|G2 A/B/|

c/d/c/B/A/G/|FGA|BB/c/d/e/|fdd/c/|BGG|G2||d/e/|fd d/e/|fd d|c/d/c/B/A/G/|FF/G/A/z/|

BB/c/d/e/|fdd/c/|dcc|c2 d/e/|fd d/e/|fd d|c/d/c/B/A/G/|FF/G/A/z/|BB/c/d/e/|fdd/c/|BGG|G2||

                       


CHARLES MAGEE. AKA and see "Cathal Mhac Aodh."

                       

CHARLES MARCH. English, March (6/8 time). F Major. Standard tuning. AABBCCDDEE. Source for notated version: a c. 1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 53.

                                   

CHARLES McHUGH, THE ROBBER. Irish, Double Jig. A Minor. Standard tuning. AAB. See notes for "Cathal Mhac Aodh," "Charles MacHugh." Joyce (The Forde Collection), 1909; No. 463, pg. 258‑259.

           

CHARLES NICHOLSON. Canadian, Reel. Canada, Cape Breton. Composed by fiddler Elmer Briand. WS 031703, Wendy MacIsaac – “Timeline” (2003).

                       

CHARLES O'CONOR/O’CONNOR. Irish, Air or Planxty (6/8 time). C Major (Complete Collection, O’Sullivan, Vallely): D Major (S. Johnson, Mulvihill). Standard tuning. AABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). O’Conor family histories give that Charles O’Conor (1710-1791) was an antiquarian scholar who acceded to the O’Conor seat of Belnagare, County Roscommon, in 1749. He was the eldest son of Denis and Mary O’Conor, for whom O’Carolan also composed pieces. Although a country gentleman, he was a Catholic, and thus was barred from many privileges of the class in that era. He received a classical education from a Franciscan friar and developed an interest in collecting Irish manuscripts, and kept up a correspondence with distinguished scholars of his day, including Dr. Samuel Johnson in London. O’Carolan was a frequent guest in his house and a harp, reputedly one of the bards, remains with the family at the new seat of Clonalis. O’Sullivan (1958) prints excerpts from Charles O’Conor’s diaries of 1729 in which he relates being taught songs on the harp by O’Carolan, who was then aged 59 years, when the bard stayed a fortnight at Belnagare. A young Charles was also taught music by another harper, Mary Connellan, whom O’Sullivan suspects was a daughter of famous harper Thomas Connellan, born c. 1640 at Cloonmahon, County Sligo.   Complete Collection of Carolan's Irish Tunes, 1984; No. 125, pg. 90. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg. 9. Mulvihill (1st Collection), 1986; No. 12, pg. 121 (appears as “Planxty O’Connor”). O’Sullivan (Carolan: The Life, Times and Music of an Irish Harper), 1958; No. 125. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 52, pg. 44.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Charles O'Connor

S:Charlie Saksena

R:Jig

O:Ireland

M:6/8

C:Turlough O'Carolan

K:D

A|\

d2A d2A|BAG FGA|Bcd ecA|dfa a2g|\

fef BcB|ede Ac/B/A|dcB AFA|d3 d2::\

c/B/|\

AB/A/D FAD|BGB AFD|AB/A/D FAD|GEe c2A|\

f>ef fef|fef fdB|\

cde ede|ede ecA|\

dcB AFE|FAd f2e|dcB AFA|d3 d2:|

                       

CHARLES OF SWEDEN. AKA and see “The Cheat,” "Come Jolly Bacchus," “Coquette [3],” "The Devil to Pay," "(Glorious) First of August,” "Frisky Jenny," "The Gallant Weaver," "Twenty‑First of August," "The Tenth of June,” "The Weaver's March." English, Scottish; Air. England, Northumberland. This old English air or march appears under this title in the early 18th century operas "The Devil to Pay" and "The Rival Milliners; or, The Humours of Covent Garden." See Chappell's (1859) note for "Come Jolly Bacchus" and Bayard's (1981) note for "Pretty Polly [5]" for more information. It is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance manuscript and is probably related to "Charles the 12th King of Swedene's March" that appears in the Gillespie Manuscript of 1768 (see also note for "King of Sweden's March"). Emmerson (1972) remarks that the association of Charles the XII of Sweden with Scotland is doubtless through the many Scottish officers who served with him, as they did with his more famous predecessor, Gustavus Adolphus. Charles died in 1718. The melody was used in several ballad operas of the early 18th century: as “Charles of Sweden" it appears in Charles Coffey's ballad opera The Devil to Pay (1731) and as an untitled tune in The Village Opera (1729), although the latter differs significantly from Playford’s Danicng Master version (see “Frisky Jenny”).

X:1
T:Charles of Sweden
M:C|

L:1/4

S:The Village Opera

Z:Bruce Olson
K:Ddorian
GG|EF/G/AA|G2(A/B/)c|Bc/d/ed|c2||\
ef/e/|dc/B/cd|BGAB/c/|Bc/d/ (c/d/)e/f/|d2||]

                       

CHARLES O'REILLY (Catal Ua Ragallaig). Irish, Air (3/4 time, "mournful"). E Minor. Standard tuning. AB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 43, pg. 29. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 528.

X:1

T:Charles O’Reilly

M:3/4

L:1/8

R:Air

N:”Mournful”

S:O’Neill – Music of Ireland (1903), No. 528

Z:AK/Fiddler’s Companion

K:Emin

EF | GG G2 BG | EE E2 FG | AA A2 FA | DD D2 Bc | dd d2 gd | ec B2 GA |

BB c2 AF | GG G2 || BG | EE E2 BG | DD D2 Bc | dd d2 gB | cB A2 BG |

EE E2 BG | DD D2 Bc | dd c2 AF | GG G2 ||

                       


CHARLES REYNOLDS. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed on May, 10, 1973, by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 21.

                       

CHARLES STREET BATH. AKA – “Charles Street Bank.” AKA and see “Charles Street Walk.” “The Circus [2].” English, Scottish; Reel. England, Northumberland. G Major. Standard tuning. AB (Howe): AAB (Gow): AABB (Peacock). Glen (1891) finds the tune earliest in print in Joshua Campbell's 1778 collection (pg. 34). Glasgow publisher James Aird printed the tune twice; in his first volume of Selection of Scotch, English, Irish and Foreign Airs (1782) he gave it as “Charles Street Bank,” while in his vol. 4 (1786) he printed it as “Charles Street Bath.” London publishers Charles and Samuel Thompson called it “Charles Street Walk.” American musicians manuscripts (Henry Beck and George Bush) give it as “The Circus.” Charles Street is an exceedingly common street name in English speaking countries, however, there is a Charles Street in Bath, England. Aird (Selection of Scotch, English, Irish and Foreign Airs, vol. 4), 1796; pg. 58. Gow (Complete Repository), Part 4, 1817; pg. 35. Howe (1000 Jigs and Reels), c. 1867; pg. 70. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 13. Peacock (Peacock’s Tunes), c. 1805; No. 15, pg. 6.

X:1

T:Charles Street Bath

M:C|

L:1/8

R:Reel

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:A

(e/4f/4g/)|(ag)(ag) aecA|fgag f2 ef/g/|aece fdBd|ce GB A2A:|

c|EBGB EcAc|EBce c2 B>g|aece fdBd|ce GB A2 Ac|

EBGB EcAc|EBcd c2 B>g|aece fdBd|ce GB A2A||

                       

CHARLES STREET WALK.  AKA and see “Charles Street Bath.” English, Country Dance Tune (cut time). A Major. Standard tuning. AABB. The melody was first published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). As with numerous other tunes from the Thompson’s 1773 collection, it was entered into the 1788 music copybook of fiddlers John and William Pitt Turner (Norwich, Conn.). Charles Street may refer to the former Lewkner’s Lane, London, re-named Charles Street in Drury Lane. It was notorious as being a ‘red light’ district, and a walk along it would probably have been quite interesting.  Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; pg. 87, No. 154.

X:1

T:Charles Street Walk

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:A

aefe aecA|fgaf “tr”f2e2|aecA fdBd|ceEG A2-[A,2A2]:|

|:EBGB EcAc|Ecde “tr”c2B2|aecA fdBd|ceEG A2-[A,2A2]:||

 

CHARLES SUTHERLAND. Scottish, Reel. E Major. Standard tuning. AB. Composed in 1933 by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972). Sutherland was a Fraserburgh violinist and "disciple" of J. Scott Skinner, according to Alastair Hardie (1992), who owned the famous and fine "Goddard" Stradivarius violin. Hardie (Caledonian Companion), 1992; pg. 39. Henderson (Flowers of Scottish Melody), 1935. Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996).

X:1

T:Charles Sutherland

C:J Murdoch Henderson

D:Hardie/Marwick

Z:Nigel Gatherer

M:4/4

L:1/8

R:Reel

K:E

B|E2- eg fdec|B2 BG cBGB|c2 Ac B2 ge|fgfe dBcd|

E2- eg fdec|B2 BG cBGB|c2 Ac Bgbg|afdf e2:|]

a|g2 eg bge=d|c2 ac B2 gB|A2 fA G2 ge|fgfe dBBa|

g2 eg bge=d|ceac Bege|c2 Ac Bgbg|afdf e2:|]

                       

CHARLES XII MARCH.  English (?), March (cut time). A Major. Standard tuning. AABB. Source for notated version: the late 18th century manuscript copybook of Henry Livingston, Jr.  Henry Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 Livingston was a Major in the 3rd New York Regiment, which invaded Canada in Montgomery’s failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a musician and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

***

The title may refer to a march associated with Charles of Sweden (Charles XII), a skilled military commander, or it may refer to his 1707-1709 march of invasion of the Russia of Peter the Great, which ultimately led to disaster.

X:1

T:Charles XII March

M:C|

L:1/8

R:March

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:A

c3B ABcA | d2d2d2 (ed) | c3B ABcA | B4E4 | c3B ABcA | d2 (ed) c2 (dc) |

B2A2 BdcB | A2A2A4 :: ABcd e2 (fe) | d2d2d2 (ed) | c2c2c2 BA | B4E4 |

ABcd e2 (fe) | d2 (ed) c2 (dc) | B2A2 BdcB | A2A2 A4 :|

 

CHARLES THE 12th KING OF SWEDENE'S MARCH. See "Charles of Sweden."

 

CHARLES’S JIG.  English, Jig. F Major. Standard tuning. AABB. The melody, like many from Charles and Samuel Thompson’s 1757 collection, first appeared in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (London, 1751). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 45.

X:1

T:Charles’s Jigg

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:F

cFF F2d|cFF F2d|cBA BAG|F3 f3|cFF F2d|cFF F2a|gec fd=B|c3 C3:|

|:cd_e d2c|dGG G3|Bcd c2B|cFF F3|fga def|Bcd GAB|AGF CFE|F3 f3:||

                       

CHARLESTON GIRLS. Old-Time, Breakdown. USA, West Virginia. A Mixolydian. AABB. The melody is similar to (and perhaps a variant of) Henry Reed’s “Texas” and to a tune in Phil Rice's Banjo Instructor (1858) appearing under the title “Hi! Ho! Charleston Gals.”  John Heine reports it apparently was in minstrel tradition under the later title and appears in sheet music from the mid-1840’s. West Virginia fiddler Melvin Wine plays a crooked version and sings a few words to it. Source for notated version: Melvin Wine (W.Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 46.

                       

CHARLESTON GLIDE WALTZ. American, Waltz. G Major ('A' part), C Major ('B' and D ' parts), and F Major ('C' part). Standard tuning. ABCD. Ford (Traditional Music in America), 1940; pg. 133.

                       

CHARLESTON NO. 1. Old‑Time, Breakdown. USA; Missouri, Mississippi. C Major. Standard tuning. AABB (Christeson, Phillips): AA’BB’C. The melody (which is related to "Done Gone;” similar primarily in the first part) was composed by William T. ‘Willie’ Narmour (Carroll County, Mississippi), and became a hit in 1929 (it was the flip side of “Carroll County Blues,” also a hit). English authority Tony Russell suggests: "The several 'Charleston's' they (Narmour and his playing partner, S.W. “Shellie” Smith) recorded are essentially hornpipes; their roots seem to lie in North Britain." Charles Wolfe explains that this tune had nothing to do with the dance craze of the 1920's, but rather refers to an area in Mississippi, Charleston being a town in Tallahatchie County, near where Narmour lived. Christeson credits only "old 78's" for his version, which could be Narmour's, Doc Roberts', or another version. In fact, the Doc Roberts Trio version (1933) is a cover of Narmour’s popular composition, and the story goes that Roberts’ recording company, Gennett, gave him a copy of Narmour’s recording and told him to learn it for his next recording session. Narmour and Smith re-recorded the tune is 1934, with different accompaniment, calling it “The New Charleston No. 1.” See also related "Done Gone [2]." Sources for notated versions: Doc Roberts (Ky.) [Phillips]; Willy Bilyeu (1902-1973, Taney County, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 171. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 46, pg. 33. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 46. Conqueror 8104 (78 RPM), Doc Roberts (1933). County 412, Fiddling Doc Roberts ‑ "Old Time Tunes" (1983). County 529, Narmour & Smith – “Traditional Fiddle Music of Mississippi, vol. 2.” Gennet GE 16640 (78 RPM) Tweedy Brothers (W.Va.: Harry, George, and Charles played twin fiddles and the piano), 1930. Rounder Records RO-0388, Gene Goforth – “Eminence Breakdown” (1997)

See also listings at:

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

                       

CHARLESTON NO. 2. Old Time, Breakdown. USA, Mississippi. C Major. Standard tuning. AABB. Composed by Willie Narmour (Carroll County, Mississippi), although Christeson credits only "old 78's." Recorded by Narmour and Smith. There is an assertion that “Charleston No. 2” is the “Silver Star Hornpipe,” however to my ear it does not sound similar to the tune of the latter title printed in Ryan/Cole.  Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; No. 47, pg. 33.

See also listings at:

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

 

CHARLESTON NO. 3. Old Time, Breakdown. USA, Mississippi. C Major. A reworking of the “Sailor’s Hornpipe” by Narmour and Smith.

                       

CHARLESTON POLKA. Old-Time, Breakdown. The tune was mentioned in the Atlanta Journal as being “one of the best selections” of the group the Mud Creek Symphony, who broadcast in 1924 on WSB, the Atlanta station. The group, from Pea Ridge, Habersham County, Georgia, consisted of two pair of brothers, the older two uncles of the younger set. New and Ed Tench, both fiddlers, were in their sixties at the time and claimed to have been fiddling for forty-five years or more. The Journal wrote they had played so long that “harmony between the two is merely a matter of second nature” [see Wayne Daniel, Pickin’ on Peachtree, 1990, pg. 54).

 


CHARLESWORTH HORNPIPE. English, (Old) Hornpipe (3/2 time). B Minor. Standard tuning. AABBCCDDEE. A modern composition (1980’s) by Ian ‘Sam’ McGrady. Knowles (Northern Frisk), 1988; No. 138. Big Chain BC 101, Cooper & Bolton – “Turning Point” (2006).

           

CHARLEVILLE LASSES, THE. Irish, Reel. C Major. Standard tuning. AABB. The town of Charleville, or Rath Luirc, north County Cork, is located in the north-eastern slopes of an extension of a ridge known in ancient times as Drom Iomnacht. The town was founded in 1661 by Roger Boyle, Lord Broghill, who developed it originally as a textile manufacturing center, and named it in honor of King Charles II. Peter Kennedy notes that an English variant of the tune was sometimes employed as the vehicle for the country dance called The Cumberland Reel. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 20, pg. 7.

 

CHARLEVOIX REEL. French-Canadian, Reel. G Major. Standard tuning. AABB.

X: 1

T:Charlevoix Reel

M:4/4

L:1/8

K:G

(3def | gGGG BGdB | ABcd edef | gGGG BGdG | eGfGg2(3def | gGGG BGdB |

ABcd edef | gfed edcB | cedBG2 :|| dc | BGDG BBGB | ABcd eedc | BGDG BGdG |

eGfG gddc | DGGG BGAG | FGAB cdef| gfed edcB | cedBG2 :||

                                   

CHARLEYTOWN TWO-STEP. Old‑Time, Quadrille (6/8). USA, Missouri, Pulaski County. C Major. Standard tuning. ABB. R.P. Christeson (Old Time Fiddler’s Repertory, Vol. 1), 1973; pg. 194.

                       

CHARLEY COOK'S G WALTZ. Old‑Time, Waltz. USA, Missouri. G Major. Standard tuning. ABC. Composed by Luther Caldwell, by way of Charlie Walden (Christeson). R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; pg. 162.

                       

CHARLIE. Scottish, Reel. A Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 6, pg. 3.

X:1

T:Charlie

M:C|

L:1/8
R:Reel

B:Kerr – Merry Melodies, vol. 4, No. 6  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

E2|ABcd e2 (cf)|ecaf ecBc|ABcd e2 (cA)|EcBc A2:||e2|

abag f2(ga)|bfbf agfe|abag fedc|dcBA B2|

abag f2(ga)|bfbf agfe|agfe dcBA|EcBc A2||

                       

CHARLIE BARNET LOWE’S TUNE. Old-Time, Breakdown. Copper Creek CCCD-0196, Tom, Brad & Alice – “We’ll Die in the Pig Pen Fighting.”

                       

CHARLIE FLEMING’S. See “Brumley Brae.”

                       

CHARLIE GORE’S BIRTHDAY. Composed in honor of the Scottish musicologist Charles Gore, editor and compiler of the magnificent Scottish Fiddle Music Index. (See Mr. Gore’s composition “Amelia’s Waltz [2]”).

X:1

T:Charlie Gore's Birthday

C:John Turner

B:John Turners Melodies (W Virginia 1984)

Z:Nigel Gatherer

N:1st two notes changed from "f>g"

M:6/8

L:1/8

K:D

f/g/|a>gf g>fe|dzf A2d|B>AG A>FD|EzC A,2G|

A>FA d>cd|B>dg bz^g|a>=gf gfe|dAF D2:|]

A|d>Ad eA=c|BzA G2B|e>^de f>ed|c>AE A,2G|

(3F/E/F/ AF D>EF|G>Bd g2 f/e/|dcA GEz|D3-D2:|]

                       

CHARLIE HARDIE. Scottish, Reel. E Major. Standard tuning. AB. Composed by the great Scottish fiddler and composer J. Scott Skinner (1843-1927) for violinist Charles Hardie (1849-1893), ‘the Methlick Wonder’, a member of the famous Scottish family fiddling dynasty (which included his father, William Hardie). Charles, who was a carpenter by trade, was considered one of the finest exponents of the Scottish fiddle of his day. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 146, pg. 59. Hardie (Caledonian Companion), 1992; pg. 82. Skinner (Miller o' Hirn). Jerry Holland - “Crystal Clear” (2000). Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1
T: Charlie Hardie
C: J. Scott Skinner
R:Reel
Q: 232
K:E
M:4/4
L:1/8
|:c|Be Ge Be Ge|cf Af cf Af|eg Bg eg Bg|ab af ge ec|
Be Ge Be Ge|cf Af cf Af|eg Bg ef ge|ab c'd' e'e ea|
gb ef ga bg|fb Bc de fa|gb ef ga bg|ab c'd' e'e ea|
gb ef ga bg|fb Bc de fa|gb ag fe dc|BA GF GE E:|

 

CHARLIE HARRIS' [1]. Irish, Reel. D Major. Standard tuning. AABB. Named on the “Buttons and Bows” album for their source, Charlie Harris, a button accordion and melodeon player originally from Kilmalloch, Co. Limerick, and later Ardrahan, Co. Galway. He has toured as a soloist and as the member of several groups, including the band Shaskeen. Sullivan (Session Tunes), vol. 2; No. 12, pg. 6. Green Linnet SIF 1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984).

                       

CHARLIE HARRIS’ [2]. AKA and see “John P. Blessing’s Favourite,” “The Night of the Fun [4],” “O’Connell’s Reel [2].” Irish, Reel. D Major. Standard tuning. AABB (Miller): AA’BB’ (Harker/Rafferty). Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 132, pg. 40. Miller (Fiddler’s Throne), 2004; No. 135, pg. 89.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Charlie Harris’ Reel [2]

R:reel

D:De Danann: Song for Ireland

Z:id:hn-reel-606

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

D:K

AFDF EFDF|AFAB e2dB|AFDF EFDF|1 AFAB d2dB:|2 AFAB d3A||

d2fd efdB|AFAB ~e3f|1 defd efdB|AFAB d3A:|2 df~f2 af~f2|afef d2dB||

 

CHARLIE HARRIS’S POLKA. Irish, Polka. D Major. Standard tuning. AAB. Charlie Harris is a button accordion and melodeon player originally from Kilmalloch, Co. Limerick, and later Ardrahan, County Galway. He has toured as a soloist and as a member of several groups, including the band Shaskeen.

X:1
T:Charlie Harris's Polka
S:As played by The Big Squeeze, Edinburgh 1996
Z:Nigel Gatherer
M:2/4

L:1/8

R:Polka
K:D
d>B|AF DF|EF DF|AF AB|e2 d>B|AF DF|EF DF|AF AB|d2:|
z A|d>e fd|ef dB|AF AB|e3 A|d>e fd|ef dB|AF AB|d3 A|
d>e fd|ef dB|AF AB|e2 fe|df fg|af fg|af ef|d2|]

                       

CHARLIE HE’S MY DARLING. Scottish, Air (4/4 time). D Minor. Standard tuning. AAB. Gow (Complete Repository), Part 4, 1817; pg. 1 (two versions).

X:1

T:Charlie he’s my Darling (Original Set)

M:C

L:1/8

R:Air

S:Gow – 4th Repository  (1817)

Z:AK/Fiddler’s Companion

K:Dmin

~A,|D>E FGT A=BcA|G>FED ~C>D EC|D>E FG A=Bc_B|(AG)(FE) D3:|

|:d|cAAc ~d2 f>d|cAA^c d2 ~=c>d|e>dc=B ABcA|GFED ~C>DEC|

D>EFG A=Bc_B|(AG)(FE) D3:|

X:2

T:Charlie he’s my Darling (Modern Set)

M:C

L:1/8

R:Air

S:Gow – 4th Repository   (1817)

Z:AK/Fiddler’s Companion

K:Dmin

~A,|D>EFG (A2 d) z/A/|(B2 d) z/B/ (A2 d) z/F/|~D>EFG A2 ~d>e|f2 e>d d3:|

d|^c(A=Bc) ~d>efd|^c(A=Bc) d2 e2|f>efd =c>A ~F(G/A/)|B>G A>F EA/G/ FE|

~D>EFG (A2 d) z/A/|(B2 d) z/B (A2 d) A/F/|~D>EFG A2 ~d>e|f2 e>d d3||

                       

CHARLIE HUNTER'S JIG. AKA ‑ "Charlie Stuart's Jig." Scottish, Canadian; Jig. D Major. Standard tuning. AAB (Phillips): AABB (Carlin, Hinds, Martin). Not the "Charlie Stewart" in O'Neill. The composition is credited to piano accordion player Bobby MacLeod of Tobermory, Mull. The title probably refers to the late Charlie Hunter of Oban, a radio operator on the MacBrayne steamers which ply the west-coast routes of Scotland.” Source for notated version: Graham Townsend (Canada) [Hinds]; Pete Sutherland (Vt.) [Phillips]. Carlin, 1977; pg. 31. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 22. Martin (Traditional Scottish Fiddling), 2002; pg. 45. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 362. Atlantica Music 02 77657 50222 26, Richard Wood - “Atlantic Fiddles” (1994). Fretless Records FR200, Yankee Ingenuity ‑ "Kitchen Junket" (1977). Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977). Shanachie 79068, Boys of the Lough - “Sweet Rural Shade.” Topic TSCD 669, Willy Taylor, Joe Hutton & Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Atkinson {b. 1908} of Crookham, Northumberland, was an harmonica player, Taylor a fiddler and Hutton a Northumbrian small-piper).

X:1

T:Charlie Hunter

C:Bobby MacLeod

S:Bobby MacLeod's Selection of Country Dance Tunes

Z:Transcribed by Nigel Gatherer

M:6/8

L:1/8

R:Jig

K:D

A|DFA GBd|Adf a2g|fed Bcd|ecA GFE|

DFA GBd|Adf a2g|fef gec|1edd d2:|2edd d|]

fg|afd d2c|BGG G2F|E^GB e2d|cAA Aag|

fdA FDF|GBd g2g|fef gec|1edd d:|2edd d2|]

                       

CHARLIE IF ONLY YOU WOULD COME. AKA and see “Charlie’s Welcome [2],” “Thearlaich na’n Tigeadh Tu,” “Flora MacDonald,” “MacDonald’s Quickstep,” “MacDonald’s Reel [2],” “Miss Flora McDonald’s Reel,” “Miss Macdonald’s (Reel) [4].”

                       

CHARLIE IS AT EDINBURGH. See note for "Keel Row." Kidson (1890) finds the tune in a MS collection and categorises it as one of the "Keel Row" family.

                       

CHARLIE IS WELCOME HOME.  Irish, Hornpipe. G Major. Standard tuning. AABB. A variant of “Delahunty’s Hornpipe.” The melody appears in Church of Ireland cleric James Goodman’s mid-19th century manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscript and printed collections. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 131, pg. 55.

X:1

T:Charlie is Welcome Home

M:C|

L:1/8

R:Hornpipe

S:James Goodman manuscripts (mid-19th century)

K:G

c|BGAF DEFG|ABAF c2 Ac|defd dcAF|DGFA G2 GA|BGAF DEFG|

ABAF c2 Ac|defd dcAG|1 F3D D2z:|2 F3D D2||:de|fefd dcAG|f2g2 agfa|

g2 ga bgaf|dgfa g2 ga|bgaf defd|dcAF c3A|defd dcAG|F3D D2:|

           


CHARLIE LENNON'S [1]. Irish, Mazurka (3/4 time). G Major. Standard tuning. AABB. Irish musician and composer Charlie Lennon is a pianist and fiddler and a much sought-after accompanist for traditional music since the 1950's. Sullivan (Session Tunes), vol. 2; No. 52, pg. 22.

 

CHARLIE LENNON'S [2]. Irish, Jig. D Major. Standard tuning. AA'BB'. Taylor (Where’s the Crack), 1989; pg. 18.

 

CHARLIE LENNON'S [3]. AKA and see "Billy Brocker," "Billy Bockett." Irish, Reel.

 

CHARLIE LENNON’S [4].  AKA and see “McDonagh’s (Reel) [1].” Irish, Reel. E Dorian. Standard tuning.

                       

CHARLIE LENNON'S NO. 2. AKA and see "Sweeney's Buttermilk," "Buttermilk Mary [2], “Scarce o’ Taties [2]." Irish, Reel. A Dorian or B Minor. Standard tuning. Source for notated version: fiddler Charlie Lennon [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4; No. 14.

                       

CHARLIE LENNON’S NO. 4. Irish, Reel. D Major.

X:1

T:Charlie Lennon's # 4

M:4/4

L:1/8

Q:240

C:Charlie Lennon

R:reel

Z:Philippe Varlet

K:D

F2 AF dFAF|DFAF GBAG|F2 AF dFAF|G2 FG EFGE|

F2 AF dFAF|DFAF GBAG|1 FAdf ecAB| {c}BAeA cAGA :|2 FAdf edef|~g2 ec ABcA||

defd Adfd|eA{c}BA ge{a}fe|d2 fd adfd|(3Bcd ef gece|

d2 fd Adfd| ~B2 GB g2 fg| (3agf ge {a}fded|1 cded cAce:|2 cded cAGE||

                          

CHARLIE MACLEAN’S STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. See also the related old-time tune “Can You Dance a Tobacco Hill?” Rounder 7060, Joe Peter MacLean – “Back of Boisdale.”

 

CHARLIE MACLEOD. Scottish, Jig. Topic TSCD 669, Willy Taylor, Joe Hutton & Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Atkinson {b. 1908} of Crookham, Northumberland, was an harmonica player, Taylor a fiddler and Hutton a Northumbrian small-piper).

           

CHARLIE McDEVITT’S. Irish, Reel. D Major. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988). McDevitt was a fiddler from Donegal who would visit from time to time with Reavy. Ed’s son Joseph Reavy remembers that he had “a great head for music but not the hands to match. Trying to finger a difficult passage he was often heard to exclaim, ‘They won’t go down!’. Reavy (The Collected Compositions of Ed Reavy), No. 66, pg. 71.

X: 1

T:Charlie McDevitt's

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Named for a keen observer of the music. He was one

N:of the many Donegal fiddler friends of Ed, who came

N:often to exchange tunes and old stories. Charlie had

N:a great head for the music, but not the hands to match.

N:Trying to finger a difficult passage he was often heard

N:to exclaim, "They won't go down." But this did not deter

N:Charlie from becoming an important influence in the

N:tradition at that time. He affectionately called Ed,

N:"the Doctor".

K:D

ed | cAAG FDEF | GDEF G2 AB | cBAG EDEG | Addc dfed | cAAG FDEF |

GDB,D G2 AB | cBAG EDEG | Addc d2 :|| ed | cdef gfge | a^gaf =gfge |

cdef gfge | fage d2 ed | cdef gfge | a^gaf =gfed | (3Bcd ef gfge | fage d2 :||

                       

CHARLIE MULVIHILL’S (HORNPIPE) [1]. AKA and see “Paddy Sullivan’s.” Irish, Hornpipe. G Major. Standard tuning. AABB. Irish sources seem to trace the tune to Munster fiddler Paddy O’Sullivan, through Maire O’Keeffe of Tralee. Patty Furlong states on the notes to her album that she believes the tune was written by Charlie Mulvihill (1917-1975), a Bronx, New York, born concertina and accordion player who learned much of his music from his father, a concertina player from County Limerick.  Shanachie 34012, Liz Carroll & Tommy Maguire – “Kiss Me Kate.” Macalla – "Mna na hEireann" (appears as “Paddy Sullivan’s”). Patty Furlong – “Traditional Irish Music on the Button Accordion” (1999).

X:1

T:Charlie Mulvihill’s [1]

M:4/4|

L:1/8

Q:160

R:hornpipe

Z:Lorna LaVerne

K:G

(3DEF|GFGA BAGF | EccA FDEF | GFGB dedB | AG(3EFG A2 Bc|

dedc BAGF | EccA FDEF | GFGe dBGB | ADFA G2 :|

(3def | g2f2 e2dc | BGBd g2(3efg | a2g2 f2e2 | dd(3^cde d2(3def |

g2f2 e2dc | BGBd gdBd | cBce dBGB | ADFA G2 :|

 

CHARLIE MULVIHILL’S (HORNPIPE) [2]. Irish, Hornpipe. G Major. Standard tuning. AABB. Treoir.

X: 1

T: Charlie Mulvihill's [2]

S: Treoir

M: 4/4

L: 1/8

Q: 320

R: hornpipe

K: G

(3DEF | GABc d2 Bd | efgf edBd | ceAc (3Bcd GB | cBAG FDEF |

GABc d2 Bd | efgf edBd | ceAc (3Bcd GB | cAFA G2 :|

Bd | gfga bgdg | edef gdBd | gfga bgdg | edcB A2 Bd |

gfga bgdg | edef gdBG | DGBd gdBd | cAFA G2 :|

 

CHARLIE MULVIHILL’S (JIG) [1]. AKA and see “Baby Gavin,” “Burke’s [1],” “Connie O’Connell’s Jig [2],” “Coughlan’s,” “Gallagher’s [2],” “Lad O’Beirne’s (Jig),” “Matt Molloy’s (Jig),” “The Short Road,” “The Silver Vale.” Irish, Jig. D Major. Standard.

See also listings at:

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

Alan Ng’s Irishtune.info

 

CHARLIE MULVIHILL’S (JIG) [2]. AKA and see “The Kerry Jig [3],” “Whistling Postman [2].” Irish, Jig. D Major. Standard tuning. AABB. Composed by Charlie Mulvihill (1917-1975), a Bronx, New York, born concertina and accordion player who learned much of his music from his father, a concertina player from County Limerick. Inexplicably, the tune sometimes appears as “The Kerry Jig,” while whistle player Sean Ryan recorded it as “The Whistling Postman” on his recording “Take the Air.”  Bulmer & Sharpley, Music From Ireland, vol. 2 (appears as “The Kerry Jig”). Green Linnet SIF 1160, Patrick Street – “Cornerboys.” Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul de Grae - “The Smoky Chimney” (1996). Mary Custy – “After 10:30.”

X:1

T:Charlie Mulvihill's

D:The Smoky Chimney

M:6/8

L:1/8

R:jig

Z:Paul de Grae

K:D

fAf edB|AFA BAF| DFA dfa|baf ede|~f3 edB|AFA BAF|DFA ~BAB|cBcd2e:||

||:~f3 afd|gfg bag|fef afa|baf ede|fef edB|AFA BAF|DFA ~BAB|cBc d2e:||

                       

CHARLIE MULVIHILL’S (REEL) [1]. AKA and see “Muckross Abbey,” “Murphy’s Reel [1],” “O’Brien’s,” “Paddy Murphy’s Wife [2].” Irish, Reel. D Major. Standard tuning. AABB. Composed by New York accordion and concertina player Charlie Mulvihill (1917-1975), and a frequently heard session tune. According to his son Tommy, Charlie Mulvihill did not read or write music, and his compositions were played into a tape recorder, from which Tommy would play them back and notate. Charlie learned some of his tunes in the reverse way: Tommy would record on tape versions that Charlie had found in books he bought and Charlie would play them back, thus being able to tell other musicians he learned them in the ‘traditional’ way, by ear (Miller & Perron, 2006). Sliabh Luachra accordion player Johnny O’Leary was ‘surprised’ that Kerry fiddler Denis Murphy recorded the tune under the title “Muckross Abbey” and maintained that Murphy learned the tune from a recording of Charlie Mulvihill. Sources for notated versions: fiddler Denis Murphy (Sliabh Luachra region) via accordion player Johnny O’Leary, recorded in recital at Na Piobairi Uilleann, February, 1981 [Moylan]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]; fiddler Paddy Reynolds (1920-2005, originally from County Longford) and Charlie Mulvihill [Miller & Perron]. Breathnach (CRÉ II), 1976; No. 203. Bulmer & Sharpley (Music from Ireland), vol. 1, 1975; 9 (appears as “O’Brien’s). Cranford (Jerry Holland: The Second Collection), 2000; No. 130, pg. 49. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 44 (appears as “Mulvihill’s Reel”). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 92. Moylan (Johnny O’Leary), 1994; No. 66, pg. 37. Mulvihill (1st Collection), 1986; No. 46, pg. 12. Charlie Mulvihill - “Sweet and Traditional.” Kells Music 9513, Charlie Mulvihill - “Atlantic Wave” (a CD reissue of “Sweet and Tradtional”). Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry Fiddles” (as “Muckross Abbey”). Topic 12T312, “Billy Clifford.” Shanachie 79033, Paddy Moloney and Sean Potts - “Tin Whistles" (appears as "Murphy's").

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Charlie Mulvihill’s [1]

M:C|

L:1/8

R:Reel

K:D

dB|AF {G}(3FEF G2 FG|AF {G}(3FEF EFGE|DEFA dfec|dBAF E2 dB|

AF {G}(3FEF G2 FG|AF {G}(3FEF EFGE|D2 FA dfec|{e}dBAF D2:|

|:e|~f3a g2 fg|{b}afef edBA|~f2 (3gfe fgec|{e}dBAF E2 fg|

af {g}(3fef bf {g}(3fef|afdf edBA|~F2 (3gfe dfec|{e}dBAF D2||

 

CHARLIE MULVIHILL’S (REEL) [2].  AKA and see “Cronin’s Fancy Hornpipe,” “The Doon Reel [2],” “The Kilfenora Reel [3],”  O’Keeffe’s Reel [2],” "Speed the Plow [2],” “Tom Billy’s (Reel) [3]." Irish, Reel.

 

CHARLIE MULVIHILL’S (REEL/HORNPIPE) [3]. AKA and see “Fair and Forty,” “Cale Smith’s Pastime.” Irish, Hornpipe or Reel. Recorded under this title by Sean Ryan and recorded on “Back Home...”

 

CHARLIE MULVIHILL’S [4]. Irish, Reel. D Major/Mixolydian. Standard tuning. AABB. Composed by Philadelphia/County Cavan fiddler and composer Ed Reavy (1898-1988) in honor of Bronx, New York, Irish-American concertina player Charlie Mulvihill. Reavy (The Collected Compositions of Ed Reavy), No. 52, pg. 54.

X:1

T:Charlie Mulvihill's [4]

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Named for a very popular musician who was born in the Bronx of Irish

N:parents. He probably knew more tunes than any musician in Ed's

N:memory. He had a great love for the tradition and this was reflected

N:in his sensitive renditions of the countless tunes he knew.

K:D

A2 FA DAFA | G2 E=C EFGB | (3ABA FA DAFA | defd ^cAGE |

A2 FA DAFA | (3GGF E=C EFGB | AB^Cd fded | cAGE DEFG :||

d2 fd fafd | e=c (3cBc efge | d2 fd fafd | cAGE EDDc |

d2 fd fafd | e=c (3cBc efge | defg abag | eaag eddc :||

 

CHARLIE MULVIHILL’S [5]. Irish, Reel. D Major. Standard tuning. AAB. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 204, pgs. 117-118. Topic 12T312, “Billy Clifford.”

                       

CHARLEY OVER THE WATER [1]. Old-time. Not a version of "Over the Water to Charley," but rather Missouri fiddler Art Galbraith’s title for “Raw Recruit” or “New Rigged Ship [1],” and a variant of the melody printed as No. 588 in Bayard’s Dance to the Fiddle, March to the Fife.

 

CHARLEY OVER THE WATER [2]. Old-time, Jig. C Major. Standard tuning. AABB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 34.

X:1

T:Charley Over the Water

M:6/8

L:1/8

R:Jig

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

CEG GEG | AcA GEC | CEG GEG | A2B c2z | CEG GEG | AcA GEC |

cec dBG | A2B c2 :: cec dBG | AcA GEC | ege dBG | A2B c2z |

ege dBG | AcA GEC | CEG GEG | A2B c2 :|

                       

CHARLIE REILLY. AKA and see "The Robber," "The Croppy Boy [2]."

                       


CHARLIE REYNOLDS’. Irish, Jig. A Dorian/G Major. Standard tuning. AABB. Source for notated version: fiddler Brian Conway (Queens, New York) [Black]. Black (Music’s the Very Best Thing), 1996; No. 110, pg. 57.

X:1

T: Charlie Reynolds'

S: Brian Conway

Q: 300

R: jig

M: 6/8

L: 1/8

K: G

dB |: AcA AGA | BGE G3 | ABA GBd | ege edB |

AcA AGA | BGE G3 | ABA GBd | egd edB :|

GBd g3 | gba g3 | GBd g3 | e/2f/2g edB |

GBd g3 | gba g3 | aba g2 e | e/2f/2g edB :|

                       

CHARLIE STEWART [1] (Catal Stuairt). Irish, Double Jig. A Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg.44. O'Neill (Music of Ireland: 1850 Selections), 1979; No. 935, pg. 174. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 165, pg. 42.

X:1

T:Charlie Stewart [1]

L:1/8

M:6/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 165

Z:AK/Fiddler’s Companion

K:A

d|cee Ace|dfa ecA|def ecA|GBB B2d|cee efg|agf ecA|f/g/af ecA|BAA A2:|

|:d|cAA eAA|f/g/af ecA|cAA eAA|GBB B2d|cAA eAA|f/g/af ecA|agf eac|BAA A2:|

 

CHARLIE STUART [2]. AKA and see “Welcome, Charlie Stuart, (You’re Welcome)” “Ye’re Welcome Charlie Stewart. Scottish, Reel. D Major. Standard tuning. AB (Surenne): AAB (Gow, Kerr, Stewart-Robertson) Gow (Complete Repository), Part 4, 1817; pg. 29. Kerr (Merry Melodies), Vol. 2; No. 138, pg. 17. Stewart-Robertson (The Athole Collection), 1884; pg. 90. Surenne (Dance Music of Scotland), 1852; pg. 9.

X:1

T:Charlie Stewart

T:Welcome Charlie Stuart

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

B|AFED G3B|AFED E3B|AFED GABd|AGFE D2D:|

A|defd gfec|defd ecBA|defd gfeg|f/g/a ef d3A|

defd gfec|defa ecBA|defd gfeg|faef d2d||

                       

CHARLIE STUART'S JIG. See "Charlie Hunter's Jig."

                       

CHARLEY THE PRAYERMASTER (Cormac Na Paidireaca). AKA and see "Cowboy's Jig," “(An) Fear a Fuair Bas,” “Girls of the Town,” “I Will if I Can [2].”  Irish, Double Jig. G Major. Standard tuning. AABB. Charley Murphy/Cormac na bPaidreacha or ‘Charley the Prayermaster’ was a professional piper "who had a regular outdoor pitch at Tralibane Bridge, a few hundred yards from the O'Neill home" (Craolan). The tune was recorded by the McCusker brothers in 1959 and has also been recorded by Scottish fiddler Addie Harper (Wick). See also “Our Own Little Isle.” O'Neill (O’Neill’s Irish Music), 1915/1987; No. 168, pg. 93. O'Neill (Krassen), 1976; pg. 35. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 862, pg. 160. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 122, pg. 35.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Charley the Prayermaster

L:1/8

M:6/8

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 122

Z:AK/Fiddler’s Companion

K:G

A|GED G2A|Bee dBA|GED GAB|cBA BGE|GED|G2A|Bee dBA|GED G2A|BGG G2:|

|:d|e2d e2d|efe edB|d2B d2B|dge dBG|e2d e2f|gfe dBA|GED G2A|BGG G2:|

X:2
T:Charley the Prayermaster
D:Wick S.C.D., The Sound of the North (1970)
Z:Nigel Gatherer
L:1/8
M:6/8
K:A
B|AFE A2 B|cff ecB|AFE ABc|dcB AFE|
AFE A2 B|cff ecB|AFE A2 B|1cAA A2:|2cAA Ace|
f2 e f2 e|faf fec|e2 c e2 c|eaf ece|
f2 e f2 g|agf ecB|AFE A2 B|1cAA Ace:|2cAA A2|

                       

CHARLIE’S BROTHER. Canadian, Reel. Canada, Cape Breton. E Dorian. Standard tuning. AAB. Buddy MacMaster and Joe Cormier both recorded this reel before “Prince Charlie.” Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 85. Celtic CX13, Rodeo Banff 1257, Donald and Theresa MacLellan/The MacLellan Trio - “The Music of Cape Breton” (c. 1950's. Appears as “Reel” after “Flora MacDonald”). Rounder 7004, Joe Cormier - “The Dances Down Home”(1976. Appears erroneously as “Keep it Up”).

                       

CHARLIE'S BUTTERMILK MARY. AKA and see "Sweeney's Buttermilk."

                       

CHARLIE’S REEL. AKA and see “The Princess Reel,” “Silver Wedding Reel.”

                       

CHARLIE'S WELCOME. Scottish, Jig. A Minor. Standard tuning. AABB. Hardings All-Round Collection, 1905; No. 97, pg. 30‑31.

X:1

T:Charlie’s Welcome

M:6/8

L:1/8

R:Jig

S:Harding’s All Round Collection, No. 97  (1905)

Z:AK/Fiddler’s Companion

K:Amin

A/G/|EAA A2G|BAA A2B|d2e dBg|BGG G2A/G/|EAA A2G|

BAA A2B|d2e dBg|BAA A2::e|a^ga a2e|a^ga a2e|

=gag ege|dBG G2e|a^ga a2e|a^ga a2e|=gbg ege|dBG A2:|

 

CHARLIE’S WELCOME [2].  AKA and see "Charlie, If You Would Only Come," “Flora MacDonald,” “MacDonald’s Quickstep,” “MacDonald’s Reel [2],” “Miss Flora McDonald’s Reel,” “Miss Macdonald’s (Reel) [4],” “Thearlaich! Nan Tigeadh Tu [1]." Scottish, Reel.

                       

CHARLOTTE COTTILION, THE. Scottish, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. ABCD. The tune was published in 1799 by Thomas Calvert, a musician from Kelso, Scotland. A note with the collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.”

X:1

T:The Charlotte Cottilion

M:2/4

L:1/8

B:The Calvert Collection - Page 10

Z:Nigel Gatherer

K:Bb

B|d2 e/d/c/d/|[f2d2] [f2d2B2]|gebg|~g2 f2|dBec|"tr" f2df|gecA|[B3F3D3]||

B|Bf"tr"fe|"tr"ed"tr"dc|"tr"cB"tr"BA|B/c/d/e/ f/g/a/b/|Bf"tr"fe|\

"tr"ed"tr"dc|"tr"cB"tr"BA|[A2F2C2] [DFA]||

B/C/|[dB][dB][dB][dB]|eccd|[eG][eG] ge|[e2G4] d2|g2 gg/a/|bfed|bfed|\

[d2B2F2] [c2A2F2]| {Bc}[dB][dB][dB][dB]|eccd|[eG][eG] ge|[e2G4] d2|"tr"g2 g2|\

f/g/a/b/ a/g/f/e/|[d2B2] "tr"c2 {Bc}|[B3F3D3]||

B|Bfdf|gece|[dB][cA][BG][AF]|B/A/B/c/ BF|BfdfZgece|dcBA|[B3F3D3]||

                       

CHARLOTTE HILL. English. Published before 1730.

 

CHARLOTTE McCARTHY.  English, Jig. G Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773), however, the country dance called “Charlotte McCarthy” (or “Charlotte M’carty” and variants) appears in a number of American dance figure manuscripts and publications. It is possible the tune was named for Charlotte MacCarthy, an Irish Protestant proto-feminist writer who flourished from about 1745-1768, who was unfortunately somewhat over-concerned regarding conspiracies of foreigners, Catholics and Jews. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 14.

X:1

T:Charlotte McCarthy

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

ecA dBG|gfg dBG|ceA BdG|cAF G3::Bcd ABc|gfg efg|

bge afd|ge^c d2 (d/f/)|ecA dBG|gfg dBG|ceA BdG|cAF G3:||

                       

CHARLOTTETOWN CALEDONIAN CLUB. Canadian, Pipe March (2/4 time). Canada, Nova Scotia. A Mixolydian. Standard tuning. AABB. Composed by Mabou Coal Mines, Cape Breton, fiddler and piper Archie Beaton, whose hey-day was around the turn of the 20th century. Barry Shears notes that the Charlottetown Caledonian Club (Prince Edward Island) sponsored a piping competition in 1895 at which pipers from the Maritime Provinces competed as well as pipers from Scotland. Beaton entered the competition late, after all had played, but was allowed to compete by the judges, and ended up winning first prize. The Scottish pipers were said to have exclaimed that Beaton was not only a piper, but a ‘professor of pipe music’, and the name instantly stuck, for he was known as ‘Professor’ Archie Beaton from that time on. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 33.

                       

CHARLOTTETOWN'S CENTENNIAL BREAKDOWN. Canadian, Reel. The title refers to Charlottetown, Prince Edward Island, Canada, named for Queen Victoria’s grandmother (replacing the charming French name “Port la Joie”). Apex AL 1613, "The Best of Don Messer and his Islanders, Vol. 6."

           

CHARMAINE.  American, Swing Piece. One part. The piece was adapted from a waltz written in 1926, according to the note by Gene Silberberg. Source for notated version: fiddler Kenny Baker [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 9.

 

CHARMANTE, LA.  French, Country Dance (2/4 time). F Major. Standard tuning. AABB. 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. 15.

X:1

T:Charmante, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 15

Z:AK/Fiddler’s Companion

K:F

F/B/ | AFF F3 | {c}BGG G3 | {g}fed cdB | AFF F2 F/B/ | AFF F3 |

{c}BGG G3 | {g}fed cdB | A3A3 :: a(f/g/)a F2a | g(e/f/)g E2g | fef dgf |

ecc c3 | (dB)d (g/a/)bB | (cA)c (f/g/)aA | BAB GcB | AFF F3 :|

                       

CHARMER WITH THE FAIR LOCKS. AKA and see "My Fair Haired Darling [1]."

                       


CHARMING BETSY. Old‑Time, Breakdown. Perhaps a version of "(Charming) Molly Brannigan." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

CHARMING FAIR, THE. English, Country Dance Tune (2/4 time). England, North‑West. C Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; pg. 90.

                       

CHARMING FAIR MAID, THE. Irish, Slow Air (3/4 time). D Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 241, pg. 41.

X:1

T:Charming Fair Maid, The

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 241

Z:AK/Fiddler’s Companion

K:D

z2z2 dc|A2A2 Bc|d4 de|f4 ed|e2 d4|f4 gf|e4 a2|d2c2d2|e2 d4||

ed d2 cB/A/|AB c2 z2|ed dc BA|AG F2 ED|C4 DE |F4 AG|E4 GE|D2C2D2|E2 D4||

                       

CHARMING KATTY/KATY'S. American; Reel. A Major. Standard tuning. AB (Kennedy): AABB (Cole, Kerr, Ryan, White). Cole (1000 Fiddle Tunes), 1940; pg. 18. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 21, pg. 7 (appears as “Charming Katie”). Kerr (Merry Melodies), vol. 2; No. 300, pg. 33. Ryan’s Mammoth Collection, 1883; pg. 41. White’s Unique Collection, 1896; No. 76, pg. 14.

X:1

T:Charming Katy’s

M:2/4

L:1/8

S:White’s Unique Collection (1896), No. 76.

Z:AK/Fiddler’s Companion

K:A

E | Ac/e/ ag/f/ | e/c/d/B/ c/A/F/A/ | E(A/B/) c/A/a/f/ | e/c/A/c/ (B/A/)(F/B/) |

Ac/e/ ac/f/ | e/c/d/B/ c/A/F/A/ | E(A/B/) c/A/a/f/ | e/c/B/c/ A :|

|: (A/d/) | ff/g/ aa/f/ | e/f/e/c/ (d/c/)(B/A/) | (A/c/)(e/c/) (c/d/)(f/d/) |

e/f/e/c/ d/c/B/A/ | A,/C/E/A/ C/E/A/c/ | E/A/c/e/ A/c/e/a/ | g/b/a/f/ e/d/c/B/ | cAA :|

                       

CHARMING KITTY.  English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 198.

X:1

T:Charming Kitty

M:2/4

L:1/8

N:mis-numberered 196

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

c2 (3Ace|d2 (3Bcd|c>BA>G|AEEA|c2 (3Ace|fgae|d2”tr”c2|B4:|

|:B2 EG|B(dd)a|(fg)(af)|ec B2|f(dd)f|(egad)|(3cde EG|A4:||

 

CHARMING LOVELY NANCY. AKA and see "An Chearc ar fad is an tAnraigh," "Nancy wants her own," "I know well what Nancy wants."

                       

CHARMING MAID.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. The melody was printed by John Young in his Part II of the Dancing Master series (vol. 3, 1718 and vol. 4, 1728), and by John Walsh in his Second Book of the Compleat Country Dancing Master (London, 1719). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 18.

 

CHARMING MARY KELLY. Irish, Reel. D Major. Standard tuning. AA’BB’. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 222.

X:1

T:Charming Mary Kelly

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:D

A/2G/2|:FD (3DDD d2 AB|cAGF EFGE|1FD (3DDD d2 AB|cAGE FD D2:|

2DFEG FABd|cAGE FD D2||:Addc d2 ed|cAGF EFGE|1

Addc d2 cd|eaag ed d2:|2DFEG FABd|cAGE FD D2||

                       

CHARMING MARY NEILL. Irish, Air (2/4 time). G Major. Standard tuning. One part. "Air and song probably from Donegal. There are other airs with this name."

***

I am a bold undaunted youth, my name is John McCann,

I'm a native of sweet Donegal convenient to Strabane;

For the stealing of an heiress I lie in Lifford jail,

And her father says he'll hang me for his daughter Mary Neill. (Joyce)

***

Joyce (Old Irish Folk Music and Song), 1909; No. 256, pg. 123.

X:1

T:Charming Mary Neill

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:G

G|A>B de|G>EFD|EAGG|G3B|edgB|G>B de|c>ABG|E3d|

edgd/B/|G>B de|cA d/e/d/A/|B3G|A>B de|G>EFD|EAGG|G3||

 

CHARMING MARY O'NEILL. Irish, Air (3/4 time, "tenderly"). G Major. Standard tuning. ABB. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 184, pg. 33.

X:1

T:Charming Mary O’Neill

M:3/4

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 184

Z:AK/Fiddler’s Companion

K:G

d2e2f2 | g4 g2 | a4 g2 | f4 d2 | d2c2 A2 | c4 A2 | G4 G2 | G6 ||

G2 A2 B2 | c4 A2 | c4 e2 | d4 c2 | A2 B2 ^c2 | d4 d2 | e2d2 ^c2 | d2 :|

                       

CHARMING MOLLIE'S [1]. AKA and see “Kiss Me, Kate.” Irish, Reel. G Major. Standard tuning. AABA. The tune appears as “Charming Molly” in Ryan’s Mammoth Collection (1883). Cole (1000 Fiddle Tunes), 1940; pg. 11. Ryan’s Mammoth Collection, 1883; pg. 33.

X:1

T:Charming Mollie’s [1]

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

G | G2 Bd gdBG | D2 GB AEEF | G2 Bd gdBd | ecBc A2GG |

G2 GB gdBG | D2 GB AEEF | G2 Bd gdBd | ecAc BGG :: g |

fgag fddg | fgag bgeg | fgag fddg | fdef g2 (dg) | g2bg g2bg |

fgag fddg | fded fded | fdef gedB ||

 

CHARMING MOLLY [2]. Irish, March or Air (2/4 time). A Minor. Standard tuning. AABB. Joyce obtained the melody from the Pigot collection. The Joyce and O’Farrell versions are identical. Joyce (Old Irish Folk Music and Songs), 1909; No. 729, pg. 362‑363. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 74.

X:1

T:Charming Molly [2]

M:2/4

L:1/8

R:March or Air

N:The 4th and 5th measures have been reconstructed from O’Farrell’s original.

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

Z:AK/Fiddler’s Companion

K:A Minor

eA A>B | e/f/e/d/ B2 | eA AB | d/e/d/c BG | eA A>B | e/f/e/d/ B>A | G>A Bg |

e>d BA :: de ga | b(a/g/) a2 | de g>a | b(a/g/) a>e | g/f/g/a/ b>a | g/f/e/d/ B>A | G>A Bg | ed BA :|

 

CHARMING MOLLY [3]. English, Reel. England, Northumberland. F Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 2; No. 332.

                       

CHARMING MOLLY BRANNIGAN. AKA and see "Pretty Molly Brallaghan," "(Pretty) Judy Brallaghan," "Judy Brannagan," "Molly Brallaghan [1]," "Greenfields of America [1]," "Cossey's Jig," "Garranta Glasa Mheiricea."

           

CHARMING NUN TO A FRYAR CAME, A.  AKA and see “Friar and the Nun [2],” "A Lovely Nun to a Friar Came," "A Lovely Lass to a Friar Came [1]" (Cailin Deas Chum Brathar Tainic). Irish, English; Air (4/4 time). C Major. Standard tuning. AAB. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg. 24.

X:1

T:Charming Nun to a Fryar came, A

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:C

c2B2A2G2 | AGAB G3 (A/B/) | c2B2A2G2 | A6G2 :| G2A2B2c2 | d2e2d2 cB |

e2d2c2B2 | “tr”({d}c3)B A4 | d4 G3B | AGAB G3 (A/B/) | c2B2A2G2 | A4G2 ||

           

CHARMING YOUNG WIDOW, THE. Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 36. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 872, pg. 162.

X:1

T:Charming Young Widow, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 872

Z:AK/Fiddler’s Companion

K:D

A | Add dcd | efg afd |Add dcd |edc d2 c | Add dcd | efg aga | bab afd | {a}gec d2 :|

|: A | dfa afd |Bgf gec | dcd Bgd | edc d2A | dfa afd | Bgf gec | dBF DFA | Bec d2 :|

                       

CHARMS OF LOVELY PEGGIE, THE. Scottish. The tune appears in the Gillespie Manuscript (1768).

                       

CHARMS OF MELODY, THE. AKA and see “Old Woman Tossed Up (in a Basket/Blanket) [1].”

 

CHARMS OF MUSIC. AKA and see "Captain O'Neill."

                       


CHARMS OF WHISKEY, THE. Scottish (originally), Canadian; Reel. Canada, Cape Breton. A Mixolydian. Standard tuning. AABB. A pipe tune. Source for notated version: fiddler Mike MacDougal (Ingonish, Cape Breton, 1928-1982) via Jerry Holland (Inverness, Cape Breton) [Cranford]. Cranford (Jerry Holland’s), 1995; No. 5, pg. 2. Ross’ Collection, 1885. Inverness Serenaders, 78 RPM, c. 1930's. Cranford Publications CP-R2, “Jerry Holland Solo” (1988).

                       

CHARRAIGÍN RUA, AN (The Little Red Hill). Irish, Reel. D Mixolydian. Standard tuning. AABB. Composed by County Mayo fiddler Brendan Tonra, long a resident of Boston, Massachusetts. The title comes from a hill near his birthplace. Source for notated version: flute player M.J. Ryan, 1966 (Ballymote, Co. Sligo, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 283, pg. Green Linnet Records, Seamus Connolly – “Playing with Fire.”

X:1
T:An Charraigín Rua
C:Brendan Tonra
S:Michael J. Ryan (flute), Doocastle, Ballymote, County Sligo, IX, 1966
R:reel
M:4/4
L:1/8
K:D
f{a}f{e}fd (3efg dB|AF {GFE}F2 ED B2|dBAF DEFA|
Be{g}ed BAFA|df {gfe}f2 (3efg dB|AF {GFE}F2 ED B2|
dBAF DEFA|dBAG FD D2:|:
fa {bag}a2 af d2|fa {bag}a2 bgaf|g2 {a}gf gbag|
faef dB A2|fb {c'ba}b2 afde|f{a}f{e}fd edBA|
Beed BAFA|dBAG FD D2:||

X:2

T:Carraigín Rua
S:Kevin Henry, 07/2003
M:C

L:1/8
K:D
ag |: f2 df edBA | Bdef g2 ag | f2 df edBA | dBAF EF D2 :|
faaf d3 e | faaf g3 e | faaf bfaf | gfed Bd A2 |
faaf d3 e | faaf g3 a | bgaf gfed | Bdef g2 |]**

                       

CHARTER OAK. American, Reel. A Major. Standard tuning. AB. Composition credited to Zeke Backus in Ryan’s/Cole's 1000. Backus was identified as “a New York minstrel show veteran”, according to Charles Wolfe (“The Fiddler’s Bible: A Brief History,” Devil’s Box, vol. 21, No. 4, Winter 1987). Others have said he was a New England bandleader and tune composer who apparently spent at least some time in San Francisco. His name does not appear in Edward LeRoy Rice’s comprehensive Monarchs of Minstrelsy (New York, 1911), however, a Charles Backus is mentioned.  It was Charles who had San Francisco connections, having gone to California in 1852 in the wake of the Gold Rush, and organized a minstrel troupe there two years later. He went to Australia twice for stints of several years each, performing in minstrel shows and circuses in that country before returning to perform in minstrelsy on both the east and west coasts of the United States (see Rice, pg. 70). What, if any relationship he might have had to “Zeke” is unknown. New York musician, researcher and writer Don Meade points out the Charter Oak is a symbol of the State of Connecticut, and an icon of resistance against tyranny. The British had demanded the return of the colony’s royal charter in 1687; it was hidden in a white oak instead, the tree surviving until 1856. Cole (1000 Fiddle Tunes), 1940; pg. 46. Ryan’s Mammoth Collection, 1883; pg. 74.

X:1

T:Charter Oak

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

c/B/ | AA,CE | A>B c/A/B/c/ | AA,CE | B,(A/B/) c/e/B/c/ | AA,CE | A/G/A/B/ A/B/c/e/ |

({g}f/)e/f/g/ a/g/a/f/ | e/c/A/c/ B/d/c/B/ || A/c/ (3e/f/g/ a/e/c/e/ | f/a/e/g/ a/f/e/c/ |

A/c/ (3e/f/g/ a/e/f/e/ | d/c/B/A/ G/A/B/G/ | A/c/ (3e/f/g/ a/e/c/e/ | f/a/e/g/ a(e/f/g/ |

a/g/b/g/ a/f/ (3e/f/g/ | a/f/e/c/ B/d/c/B/ ||

           

CHARTER’S REEL. English, Country Dance Tune (cut time). A Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s third country dance collection (1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 5.

X:1

T:Charter’s Reel

M:C|

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:A

[A,2E2A2] (cA) (ef)ec|[A2a2] (ec) B/B/B B2|A/A/A cA f a2f|ecBc A/A/A A2:|

|:[A,2A2] [Cc][A,A] [Ee][A,A][Cc][A,A]|[A,2A2] [A,A][Cc] [B,/B/][B,/B/][B,B] [B,2B2]|[A,2A2] [Cc][A,A] [Ee][A,A][Cc][A,A]|

c>ed>B A/A/A A2|[A,2A2] [Cc][A,A] [Ee][A,A][Cc][A,A]|[A,2A2| [A,A][Cc] [B,/B/][B,/B/][B,B] [B,B][Cc]|

[A,A][Cc][Ee][Cc] [A,3E,3A,3] f|e>cB>c A/A/A A2:||

           

CHARTLEY MARCH, THE. English, March (6/8 time). B Minor ('A' part) and D Major ('B' part). Standard tuning. AABB. Chartley is in Staffordshire, with Chartley Castle being located six miles north of Stafford. The castle, actually a moated manor house, was the last place Mary, Queen of Scots, was held before being taken to Fortheringhay for her trial and execution. Raven (English Country Dance Tune), 1984; pg. 193.

           

CHARTREUSE, THE.  One of the oddest appearances of the tune is on the barrel organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler (common in those days), Parry introduced a barrel organ on board ship to provide entertainment and a vehicle to which the men could exercise (i.e. by dancing). “The Chartreuse” was one of eight tunes on barrel no. 4. Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 in the Golden Age of Mechanical Music).

           

CHASE, THE. AKA and see "The Chace." Scottish, Reel. G Major. Standard tuning. AAB. Glen (1891) finds the tune earliest in print in Joshua Campbell's 1778 collection (pg. 15). It was included by Kirkmichael, Perthshire, fiddler Robert Petrie in his Second Collection of Strathspey Reels and Country Dances (1796).

X:1

T:The Chase

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

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/11/04

N:Petrie's Second Collection, page 20

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

% "A Choice Coll. of Scots Reels, or C.D. & Str..." N.D.;

% it also appears in several other collections around the time of Petrie's book

L:1/8

M:C

R:Reel

K:G

d|g2 (bg) dgBd|g2 bg d(BAG) |g2 bg f2 af |e(gfe) d3:|d|

d2 (gd) b(dcB) |c2 (fc) a(cTBA)|B2 (dB) g(BTAG)|DGFA GABc|

d2 (gd) b(dTcB)|c2 (fc) a(cTBA)|B2 (dB) g(BTAG)|DGFA G3|]

                       

CHASE ME CHARLIE. Irish, Slide (12/8 time). G Major. Standard tuning. AABB. See note for “Cock of the North [3]," of which “Chase me, Charlie” is a version. The title comes from a bawdy ditty sung to the tune in the Ireland, Britain and Scotland, called “Auntie Mary (had a canary)” in many places, or “Chase Me Charlie.” The words go:

***

Auntie Mary had a canary,

Up the leg of her drawers;

She pulled a s tring to hear it sing,        or:      She was sleepin’, I was peepin’,

And down came Santa Claus.                         Up the leg of her drawers.

***

CHO:

Chase me, Charlie, find my barley

Up the leg of me drawers;

Don’t believe me, come and feel me,

Up the leg of my drawers.

***

Uncle Jock, he had a sock,

Up the pleat of his kilt;

When he was a-sleepin, we were a-peepin,

To see how well he was built.

***

Cousin Minnie wore a bikini,

Underneath her shirt;

A handsome guy he tried to spy,

And she kicked him where it hurt.

***

The latter is obviously a more recently composed verse, with its reference to a bikini, but there must be dozens of such doggerel verses in the tradition. Not incidentally, “Chase me, Charlie” is the title of a Charlie Chaplin comedy film from 1918, and the probably not Source for notated version: “Session musicians in Newmarket, County Cork” [Sullivan]. Sullivan (Session Tunes), vol. 3; No. 17, pg. 7. Gael Linn CEF176, Jackie Daly - “Many’s a Wild Night.” Globestyle Irish CDORBD 085, The Kerry Fiddle Trio (Padraig O’Keefe, Denis Murphy, Julia Clifford) - “The Rushy Mountain” (1994. Reissue of Topic recordings). Tara 10029, Seamus Ennis – “The Best of Irish Piping.”

X:1

T:Chase me Charlie

D:Jackie Daly, "Many's a Wild Night", track 13(c)

M:12/8

L:1/8

R:slide

K:A

e ||: "A" cdc cBc Ace "E" gfe | "A" cdc cBA "Bm" Bce "D" ~f2 e |

"A" cdc cBc Ace "E" gfe |1 "A"cdc "E" BcB "A" AEE "E" E2 e :||

2 "F#m" cdc "E" BcB "A" A3 A2 e ||

||: "A" fea "D" ~f2 e "A" fea "D" ~f e  | "A" cdc cBA "Bm" Bce "D" ~f2 e |

"A" fea "D" ~f2 e "A" fea "D" ~f2 e | 1 "A" cdc "E" BcB "A" A3 A2 e :||

2 "F#m" cdc "E" BcB "A" A3 A3 ||

***

A / / E | A / / Bm D | A / / E  |1 A E A E :|| 2 F#m E A / ||

||: A D A D  | A / Bm D | A D A D | 1 A E A / :|| 2 F#m E A / ||

 

CHASE THE BANSHEE.  Irish, Polka. Coleman Music Center CHC 009, fiddler Kevin McHugh (b. 1925, Foxford, Co. Mayo) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

                       


CHASE THE COW. Old‑Time, Breakdown. Marimac 9008, The Lazy Aces String Band ‑ "Still Lazy after all These Years" (1986. Learned from Ima Kidder of Cashbox Top, Tenn.).

 

CHASE THE SQUIRREL [1]. AKA and see "The Maid That Dare Not Tell." American, Reel. USA, southwestern Pa. D Major. Standard tuning. ABA. The title is a floating one, and this tune Bayard (1981) identifies as a composite made from combining or fusing strains from other tunes. The 'A' part is very reminiscent of "Shepherd's Hey" (see note for that tune). A tune with some similarities, esp. in the 'A' part, is "The Eighth of January" in Ford (1944). Source for notated version: George Strosnider (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 16, pg. 23.

 

CHASE THE SQUIRREL [2]. AKA and see "Miss Mountan's Hornpipe." New England, Reel. F Major. Standard tuning. One part. Burchenal also prints a contra dance of the same name to the tune. Burchenal (American Country Dances, Vol. 1), 1917; pg. 16.

 

CHASE THE SQUIRREL [3]??? The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

CHASER TWO-STEP. American, Two‑Step (6/8 time). G Major. In the repertoire of Arizona fiddler Kenner C. Kartchner, learned around the turn of the century.

 

CHASING THE DEVIL AROUND A STUMP. AKA and see “Boogerman,” "Hummingbird Reel," “Old Boogerman,” "Whipping the Devil around the Stump,"

 

CHASING THE HARE DOWN THE HILL. AKA and see “Cover the Buckle,” “Down the Hill,” “Down with the Tithes [1],” “The Hag and her Praskeen,” “The Humors of Mil(l)town [1].” Irish, Slide. A Flat Major. Standard tuning. AABB. Collector George Petrie called this the same jig as his “Humours of Milltown.” Stanford/Petrie (Complete Collection), 1905; No. 413, pg. 104. 

X:1

T:Chasing the Hare Down the Hill

M:12/8

L:1/8

R:Slide

S:Stanford/Petrie (1905), No. 413

Z:AK/Fiddler’s Companion

K:A_

EFE A2B c2A dBA | G2E EFE G2E EFE | EFE A2B c2A Bcd | efe dBG (A3A3) :|

|: c2A d2B c2A dBA | G2E EFE G2E EFE | c2A d2B e2c Bcd | efe dBG  (A3A3) :|

 

CHASSE D’AMOUR. AKA – “Lover’s Hunt.” English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody appears unique to London publisher Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances), 1765; No. 52.

X:1

T:Chasse D’Amour, or Lovers’ Hunt

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

DG “tr”G2| EG “tr”G2|DGEG|DG “tr”G2|cABG|AFGE|DFAc|BG “tr”G2:|

|:dB “tr”B2|GD “tr”D2|EFGA|GE “tr”E2|gfed|cBAG|FABc|BG “tr”G2:||

 

CHATAGEE/CHATEAGAIE (REEL), THE. AKA and see "Chateauguay Reel."

 

CHATAIGNIER WALTZ. AKA and see "Valse de Chataignier."

                       

CHATEAU BARRA GLEN. Canadian, Jig. D Major. Standard tuning. AABBCC’DD’. Composed by Nova Scotia piper Barry Shears, in regard of the home of Roddy and Helen MacNeil, “noted for its hospitality and music.” Shears (Gathering of the Clans Collection, Vol. 1), 1986; pg. 70.

                       

CHATEAU GAI. AKA and see "Chateauguay Reel."

                       


CHATEAUGUAY REEL (Le Reel de Chateauguay). AKA and see “Bull Run Picnic,” "The Chatagee," "Chateau Gai," "Chateagaie," "Reel de Chateauguay," "Reel de la caserne." French-Canadian, Reel. G Major. Standard tuning. AABB (Carlin, Messer, Miller & Perron): AA'BB' (Cuillerier). From the repertoire of Québec fiddler Joseph Allard (1873-1947), who recorded it in 1928. Allard, who worked for much of his life as a fisherman, lived for a time in the United States, where he toured the northeast and was influenced by Irish and Scottish-style fiddlers. He returned to Canada in 1917 and settled near Montréal, later recording for the Victor and Bluebird labels. The tune was collected in the American Midwest by R.P. Christeson as an untitled reel (a Virginia-born friend told him the title was “Bull Run Picnic”). Source for notated version: Bill Christopherson and Tom Phillips with the Fish Family [Phillips]. Carlin (Master Collection), 1984; pg. 50, No. 73 (appears as "Reel de Chateauguay"). Cuillerier (Joseph Allard: Cinquante airs traditionnels pour violon), 1992; pg. 14 (appears as "Reel de Chateauguay"). Jarman (Jim Magill's Square Dance Tunes); No. or pg. 6. Messer (Way Down East), 1948; No. 11 (appears as "The Chatagee"). Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 31, pg. 27. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 151 (appears as "Chatagee Reel"). Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 338 (appears as "Chateau Gai"). Heritage Music HCD 4511, Jim McGill – “Jim McGill and the Northern Ramblers” (2006. Reissue recording). Rounder Records, April Verch – “Take Me Back” (2006). Victor 263578-b (78 RPM), Joseph Allard.

See also listing at:

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

(((♫)))  Joseph Allard – Reel de Chateauguay

X:1

T:Chateauguay Reel

T:Chatagee Reel

M:C|

L:1/8

R:Reel

K:G

ga|b2bg a2af|gbge d2g2|fdAB cBce|dBGA B2ga|b2bg a2af|

gbge d2g2|fdAB cdef|gagf g2::d2|G2GB d2 (3gag|efge d2g2|

fdAB cBce|dBGA B2BA|G2GB d2 (3gag|efge d2g2|fdAB cdef|gagf g2:|

                       

CHATHAM HORNPIPE.  English, Hornpipe. D Major. Standard tuning. AABB. Chatham is a very old municipal borough in Kent, on the Medway River. The melody appears in the G. Huddeswell (Leeds, West Yorkshire) manuscript (collected and reprinted by Frank Kidson), and the Joshua Burnett (Worsborough, South Yorkshire) manuscript (dated 1841). The Burnett ms. was discovered in a violin case with an instrument by Martin of London, and contains chiefly cut-time hornpipes (Paul Davenport). Callaghan (Hardcore English), 2007; pg. 15. EFDSS CD 10, The Bismarcks – “Joanna” (2005).

 

CHATSWORTH HOUSE. English, Jig. G Major. Standard tuning. ABC. The melody was originally published in Thompson’s Collection of 200 Favourite Country Dances. Chatsworth, Derbyshire, is an Anglo-Saxon name meaning ‘Ceatt’s farm.’ Chatsworth Castle is in Derbyshire and is the home of the dukes of Devonshire near Blakewell in the Peak District. The original mansion was started in 1549 by Sir William Cavendish at the urging of his wife Bess of Hardwick. The present house was constructed between 1687 and 1707. Knowles (A Northern Lass), 1995; pg. 1.

                       

CHATTANOOGA. Old‑Time, Breakdown. G Major. GDgd or Standard tunings. AB (Silberberg): AA'B (Phillips): AA'BB' (Kuntz). Sources for notated versions: Liz Slade (Yorktown, New York) [Kuntz]; Blaine Smith [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 47. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 20.

X:1

T:Chattanooga

M:2/4

L:1/8

S:Liz Slade

Z:AK/Fiddler’s Companion

K:G

(G,/|D/)(D/E/)(D/ G)A|A/ B B/ BB/A/|B/A/e/A/ d/A/B/A/|D/ E E/ E z/(G,/|

D/)(D/E/)(D/ G)A|A/ B B/ BB/A/|B/A/e/A/ d/A/B/A/|(A/ B) (A/ B/)A/B:|

|:gg/e/ g/(A/d)|e/A/d/(A/ B)B/(A/|B/)B/e/A/ d/A/B/A/|E>D E/D/E|

gg/e/ g/(A/d)|e/A/d/(A/ B)B/(A/|B/)B/e/A/ d/A/B/A/|(A/ B) (A/ B/)A/B||

                       

CHATTERING MAGPIE, THE (An Mheaig Chabach). AKA - “Aggie Whyte’s Chattering Magpie.” AKA and see “The Gun in the Thatch [1].” Irish, Reel. G Major. Standard tuning. AB. Source for notated version: fiddler John Kelly/Seán O'Kelly (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 77, pg. 35. Claddagh Records, Paul McGrattan - “The Frost Is All Over.” Columbia 35612, "The Chieftains" (1978). Gael‑linn CEFCD 114, Tony MacMahon & Noel Hill - “ "I gCnoc na Graí” ('In Knocknagree'). RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991). Kevin and Sean Moloney - “Bridging the Gap.”

X:1

T:Chattering Magpie, The

R:reel

D:Paul McGrattan: The Frost Is All Over

D:Noel Hill & Tony McMahon: \'I gCnoc na Gra\'i

Z:id:hn-reel-306

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:G

BGAF DGGA | B2ge fdcA | BGAF DG~G2|1 FGAB c2dc :|2 FGAB c2Bc ||

dggf g2bg | dg~g2 fgaf | dggf g2ga | bgag fdcA | dggf g2bg | dg~g2 fgag | bgaf g2ga |

bgag fdcA || "Variations:" |:BGAF D2GA | Bdge fdcA | BGAF DG~G2 |1 FGAB c2dc :|2

FGAB c2Bc || dggf ~g3f | dg~g2 dgag | dggf ~g3f | gbag fdcA | dggf gagf | dg~g2 dgag |

bgaf g2dg | gbag fdcA ||

 

CHAUNTING BONNY. English, Air (whole time). D Major. Standard tuning. AB. Chaunting = chanting. The melody appears in the 1840 music manuscript collection of John Rook, of the Wigton area, Cumbria.

X:1

T:Chaunting Bonny

M:C

L:1/8

S:John Rook manuscript (Cumbria, 1840)

K:D

d|dfff ffff|dfff ed c2|dfff fffg|(3aba ag f2d||d|

dcBc de f2|dcB c/d/ c2F2|dcBc de f2|(3aba ag f2 d||

                       

CHAVOUISSES. French, Bourree a 2 Temps (2/4 time). G Mixolydian. Standard tuning. AABB. Composed by Ph. Prieur. Stevens (Massif Central), 1988, vol. 2; No. 90.

                       

CHAW (THAT) ROAST BEEF. American, Cakewalk or "Walk Around." C Major. Standard tuning. ABC, Break. Cole (1000 Fiddle Tunes), 1940; pg. 26. Ryan’s Mammoth Collection, 1883; pg. 172.

                       

CHÉAD MHAIRT DEN FHOMHAR, AN (The First Tuesday of Autumn). AKA and see “The First Tuesday in Autumn.” Irish, Air. The song, by Seamus O Domhnaill, laments the death of his son Paidi, who was drowned in 1811 off the Donegal coast at Gweedore. The boy had been bringing home in a boat some fermented malt with which to make the spirit poitin. According to O' Canainn (1978), this is one of the great songs in northern Irish tradition. Island ILPS9432, The Chieftains - "Bonaparte's Retreat" (1976).

                                      

CHÉAD MHAIRT ‘e FHOMHAR, AN. AKA and see “The First Tuesday in Autumn.”

                                      

CHÉAD MHI DEN tSAMRADH, AN.  AKA and see “The First Month of Summer.”

                          

CHÉAD PHUNNANN, AN (The First Sheaf). AKA and see "Jimmy Ward's Jig."

                       

CHEAG NA POLLAICH. Scottish, Strathspey. C Major. Standard tuning. AABB’. Composed by the editor of the Athole Collection, James Stewart-Robertson. Stewart-Robertson (The Athole Collection), 1884.  

X:1

T:Cheag Na Pollaich

M:C|

L:1/8

C:James Stewart-Robertson

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:C

G,|CC E>CE>G c2|CCEC B,<D D>E|CC D>CD>G c>a|gedg e<c~c:|

|:g|e>cg>c B<d d>f|e>cg>c a/g/f/e/ g>a|1 e>cg>c B<d d>a|g>ed>g e<c~c:|2

f>de>c B>cd>f|e>c e/d/c/B/ ~c2C||

                       

CHEAP MEAL. AKA and see “The Dear Meal (is Cheap Again),” “Cairngorum,” “Good Harvest,” “Lucy Campbell [2].” Scottish, Reel. D Major. Standard tuning. AB (Gow): AAB (Kerr): AABB' (Athole). John Glen (1891) finds the tune earliest in print in Neil Stewart's 1761 collection (pg. 39). Gow (1817) gives the alternate title “Good Harvest.” Gow (Complete Repository), Part 4, 1817; pg. 38. Kerr (Merry Melodies), Vol. 1; Set 18, No. 2, pg. 12. Stewart-Robertson (The Athole Collection), 1884; pg. 103.

X:1

T:Cheap Meal

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

B | AFED dFED | EBBA BEEd | AFED defe | dBAF ADD :|

|:f | abaf defd | ebba beef |1 abaf defe | dBAF ADD :|2 abef dgfe | dBAF ADD ||

 


CHEAP MUTTON (Coille an Togail). AKA and see "Ew(i)e wi' the Crooked Horn [1]," "Carron's Reel." Scottish, Strathspey. G Aeolian. Standard tuning. AAB. Composed by Niel Gow (1727-1807), appearing in the Gows’ Fourth Collection (1800), but the theme is really a simple variation on the traditional tune "Ewie wi' the Crooked Horn." Carlin (The Gow Collection), 1986; No. 22. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 31. Stewart-Robertson (The Athole Collection), 1884; pg. 188.

X:1

T:Coille an Togail

T:Cheap Mutton

L:1/8

M:C

C:Niel Gow (1727-1807)

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G Minor

D<G G>B A>G F<C|D>G G>B A>G g2|f<ad<f cfAF|D>GB>G A>^F G2:|

G<g g>a fc f2|G<g g>a ^f>d ~g2|=f<ad<f c<f A>F|D>GB>G A>^F G2|

G<g ~g>a fc f2|G<g ~g>a ^fd ~g2|=f<ad<f c<f A>F|D>GB>G A>^F G2||

                       

CHEAPACH NA FASACH. AKA and see "Keppoch Desolate." See also the note for "Ceapach Na Fasach."

                       

CHEARC AR FAD IS AN tANRAIGH, AN (The Whole Chicken in the Soup). AKA and see "Charming Lovely Nancy," "Nancy Wants Her Own," "I Know Well What Nancy Wants." Single Jig (12/8 time). G Major. Standard. AAB. Denis Murphy’s title was “Charming Lovely Nancy” from the song set to the tune, which begins:
***

“I am a maiden going for milk,”

Says Nancy, says Nancy;

“I am a maiden going for milk,”

Says charming lovely Nancy.

“And what would ou do if I followed you?”

Says Jimmy, says Jimmy,

“What would you do if I followed you?”

Says lazy lingering Jimmy.

***

In Tipperary the tune is known as “Nancy wants her own,” according to Breathnach (1976), who says it is also related to “I know what Nancy wants,” printed in Breathnach’s Folk Dances and Music of Ireland. Source for notated version: fiddler Denis Murphy, 1967 (Gneeveguilla, Co. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 63, pg. 36.

                       

CHEARC IS A hÁL, AN (The Hen and her Clutch). AKA and see “The Hen and Her Clutch,” "The Galway Harebait," "The King of the Cellar." Irish, Scottish; Reel. Green Linnet SIF‑1094, Capercaillie ‑ "Sidewaulk" (1989).

                       

CHEAT, THE. AKA and see "Cheat or Swing," "The Coquette [3]," "In My Cottage Near the/a Wood." American, Country Dance Tune (4/4 time). USA, New England. D Major. Standard tuning. AABB (Silberberg): AABCBC (Linscott): ABCD (Ford). The tune was commonly played for played for the dance "Ninepin Quadrille" or "The Cheat" in New England. Bayard (1981) traced this tune and pronounced it 'international', having found variants with diverse names from the European continent as well as the British Isles and America. He believes the original antecedent for the tune to be from France, and that there were two main versions: an earlier one (1700's) and a later one (early 1800's to modern times), but both very popular in their time. "The Cheat" belongs to the later group, and was well known as a song and dance air in France as "Dedans mon Petit Reduit" and "La Bonne Aventure O Gue" (see Bayard, 1981; pgs. 250‑251 for sources), and in Britain and America under the titles listed in the beginning (see Bayard for references). Silberberg notes that “the title refers to a river in West Virginia,” however, given the apparent Northeast origins for the tune as played in America, this would not seem to be the case. Sources for notated versions: from the manuscript of Elizabeth Foster Reed (1796‑1823), a book of ballads and dance tunes; unpublished, but in the hands of her descendants [Linscott]; Phil and Vivian Williams (Seattle) [Silberberg]. Ford (Traditional Music in America), 1940; pg. 61. Linscott (Folk Songs of Old New England), 1939; pg. 101. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 8. Alcazar Dance Series ALC 202, Sandy Bradley ‑ "Potluck & Dance Tonite!" (1979).

X:1

T:Cheat or Swing

M:2/4

L:1/8

S:Ford – Traditional Music in America (1940)

K:D

F>G AA | BB A2 | d>e fg/e/ | dc d2 | F>G AA | BB A2 | d>e fg/e/ | dc d2 ||

gfef | gf e>f | gfed | cB A>G | F>G AA | BB A2 | d>e fg/e/ | dc d2 || g/a/f/g/ ef |

g/a/f/g/ e>f | g/a/f/g/ ed | c/d/B/c/ A>G | F>G AA | BB A2 | d/c/d/e/ fg/e/ | dc d2 ||

gfef | gf e>f | gfed | c>B AG | F/E/F/G/ Ad | B/A/B/d/ A2 | d>e fg/e/ | dc d2 :|

                       

CHEAT 'EM. AKA and see "Bill Cheatam."

                       

CHEAT MOUNTAIN. Old-Time, Breakdown. USA, West Virginia. D Major. Standard tuning. AABB. Source for notated version: Armin Barnet (Seattle, Washington) [Songer]. Songer (Portland Collection), 1997; pg. 47.

                       

CHEAT OR SWING. AKA and see "The Cheat."

                       


CHEAT RIVER, THE. American, Reel. D Major. Standard tuning. AB. The Cheat River can be found running from West Virginia, flowing into the Monongahela in Point Marion, Pa., close to the W.Va./Pa. border. Bayard (1981) notes that this tune in a composite from international strains: the 'A' part being the same as the 'A' of "O'Dwyer's {Reel}," and the 'B' part corresponding to the 'A' parts of the German "Erster Schottisch" (Boehme, No. 251, pg. 159) and the English "Nancy's Fancy" (Karpeles, pg. 40). See also "Three Forks of Cheat" for a similar title. Source for notated verison: Berkey (Pa., 1957) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 370, pg. 361.

X:1

T:Cheat River, The

M:4/4

L:1/8

S:Bayard – Dance to the Fiddle (1981)

K:D

AG | F2A2 ABAG | F2A2 A4 | G2B2 BcBA | G2B2 BcdA | F2A2 ABAG |

F2A2 A3G | FDEE E2 FE | D4 D2 || de | f2d2d3e | f2a2 abag | f2d2d2d2 |

edcB A2A2 | f2d2 d3e | f2a2 abag | f2d2e2c2 | d4 d2 ||

                       

CHEATHAM COUNTY RAG. Old‑Time, Ragtime. USA, Nebraska. C Major. Standard tuning. AB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, Vol. 2), 1984; pg. 114.

                       

CHEATUM. See "Bill Cheatham."

                       

CHEATUM COUNTY BREAKDOWN. Old‑Time, Breakdown. C Major. Standard tuning. AABB. Named for Cheatum County, Tennessee. Ruth (Pioneer Western Folk Tunes), 1948; No. 68, pg. 25. Bluebird 7351 (78 RPM), Arthur Smith. County 546‑547, "Fiddlin' Arthur Smith and His Dixieliners."

X:1

T:Chadham (sic) County Breakdown

M:2/4

L:1/8

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:C

e>g g/a/g/e/|(g2g2)|e/eg/ e/d/c/B/|[F4A4]|G/A/B/G/ A/B/G/A/|

B/G/A/B/ A<B|c/B/c/G/ A/G/E/G/|[E4c4]:|

|:C/B,/C/D/ E/G/A/B/|[E4c4]|ee/f/ e/d/c/B/|[F4A4]|

G/A/B/G/ A/B/G/A/|B/G/A/B/ A<B|c/B/c/G/ A/G/E/G/|[E4c4]:|

                       

CHECKERED STOCKINGS.  AKA and see “Stocainnean Daoimean.”

 

CHEER, BOYS, CHEER. English, Air and March (4/4 time). F Major. Standard tuning. One part. The most celebrated of the compositions by Henry Russell in conjuction with lyricist Charles Mackay. It was introduced into one of Russell's musical entertainments, the "The Emigrant's Progess," and steadily gained popularity. Unfortunately, Russell is said to have sold the rights to the song for five Pounds, later learning the printer needed twenty-nine presses to meet the demand for it. For obvious reasons, the song was popular in the British army in Victorian times, from Crimea to the Boer War.

***

Cheer! boys, cheer! no more if idle sorrow

Courage, true hearts, shall bear us on our way.

Hope points before--shows the bright to-morrow,

Let us forget the darkness of to-day.

So farewell, England, much as we may love thee,

We'll dry the tears that we have shed before,

Why should we weep to sail in search of Fortune?

So farewell, England, farewell for evermore.

***

Scott (1926) notes the melody is reminiscent of the French folk-song "Joli Tambour." Scott (English Song Book), 1926; pg. 86.

                       

CHEER UP, CHEER UP, DAUGHTER.  Irish, Air (4/4 time). F Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 24.

X:1

T:Cheer Up, Cheer Up, Daughter

M:C

L:1/8

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

Z:AK/Fiddler’s Companion

K:F

A/B/ | cAFF {F}d2 c>A | BA F>F F3G | AAAF (A>B) (c/d/e) | gcBA B3 A/B/ |

c>c cc c3e | dBBd c3 c/B/ | AA AG/F/ EF G/A/(B/G/) | G>F F>F F3 ||

                       

CHEER UP, OLD HAG. AKA and see "The Silken Wallet." Irish, Double Jig. E Minor. Standard tuning. AB. Source for notated version: “Set by Lord Rosmore. From (Galway piper) Paddy Coneelly, 1845" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 829, pg. 207. 

X:1

T:Cheer Up, Old Hag

M:6/8
L:1/8

R:Jig

S:Stanford/Petrie (1905), No. 829

Z:AK/Fiddler’s Companion

K:E Minor

c |: BGE EDE | GED D2c | BGE GAB | cBc edc | BGE EDE |

GED D2c | BAG AGE | G3 G2 || D | GAG G2B | ded d2c |

BcA GBd | e2f g2D | GBd gfe | dec BcA | BGE GAB |1 c3B3 :|2 dBc edc ||

                       

CHEER UP SAM. English, Jig. D Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 127.

                       

CHEERFUL MARY (Màiri Ghreannar). Scottish, Jig. B Flat Major. Standard tuning. AABB’. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 204, pg. 84.

X:1

T:Cheerful Mary

T:Màiri Ghreannar

M:6/8

L:1/8

R:Jig

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:B_

B|F2D F2G|B2B ~B2c|d2f c2A|B2A G2B|F2D F2A|B2F D2F|D2^C D2^F|

[B,3D3G3] [B,3D3G3]:|

|:B|B,2B B2A|B2B ~B2c|d2f c2A|B2A G2g|1f2e d2c|B2F D2F|D2 ^C D2 ^F|

G3 G2:|2 b2a g2=f|d2c B2F|D2 ^C D2^F|[B,3D3G3] [B,3D3G3]||

                       


CHEERILY AND MERRILY. AKA and see "Mr. Webb's Fancy." English, Jig. F Major. Standard tuning. AB. This tune can be found printed in John Playford’s first English Dancing Master (1651) as “Cheerily and merrily, or Mr. Webb’s Fancy.” The melody appears in all Playford editions through the 11th, published in 1701. Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 1985; pg. 19. The “Mr. Webb” of the alternate title may have been William Webb, a songwriter, who lived from around 1600 to sometime after 1656. Webb was a wait and on the fringes of the English court, becoming a Gentleman of the Chapel Royal sometime in the 1630’s through 1641. He is valued for his tuneful partsongs. Playford may have come into contact with him through his publication of some of his songs in the series Select Ayres and Dialogues, started in 1652 (as Select Musicall Ayres, etc.). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 18. Raven (English Country Dance Tunes), 1984; pg. 45 (reprint of the Playford original). Sharp (Country Dance Tunes), 1909; pg. 22.

X:1

T:Cheerily and Merrily

M:6/8

L:1/8

R:Jig

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:F

c/B/AF G/A/GD|F2F a2g|gec d/e/dB|c>ed/e/ c3|

c/B/AF G/A/GD|F2F a2g|gec d/e/dB|c>ed/e/ c3||

cd/e/f dcA|G>AB/c/ d2c|cAF G/A/GD|F>AG/A/ F3|

cd/e/f dcA|G>AB/c/ d2c|cAF G/A/GD|F>AG/A/ F3||

                       

CHEESE IT!  AKA and see "The Barrack Street Boys," "Brides Away," "Bride(s) to Bed," "The British Naggon," "Corney is Coming," "Crawford's Reel [1]," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House [1]," "Shannon Breeze [2]," "Six Mile Bridge." American?, Reel. D Major. Standard tuning. ABBA. Partridge’s Dictionary of Slang and Unconventional English (1970) says that ‘cheese it’ meant, from the year 1855, to ‘be quiet’ (as in the old film line: “Cheese it! The Cops!”). Cole (1000 Fiddle Tunes), 1940; pg. 30. Ryan’s Mammoth Collection, 1883; pg. 56.

X:1

T:Cheese It!

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A | Addc dfed | AB=cA FGAF | Dddc defg | afge fdcB | Addc dfed |

AB=cA FGAF | Dddc defg | afge fd d2 |: defg adfd | cdef gedc |

defg adfd | gece (fd)f | defg adfd | cdef gedc | defg a2 (gf) | gbag fedc :|

                       

CHEESE’S TUNE. AKA and see “Quitter la Maison.”

                       

CHÉIM CLOICHE, AN (The Stoney Step). AKA and see “The Stoney Step.”

                       

CEITRE CUIRT, NA. AKA and see "The Four Courts."

           

CHELMSFORD ASSEMBLY. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB (x3). Barnes dates the tune to 1750, although this is perhaps a misprint, as it appears in Playford. Chelmsford, in Essex, is an Anglo-Saxon name denoting a ford across a river belonging to a man named Ceolmar (pronounced almost as Chelmer) {Matthews, 1972}. Barnes (English Country Dance Tunes), 1986. Johnson & Luken (Twenty‑Eight Country Dances as Done at the New Boston Fair), 1988, vol. 8; pg. 2.

X: 1
T:Chelmsford Assembly
M:6/8
L:1/8
K:G
GBd cBA|G2 bg2 dZ| Bdg gdB |cAG FDF|GBd cBA|G2 bg2 dZ|efg Ee^c|d3 D3::\
de=f fed|G2 =f e2 c|efg ge^c|A2 g f2 d|b2 g dBd|a2 f dBd|gec Aaf|g3 G3:|

                       

CHELMSFORD RACES. AKA and see "The Hullichan Jig," "The Guard House," "The Marchioness," "Soldier's Dance." English, Jig. England, Dorset. B Flat Major. Standard tuning. AABB. The tune goes back to the 18th century. Chelmsford, in Essex, is an Anglo-Saxon name denoting a ford across a river belonging to a man named Ceolmar (pronounced almost as Chelmer) {Matthews, 1972}. Chelmsford is the county seat of Essex, southeast England, lying approximately 30 miles from London. It was built upon the ruins of a Roman town and developed from two medieval manor towns, Moulsham and Celmeresfort on opposite banks of the River Can. The Chelmsford Races were held at the village of Galleywood Common, two miles south of Chelmsford, and were first recorded in 1759, although came to prominence in 1770, the year in which the track’s main event was granted the title of the “Queen’s Plate” by King George III, the prize being  a plate valued at 100 guineas. The racecourse boasted a two mile circuit that enclosed the church of St. Michael and All Angels. The races lasted until the year 1935. The tune was printed in Munson’s Country Dances of 1808. The Ipswich Journal, a local newspaper, printed the following on July 3rd, 1773:

***

At Chelmsford races, the rider of Mr. Rossiter’s horse in going round the bend the third

time and by endeavouring to get the whip hand of Mr. Millwood’s horse, he turned the

corner too sharp and hit his horse on a distance post, fracturing his skull. He died on

Thursday morning. 

***

The Old Bailey was the location of the trial of Thomas Heffield, a 23 yr. old man accused of stealing a gelding horse from the racetrack. John Stevens, a higler (a kind of door-to-door salesman of provisions), gave this testimony:

***

On Tuesday, the 24th of July, I was at Chelmsford races, where I had a drinking-booth. I saw my

gelding safe at then o’clock that night, when I sent my man with it—it was a black gelding—it was

brought down to be fed at the booth; it was turned out to grass on Galley-common, adjoining the

race-course—there were other stall-keepers’ horses there. I sent my man for it next morning and

it was gone…I sent him nearly twenty miles to look for it; my wife’s brother found it in Smithfield. 

***

The horse in question was not a race horse, but rather the property of a low tradesman who ran a stall selling drink at the racetrack.  Heffield was convicted after a short trial and sentenced to death.  It is not known if the sentence was carried out, however, many if not most such sentences at the time were not enacted for various reasons.  The prosecutor in Heffield’s trial recommended leniency as the thief was reported to be a “man of good character,” so it may be that another punishment was substituted. 

***

Trim (Thomas Hardy), 1990; No. 94.

X:1

T:Chelmsford Races

M:6/8

L:1/8

N:You’ll notice the similarity with “Hullichan Jig” in the B part though its

N:not quite the same. The tune is in the Thomas Hardy collection, though

N:seemingly unknown in its native Chelmsford—a fact I am trying to remedy.

Z:Roger Digby

K:G  %Transposed from Bb

D|”G”G2G GFG|”D”A2A d2d|”G”B2B G2G|”D”FGA DEF|

“G”G2G GFG|”D”A2A d2d|”C”ced “D”cBA|”G”G2G G2:|

|:d|”G”dcd Bcd|”C”e2e e3|”D”fef def|”G”g2g g3|

“G”dcd Bcd|”C”e2f gfe|”G”ded “D7”cBA|”G”G2G G2:|

                       

CHELSEA REACH. English, Country Dance Tune (6/8 time). F Major. Standard tuning. AB. First published in 1665 in Playford’s English Dancing Master. The Old English name Chelsea was, in the year 785, Cealc hyth, having to do with the loading or unloading of chalk. Chelsea Reach is a stretch of the Thames River in London. Barnes (English Country Dance Tunes), 1986. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 6. Raven (English Country Dance Tunes), 1984; pg. 20. Sharp (Country Dance Tunes), 1909/1994; pg. 28. Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T:Chelsea Reach

M:6/8

L:1/8

Z:AK/Fiddler’s Companion

S:Sharp – Country Dance Tunes  (1909)

K:F

|:c|A>GF G2E|F2F F2f|def def|g2e c2c|ABc ABc|Bcd d>cB|A>GF G2e|f2F F2||f|

f>gf d>cd|d>ed c>BA|A>Bc c>d=B|c2c c2c|AGA BAB|GAB cBc|def fge|f2F F2:|

                       

CHENY ARMSTRONG’S. Old-Time, Breakdown. Gerry Milnes find sources in West Virginia who credit an old Richwood fiddler, Cheny Armstrong, as teaching this tune to others. “Patty on the Turnpike,” a floating title, is sometimes employed for the melody. Shanachie 6040, Gerry Milnes & Lorraine Lee Hammond – “Hell Up Coal Holler” (1999. Learned from recordings of W.Va. Edden Hammons, along with a version by John Johnson, who learned it from Armstrong as a boy).

 

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