The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

CHER - CHURN

[COMMENT3] 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

[COMMENT4] 

CHER 'TIT MONDE. See "Aimer et Perdre."

                       

CHERCHEUSE D’OISEAUX, LA. French, Country Dance (2/4 time). A Minor. Standard tuning. AB. 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. 25.

X:1

T:Chercheuse d’Oiseaux, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 25

Z:AK/Fiddler’s Companion

K:A Minor

A(AA)B | ccBA | ffe^d | e2e2e | ddbd | {d}c2 {B}A2 | cBA^G | A2 A,2 ||

ee{b}ae | {e}^d4 | =ddbd | ^c4 | =cc{b}ac | c2A2 | cBA^G | A4 :|

                       


CHÈRE ALICE (Dear Alice). AKA - "Valse a' 'Tit 'Dam Hanks" (Little Adam Hank's Waltz). Cajun Waltz. USA, southwestern Louisiana. A Major. Standard. AAB(Vocal)AAAA(Vocal)AA. Related songs, according to Raymond Francois (1990), are Austin Pitre's "Rainbow Waltz," Lawrence Walker's "Country Waltz [1],"  Angelas LeJeune's "Valse a' 'Tit 'Dam Hanks" and Moise Robin's and Leo Soileau's "Valse de Josephine." Source for notated version: Lawrence Walker (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 70-72. La Louisiane Records LL-LP126, Lawrence Walker. 

                       

CHÈRE BASSETTE (Dear Bassette). Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard. AABB(Vocal)AABB(Vocal)AABB. The song was originally recorded by J.B. Fusilier, who composed it for his wife. Source for notated version: Balfa Brothers (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 354-355. Old Timey Records OT-110, J.B. Fusilier. Swallow Records SW-LP6019, The Balfa Brothers.

                       

CHERE BEBE CREOLE. From Louisiana fiddler Dennis McGee. The tune has the feeling of 6/4 time.

                       

CHÈRE CHERIE (Dear Darling). Cajun, Waltz. USA, southwestern Louisiana. D Major. Standard. One part. The song was composed and first recorded by Oran "Doc" Guidry and Leroy "Happy Fats" LeBlanc. Source for notated version: Vin (Ervin) Bruce (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 356-357. Swallow Records SW-LP6002, Vin (Ervin) Bruce.

                       

CHÈRE ICI, CHERE LA BAS. See "Jolie Catin [2].”

                       

CHÈRE JOULES ROSES. Cajun, Waltz. USA, Louisiana. A/ A Mixolydian ('A' part), C ('B' part). Standard. ABB. Greenblatt (Cajun Fiddle Book), 1985; pg. 34.

                       

CHÈRE LISA. See "Pauv' 'Hobo.'"

                       

CHÈRE MAM' (Dear Mom). Cajun, Two-Step?  USA, Louisiana. D Major. Standard. AA(Vocal)AABB(Vocal)AABB(Vocal)BBAA. According to Raymond Francois (1990), Amede Breaux is credited with composing this song, first recorded by Mayuse LaFleur and Leo Soileau in 1928. Related songs include Mayuse LaFleur's "Mama, Where You At?" and Amede Breaux's "He, Mom." Source for notated version: Gervais Quibodeaux and Ambrose Thibodeaux (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 73-74. La Louisiane Records LL-143, Ambrose Thibodeaux.

 

CHÈRE MAMA CREOLE (Dear Creole Mom). Cajun, Waltz (3/4 time). D Major. Standard. ABC. Source for notated version: Wallace 'Cheese' Read (Louisianna) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 156. Arhoolie 5021, Wallace 'Cheese' Read ‑ "Cajun Dance Party".

 

CHÈRE MEON. Cajun. Arhoolie 5027, Harry Choates ‑ "The Fiddle King of Cajun Swing ‑ Original Recordings 1946‑1949."

 

CHÈRE PETITE (Dear Little One). Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard. One part. The song was composed and first recorded by Chuck Guilory in the 1940's. It was also recorded under the title "La Valse Que J'aime" by Ambrose Thibodeaux. Source for notated version: Clarence Alleman; Aldus Roger & Preston Manuel; Ambrose Thibodeaux (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 358-359. La Louisiane Records LL-LP122, Aldus Roger.

 

CHÈRE TOUT-TOUTE (Dear Everything). AKA - "Chere Toutou." Cajun, Waltz. USA, Louisiana. A Major. Standard. AA(Vocal)BBAA(Vocal)AAAA. A popular Cajun tune recorded many times, though first by J.B. Fusilier, who named the song for his daughter ("Tout-Toute" being a nickname meaning "my everything"). Raymond Francois (1990) notes that this is often the opening song played by a Cajun band because it is so familiar as to be effortless and therefore confidence-building, and that it helps to make sure the instruments are tuned properly. Many of the older violin players, he says, play the first three measures of the turn an octave higher. Source for notated version: Preston Manuel (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 79-80. La Louisiane Records LL-112, Ambrose Thibodeaux. Old Timey Records OT-110, J.B. Fusilier.

                       

CHERES JOUES ROSES. See "Jolies Joues Roses."

                       

CHERISH THE LADIES (Alltri Na Mna). AKA and see “Humors of Cappa [2].” Irish, Double Jig. Ireland; Munster, Co. Sligo, Sliabh Luachra region of the Cork-Kerry border. D Major. Standard. AABB (Allan, Roche): AABB' (Joyce): ABC (Stanford/Petrie): AABBCA (Cole): AABBCC (Williamson): AABBCD (Mitchell): AABBCDDEE (Brody): AABBCCDDEE (O'Neill/Krassen): ABBCDDEE (Moylan): AABBCCDDEEFF (O'Neill/1850 & 1001). "A popular jig" (Williamson). O’Neill (Irish Folk Music, pg. 94) says: “Dr. Petrie refers to it as a Munster jig, yet none whom the writer heard play it in any style were natives of that province. In its original form of two strains it was one of Jackson’s jigs, and Dr. Petrie’s opinion receives corroboration by finding a simple version of the tune in Dr. Joyce’s Old Irish Folk Airs and Songs, just published.” O’Neill remarks again in Irish Minstrels and Musicians (1913, pg. 183) the tune has been ascribed to the famous 18th century County Limerick composer Walker ‘Piper’ Jackson. Goodman (vol. iv, pg. 2) prints a tune called “Thought” attributed to Jackson which is a version of “Cherish,” and this may be the source of attributions to that musician (see note for “Thought” for the several alternate and related titles). County Sligo/New York City fiddler Michael Coleman made a much-admired recording of this tune in the 1930's. Paddy Glackin recorded a three part version, of which the first and last sections correspond to the ‘A’ and ‘B’ sections in Joyce. Sources for notated versions: "Taken down from the playing of Ned Goggin the Glenosheen fiddler" [Joyce]; from the manuscript collection of retired businessman and Irish music enthusiast John Gillan, collected from musicians in his home county of Longford and the adjoining Leitrim [O’Neill]; accordion player Johnny O’Leary (Sliabh Luachra region, Kerry), recorded at a recital at Na Píobairí Uilleann, February, 1981 [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell];  “A Munster jig. From Mrs. Close”  [Stanford/Petrie]. Allan's Irish Fiddler, No. 24, pg. 6. Brody (Fiddler’s Fakebook), 1983; pg. 64. Cole (1000 Fiddle Tunes), 1940; pg. 72. Joyce (Old Irish Folk Music and Song), 1909; No. 25, pg. 15. Mitchell (Dance Music of Willie Clancy), 1993; No. 94, pgs. 82-83. Moylan (Johnny O’Leary), 1994; No. 36, pgs. 21-22. O'Neill (Krassen), 1976; pg. 19. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 730, pg. 136. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 29, pg. 21. Roche Collection, 1982; Vol. 1, pg. 39, No. 88. Ryan’s Mammoth Collection, 1883; pg. 102. Stanford/Petrie (Complete Collection), 1905; No. 921, pg. 234. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 80. Claddagh CC14, Chieftains- "Chieftains 4" (1972). Gael-Linn CEF060, “Paddy Glackin.” Shanachie 79024, "Chieftains 4" (1983).

X:1

T:Cherish the Ladies

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

dFF AFF|DFA AGF|GEE BEE|GBA GFE|dFF AFF|DFA AGF|ABd efg|fdd d3:|

|:d3 fed|afd fed|c>de/f/ gfg|ece gfe|fga bag|agf edc|dcB AGF|GEF GFE:|

X:2

T:Cherish the Ladies

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 29

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/|dFF AFF|DFA AGF|BEE GEE|GBA GFE|dFF AFF|DFA AFA|Bcd efg|fdd d2:|

|:(3A/B/c/|dfd cec|dfd AGF|BEE GEE|GBA GFE|dfd cec|dfd AGF|Bcd efg|fdd d2:|

|:A|dfd cec dfd AGF|BzE GzE|GBA GFE|dGd cFc|dGd A2G|A>Bc/d/ efg|fdd d2:|

|:B|Add fdd|add fdd|A/B/cd gfg|ece gfe|agf bge|afd cBA|(3f/g/a/ B2 AGF|GEF GFE:|

|:f2f afd|fed cde|g2g gfg|ece gfe|agf bge|afd cBA|fdB AGF|GEF GFE:|

|:DFA dAF|DFA BGE|DFA dAF|GEF GFE|DFA DGB|DFA d2e|fdB AGF|GEF GFE:|

                       


CHEROKEE POLKA. Old-Time, Polka. USA, Kentucky. C Major. Standard tuning. AABBCCDD. The first two sections of the tune are related to the better-known "Texas Quickstep [1]." Source for notated version: Ed Hayley (east Kentucky) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 339. Rounder 1010, Ed Hayley - "Parkersburg Landing" (1976).

                       

CHEROKEE SHUFFLE. Old‑Time, Bluegrass; Breakdown. USA. A Major (Phillips) or D Major. Standard or ADae tuning. AAB (Brody): AABB (Phillips/1989): AABB' (Phillips/1994): AABC (Kuntz). Banjo player Howard Bursen, fiddler Kerry Blech and others, identify the tune as a West Coast version of "Lonesome Indian," and that it was derived from fiddler Tommy Magness who recorded the “Indian” tune in the 1930’s. Tommy Jackson is generally credited with transforming Magness’s “Lonesome Indian” (in the key of ‘D’) into “Cherokee Shuffle” (in the key of ‘A’). Jackson also added a distinctive second part. The Magness tune also became known as “Lost Indian” subsequently, says Kerry Blech, especially among older fiddlers in North Carolina and Virginia—“Some of these folks even took Tommy Jackson's addition and stuck it onto the Magness tune, after transposing, of course.” To add to the confusion between the two tunes, “Cherokee Shuffle” is also sometimes played in the key of ‘D’, although the ‘A’ version seems more common. Regarding the form of the tune, there appears to be two versions of “Cherokee Suffle” in current circulation, one “square” (with the ‘A’ and ‘B’ parts the same length) and one not. Along with "Lonesome Indian" (or "Lost Indian [3]" as it is sometimes  known), the melody "Colored Aristocracy" bears some resemblance to "Cherokee Shuffle." Sources for notated versions: Old Reliable String Band [Brody]; Liz Slade (Yorktown, New York) [Kuntz]. Brody (Fiddler’s Fakebook), 1983; pg. 65. Kuntz, Private Collection. Phillips (Fiddlecase Tunebook), 1989; pg. 9. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 47. Adelphi AD 2004, Delaware Water Gap‑ "String Band Music." Folk Legacy FSI-74, Howard Bursen - "Cider in the Kitchen" (1980). Folkways FA 2475, "Old Reliable String Band." Front Hall Records 05, Fennigs All Stars‑ "Saturday Night in the Provinces." Global Village Records C‑302 ‑ Snakelips ‑ "New York City's 1st Annual String Band Contest ‑ 1984." Rounder 0122, Norman Blake‑ "The Rising Fawn String Ensemble."

X:1

T:Cherokee Shuffle

L:1/8

M:2/4

N:ADae tuning

S:Liz Slade

Z:Transcribed by Andrew Kuntz

K:D

(D|D)D/D/ FF|D/E/D/G,/ A,/G,/A,/G,/|D/C/D/E/ FA|B>A B/A/B/A/|

B/A/B/B/ d/A/B|A/F/E D(F|F/)E/F/D/ E/D/E|D/ D D/ D:|

(e|f/)e/f/(f/ a)(a|a/)b/a/e/ (f/e/)d/(e/|f/e/)f/d/ e/(A/d/)(A/|B>)B B>(A|

B/)A/B/(B/ d)B/F/|A/F/E D(F|F/)E/F/D/ E/D/E|D/ D D/ D||

A|B/A/B/B/ d/A/B/A/|A/B/A/D/ F>A|B/A/B/B/ de|f>(e f>)A|

B/A/B/B/ dB/A/|A/B/A/D/ F/F/A/A/|B/B/A/D/ F/F/A|(A/ B) (A/ B/)A/B/(B/|

d/)A/B/(B/ A/)F/E|D/ D D/ D||

X:2

T:Cherokee Shuffle

M:4/4

L:1/4

K:A

F/2G/2|"A"AA/2B/2 AA/2B/2|"A"c/2B/2A "D"FE/2F/2|"A"AA/2B/2c/2d/2e|\

"F#m"f/2e/2f/2g/2 ff/2g/2|"D"aa/2b/2 aa/2f/2|"A"e/2f/2e/2d/2c/2B/2A|

"F#m"F/2G/2A/2c/2 "E7"B/2A/2G|"A"A3\

::e|"D"f/2e/2f/2g/2 a/2e/2f/2e/2|"A"c/2d/2e/2f/2 ee|"D"f/2e/2f/2g/2 "A"a/2e/2f|\

"E"e3"(A7)"e|"D"f/2e/2f/2g/2 a/2e/2f/2e/2|"A"c/2d/2e/2f/2ef/2g/2|\

"D"a/2e/2g/2f/2 "E7"e/2d/2c/2B/2|"A"AA/2B/2 A:|

 

CHEROKEE WALTZ [1]. AKA and see "Valse des Cherokis."

 

CHEROKEE WALTZ [2]. Old-Time, Waltz. D Major ('A' part) & G Major ('B' part). Standard tuning. AA'B. Source for notated version: Scotty Stoneman [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 245.

 

CHERRY CHEEK'D LASS, THE. English, Reel. England, Northumberland. F Major. Standard tuning. AABB'. Source for notated version: the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom, unfortunately, nothing is known [Seattle]. Seattle (William Vickers), 1987, Part 2; No. 224.

X:1

T:Cherry Cheak’d Lass, The

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscript (1770, Northumberland)

Z:AK/Fiddler’s Companion

K:F

B2 dc/B/ cAFA|fafd g2c2|B2 dc/B/ Acde|fcdB A2F2:|

|:fccf fagf|gece g2b2|fccf fagf|fcdB A2F2|

fccf fagf|gece g2b2|afge fdcB|BdcB A2F2:|

 

CHERRY GARDEN. AKA and see "Ham House."

                       

CHERRY GROVE JIG. Irish, Jig. A Minor. Standard tuning. AB. See also "An Ghaoth Aniar Andeas," "Coffee and Tea [2]," "Jimmy the Tailor," "Aineen's Double," "Banish Misfortune [2]," "Bacach na Cleithe.” O’Neill’s “The Last of the Lot” is a close variant. Joyce (Old Irish Folk Music and Song), 1909; No. 799, pg. 389.

X:1

T:Cherry Grove Jig

M:6/8

L:1/8

R:Jig

S:Joyce – Old Irish Folk Music and Song (1909), No. 799

Z:AK/Fiddler’s Companion

K:A Minor

eaa aga | egg ged | BAA BGG | BAA ABc | daa aga | egg ged |

BAA BGG | BAA A2 || A/4B/4c/4d/4 | efe dBd | ege dBA | G>AB/c/ dBA |

edB dBd | efe dBd | ege dBA | G>AB/c/ dBG | BAA A2 ||

                       

CHERRY RIPE QUADRILLE, PART 4. English, Jig. G Major. Standard tuning. ABC. Source for notated version: the c. 1845-47 music manuscript collection of Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown]. Plain Brown Tune Book, 1997; pg. 21.

                       

CHERRY RIVER RAG. Old‑Time, Country Rag. USA, northeastern Ky/W.Va. C Major. Standard. AA'BB'. Apparently Ed Hayley was the only one to record this tune (at least prior to John Hartford), named for the Cherry River, part of the Kanawha-New River drainage basin of West Virginia. There are two forks of the Cherry, North and South, parts of which today are a prime recreation area. A shift to the second or third position on the violin will facilitate this tune. Source for notated versions: Ed Haley (northeastern Ky.) [Phillips, Reiner & Anick]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 30. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 97. Jim Martin Productions JMP201, Gerry Milnes (et al) – “Gandydancer.” Rounder 1010, Ed Haley ‑ "Parkersburg Landing" (1976. Orig. rec. 1946). Rounder 0392, John Hartford - “Wild Hog in the Red Brush (and a Bunch of Others You Might Not Have Heard)” (1996).


                       

CHERRY TREE [1], THE. AKA and see "Austin Tierney's," "Down with the Tea Tacklings," "Farewell to Erin [1]," "The Flags of Dublin."

 

CHERRY TREE REEL [2]. American, Reel. A Dorian. Standard tuning. AABBCCDD. Composed by fiddler Arvid Lundin of Spokane, Washington. The third and fourth parts are octave variants. Songer (Portland Collection), 1997; pg. 48. The Lundberg Brothers - “Joined at the Ear.”

                       

CHERRYBURN.  English, Waltz. G Major. Standard tuning. AB. Composed by Derek Hobbs, who named it for wood engraver and musician Thomas Bewick’s birthplace in Northumberland [Miller]. Miller (Fiddler’s Throne), 2004; No. 364, pg. 214. Rossleigh Music CD, Derek Hobbs – “Bewick’s Footsteps: A Garland of New Tunes” (1995).

 

CHESAPEAKE BAY. Old‑Time, Breakdown. “Chesapeake Bay” was recorded in 1929 by Lowe Stokes and his North Georgian’s band, which included fiddlers Clayton McMichen and Bert Layne. It was later recorded in 1937 by Walter Couch and the Wilkes Ramblers. The name Chesapeake is derived from the Algonquin phrase chi sepi ook, ‘at the big river’ (Matthews, 1972). Document 8045, “Lowe Stokes, Vol. 1: 1927-1930” (reissue). Marimac 9111, "Goin' Up Town: Old Time String Bands, Vol. 2."

                       

CHESHIRE ALLEY. English. The tune appears in the 11th edition of Playford’s English Dancing Master (1701), marking the taking over of the series by Henry Playford from John Playford.

                       

CHESHIRE ROLLING HORNPIPE. English, (Old) Hornpipe (6/4 time). F Major. Standard tuning. AABBCC. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jigs, Hornpipe, Joaks, etc.) published around the year 1730.

X:1

T:Cheshire Rolling Hornpipe

B:Walsh

M:6/4

L:1/8

K:F

F2 D2 F2 E2 ^C2 E2| D3 E FD E2 C2 c2| C4 F2 EF G2 E2| F2 D2 F2 E2 ^C2 E2|\

D6 A3 G FE| D4 F2 EF G2 E2:: A2 F2 D2 d3 c =B2| c6 G3 F ED| C4 F2 EF G2 E2|\

D3 d ^c2 =B2 e2 dc| d6 A3 G FE| D4 F2 EF G2 E2:: f2 a2 f2 e2 g2 e2 |\

c2 e2 g2 c2 A2 F2| C4 F2 EF G2 E2| agfe d2 gfed ^c2| d6 A2 F2 D2|\

DE F2 D2 EF G2 E2 :|

                       

CHESHIRE ROUNDS [1]. English, “Old” Hornpipe (3/4 time). D Major. Standard tuning. AABB (Chappell, Raven): AABBCCDD (Callaghan, Plain Brown). The name Cheshire is an ancient contraction of Chestershire. This melody appears in John Playford's Dancing Master (2nd and subsequent editions), Walsh's Compleat Country Dancing Master (vol. i), and Gay's Polly and other ballad operas. There are many variations of this popular and widespread melody. The Cheshire Rounds was also a once‑popular dance, and Chappell (1859) found several references to its performance:

***

In Bartholomew Fiar, at the Coach‑house on the pav'd

stones at Hosier‑Lane end, you will see a Black that dances

the Cheshire Rounds to the admiration of all spectators."

(Play‑bill by Dogget, 1691. In fact, the only known portrait

of Dogget shows him dancing the Cheshire Round.)

***

John Sleepe now keeps the Whelp and Bacon in Smithfield

Rounds, where are to be seen a young lad that dances a

Cheshire Round to the admiration of all people." (Playbill)

***

It is one of the tunes called for by "the hobnailed fellows"

in A Second Tale of a Tub (8vo, 1715).

***

An early version appears in the music manuscript book of Henry Atkinson (Morpeth, Northumberland, 1694). See also the melody “Our Cat Has Kitted” from the Joseph Kershaw manuscript for a 19th century version from North West England. Callaghan (Hardcore English), 2007; pg. 76. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 167. Plain Brown Tune Book, 1997; pg. 5 (Chappell’s setting, preceded by two other parts). Raven (English Country Dance Tunes), 1984; pg. 15. BGOCD 354, Albion Country Band – “Battle of the Field (1997 reissue of 1976 Island recording). Island Records HELP25, Albion Country Band – “Battle of the Field” (1976).

X:1

T:Cheshire Rounds [1]

M:3/4

L:1/8

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:D

fe/f/ g/f/e/d/ f/g/a|b e2 d cA|fe/f/ g/f/e/d/ f/g/a|A d2 A FD:|

|:BA/B/ =c/B/A/G/ F2|E e2 d ^cB/A/|BA/B/ =c/B/A/G/ F>E|D d2 A FD:|

 

CHESHIRE ROUND [2], A. English, “Old Hornpipe” (3/2 time). C Major. Standard tuning. AABBCC. A different tune than “Cheshire Rounds [1]." The melody was published in Walsh’s third collection of Lancashire tunes (Lancashire Jiggs, Hornpipes, Joaks, etc.) around the year 1730. Source for notated version: Edward Jones’ 1798 publication Popular Cheshire Melodies. Knowles (A Northern Lass), 1995; pg. 8.

X:1

T:Cheshire Round [2]

B:Walsh

M:3/2

L:1/8

K:C

c4 B4 A4| A2 d4 A2 BcdB| c4 B4 A4| G2 c4 A2 BcdB::e2 g4 B2 A4| A2 a4 A2 BcdB|\

d2 g2 B2 g2 A4| G2 c4 A2 BcdB::cdec BcdB ABcA| A2 d4 A2 BcdB| c2 g4 B2 ABcA|\ G2 c4 A2 BcdB:|

                       

CHESHIRE WALTZ.  English, Waltz (3/8 time). D Major. Standard tuning. AABBCCDD. Source Gibbons (1778-1871) was a papermaker and musician who lived in Tealby, near Market Rasen in the Lincolnshire Wolds. The original key in the manuscript was ‘C’ major. Source for notated version: Joshua Gibbons manuscript (1823-26, Lincolnshire) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 2. Fellside Records FECD192, Spiers & Boden – “Tunes” (2005).

 

CHESHIRE'S MARCH. English, March. D Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 194.


                       

CHESLATTA LAKE RAG. Canadian, Country Rag (cut time). D Major. Standard tuning. ABB'. "Composed by Max Sexsmith during 1963 and 1964. It is in the style of early 20th century dance hits that are now accepted in the old‑time repertory. The tune is