The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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

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

 

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

 

 

 

CIA IAD 'UR DEE 'S 'UR DUILE TREUN. AKA and see "Where Are Your Gods and Mighty Hopes?"

 

CIA MAR IS URRA SINN FUIREACH O'N DRAM (How Shall We Abstain From Whiskey). AKA and see "How Shall We Abstain from Whisky?" "Constant Billy," "The Legacy [1]." Scottish. Composed by John MacMurdo of Kintail in the 18th century, a later emigrant to America.

 

CIARAN O’REILLY. AKA and see “Master Seamus.” Irish, Reel. G Major. Standard tuning. AA’BB. The tune was composed by fiddler Charlie Lennon who originally titled it “Master Seamus.” The man whose name is associated with the tune, Ciaran Ó Raghaillaigh, is a fiddler from Dublin with a strong Cavan background, active since the 1960’s, associated with the Abbey Tavern players, according to Finbar Boyle. Miller (Fiddler’s Throne), 2004; No. 136, pg. 89. Nimbus NI 5320, Tommy Peoples & Seamus Gibson - “Fiddle Sticks: Irish Traditional Music from Donegal” (1991).

X:1

T:Ciaran Ó Raghallaigh

T:Master Seamus

C:Charlie Lennon

M:4/4

L:1/8

Z:Ted Hastings

K:G

B,C|DB, ~B,2 DGBG|FC ~C2 EGcG|FD ~D2 FAdc|edcd BGEG|

DG,B,D GB,DG|ECDE GCEG|FADF AcBA|1 GFAF G2:|2 GEDB, G,2||

Bc|dggf gdBd|eccB ceag|fddc dfc'b|agfe dcBc|

d2 Bd gdBd|~c2 Bc ABAF|EccB cBAG|FDCA, G,2:||

 

CIARAN TOURISH. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. Composed by fiddlers Jerry Holland (Inverness, Cape Breton) and his neighbor Dougie MacDonald (Queensville, Inverness County, Cape Breton) in honor of Donegal fiddler Ciaran Tourish from Buncrana, County Donegal, who has toured with the bands Altan and De Dannan. MacDonald wrote the first half, Holland the second. Cranford (Jerry Holland’s), 1995; No. 102, pg. 30. Odyssey ORCS 1051, Jerry Holland – “Fiddler’s Choice” (1999).

 

CIARAN'S CEOLTA TIRE. Irish, Polka. The title Seamus Connolly gave to a polka played by Paddy Neill of Newport, County Tipperary, heard on Ciaran MacMathuna's weekly program of Irish music on Radio Eireann. Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988).

 

CIARAN’S REEL. Irish, Reel. Composed by Donegal fiddler player Seamus Gibson in 1984, for his son. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007).

 

CIARRAIOCH MALLAITHE, AN (The Accursed Kerryman). AKA and see “The Accursed Kerryman.”

 

CIDER. AKA and see "Cider Mill."

 

CIDER APPLES (Afalau Seidr). Welsh, Hornpipe. Composed by Welsh Triple Harp player Robin Huw Bowen. It “commemorates a wild dancing trip to Somerset , where the hosting side showed us a cider-mill in the morning, and several members of my team decided to get our ears pierced that afternoon. Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Bgwlad/The Sweet Harp of My Land” (1996).

 

CIDER MILL. AKA - "Cider." AKA and see "Stillhouse." Old‑Time, Breakdown. D Major. ADae tuning. ABB'. A Blue Ridge dance tune, popular in Patrick County and the Galax, Va./Mt. Airy, N.C. areas.

***

William Sydney Mount (1807-1868). Cider Making.

***

Paul Tyler finds this vignette in W.H. Venable’s Footprints of the Pioneers of the Ohio Valley: A Centennial Sketch (1888):

***
The old-time apple-cutting was an occasion of unbounded mirth. . . . After
the apples were cut, and the cider boiled, the floor was cleared for a
"frolic," technically so-called, and merry were the dancers and loud the
songs with which our fathers and mothers regaled the flying hours.  The
fiddler was a man of importance, and when, after midnight, he called the
"Virginia Reel," such shouting, such laughter, such clatter of hilarious
feet upon the sanded puncheon floor, startled the screech-owl out of doors,
and waked the baby from its sweet slumber in the sugar-trough. . . .  The
apple-cutting was fifty years ago . . .

***

Source for notated version: Bruce Molsky with Bob Carlin [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 53. County Records, Tommy Jarrell, Fred Cockerham & Oscar Jenkins ‑ "Down to the Cider Mill." Living Folk LFR‑104, Allan Block ‑ "Alive and Well and Fiddling." Rounder 0197, Bob Carlin (with Bruce Molsky)‑ "Banging and Sawing" (1985).

           

CIEL D’AUTOMNE (Autumn Sky). French, Air. Composed by Andre Brunet after the death of his father, when he felt his father’s spirit looking down on his young son from the autumn sky.

                                   

CILL' A CHASAIDH. AKA and see "Killachassy."

                       

CILL ABHAILL (Killavil). AKA and see “Killavil Reel [1].”

                       


CILL BEATHACH (Kilbaha). AKA and see "Tom(m) Steele," "The Laurel Groves." Irish, Reel. D Major. Standard. AB. Breathnach (1963) says there is a ‘faulty version’ called “Tom Steele” (a colleague of the Irish statesman Daniel O’Connell) in Kerr’s Violin Instructor and Irish Folk Song Album (83). Source for notated version: fiddler John Kelly/Sean O'Kelly (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 196, pg. 76.

 

CILL CHAIS. AKA - “What are we going to do without timber?” Irish, Slow Air (3/4 time). Ireland, County Clare. E Minor. Standard. One part (Ó Canainn): AB (Russell). The tune appears as “An Arran Air” in Hoffman’s 1877 arrangement of melodies mostly taken from the George Petrie collection. Russell (The Piper’s Chair), 1989; pg. 28. Ó Canainn (Traditional Slow Airs), 1995; No. 90, pg. 77.

 

CILLE CHOIRILL (Cairell's Bell). Scottish, Slow Air (3/4 time) and Pipe March (6/8 time). C Major. Standard. One part. The air was composed by Kenneth Kennedy, with the pipe march setting by Pipe Major Stewart (Mrs.). According to Neil (1991), the title is taken from the name of the ancient burial ground in the Braes of Lochaber, and is named for Saint Cairell. Cairell was originally an Irish missionary who crossed the Irish sea in small hide‑covered frame boats, called coracles, to Scotland around 600 A.D., accompanied by some followers. After proselytising in Scotland for some time he returned to his native Ireland to live in the monastery at Clonkeen‑Kerrie, where he died.  Though "a humble and unostentatious man, small in stature, with poor health but strong in spirit," Cairell's ministry in Scotland was successful and there are a number of sites in that country associated with him, including Glen Urquhart, Appin, Tayniult, and Ruthven parish in Banffshire, "where both a cairn and a well are named after him."  The graveyard bearing the Saint's name is the resting place of many generations of Highlanders, including some of the composer's ancestors who struggled at Culloden and with Wolfe at Quebec, and the similarly ancient church is thought to have been built by Cameron of Lochiel sometime in the 1400's to atone for his sins.

***

Oh where in the whole world, such beauty and grace,

As Cille Chairill in the braes of Lochaber,

'Neath the green mossy mounds many clans lie asleep,

All around are the hills they did wander.

In this heaven on earth rest ancestors blest;

Their children so true, shall never forget

Till the hills fade away and the last tune is played,

With love, they will always remember.

***

Neil (The Scots Fiddle), 1991; No. 155, pg. 201.

                       

CIMETIERE. See "La Queue d'Tortue."

                       

CINCINNATI [1]. Old-Time, Breakdown. USA, Cumberland Plateau (Ky./Tenn. border area). Rounder CD 0238, John Lusk Band - "Altamont: Black String Band Music From the Library of Congress." Tune also recorded by Blaine Smith on Pine Breeze Records.

 

CINCINNATI [2]. American, Quickstep March. A Major. Standard. AABB. Bruce & Emmett’s Drummers’ and Fifers’ Guide, 1862; pg. 58.

X:1

T:Cincinnati

M:2/4

L:1/8

R:Quickstep March

S:Bruce & Emmett’s Drummers’ & Fifers’ Guide  (1862)

Z:AK/Fiddler’s Companion

K:A

E | A/B/c/d/ e/A/~A | f/A/g/A/ a/A/~A | F/d/E/c/ D/B/C/A/ | B/d/c/B/ A/G/F/E/ |

A/B/c/d/ e/A/~ A | f/A/g/A/ a/A/~A | F/d/E/c/ D/B/C/A/ | c/B/A/G/ A :: c/d/ |

e/A/~A f/A/~A | a/g/a/e/ f/e/d/c/ | (f/^e/f/).c/ (d/c/d/).F/ | G/d/c/B/ A/G/F/E/ |

A/B/c/d/ e/A/~A | f/A/g/A/ a/A/~A | F/d/E/c/ D/B/C/A/ | c/B/A/G/ A :| 

                       


CINCINNATI (LANCASHIRE) CLOG. American, Clog or Hornpipe. G Major. Standard. AABB. The composition credited to one Frank Livingston in Ryan's Mammoth Collection (1883). Cole (1000 Fiddle Tunes), 1940; pg. 122. Ryan’s Mammoth Collection, 1883; pg. 160.

X:1

T:Cincinnati (Lancashire) – Clog

M:C

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(d>c) | B>db>a g>ec>e | d>ed>B G>DG>B | A>cf>e d>cB>A | G>FG>e d2 d>c | B>db>a g>ec>e |

d>ed>B G>DG>B | A>cf>e d>cB>A | G2 {f}g2 G2 :: (B>^A) | =A>ce>g c’>ba>g | f>ba>f d>cd>^d |

f>ec>A G>Af>e | e>dA>F D2 B>^A | =A>ce>g c’>ba>g | f>ba>f d>cd>^d | f>ec>A b>ag>e |1

d2f2d2 :|2 (3dDF (3A=cd f>ed>c ||

                       

CINCINNATI HORNPIPE [1]. AKA and see "Brown's Hornpipe," "Cliff Hornpipe," "Cork Hornpipe [1]," "Dundee Hornpipe," "Fisherman's Favorite," "Fred Wilson's Clog," "Granny Will Your Dog Bite" (Pa.), "Harvest Home [1]," "Kephart's Clog" (Pa.), "Kildare Fancy," "Higgins’ Hornpipe," "Lady of the Lake [4]" (Burchenal), "Ruby Lip," "Snyder's Jig," "Standard Hornpipe," "Wilson's Clog [1],” “Zig-Zag Hornpipe/Clog." American, Hornpipe. USA; New England, Arkansas, Missouri. D Major. Standard. One part (Burchenal): AABB (most versions). The composition has occasionally been credited to “Fischer,” without further explanation. The tune has been used in New England for the dance "Lady of the Lake," and has been sometimes called by that name. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It was in the repertoires of Ohio fiddler Estill Adams, Nebraska fiddler Bob Walters (b. 1889) and Missouri fiddler Kelly Jones (b. 1947), who, having the ability to read music, learned this and other tunes from Cole's 1000 Fiddle Tunes, as previous sight-reading mid-western fiddlers had learned such tunes from both Cole's 1000 and its predecessor, Ryan's Mammoth Collection. Many of the alternate titles listed above are not exact duplicates of the tune, but rather tunes which share a similar prominent melodic motif. Sources for notated versions: Kelly Jones (Mo.) [Phillips]; VivianWilliams (Seattle) [Silberberg]. Burchenal (American Country Dances, Vol. 1), 1917; pg. 35. Cole (1000 Fiddle Tunes), 1940; pg. 88. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 125. Appears in "Old Familiar Dances," Theodore Presser Co. Page (Ralph Page Book of Contras), 1969; pg. 13. Page (Heritage Dances of Early America); No. or pg. 15. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 186. Silberberg (93 Fiddle Tunes I Didn’t Learn at Tractor Tavern), 2004; pg. 8. Sweet (Fifer’s Delight), 1964/1981; pg. 51. Tolman (Nelson Music Collection), 1969; pg. 15. Ryan’s Mammoth Collection, 1883; pg. 121. White’s Unique Collection, 1896; No. 137, pg. 24. F&W Records 1, "F&W String Band." June Appal 003, John McCutcheon ‑ "How Can I Keep From Singing" (1975. Learned from fiddler Tommy Hunter, Mars Hill, N.C.). Missouri State Old Time Fiddlers' Association, Bob Walters - "Drunken Wagoneer." Missouri State Old Time Fiddlers' Association, Kelly Jones - "Authentic Old-Time Fiddle Tunes."

X:1

T:Cincinnati Hornpipe [1]

M:C|

L:1/8

K:D

DA FA DA FA|dA fA eA fA|gA fA ed cd|ed cB AG FE|

DA FA DA FA|dA fA eA fA|gA fA ed cB|cd eg fd d2:|

Dd dd ce ee|df ff eg gg|fg af bg ec|d2f2d2A2:|

 

CINCINNATI HORNPIPE [2]. American, Hornpipe. G Major (‘A’ part) & C Major (‘B’ part). No relation to “Cincinnati Hornpipe [1]." From a field recording of Washington Courthouse, Ohio, fiddler Estil Adams, made by the late Jeff Goehring.

                       

CINCINNATI RAG [1]. AKA and see "Trilby's Clog." Old‑Time, Breakdown. USA. G Major ('A' part) & D Major ('B' part). Standard. AB. The melody was printed in 1896 by White‑Smith, Universal Series, as "Trilby's Clog." Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, Vol. 2), 1984; pg. 72.

 

CINCINNATI RAG [2]. Old-Time, Country Rag. G Major. Standard. AA'BB'. No apparent relation to "Cincinnati Rag [1]." Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 31.

                       

CINDERELLA WALTZ. AKA and see "The Green Hills of Tyrol [1],” “Spanish Waltz [1]." English, American; Waltz. G Major (Raven, Howe/Diamond): C Major (Howe/Accordeon). Standard. AAB (Howe): AABB (Raven). Howe (Complete Preceptor for the Accordeon), 1843; pg. 21. Howe (Diamond School for the Violin), c. 1861. Kennedy (Fiddler’s Tune Book), Vol. 2, 1954; pg. 29. Raven (English Country Dance Tunes), 1984; pg. 132.

X:1

T:Cinderella Waltz

M:3/4

L:1/8

S:Elias Howe – Diamond School for the Violin  (c. 1861)

Z:AK/Fiddler’s Companion

K:G

DGA|B2 BGBc|d2 deBe|dcAFAe|dBGDGA|B2 BGBc|

e2 eA^cA|de^cede|=cdBdAd|G2 z|DGA|B2 BGBc|

G2 GDBD|G2 z2 G2|g4 fe|ed dz e2|dc cz d2|cB Bz G2|

g2g2a2|g2 a2 b2|af d2 ef|gfgdfd|gfgdfd|g2 dcBA|G4:|

                       


CINDY [1]. AKA and see "Cindy in the Summertime," "Cindy in the Meadows,"  "Get Along Home (Miss) Cindy," "Git Along, Cindy," "J'etais au Bal," "Old Time Cinda," "Run Along Home, Cindy,"   "Whoop 'Em Up Cindy,"  Old‑Time, Song and Breakdown. USA; Arkansas, North Carolina, Tennessee, Kentucky, Georgia, Mississippi. D Major (most versions): G Major (John Brown). Standard or ADae tuning. AB (Brody): AABB (Phillips/1989 {the 'B' part is 'crooked' in Phillip's version}): AA'BB (Phillips, 1994). A widely known frolic tune, appearing in many folk music collections and even old elementary school songbooks. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, and was recorded for the Library of Congress in 1939 by Mississippi fiddler John Brown. A very popular Cajun version of the tune, probably borrowed from the American song, is "J'etais au Bal" (I Went to the Dance Last Night).  Verses set to the tune are many, including several "floaters":

***

Cindy in the summertime, Cindy in the fall,

Can't have Cindy all the time, don't want Cindy at all.

Chorus

Get along home, get along home,

Get along home, Cindy, fare you well.

***

You ought to see my Cindy, she lives way down South,

She's so sweet the honey bees all swarm around her mouth.

***

Wish I had a needle as fine as it could sew,

I'd sew that gal to my coat‑tail, and down the road I'd go.

***

Went upon the mountain, to give my horn a blow,

Hollered back to Cindy, oh yander she go. (Rosenbaum)

***

When I was a little lad, about six inches high,

I used to court the pretty girls to hear the old folks cry;

Get a‑long down, down Big Sandy, Get a‑long down, down Big Sandy,

Get a‑long down, down Big Sandy, that's the place for you.             (Thomas & Leeder)

***

The Big Sandy River, referred to in Thomas & Leeder's lyric, forms the border between Kentucky and West Virginia and flows into the Ohio River at Catlettsburg, Ky.  It was a flat‑boat trade route before the advent of the railroads. See also similar stanzas printed by African-American collector Thomas Talley in Negro Folk Rhymes (1922) under the title “She Hugged Me and Kissed Me.” A song derived from the well-known “Cindy”, is a “Cindy” from the singing of Dan Tate (b. 1896), of Fancy Gap, Carroll County, Va.. It goes:

***

Railroad, a plank road,

A river and canal;

If it hadn’t have been for Doctor Grey,

There never would have been any hell.

***

Cho:

Get along home Cindy,

Get along home I say;

Get along home Cindy girl,

For I am a-going away.

***

A railroad, a plank road,

A river and canoe;

If it hadn’t have been for old John Jones,

They never would a-killed old Jude.

***

Tate said that Jude was a slave of a Doctor Gray, who abused her when she became pregnant and would not tell who the father of her child was.

***

Sources for notated versions: New Lost City Ramblers [Brody]; Alan Block [Phillips]; Fox Fraley (Lawrence County, Ky., 1911) [Thomas & Leeder]. Brody (Fiddler’s Fakebook), 1983; pg. 69. Phillips (Fiddlecase Tunebook), 1989; pg. 10. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 53. Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pgs. 12‑13. Thomas and Leeder (The Singin’ Gathering), 1939; pg. 23. County 405, "The Hill‑Billies." County 518, Pope's Arkansas Mountaineers‑ "Echoes of the Ozarks, vol. I" (appears as "Get Along Home Miss Cindy"). County 544, Clayton McMichen‑ "Georgia Fiddle Bands, Vol. 2." Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, vol. 1” (reissue. Appears as “Cinda”). Folk Legacy Records FSA‑17, Hobart Smith ‑ "America's Greatest Folk Instrumentalist" (appears as 1st tune of "Banjo Group #2"). Folkways FA 2399, New Lost City Ramblers‑ "vol. 4." Musical Traditions MTCD321-2, Dan Tate (et al)  – “Far in the Mountains, volumes 1 & 2” (2002).

See also listing at:

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

X:1

T:Cindy [1]

M:C|

L:1/8

R:Reel

S:Brad Leftwich

N:AEae tuning

N:From a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:A

(AB |: c2)e2 e3f | e2c4 (cB | A2) A2B2A2 | c3(d c2) (AB | c2) (ef) e3f |

e2 c4 (cB | A2) A2 (cA) B2 |1 A3 (B A2) AB :|2 A3B A2 (A2 ||

|: A)(cBA) F3E | F2A4 (A2 | A)(BAF) E3E | C2E4 (A2 | A)(cBA) F3E |

F2A4 (A2 | A)(ABA) c2B2 |1 A3 (BA2) (A2 :|2 A3) (BA2) ||

 

CINDY [2]. Bluegrass, Breakdown. A Major. Standard. AB. Sosurce for notated version: Kenny Baker with Bill Monroe and the Bluegrass Boys [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 53.

                       

CINDY IN THE MEADOWS. AKA and see "Cindy [1]." Old‑Time, Breakdown. USA, Western North Carolina.

***

Asked her if she loved me, she said she loved me fine,

I threw both arms around her, like a grapevine around a vine.

Be my wife, Cindy.

***

Columbia 167‑D (78 RPM), 1924, Samantha Bumgarner and Eva Davis (Asheville, N.C.).

                       

CINDY IN THE SUMMERTIME. See "Cindy."

                       

CINDY LOU. Old‑Time, Fiddle Tune. USA, northeast Alabama. The tune was listed in Mattie Cole Stanfield's "Sourwood Tonic and Sassafras Tea" (1963) as played by George Cole of Etowah County, Alabama, at the turn of the century.

 

CINNTE LE DIA. AKA and see "Ah, Surely."

 

CINQ JUMELLES, LES (The Five Twin Sisters). AKA and see “Dionne Reel.” French-Canadian, Reel. D Major (Parts A, B, D and E) & G Major (Part C). Standard tuning. AABBCCDDEE or AABBAABBCCDDEE. All parts are four measures long with the exception of part ‘D’ which is eight measures. Lisa Ornstein says the tune is a mixture of familiar strains from other tunes with some original material. Star 15891 (78 RPM), Joseph Ovila LaMadeleine (1879-1973. Recorded August, 1934, some three months after the births of Dionne quintuplets Emilie, Yvonne, Cecil, Marie, and Annette in Callander, Ontario).

X:1

T:Cinq Jumelles, Les

M:2/4

L:1/8

R:Reel

N:Play parts in ABABCDE form.

S:Transcribed by fiddler Pascal Gemme (of the group Genticorum) http://tradquebec.over-blog.com/archive-1-2007.html

K:D

Df/d/ g/d/f/d/|A/d/f/d/ Bc/B/|A/d/f/d/ g/d/f/d/|A/c/e/c/ dB/B/|

A/d/f/d/ g/d/f/d/|A/d/f/d/ B/B/c/B/|A/d/f/d/ g/d/f/d/|A/c/e/c/ df/g/||

a/f/b/f/ a/f/d/e/|f/d/e/d/ Bf/g/|a/f/b/f/ a/f/d/e/|f/d/e/c/ df/g/|

a/f/b/f/ a/f/d/e/|f/d/e/d/ Bf/g/|a/f/b/f/ a/f/d/e/|f/d/e/c/ d2||

BA/G/ B/D/G/B/|D/B/A/G/ E/E/D/G/|BA/G/ BA/G/|F/D/E/F/ GG/A/|

BA/G/ B/D/G/B/|D/B/A/G/ E/E/D/G/|BA/G/ BA/G/|F/D/E/F/ G2||

|:fA/d/ f/d/A/F/|GB/d/ g/g/[dg]|A/c/e/f/ g/e/c/A/|d/e/f/g/ a/f/d/A/|

FA/d/ f/d/A/F/|GB/d/ g/g/[dg]|A/c/e/f/ g/e/c/A/|1 d/f/e/c/ d2:|2 d/f/e/c/ df/g/||

|:af/d/ a/d/f/a/|ge/=c g/c/e/g/|af/d/ a/d/f/a/|g/e/B/c/ df/g/|af/d/ a/d/f/a/|

ge/=c/ g/c/e/g/|af/d/ a/d/f/a/|1 g/e/B/c/ d(3f/f/f/:|2 g/e/B/c/ dB/B/||

 

CINQ NOISETTES, LES. French, Bourree (3/8 time). France, Auvergne (Central France). C Major. Standard. AABB. Stevens (Massif Central), 1987; No. 34.

 

CINQUIEME PARTIE DU CALEDONIA, LA (the 5th Part of a Caledonian). French-Canadian, Reel. A Minor. Standard. AABB. A portion of a set for a Caledonian Quadrille, from the playing of Jean-Marie Verret of Lac St. Charles, Quebec, who told Susan Songer, “This tune was played by my ancestors!” Source for notated version: Learned from the Hillbillies from Mars, who had no name for it [Songer]. Songer (Portland Collection), 1997; pg. 50.

 

CINQUIEME PARTIE DU LANCIER (The 5th Part of a Lancers). French-Canadian, Galop (2/4 time). C Major. Standard. ABB'C (Begin/Bruneau): AA’BB’CC’ (Begin/Girdwood). Sources for notated versions: French-Canadian accordion great Philippe Bruneau (1981) [Begin]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 58, pg. 67. Begin (Phillipe Bruneau), 1993; No. 64, pg. 95.

 

CIONNUS TA TU A CAITILIN?  AKA and see "How Are You Kitty?"

 

CIOR DO GRUAIG AGUS CAS E. AKA and see "Comb Your Hair and Curl It."

 

CIORSDAN MHÓR [1]. Scottish, Strathspey. E Minor. Standard tuning. AAB. The ‘A’ part is nearly identical to the ‘B’ part of the Irish slide “Road to Lisdoonvarna.” Stewart-Robertson (The Athole Collection), 1884; pg. 263.

X:1

T:Ciorsdan Mhór

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:E Minor

B | e>fg>e d>B (3Bcd | c>A (3ABc d>BB>d | e>fg>e d>B (3Bcd| c>AB>G E2EE :|

D | G>AB>c d>B (3Bcd | c>A (3ABc d>BB>A | G>AB>c d>B (3Bcd | c>AB>G E2 E>F |

G>AB>c d>B (3Bcd | c>A (3ABc d>BB>A| G>AB>c d>B (3Bcd | c>AB>^d e2 ef ||

 


CIORSDAN MHÓR [2]. AKA and see "A'(ll) the Way to Galloway" “Big Kirsty,” "Miss Stewart Bun Rannoch." Scottish, Reel. See also the Irish family of tunes including “All the Way to Galway.”

 

CIRCASSIAN CIRCLE, THE. English, Scottish, Canadian; Reel or Country Dance. G Major (Kennedy, Raven): D Major (Howe, Jarman): A Major (Kerr, Martin, Sweet). Standard. AABB. Jarman's version somewhat different. The Circassian Circle is a country dance; in the Carmichael district of Lanarkshire, Scotland, around the turn of the 20th century (1900) it was always the first dance of the evening. The vehicle for the dance was usually the namesake melody followed by additional tunes at the same tempo, capped by a return to the original “Circassian Circle” melody. Canadians frequently have employed the tune "La Bastringue" to accompany it. Howe (1000 Jigs and Reels), c. 1867; pg. 71. Jarman, 1944; pg. 32 (appears as "The Circassion Circle"). Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 1, pg. 1. Kerr (Merry Melodies), vol. 1; No. 1, pg. 26. Martin (Traditional Scottish Music), 2002; pg. 37. Raven (English Country Dance Tunes), 1984; pg. 165. Sweet (Fifer’s Delight), 1964; pg. 57. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

X:1

T:Circassian Circle

M:4/4

L:1/8

R:Country Dance Tune

S:Howe – 1000 Jigs and Reels  

Z:AK/Fiddler’s Companion

K:D

fe | dAfe d2f2 | dAfe d2f2 | eAgf e2g2 | eAgf e2g2 | dAfe d2f2 |

dAfe d2f2 | efge cABc | d2f2d2 || z2 | fdag f2a2 | fdfa d’afd |

eAgf e2g2 | efed ce a2 | fdag f2a2 | fdfa d’afd | cded cABc | d2f2d2 ||

                                   

CIRCLE, THE. AKA and see "Sam Hyde's Quickstep," "Mrs. Monroe's [1]," "The King." American, Jig. D Major (Phillips): G Major (Miller). Standard. AABB. Several tunes have been known by this name, probably because of their association with a circle dance. Tunes alternately known as "The Circle" have been "Rantin' Roaring Willy" and "Uncle Steve." Randy Miller (2004) attributes the tune to New England fiddler John Adams Taggart (1854-1943), from his “Recollection of a Busy Life” (1938), a typewritten manuscript deposited with the New Hampshire Historical Society (Concord, N.H.). Taggart, born and raised in Sharon, New Hampshire, and was a onetime orchestra leader and composer. Taggart wrote in his ms. that the tunes “were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity.” Miller points out that Sharon is in “the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day” (pref. iv) [Miller]. Source for notated version: New Hampshire Fiddlers' Union [Phillips]. Burchenal, 1918; pg. 2. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 363. Miller (Fiddler’s Throne), 2004; No. 19, pg. 24. Front Hall FHR-204C, New Hampshire Fiddlers Union – “Music of John Taggart” (1992).

 

CIRCLE POLKA, THE. Scottish, Polka. C Major ('A' & 'C' parts) & G Major ('B' part). Standard tuning. AABBCC(Trio). Kerr (Merry Melodies), vol. 3; No. 440, pg. 50.

X:1

T:Circle Polka, The

M:2/4

L:1/8

R:Polka

S:Kerr – Merry Melodies, vol. 3, No.440

Z:AK/Fiddler’s Companion

K:C

g2^f2|ag g/f/e | gf f/e/d | e/f/g e/d/c | g2^f2 | ag g/f/e | gf f/e/d | ce/g/ c’2 :|

K:G

|: d’>c’ b/c’/d’/e’/ | d’b d/g/b/d’ | c’a d/f/a/c’/ | bg (d/g/)b |

d’>c’ b/c’/d’/e’/ | d’b d/g/b/d’/ | c’a d/f/a/b/ | gbg z :|

K:C
”Trio”

gga>g | (g/c’/)e g>f | (f/a/)d f>d | e/f/e/d/ c/d/e/f/ |

gga>g | (g/c’/)e g>f |(f/a/)d f>B | ccc z :|

 

CIRCUS [1], THE. AKA and see “Nelson’s Victory.” Irish, Hornpipe. G Major. Standard tuning. AA’BB. Mulvihill (1st Collection), 1986; No. 30, pg. 97. Green Linnet SIF 1020, Brendan Mulvihill – “The Flax in Bloom.”

 

CIRCUS [2], THE. AKA and see “Charles Street Walk.” English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. Charles and Samuel Thompson printed a country dance to this tune called “Charles Street Walk” in their Twenty Four Country Dances (London, 1772).

***

Philip Astley is credited with creating the first circus in London in the latter 18th century.

***

Source for notated version: the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 21.

 

CIRCUS [3], THE.  Scottish, Reel. A Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 128.

X:1

T:Circus, The  [3]

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 128   (1852)

Z:AK/Fiddler’s Companion

K:A

F | EFAB c2 Ac | dBcA F<FFA | EFAB c2 Ac | dBec A<AAF | EFAB c2 Ac |

dBcA F<FFA | EFAB c2 Ac | dBec A<AA || B | Acef ecAc | dBcA F<FFB |

Acef ecAc | dBec A<AAg | a>baf ecAc | dBcA F<FFA | EFAB c2 Ac | dBec A<AA ||

 

CIRCUS PIECE. AKA and see "Texas Quickstep [3]," "Mississippi Breakdown [2]." Old‑Time, Breakdown. USA, Mississippi. D Major. ADae tuning. The title derives from the place the source, Mississippi fiddler Stephen B. Tucker (an eighty year old fiddler recorded by the Library of Congress in 1939), heard the tune. Tom Rankin (1985) identifies it as a tune that was occasionally recorded by southern musicians under a variety of titles. An Alabamba fiddler transplanted to Texas, A.L. Steeley, recorded the tune in 1929 for Brunswick (BR 285) under the title "Texas Quickstep," while the Leake County Revelers issued it along with their popular "Wednesday Night Waltz" (and later revamped the coarse phrase as another recording, "Mississippi Breakdown," in 1931). Henry Reed, of Glen Lyn, Virginia, knew the tune simply as "a clog."

***

Paul Gifford notes that rural hotels, resorts, menageries and circuses provided venues for several traditional musicians. He cites the narrative of Soloman Northrup, a Northern black fiddler who was engaged to play with a circus in the 1830’s who was kidnapped into slavery in Virginia. One fiddler's diary he read mentioned being quite impressed by a fiddler he heard at a circus in Michigan in the 1840’s.

***

Mississippi Department of Archives and History AH‑002, Stephen Tucker ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985).

 

CIS NÍ LIATHÁIN (Ciss Lennon). AKA and see “The Crate of Grilse,” "Paddy McFadden [3]." Irish, Single Jig. A Dorian. Standard tuning. AABB. Named after the woman from whom source Pat White had the tune. Source for notated version: whistle player Pat White/Padraic de Faoite (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 58, pg. 26. “Music at Matt Molloy’s” (appears as part of “Westport Set-Dancers”).


 

CISS LENNON. See “Cis ní Liatháin.”

 

CISTE MHOR. AKA and see “Big Coffin Reel,” “Put Me in the Big Chest.”

 

CISTE NO STOR (Treasures or Wealth). AKA - "My Love and Treasure," "(O) Save me from Death," "Hide me from Death." Irish, Air (3/8 time). D Major. Standard tuning. One part. The Irish collector Edward Bunting thought this tune to have been "the original of Carolan's 'Fairy Queen' the only difference being that Carolan added two parts to it, in which it was generally played by harpers." Source for notated version: according to the index of Bunting's 1840 collection the melody was noted "from Dr. Young of Clonfert at Castlereagh, County Roscommon, in 1800." O'Sullivan/Bunting, 1983; No. 29, pgs. 47-48.

 

CITACO. AKA ‑ "Citigo," “Citico.” AKA and see "Down to the Wildwood to Shoot the Buffalo." Old‑Time, Breakdown. USA; north Georgia, Tennessee. GDad tuning. Citaco is an area north and east of the city of Chattanooga, Tennessee. The melody is known as a north Georgia tune. It was, for example, in the repertoire of north Georgia fiddler Lowe Stokes (1898-1983, who played with the Skillet Lickers as well as other bands) who learned it under the title "Down to the Wildwood to Shoot the Buffalo." However, when Stokes recorded the tune in 1930 on his Brunswick Records 78 with his band Lowe Stokes’ Swamp Rooters, it was titled “Citaco.” Some versions sound similar to versions of "Cotton Eyed Joe,” as, for example, played John Dykes (of the Dykes Magic City String Band) GDad tuning, and as recorded by Marion Thede in her Fiddle Book. North Carolina fiddler Marcus Martin’s version of “Citaco” is similar to the Kentucky tune “Calico.” County 527, The Swamp Rooters (Lowe Stokes) ‑ "Old Time Fiddle Classics, vol. 2: Original Recordings 1927‑1934." Document DOCD8045, Lowe Stokes in Chronological Order, vol. 1: 1927-1930 (1999 reissue; appears as “Citago”).

                       

CITÍ NA gCUMANN. Irish, Air (3/4 time). E Dorian. Standard tuning. AA’B. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 3, pg. 12.

           

CITÍ SA BHÓITHRÍN.  AKA and see “Kitty in the Lane [1].”

           

CITIGO. See "Citaco."

                       

CITY GUARDS. Related to "Rustic Reel [1]," "Libby Prison Quickstep," "First Western Change," and "O Dear Mother My Toes Are Sore [1]" in the first strain. The City Guards, at least in Edinburgh, were the precursors to the official police force, established around 1696. They were abolished in that city in November, 1817, after which the police assumed all their remaining duties. The populace, at least in the latter years, called them “The Toon Rottens,” according to Henry Cockburn (1779-1854), writing in his posthumous memoir Memorials of His Time (1856):

***

The police has made them useless; but I wish they had been perpetuated, though it

had been only as curiosities. Their number was liable to be increased or diminished

according to circumstances. At this period they amounted, I conjecture, to about 200,

regimented like ordinary soldiers. They were all old, hard-featured, red-nosed veterans;

whose general history was, that after being mauled in the wars, commonly in a Highland

regiment, they thought themselves fortunate if they got into this fragment of our old

burgher militia, where the pay was better than nothing, and the discipline not quite

consistent with whisky, while the service was limited to keeping the peace within the

city. Naturally disliked by the people they were always asserting their dignity by testy

impatient anger. This excited the mischief and the hostility of the boys, by whom their

small remains of temper were intolerably tried; and between the two there never ceased

 to be a cordial and diverting war. Their uniform was a red coat turned up with blue, a

red waistcoat, red breeches, long black gaiters, white belts, and large cocked hats bound

with white worsted ribbon. They had muskets and bayonets, but rarely used them; for

their peculiar weapon was the old genuine Lochaber axe—a delightful implement. One

saw Bannockburn in it. One of these stern half-dotard warriors used to sit at each side

of the prisoners at the bar of the Court of Justiciary as guard; with his huge hat on his

old battered head, and his drawn bayonet in his large gnarled hand. They sat so immovably,

and looked so severe, with their rugged weather-beaten visages, and hard muscular trunks,

that they were no unfit emblems of the janitors of the region to which those they guarded

were so often consigned. The disappearance of these picturesque old fellows was a great loss.  (pgs. 322-323)

                       

CITY LIFE. AKA and see “The Londonbridge Hornpipe,” “O’Keeffe’s Hornpipe [2],” “Showman’s Fancy,” “Violetta.” American, Clog (Hornpipe). F Major. Standard tuning. AAB. The tune also appears in Ryan’s under the title “Violetta.” Cole (1000 Fiddle Tunes), 1940; pg. 118. Ryan’s Mammoth Collection, 1883; pg. 155.

X:1

T:City Life

M:C|

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

(A>.B) | ({d}c>.=B)(c>.d) c>fa>f | e>db>a (3gag (3fed | c>=Bc>d c>AF>A | G>c=B>d c>AB>=B |

({d}c>)=Bc>d c>fa>f | e>db>a (3gag (3fed | c>Fa>f e>bg>e | f2 (3gfe f2 :: (e>.f) |

({a}g>.^f)g>a b>ge>c | ({g}=f>)ef>g a>fc>A | (3bbb(3aaa(3ggg(3fff | (3gag (3fed c2 (e>.f) |

({a}g>.^f)g>a b>ge>c | ({g}=f>)ef>g a>fc>A | (3bbb(3aaa(3ggg(3fff | g>cd>e f2 :|

                       

CITY OF SAVANNAH. American (originally), Irish; Hornpipe. D Major. Standard tuning. AABB. Composition credited to Frank Livingston in Ryan's Mammoth Collection. The title may refer to the sail steamer City of Savannah, the flagship of the Ocean Steamship Company of Savannah, built in 1877. Don Meade says the “City of Savannah” was the first steamship to cross the Atlantic.  For seventy years, from 1872 to 1942, the company operated vessels that carried passengers and freight between Savannah, New York and Boston. There were other ‘city’ ships in the 19th century: the City of New York was built in 1888 for the Inman Line. Sister ships the City of Paris and the City of Brooklyn plied the waves beginning in the 1860’s. All were award winning ships that set crossing records for their era.  Cole (1000 Fiddle Tunes), 1940; pg. 105. Kerr (Merry Melodies), vol. 2; No. 354, pg. 39. Mallinson (Enduring), 1995; No. 73, pg. 30. McNulty (Dance Music of Ireland), 1965; pg. 23. Ryan’s Mammoth Collection, 1883; pg. 142. Flying Fish FF 70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991). Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' Up the Hall" (1989).

X:1

T:City of Savannah

R:Hornpipe

S:Trad via Lesley Dolman

M:4/4

L:1/8

K:D

% Nottingham Music Database

P:A

FG|(3ABAFA dfaf|gaba gfed|cded cdBc|ABGA FFG^G|

(3ABAFA dfaf|gaba gfed|cbag fABc|d2f2 d2:|

P:B

e2|(3efece aec'e|be^ge aebe|(3efece aec'e|be^ge a4|

(3abaga eac2|(3abafa daA2|(3gagGg (3fgfAf|eABc d2:|

                                      

CITY RAMBLE, THE. AKA and see "Have you heard of a frolicsome ditty," "Give ear to a frolicsome ditty," "The Rant."

 

CIUMHAIS NA MÓNA (The Strip of Turf).  AKA and see “The Brighton Hornpipe,” “Duke of Leinster [3],” “The Five Pound Note,” “Hennessy’s,” “Kildare Hornpipe,” “O’Neill’s Hornpipe,” “Peggy Morrissey,” “Pretty Maggie Morrissey,” “The Wexford Hornpipe.” Irish, Hornpipe. G Major. Standard tuning. AABB’. Roche, vol. III, 1927; No. 182.

X:1

T:Ciumhais na Móna

T:Pretty Maggie Morrissey

M:C|

L:1/8

R:Hornpipe

S:Roche, vol. III, No. 182  (1927)

Z:AK/Fiddler’s Companion

K:G

(B>c)|d>BG>B c>AF>A|G>G (3AGF G>AB>c|d>gf>g e>fg>e|d>BG>B A2 (B>c)|

d>BG>B c>AF>A|G>G (3AGF G>AB>c|d>gf>g e>cA>F|G2G2G2::(B>c)|

d>gf>g e>fg>e|d>gf>g e>fg>a|b>ag>f ({a}g>)fe>d|(d/e/d/B/ G>B) (A2 B>c)|

(d>g) {a}(3gfg (e>.g) {a}(3gfg|(d>.g) {a}(3gfg b>ag>e|(3def (3gfe (3ded (3cBA|1

(3GBc (3def g2:|2 g>gd>B G2||

                       


CLABBER COD STOMP. Old‑Time, Fiddle tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

CLACH NA CUDDIN/CUDAIN {Clachnacudainn} [1] (Cross of Inverness). AKA – “The Rocking Stone of Inverness.” AKA and see "Cross of Inverness." Scottish, Strathspey. D Major. Standard tuning. AAB (Athole, Honeyman, Hunter, Skinner): AABB' (Kerr, Martin). MacDonald notes that the Clach na Cudain translates as “The Key stone of Inverness,” sometimes called ‘the rocking stone of Inverness’, referring to a foundation stone in the town of Inverness, located near the famous cross. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 9. Hunter (Fiddle Music of Scotland), 1988; No. 94. Kerr (Merry Melodies), vol. 2; No. 151, pg. 18. MacDonald (The Skye Collection), 1887; pg. 47. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 28. Skinner (The Scottish Violinist, with variations); pg. 6. Stewart-Robertson (The Athole Collection), 1884; pg. 95. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000). Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

X:1

T:Clach na Cudain [1]

T:Cross of Inverness

M:C

L:1/8

R:Strathspey

S:MacDonald - Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A, | D<D F>E D2 D<A, | D<D F>A B>AF>d | D<D F>E D2 D>F|

G>A,F>A, E>A, C<E :| d>fA>f d/e/f/g/ a>f | d>fA>f d>fA>f |

d>fA>f d/e/f/g/ a>f | g>Af>A e>Ac>e | dfAf d/e/f/g/ a>f |

dfAf d>Ad>f | B<gA<f G<eF<d | G>A,F>A, E<A,C<E ||

 

CLACH NA CUDAIN [2] (The Cross of Inverness). AKA and see "Cross of Inverness." Scottish, Reel. G Major. Standard tuning. AB (Hunter): AABB (Neil). The 'clach' is the foundation stone of the town of Inverness, located near the Market Cross, where all business (and the town gossip) was carried on, according to Captain Simon Fraser, the likely composer of the tune (in whose 1816 collection it appears). Neil (1991) relates that this stone was called the 'Stone of Tubs' or 'The Rocking Stone of Inverness' and that women placed their buckets on it before setting off for the river. There is a legend that the town will survive as long as the stone remains intact. Hunter (Fiddle Music of Scotland), 1988; No. 195. Neil (The Scots Fiddle), 1991; No. 134, pg. 173.

                       

CLACHAN, THE. Scottish, Strathspey. D Major. Standard tuning. AABB’. A clachan is a small village containing a church. Although the term can be used generically, there is a small village called Clachan in Kintyre, Scotland, anciently the sear of Clan Alasdair. Kerr (Merry Melodies), vol. 4; No. 72, pg. 10.

X:1

T:Clachan, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 72   (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

A2 f>A B2 g>B | A2 f>d (c<e) e2 | A2 f>A B2 g>B | A>BA>G (F<d) d2 :|

|: a2 f>d B>dg>b | a2 f>d (c<e) e2 | A<A f>A B<B g>B |1 A>BA>G (F<d) d2 :|2 (3ABA (3GFE (3Dfe (3dcB ||

                                                  

CLADAÍ BHAILE AN BHUINNEÁNAIGH.  AKA and see “The Shores of Ballybunion.’

 

CLADY REEL, THE. AKA and see "Salamanca [3]," "O'Connell's Trip to Parliament [2]," "Big Pat's (Dandy) Reel," "Jimmy the Creelmaker," "Trim the Bonnet," "Tie the Ribbons [1]."

                       

CLAÍOMH I LÁMH, AN (Sword in Hand). AKA and see “Sword in (the) Hand.”

                       

CLAM DIGGER’S BREAKDOWN. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AA’BB’. Composed by Attwood O’Connor (b. 1923) & Frank McCormack, South Kings County, Prince Edward Island. Source for notated version: Attwood O’Connor [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 64.

                       

CLAN CHATTAN. Scottish, Pipe Quickstep (4/4 time). A Mixolydian. Standard tuning. AABB. Composed by Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 40 (includes variation sets).

X:1

T:Clan Chattan

M:C

L:1/8

R:Pipe Quickstep

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A Mix

.e/.c/ | .A.A ({A}B/)A/B/c/ ({c}A2) A.B/.c/ | ({c}d)~f .e/.A/.e/.c/ ({c}B2) B.e/.c/ | AA ({A}B/)A/B/c/ A/B/c/d/ eA |

({c}d~f e/c/d/B/ ({B}A2 A :: (3e/f/g/ | aA g/e/f/d/ ({f}e2) .e.A | ({c}df e/A/e/c/ ({c}B2 .B(3e/f/g/ |

.a.f g/e/f/d/ .e.a.c.A | ({c}d)f e/c/d/B/ ({B}A2 A :|

 

CLAN MARCH, A. See “Hibernian Jig.”

                       

CLAN MUNROE. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by the great Scottish composer and fiddler J. Scott Skinner (1843-1927). Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 65, pg. 30.

 

CLAN RONALD’S REEL.  See “Clanranald [2].”

                          

CLANCY'S. Irish, Reel. C Major. Standard tuning. AABB. The title may refer to Willie Clancy, the great County Clare piper. McNulty (Dance Music of Ireland), 1965; pg. 6.

                       

CLANCY'S DREAM. Irish, Jig. D Major. Standard tuning. AABB. A member of the large “Sweet Biddy Daly” family of 6/8 tunes. The tune was recorded by County Leitrim flute player John McKenna (1880-1947) in New York for Columbia Records in 1928, paired with the slip-jig “Leitrim Town.” Sligo fiddler Michael Coleman (1891-1945) also recorded it, but used the title “Paddy Clancy’s.” Miller prints the tune with the parts reversed from the Treoir version below. Miller (Fiddler’s Throne), 2004; No. 20, pg. 25.

X: 1

T: Clancy's Dream

S: Treoir

M: 6/8

L: 1/8

Q: 325

Z: Transcribed by Bill Black

R: jig

K: D

faf gab | faa afd | faf gab | afd e2 d |

faf gab | faa afd | fef dBA | Bdf e2 d :|

f2 e dAA | BAA dcd | gfe dAA | Bdf e2 d |

f2 e dAA | BAA dcd | gfe dAA | Bdf e2 d :|

                       


CLANCY'S FANCY REEL (Cor Mic Flanncada). Irish, Reel. G Major. Standard tuning. AB. Not McNulty's "Clancy's Reel." Source for notated version: accordion player Joe Fallon (b. 1935, Collooney, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pgs. 100-101 (appears as “Unknown”). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 801, pg. 139.

X:1

T:Clancy’s Fancy Reel

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 801

Z:AK/Fiddler’s Companion

K:G

dc|BG G2 dBGA|(3BAG Bd egdB|cA (3AAA fcAB|cdef gedc|BG G2 dG G2|

BGBd egdB|cdef gedc|BGAFD G2||Bc|dg g2 bg g2|dggf (3efg dB|

cA (3AAA eA (3AAA|cdef gfef|dg g2 bg g2|dgfg ecdB|cdef gedc|BGAF G2||

                                   

CLANCY'S FROLICS (Sugacais Mic Flanncada). Irish, Double Jig. D Major. Standard tuning. AABB. The 'A' and 'B' parts are reversed in Flaherty from O'Neill. Source for notated version: tin whistle player Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote, County Sligo, Ireland) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 134. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 351, pg. 72.

X:1

T:Clancy’s Frolics

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 351

Z:AK/Fiddler’s Companion

K:D

A|dff fec|dBB Bcd|cAA eAA|cAA ABc|dcd gec|dBB Bcd|dfa dfa|gec d2:|

|:A|dcd fed|f/g/af gec|dcd fed|cde ecA|dcd fed|f/g/af gec|dfa dfa|gec d2:|

                                   

CLANCY’S JIG. Irish, Slip Jig. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, vol. 1” (1980).

 

CLANCY’S JIG [2]. AKA and see “Kitty’s Ramble{s},” "Ladies Triumph [3]." Irish, Double Jig. G Major. Standard tuning. The melody was recorded in New York in 1928 by accordion player P.J. Conlon, originally from the area around Milltown, County Galway. Foxglove FG9701GCD, Randal Bays – “Out of the Woods” (1997).

See also listing at:

Alan Ng’s Irishtune.info

 

CLANCY’S JIG [3]. AKA and see “Coleman’s Favourite,” “Paddy Clancy’s.”

                          

CLANCY’S REEL [1].  See “Gilbert Clancy’s Reel.”

 

CLANCY’S REEL [2].  AKA and see “Falls of Doonass.”

           

CLANRANALD [1] (Mac 'Ic Ailein). Scottish, Slow Strathspey. F Major. Standard tuning. AAB. The tune "is a dirge to one of the MacDonald's of Clanranald, killed in battle at Sherriffmuir" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 188, pg. 77.

X:1

T:Clanranald [1]

T:Mac ‘Ic Ailein

M:C

L:1/8

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:F

B|A>BA>G F>DD>E|F>GA>B c>A A<f|c<A A>G F>DD>c|d>cA>F [E3G3]:|

c|f2 (g>f/4g/4) a>AA>a|f>a (g/f/g/a/) c’>aa>g|f2 (g>f/4g/4) aAAg|

(a/g/)(f/e/) f>^c d2 (d>e)|f2 (g>f/4g/4) a>AA>a|f>a (g/f/g/a/) c’>aa>(f/4g/4)|

a>gf>e d>c A<c|d>cA>F [E3G3]||

 

CLANRANALD [2]. AKA and see “Mrs. MacDonald of Clanranald [2].” Scottish, Reel. E Dorian. Standard tuning. AAB. “Very old” noted Gow in his 1788 collection. The tune appears under the alternate title in Lowe’s Collection Book Fourth (1944). A similar tune is the Cape Breton “MacKinnon’s Brook [2]” (reel). Gow (Second Collection of Niel Gow’s Reels), 1788, 3rd ed.; pg. 7. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2 (appears as “Clan Ronald’s Reel”). MacDonald (The Skye Collection), 1886; pg. 80. Stewart-Robertson (The Athole Collection), 1884; pg. 263.

X:1

T:Clanranald [2]

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:E Minor

G|E2 EB GEE^c|dDDA FDAF|E2 EB GEBe|FDAF BEE:|

e|geBA GFEg|fdAG FEDf|geBA GFEe|dBAF BEEe|

geBA GFEg|fdAG FEDf|ebfa efde|BdAF BE~E||

X:2

T:Clan Ronald's Reel.

T:Clanranald [2]

R:reel

M:C

L:1/8

B:Complete Tutor Violin (c. 1815)

Z:Dr. Evan Jones [Ed.]

K:G

U:T=!trill!

B, | E2 (TEB) GEE^c | dDDA FDAF | E2 (TEB) GEBd | F>DAF BEE :||

(e/f/) | g>eBA TG>FEg | fdAG TFE D(e/f/) |geBA TG>FEe | d>BTA>F BF F(e/f/) |

g>eBA G>FEg | fdAG F>EDf | gbfa efde| BdFA BEE |]

                                   

CLANS, THE. AKA and see “Doon the Brae,” “The Old Crossroads.”

                                   

CLANSMEN'S QUICKSTEP, THE. Scottish, Quickstep (2/4 time). A Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 34, pg. 13.

                       

CLAOID BONAPAIRT. AKA and see "Bonaparte's Defeat."

           

CLAQUEUSE, LA (The Woman Who Claps).  See “Saut du lapin [2].”

 

CLAR BOG DEL ("Claur Bug Dale"). AKA and see "The Soft Deal Board."

           

CLÁR BOG DÉIL [1], AN. AKA and see “Caiseal Mhumhan” (Cashel in Munster),  “Cois na Brighde,” "The Soft Deal Board," “The Bog-deal Board”(?)  Irish, Air. Ireland, Munster. F# Minor. Standard tuning. AB. The air and song have been identified as a love song coming from Munster (where it is better known as “An Caiseal Mumhan”), though variants can be found throughout Ireland. The tune, according to Cowdery (1990), is the same as that of the Connemara version of "Roisin Dubh," the title coming from a different text (see note for "Roisin Dubh [1]"). The music appears in Poets and Poetry of Munster (1849), and Stanford/Petrie gives no less than six settings, according to Joyce. Paul de Grae explains: “Although the title could be understood as ‘the soft deal board’, it would be more correct to say "the bog deal board"—‘bog’ does mean ‘soft’ in Irish, but in this context it refers to ‘bog deal’, that is, deal (pine timber) which has been preserved in a bog.  As was formerly the accepted pronunciation in England too, ‘deal’ is pronounced ‘dale’ in Hiberno-English, and the title is really half-Irish (an clár) and half-English (bog deal).”

***

Bog deals were used as fuel, as was peat. Donal Hickey, writing in his book Stone Mad for Music (1999) says that before the lamp was perfected people in the Sliabh Luachra region of the Cork/Kerry border had only the light from the fire at night. A bog deal splinter was lit to do work around the house or to light themselves to bed.

***

An Clár Bog Déil (Ulster version)

***

Os inniu gan bó gan puntaí gan a' dhá phingin spré

Leagainn fúm thú maidin drúchta le bánú 'n lae;

Mo dhá lámh du/nta gan mé 'gus tú, a ghrá mo chléibh,

I gCaiseal Mumhan 's gan a leabaí fu/inn ach an chlár bog déil.

***

Bean solastach ní mholfaidh mé 's ní cháinfidh mé í,

Bean dorcha ní ghlacfaidh mé go deo mar mhnaoi;

Cha ní ná an babaí shantach ach mar gheall ar mhaoin,

Ach pósfaidh mé mo stóirín 'sí grá mo chroí.

***

Ná síl cé gurb íseal no uasal mé,

Ná síl gur ins a díog adaí a fuarthas mé;

Sín síos liom seal míosa 'gus cuartaí ann mé,

'S gheobhaidh tú scríofa in mo thaobh dheas gur an buachaill mé.

***

Tá líofacht labhairt Gaeilge agus canúint mhaith chrua,

Scríobhfaidh mé 'na dhiaidh sin le barr' mo pheann;

Loch Éirne 'á shnámhfainn ar chúl mo cheann,

'S da dtéadh agam bean 'á bhré agadh bheadh an báire liom.

***

Joyce (Old Irish Folk Music and Songs), 1903; No. 127. Roche Collection, 1982; vol. III, pg. 10. Claddagh CC9, Sean MacDonagh - "An Aill Bhain" (1971). Green Linnett GLCD 3090, Mairead Ni Nhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994. A Donegal version of the tune from the great Arranmore singer Róise na nAmhrán;). Olympic OL-6129, Seamus Ennis - "Irish Pipe and Tin Whistle Songs" (1976). Spin CD1001, Eoghan O’Sullivan, Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996. Learned from the singing of Gweedore fiddler and singer Mairead Ni Mhaonaigh). Finola O Siochru – “Searc Mo Cheibh.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:An Clár Bog Déil [1]

M:6/8

L:1/8

Q:70

S:Treoir vol.2 1996

R:Air

K:DMix

B,>C|D>C B,C D>D|F2 D GA/2G/2 F|D C>B, CD>D|!

D2-D z C B,/2A,/2|G,2 A, B,2 A,|G, G,/2 G,-G, Z/2 G>A|B2 A/2G/2 c2 B|!

A3-A z/2 A G/2|F2 D D2 D|E>D C D G>A|!

BA/2B/2 c d2 e|d2-d z c B/2 G/2|B3 c/2B/2 A2|!

A F G F G{AG}F|D2 C/2 B,/2 C D>D|D3-D|

 

CLAUR BUG DEAL [2]. Irish, Air (3/4 time). A Minor. Standard tuning. One part. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 74.

X:1

T:Claur Bug Deal [2]

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:A Minor

A/G/ | f2 e>dcA | {g/} fe/d/ “tr”e>d c/A/G/E/ | G2 AA A2 | AG E2G2 | A>B c2d2 |

c>A d>cde | {g/}fe/d/ “tr”e>d c/B/A/G/ | E2G2 (AB) | cBcd cA | dcde fe/d/ |

“tr”e2 (ab) (c’/b/)(a/g/) | f2 “tr”e>dcA | {g/}fe/d/ e3d | c/A/G/E/ G2 A{G}A{B} | A4 :|

           

CLARA. Canadian, Polka. G Major ('A' and 'C' parts) & D Major ('B' and 'D' parts). Standard tuning. ABCD. Bayard (Hill Country Tunes), 1948; No. 53. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 94, pg. 62.

           

CLARA BURKE. AKA and see "Clara de Burc."

           

CLARA DE BURC (Clara Burke). Irish, Air (6/8 time). D Mixolydian. Standard tuning. One part. Source for notated version: the Irish collector Edward Bunting noted the melody from Mrs. Burke at Carrakeel, Co. Mayo, 1792.  O'Sullivan/Bunting, 1983; No. 99, pgs. 143-144.

           

CLARA POLKA. Canadian, Polka. G Major (‘A’ and ‘C’ parts) & D Major (‘B’ and ‘D’ parts). Standard tuning. AABBCCDD. From the playing of Canadian fiddler Don Messer. Messer (Don Messer’s Way Down East Fiddlin’ Tunes), 1948; No. 53.

X:1

T:Clara Polka

R:Polka

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:G

Bcd2 Bcd2|g2B2 d4|e2A2 A4|B2G2 G4|

Bcd2 Bcd2|g2B2 d4|e2AB c2F2|G2B2 G4:|

K:D

|:A2f2 fed2|A2c2 e4|A2g2 gfe2|A2d2 f4|

A2f2 fed2|A2c2 e4|A2g2 gfe2|d2f2 d4:|

K:G

|:Bcd2 Bcd2|g2B2 d4|e2A2 A4|B2G2 G4|

Bcd2 Bcd2|g2B2 d4|e2AB c2F2|G2B2 G4:|

K:D

|:f2fe d2f2|e2ed B4|c2cB A2c2|d2f2 A4|

f2fe d2f2|e2ed B4|c2cB A2c2|d2f2 d4:|

 

CLARANCE HOUSE. English, Jig. G Major. Standard tuning. AAB. Composed by collector, teacher, composer and dancer Pat Shaw. The tune is paired with his reel “Whit Monday” and is played in his dance (also called “Clarance House”) in Jig-Reel-Jig-Reel-Jig sequence. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 20.

                       

CLARA'S HORNPIPE. American; Reel or Hornpipe. USA, New England. D Major. Standard tuning. AABB'. Source for notated version: Howie Bursen (learned at a Marlboro, Vermont, contra dance). Folkways FSI-74, Howard Bursen - "Cider in the Kitchen" (1980).

           

CLARE(S) DRAGOONS. AKA and see “Willie was a Wanton Wag.” Irish, Scottish, English; Polka. D Mixolydian ('A' part) & D Major ('B' part) [Carlin]: D Major [Mallinson]. Standard tuning. AABB. County Clare takes its name from the 12th century leader of a Norman conquering expedition, Gilbert de Clare, nicknamed Strongbow. See note for alternate title. Carlin (Master Collection), 1984; pg. 154, No. 273. Mallinson (100 Polkas), 1997; No. 48, pg. 19. Raven (English Country Dance Tunes), 1984; pg. 152. Green Linnet GLCD 3092, Bernard O’Sullivan & Tommy MacMahon – “Clare Concertinas” (appears as one of “Stack Ryan’s Polkas,” named for the musician from whom it was learned).

X:1

T:Clare’s Dragoons

L:1/8

M:2/2

K:D

AG|F2A2A2Bc|d3e d2A2|F2A2A2d2|edcB AGFE|

F2A2A2 Bc|d3e defg|a2A2A2f2|e3d d2:|

|:e2|f2a2e2f2|d3ef2d2|f2a2e2f2|gfed G2e2|

f2a2e2f2|d3e defg|a2A2A2f2|e3d d2:|

X:2

T:Clare's Dragoons
R:March
M:2/4
L:1/8
K:A
"A"C2 E2 | E2 FG | A2 AB | AG FE | C2 E2 | E2 c2 | "Bm"dc BA | F3D | "A"C2 E2 |

E2 FG | A2 "Bm"B2 | "C#m"c3d | "A"e2 E2 | "D"F2 d2 | "E7"c3B | "A"A3B |

c2 ec | "Bm"B2 cB | "A"A3B | "C#m"c3B | "A"c2 ec | "Bm"B2 c2 | "D"dc BA | F3B |

"A"c2 ec | "Bm"B2 cB | "A"A3B | "C#m"c3d | "A"e2 E2 | "D"F2 d2 | "E7"c3B | "A"A4 |]

           

CLARE JIG [1], THE. AKA and see "The Ball (Humours) of Ballynafeidh," "The Banks of Lough Gowna," "Delaney's Drummers," “John Naughton’s,” “The Jug of Brown Ale,” "The Kitten and the Frog," "Kitty in the Fog," “The Mug of Brown Ale [2],” “Old Man Dillon,” "One Bottle More [2]," "Paddy in London [2],” "Paddy O'Brien's (Jig) [1],” “The Raffle Jig,” "The Rambler From Clare [1]," "The Stonecutter's Jig," "Tom Billy's {Jig} [1]," “Winter Apples [2],” "Young Tom Ennis." Irish, Double Jig. A Dorian. Standard tuning. AABB (Roche, Sullivan): AA’BCC’D (Mitchell). Clare takes its name from the 12th century leader of a Norman conquoring expedition, Gilbert de Clare, nicknamed Strongbow. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; the Dubliners, piper Leo Rowesome [Sullivan]. Mitchell (Dance Music of Willie Clancy), 1993; No. 40, pg. 52. Roche Collection, 1982; vol. 1, pg. 52, No. 128. Sullivan (Session Tunes), vol. 3; No. 7, pgs. 3-4. Folkways FW 6818, Leo Rowsome (1966. A re-release of the HMV IM 525 78 RPM recording of 1938).

X:1

T:Clare Jig [1]

M:6/8

L:1/8

R:Jig

K:Ador

(g/f/) | eAA fAA | gfg age | BAB G2A | BAB dBd | eAA fAA | gfg age | dBg dBG | EAA A2 :|

|: e | efg ~a3 | aba age | dBd ~g3 | gaf ged | efg ~a3 | aba age | dBd gdB | BAG A2 :|

 

CLARE JIG [2], THE. AKA and see “Old Kilfenora (Jig),” “Tom Ward’s (Jig).” Irish, Jig. G Major. Standard tuning. AABB. Source for notated version: set dance music recorded at Na Píobairí Uilleann in the late 1980’s [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 1.

           

CLARE LARK, THE.  AKA and see “Dominic Rooney’s.” Irish, Jig.

 

CLARE REEL, THE (Ríl an Chláir). AKA and see “Last Word,” “The Scolding Wife [1].” Irish, Reel. G Major. Standard tuning. AA’BB. Source for notated version: fiddler Denis Murphy, 1966 (Gneeveguilla, County Kerry), who had the tune from Kerry fiddler Padraig O’Keeffe [Breathnach]. Breathnach (CRE II), 1985; No. 138, pg. 74.

           

CLAREMAN’S HORNPIPE. AKA and see “Fáilte Go hÉirinn,” “Hatter’s Hornpipe,” “O’Mahoney’s Hornpipe,” “Old Cork Hornpipe,” “Peter Wyper’s [2],” “Prendville’s Hornpipe.” Irish, Hornpipe. D Major. Standard tuning. AABB. Denis Murphy and Julia Clifford recorded the tune as “O’Mahoney’s Hornpipe.” Paul de Grae notes that Josephine Marsh recorded this tune on her first album, calling it “Tony Dalton’s” after her source.

X:1

T:Clareman's Hornpipe

S:Geraldine Cotter

R:Hornpipe

M:4/4

L:1/8

K:D

dB|AFEF D2 DE|FDFA d2 de|fedB AFDE|FEED E2 dB|

AFEF D2 DE|FDFA d2 de|fedB AFEF|D2 DE D2:|

dB|ABde f2 ef|gfed e2 de|f2 fe dBAF|FEED E2 dB|

AFEF D2 DE|FDFA d2 de|fedB AFEF|D2 DE D2:|

           

CLARENCE TOUGH.  Scottish, Hornpipe. B Flat Major. Standard tuning. AB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 138.

X:1

T:Clarence Tough

M:2/4

L:1/8

R:Hornpipe

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:Bb

B/ | [D4B4] || D/>E/ | =E/>(F/G/>)(F/ d/>)(B/A/>B/) | ^F/>(G/_A/>)(G/ e/>)(c/=B/>c/) | (A/>_B/=B/>c/ ^c/>d/e/>)(A/ |

c/>)(B/d/>)(g/ f)D/>(E/ | ^F/>)(G/_A/>)(G/ e/>)(c/=B/>c/) | (A/>_B/=B/>c/ ^c/>d/e/>c/) | BBB | f |

(3b/f/d/ (3BF/D/ (3B,/D/F/ (3B/d/f/ | gEEg | (3c’/g/=e/ (3c/G/=E/ (3C/E/G/ (3c/e/g/ | aFF f |

(3b/f/d/ (3B/F/D/ (3B,/D/F/ (3B/d/f/ | gEEg | (A/>B/=B/>c/ ^c/>d/e/>)F/ | BBB ||

 

CLARE’S JIG. English, Jig. Composed by fiddler Clare Mann, of Newcastle, an All-Ireland fiddle champion. Tartan Tapes CDTT1004, Clare Mann & Aiden O’Rourke – “Heat the Hoose” (1998).

           


CLARINET POLKA. American, Canadian; Polka. USA; Pa., New York, Missouri. B Flat Major ('A' part), E Flat Major ('B' part) & F Major ('C' part) {Phillips, version #1}: G Major ('A' part), D Major ('B' part) & C Major ('C' part) {Phillips, version #2}. Standard tuning. AA'BBAA'CCAA'. In the repertories of dance fiddler Ralph Sauers, Buffalo Valley, Pa., and hammered dulcimer player Paul Van Arsdale (North Tonawanda, N.Y.) who added a fourth part to the tune. Source for notated version: Mark O'Connor [Phillips/version #1]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pgs. 341 & 342 (two versions). Greenhays GR 710, John McCutcheon ‑ "Fine Times at our House" (1982). MSOTFA 007, Charlie Walden - "Draggin' the Bow" (1985). RCA Victor LCP 1001, Ned Landry and his New Brunswick Lumberjacks ‑ "Bowing the Strings with New Landry."

                       

CLARK WALTZ. Rounder 0437, H.K. Silvey  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties.”

                       

CLARKE'S FAVORITE. Irish, Reel. Eleanor Neary of Chicago recorded this tune in the 1930's and gave it this title. The melody was also in the repertoire of accordion player Paddy Gavin (Balbriggan, Co. Dublin) who played it in a medley entitled "John Bowe's" (the name of another great accordion player). Green Linnet SIF‑104, Liz Carroll ‑ "The Celts Rise Again" (1990). Green Linnet SIF‑1092, "Liz Carroll" (1988).

           

CLARK'S FAVORITE. AKA and see "William Clark's Favorite," "The Three Captains." Irish, Set Dance (4/4 time).

 

CLARK’S FAVORITE [2].  American, Jig. G Major. Standard tuning. AABB. Randy Miller (2004) attributes the tune to New England fiddler John Adams Taggart (1854-1943), from his “Recollection of a Busy Life” (1938), a typewritten manuscript deposited with the New Hampshire Historical Society (Concord, N.H.). Taggart, born and raised in Sharon, New Hampshire, and was a onetime orchestra leader and composer. Taggart wrote in his ms. that the tunes “were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity.” Miller points out that Sharon is in “the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day” (pref. iv) [Miller]. Source for notated version: New Hampshire Fiddlers' Union [Phillips]. Miller (Fiddler’s Throne), 2004; No. 21, pg. 25. Front Hall FHR-204C, New Hampshire Fiddlers Union – “Music of John Taggart” (1989).

           

CLARK'S HORNPIPE [1] (Crannciuil ui Cleireac). AKA and see "Jim Clark's Hornpipe," "Ivy Leaf Hornpipe" (American). See "Morpeth Hornpipe" as related tune. Irish, Hornpipe. D Major. Standard tuning. AABB. The first strain is the same as "Morpeth Rant." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954. Cole (1000 Fiddle Tunes), 1940; pg. 91 (appears as "Jim Clark's Hornpipe"). O'Neill (Krassen), 1976; pg. 188. O'Neill (Music of Ireland: 1850 Melodies), 103/1979; No. 1663, pg. 309. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 879, pg. 151.

X:1

T:Clark’s Hornpipe [1]

L:1/8

M:C|

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 879

Z:AK/Fiddler’s Companion

K:D

(3ABc|d2 AG FDFA|BGBd cBce|fdge afed|c2e2 egfe|

d2 AG FDFA|BGBd cAce|dbag fgec|d2f2d2:|

|:(3efg|a2fd Adfa|g2 ec Aceg|fafd Bged|cedB|Agfe|

d2 AG FDFA|BGBd cAce|dbag fgec|d2f2d2:|

 

CLARK’S HORNPIPE [2]. Scottish (?), Old Hornpipe (3/2 time). E Minor. Standard tuning. AABBCCDD. McGlashan (Collection of Scots Measures), c. 1780; pg. 32.

X:1

T:Clark’s Hornpipe

M:3/2

L:1/8

R:’Old’ Hornpipe

S:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:Emin

EFGA B2 E2 B2 E2|D2 d4 A2 F2 D2|EFGA B2 E2 B2 E2|e2 B4 A2 G2 E2:|

|:e2 f2 g2 fe f2 ed|A2 d4 A2 F2 D2|e2 f2 g2 fe f2 ed|B2 e4 B2 G2 E2:|

|:E2 G2 F2 A2 G2 B2|A2 d4 A2 F2 D2|E2 G2 F2 A2 G2 B2|e2 B4 A2 G2 E2:|

|:e2 f2 g2 fe f2 b2|a2 f2 d3e f2 a2|b2 g2 agfe gfe^d|B2 e4 B2 G2 E2:|

 

CLARK’S HORNPIPE [3].  English, Old Hornpipe (3/2 time). A Major. Standard tuning. AAB. Geoghegan (Compleat Tutor for the Pastoral or New Bagpipe), c. 1745-46; pg. 29.

X:1

T:Clark’s Hornpipe [3]

M:3/2

L:1/8

R:”Old” Hornpipe

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

Z:AK/Fiddler’s Companion

K:A

A4 E2c2 BGFE | F2 fe dcBA GBED | CEAc DGBd EAce | fcBA E2G2 A4 :|

A4 cecA gedc | fgaf ecBA GBGE | cAec aefe dcBA | Gedc BAGF E2D2 |

CEAc AAcA ecBA | FAdf dcBA GBGE | CEAc DGBd EAce | dcBA E2G2 A4 ||

           

CLARK'S QUICKSTEP. Scottish, Quickstep (6/8). F Major. Standard tuning. AABBCC. '''Source for notated version''': the early 19th century music manuscript collection of Alexander Berry Clark, clarinetist for the Queen's Band (Edinburgh) [Carlin]. Carlin (Master Collection), 1984; pg. 102, No. 176.

           

CLARK'S REEL. Scottish. Glen (1891) finds the tune earliest in print in Joshua Campbell's 1778 collection (pg. 62).

           

CLARK'S SLOW MARCH. Scottish, March. C Major. Standard tuning. AABB. '''Source for notated version''': the early 19th century music manuscript collection of Alexander Berry Clark, clarinetist for the Queen's Band (Edinburgh) [Carlin]. Carlin (Master Collection), 1984; pg. 110, No. 191.

           

CLARK'S STRATHSPEY. Scottish, Strathspey. F Major. Standard tuning. AABB. '''Source for notated version''': the early 19th century music manuscript collection of Alexander Berry Clark, clarinetist for the Queen's Band (Edinburgh) [Carlin]. Carlin (Master Collection), 1984; pg. 88, No. 145.

           

CLARK'S WALTZ. AKA – “Red Hawk Waltz.” Old-Time, Waltz. USA, Missouri. A Major. Standard tuning. AB. “Clark’s Waltz” is one of the ‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie Walden. Silberberg says that Fred Stoneking, his source, got this double-stop heavy tune from Missouri fiddler Pete McMahon. “Clark’s Waltz” had been recorded by Fred’s father, Lee Stoneking,” in the 1970’s however. Missouri fiddler Art Galbraith (1909-1993) recorded the melody as “Red Hawk Waltz.” Sources for notated versions: Fred Stoneking [Silberberg]; H.K. Silvey (b. 1934, late of Theodosia, Mo.), learned from Lonnie Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 128. . Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 10. Rounder 0157, Art Galbraith – “Simple Pleasures: Old-Time Fiddling from the Ozarks” (198-). Stoneking LP, Lee Stoneking – “Rainbow of Fiddle Tunes” (197-). Rounder CD 0437-2, H.K. Silvey – “Traditional Fiddle Music of the Ozarks, vol. 3” (2000. Various artists).

See also listing at:

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

                       

CLARK'S WALTZER NO. 1. Scottish, Waltz. C Major. Standard tuning. AABB. '''Source for notated version''': the early 19th century music manuscript collection of Alexander Berry Clark, clarinetist for the Queen's Band (Edinburgh) [Carlin].Carlin (Master Collection), 1984; pg. 104, No. 179.

           

CLARK'S WALTZER NO. 2. Scottish, Waltz. C Major. Standard tuning. AABBCC. '''Source for notated version''': the early 19th century music manuscript collection of Alexander Berry Clark, clarinetist for the Queen's Band (Edinburgh) [Carlin].Carlin (Master Collection), 1984; pg. 104, No. 180.

           

CLARKSON'S REEL [1] ("Seisd Miccleiraig" or "Cor Mic Cleirig"). AKA and see “Gem of Ireland.” Irish, Reel. D Major. Standard tuning. AB (O'Neill/1915 & 1001): AABB (McGuire & Keegan): AA'BB' (O'Neill/Krassen). Source for notated version: Leo Ginley [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, Vol. 1), 1975; No. 41, pg. 11. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 273, pg. 139. O'Neill (Krassen), 1976; pg. 157. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1531, pg. 283. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 748, pg. 131.

X:1

T:Clarkson’s Reel [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 748

Z:AK/Fiddler’s Companion

K:D

A,2|D2 DG FEDF|ABAF Acdc|BABc dBAF|EGFD EDB,E|D2 DG FEDF|

ABAF Acdc|Bdce dBAF|EGFE D2||eg|fddf afdf|edcd efge|fddf afdf|

edef d2 (3ABc|defg afdf|edcd efge|(3fga ec dBAF|G2 FD EDB,E||

 

CLARKSON'S REEL [2]. Irish, Reel. Ireland, County Sligo. G Major. Standard tuning. AA'B. Source for notated version: whistle player Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 138.

           

CLARTY BITCH THE MAIDEN. AKA and see "Seldom Cleanly."

           

CLASHING AT HER. AKA and see “Highland Laddie(, the Original) [1].” English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 265.

           

CLASHNETTIE'S HORNPIPE. Scottish, Hornpipe. E Flat Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 108, pg. 37.

                       

CLASSIC, THE. Irish, Jig. G Minor. Standard tuning. AA’BB’. Source for notated version: Noel Rice [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 102, pg. 51.

X: 1

T: Classic, The

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: jig

K: Gm

|: DGA BAG | dGA BAG | A^FD AFD | AcA GFE |

DGA BAG | dGA BAG | ded cBA |1 BGG G2 (3DDD :|2 BGG G2_G ||

|: ~F3 ~E3 | DFB dcB | A/B/cA FGA | Bdc BAG |

FBd EAc | DFB dcB | A/B/cA FGA |1 B3 B2 (3G/A/G/:|2 B3 B2z ||

P: Key of Am

K:Am %Transposed from Gm

E | EAB cBA | eAB cBA | B^GE BGE | BdB AGF |

EAB cBA | eAB cBA | efe dcB | cAA A2 :|

|: E | G^FG FEF | EGc edc | BdB GAB | ced cBA |

Gce FBd | EGc edc | BdB GAB | c3 c2 :|

                       

CLASSICAL HORNPIPE. Irish, Hornpipe. D Minor. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 46, pg. 24.

X:1

T: Classical Hornpipe

C: © B.Black

Q: 325

R: hornpipe

M: 4/4

L: 1/8

K: Dm

cB | A2 BA G2 AG | FDDC DCA,G, | A,CDE FAcA | defa gecB |

A2 BA G2 AG | FAce f3 g | afef dBGB | AFEC D2 :|

DE | FAcA GBdB | Acec abag | fdcd ecAc | dAAG FEDE |

FA (3AAA GB (3BBB | Ac (3ccc agfe | fdec dBAG | FDEC D2 :|

           

CLAUDY DWELLING. Irish, Air (4/4 time). G Major/Mixolydian. Standard tuning. AAB. Stanford/Petrie (Complete Collection), 1905; No. 756, pg. 189.

X:1

T:Claudy Dwelling

M:C

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 756

Z:AK/Fiddler’s Companion

K:G

de/f/ | g2 de =fedc | BGAG E3 G/A/ | B2 eB dB A>B | (G4 G2) :|

B>A | GB de/f/ g2a2 | ge dB A2 G>A | GB de/f/ g2 ae/f/ | g4 d2 de/f/ |

g2 de =fedc | BG {B}AG E2 G>A | B2 eB eB A>B | G4 G2 || 

           

CLAUDY’S FANCY. Irish, Reel. E Minor (‘A’ part) & G Major (‘B’ part). Standard tuning. AA’BB’. Composed by banjo player Peter Fitzgerald, originally from County Meath and late of Baltimore. Black (Music’s the Very Best Thing), 1996; No. 240, pg. 128.

X:1

T: Claudy's Fancy

C: Peter Fitzgerald

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

F |: GEEF GE E2 | AB B2 A2 BG | D3 A BGED | FD D2 DFGA |

GEEF GE E2 | AB B2 A2 BG | E2 BE dEBd |1 dBcA dABA :|

|2 dBcA BEEe || dBcA G3 e | dBcA GBdG | FDAD FADA |

Adfg feed | dBcA G3 e | dBcA GBde | fedB AGFE |1 ADEG FDDd :|

|2 ADEG GE E2 ||

                       

CLAW HER WEAM. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Editor Seattle (1987) explains that, while William Vickers' Great Northern contents lists "Claw hir Weam" (which means roughly 'tickle her tummy' or 'stroke her belly') the title that was printed on the page with the music is the incomprehensible "Clap hir Warm they." Seattle (William Vickers), 1987, Part 3; No. 437.

                       

CLAY HOLE WALTZ. Old-Time, Waltz. A Major. Standard tuning. AB. Source for notated version: Greg Canote [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 24.

                       

CLAY PIPE. AKA and see "The Monaghan {Jig}." Irish, Double Jig. E Dorian. Standard tuning. AA’BB’CC’ (Cranford/Fitzgerald): AABBCCDD (Monaghan Jig). Three turn versions were published in The Harding Collection and O’Neill’s. According to Paul Cranford (1997), a four-turn setting first appeared in 1809 in Gow’s 5th Collection (with a new variation by Mr. Sharp of Hoddom). Sligo/New York fiddler Michael Coleman recorded a four-turn version with a different fourth part in the 1920's. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 195, pg. 76. JEMF-105, Joe Cormier – “New England Traditional Fiddling” (Appears as first tune of “Clay Pipe Medley”). Rounder Heritage Series 1166-11592-2, Joe Cormier (et al) – “The Art of Traditonal Fiddle” (2001. Appears as first tune of “Clay Pipe Medley”).

 

CLAYMORE, THE. Scottish, Strathspey. G Major. Standard tuning. One part. Composed by A. Cameron. Hunter (1988) says the strathspey was named after the steamer Claymore which sails to the Hebrides from Oban. Hunter (Fiddle Music of Scotland), 1988; No. 72.

X:1

T:Claymore, The

S:J. Hunter - Fiddle Music of Scotland

M:C

L:1/8

Q:250

L:1/8

K:G

D|G>D C/B,/A,/G,/ B,<D {F}G2|A,<AA>G F<DD>c|B>GA>F G>EF>D|

E<AA>G F/G/F/E/ D/C/B,/A,/|G,>D C/B,/A,/G,/ B,<D {F}G2|A,<AA>G F<DD>c|

(3BAG (3AGF (3GFE (3DCB,|C>ED>C B,<G, G,::B/c/|d>cB<g d<BG>B|

c>aB>g a<AAB/c/|d>cB>A G<gd>B|c>Ad>c B<GGA/B/|d>cB<g d<BG>B|

c>aB>g a<AAB/c/|(3BAG (3AGF (3GFE (3DCB,|C>ED>C B,<G, G, :|


 

CLEAN COUNTRY WAY, THE. AKA and see "Hey, Then Up Go We," "The Good Old Cause." English. Chappell (1859) notes that the phrase "the clean country way" was popularly used as a burden, or a type of ending tag in a song, as early as the 15th century.

 

CLEAN PEA(SE) STRAW/STRAE. AKA and see “Old Buttie Was a Bonnie Lad,” "Pea Straw," "Pease Strae/Straw," "What'll All the Lasses Do" (Shetland). English, Scottish, Shetland; Hornpipe or Reel. England, Northumberland. D Mixolydian. Standard tuning. AAB. Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection (pg. 65). Pease strae, or pease straw, consists of dried stems and leaves.  It has many uses in agricultural areas: it is a fodder for horses, if not sandy, but was also used as a rustic bedding, as illustrated in this brief excerpt from Sir Water Scots’ novel The Antiquary:

***

Oldbuck thrust something into his hand---Ochiltree looked at it by the torchlight, and returned it---``Na, na! I never tak gowd---besides, Monkbarns, ye wad maybe be rueing it the morn.'' Then turning to the group of fishermen and peasants---``Now, sirs, wha will gie me a supper and some clean pease-strae?''

***

Indeed, not only was it bedding for people—in the Elizabethan era to be as ‘snug as pigs in pease-straw’ was to be very well off! Many other literary references to pease strae exist. Scots poet Robert Tannahill wrote a song to the tune, called “When John and I Were Married”, which mentions pease strae in the last line of every verse:

***

When John and I were married,
Our hau'ding was but sma',
For my minnie, canker't carline,
Wou'd gi'e us nocht ava';
I wair't my fee wi' canny care,
As far as it would gae,
But weel I wat our bridal bed
Was clean pease-strae.

***

It is even referenced in a relic of the ancient cushion dance that survived into the 20th century in the children’s rhyme:

***

The best bed of all,

the best bed in our house

is clean pease straw.

Pease straw is dirty,

will dirty all my gown;

never mind my bonny lass –

just lay the cushion down"

***

Bremer (Scots Reels), 1757; pg. 65. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 21. Honeyman (Stathspey, Reel and Hornpipe Tutor), 1898; pg. 12. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 22, pg. 7. Kerr (Merry Melodies), vol. 1; Set 14, No. 6, pg. 10. MacDonald (The Skye Collection), 1887; pg. 72. Mooney (Choicest Tunes/Lowland Pipes), pg. 25. Raven (1000 English Country Dance Tunes), 1984; pg. 184. Seattle (William Vickers), 1987, Part 2; No. 203. "Fiddle Me Jig" (c. 1978).

See also listing at:

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

X:1

T:Clean Peas Straw

M:C

L:1/8

R:Reel

S:Bremner - Scots Reels (1757)

Z:AK/Fiddler's Companion

e | defd gefd | eA A/A/A (c2 c)e | defd gefd | eA A/A/A (d2d) :| f | afdf (a/g/f/e/ d)f |

eA A/A/A (c2 c)f | afdf a/g/f/e/ df | eA A/A/A (d2d)f | (a/g/f/e/ d)f (a/g/f/e/ d)f |

eA A/A/A c2 cf | afge fde^c | d(g”tr”fe) (d2d) ||

 

CLEANING THE HENHOUSE (Glanadh Chró na gCearc). Irish, Reel. D Major (& B Minor?). Standard tuning. AB. Source for notated version: fiddler Seamus Creagh & accordion player Jackie Daly (County Cork, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 190. Gael‑Linn Records CEF 057, "Jacky Daly & Seamus Creagh" (1977).

 

CLEAR CAVALIER, THE. English, Air (4/4 and 6/8 time). D Major. Standard tuning. AABBCC. The tune appears in Charles Morgan's MS (1682), John Bannister's Division Violin MS, Apollo's Banquet for the Treble Violin, the ballad opera Love in a Riddle (1729). Chappell (1859) states it was introduced as "The Card Dance" in Mrs. Behn's farce The Emperor of the Moon (1687). The song, attributed to Samuel Butler, was a Cavalier ballad and was published in several collections filled with loyal songs to King Charles. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 32‑33.

           

CLEAR THE DECKS. Irish, Reel. B Minor. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Antrim. The title, she says, refers to the wooden platforms once erected for crossroads dances in Ireland. Keegan (The Keegan Tunes), 2002; pg. 32.

                       

CLEAR THE KITCHEN. American, Song tune and Reel. D Major. Standard. One part.

***

A bull‑frog dress'd in soldier's clothes,

Went out in the field to shoot some crows.

The crows smell powder and fly away,

That bull‑frog mighty mad that day. (Ford)

***

Fiddler and musiciologist Paul Tyler has discovered an account by one Joseph Hayes, born in 1786 in Pennsylvania, who moved from that state down the same Ohio river to settle in Lawrenceburg, Indiana.  Late in his life he dictated memories of frontier life from circa 1810, including an account of dancing after corn-huskings. Hayes writes that at these events "in one corner would be seated the fiddler delving way with fingers, elbow, cat-gut and horse-hair, to the joy of all around - The pieces of music mostly called for, were 'The gray cat kittened in Charley's wig,’ 'Captain Johnston', 'Buncomb' &c. the whole ending in a jigg called 'Clear the kitchen'.” The minstrel-dialect title “Clar de Kitchen” appears in Howe’s Musician’s Companion, Part 2, published in 1843. Additional verses in Ford (1940, pg. 407). Ford (Traditional Music in America), 1940; pg. 105.

           

CLEAR THE ROAD. See “Countess of Louden(‘s Reel),” “Jolly Clam-Diggers,” “Rising Sun [2].”

                       

CLEAR THE TRACK. American, Hornpipe. B Flat Major. Standard tuning. AABB. "Can be used as a Clog." Paul Cranford notes that this tune was recorded in the 1930's by the Inverness Serenaders and by Antigonish, Cape Breton, fiddler Hugh A. MacDonald. Source for notated version: Winston Fitzgerald (Cape Breton) [Cranford]. Cole (1000 Fiddle Tunes), 1940; pg. 116. Cranford (Winston Fitzgerald), 1997; pg. 5. Ryan’s Mammoth Collection, 1883; pg. 153. Rounder CD7108, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.” Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

X:1

T:Clear the Track

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(B,>.D)(F>.B) d>fb>f | d>fB>d F>BD>F | C>FA>c e>cA>c | B>dc>B A>FE>C | B,>DF>B d>fb>f |

d>fB>d F>BD>F | C>FA>c e>cA>c | B2d2B2z2 :: f2 | (a>.g)(e>.c) A>cf>a |

b>fd>B F>Bd>f | g>ec>g f>dB>f | e>cd>B A>FA>c | a>ge>c A>cf>a |

b>fd>B F>Bd>f | g>ab>g f>bA>c |1 B2d2B2 :|2 B2d2B2 z2 ||

 

CLEASA UI FINNACTAIG. AKA and see "Finerty's Frolic."


 

CLEASA UI GALCOBAIR. AKA and see "O'Gallagher's Frolics."

 

CLECKELL MURRAY-NIGHT. Irish.

 

CLEE HILL. AKA – “Dennis Crowther’s No. 1.” English, March (4/4 or 2/4 time). D Major. Standard tuning. One part. Clee Hill refers to both the height of Titterstone Clee, one of the highest hills in south Shropshire, or the village of Cleehill, Shropshire, which lies on the slopes. Titterstone Clee is in the range of hills called collectively the Clee Hills, and has been heavily quarried over the years. Writer J.R.R. Tolkien used to visit the area and some believe he modelled “The Shire” in The Hobbit and Lord of the Rings after the area. Dennis Crowther is a poet, singer, mouth organ player from the area. Part of the melodic material from “Clee Hill” appears in the tune “Oh, Joe! The boat is going over,” a melody used by morris/molly dancers from the Clee Hill area. Accordion master John Kirkpatrick recorded this tune (along with “Dennis Crowther’s No. 2”) at the Sidmouth Folk Festival, 1999. Source for notated version: Shropshire harmonica player and entertainer Dennis Crowther [Callaghan]. Callaghan (Hardcore English), 2007; pg. 32.

X:1

T:Clee Hill

M:2/4

L:1/8

R:March

K:C

E2F|G3A|GcBA|G2E2|D3E|F3G|BAGF|EcBA|

E3F|G3A|GcBA|G2E2|D3E|F3G|BAFD|C2C2||

eGeG|e3E/2F/2|GAGc|B2A2|fGfG|f3E/2F/2|GAGB|A2G2|

eGeG|e3E/2F/2|GAGc|B2A2|ABcB/2A/2|Gce2|edAB|c4||

 

CLEEK HIM INN. Scottish, Reel. F Major. Standard tuning. AAB. Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection. The title references Cleekhimin (pronounced Kleek-ay-minn), a junction between Motherwell Cross and Carin Cross in Lanark, Scotland, located halfway up a steep hill. A tavern was located there, the Cleekhimin Bar, whose trade was insured by the fact that the hill was so precipitous that horse drawn carriages would be forced to harness or ‘cleek’ an extra set of horses in order to power the way to the crest of the hill. The call to ‘cleek him in,’ referring to the addition of an extra team, became a place-name. Bremner (Scots Reels), 1757; pg. 66.

X:1

T:Cleek Him Inn

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:F

F>c c/c/c fcdA | BdcA G/G/G G2 | F>c c/c/c afge | cfeg f/f/f f2 :| a>gfa c/c/c ac |

defa g/g/g g2 | a>gfa c/c/c ac | d>fe>g f/f/f f2 | a>gfa c/c/c ac | defa g/g/g g2 |

afge fcdB | cABG F/F/F F2 ||

 

CLEGG LANE. English, North‑West Morris Tune (6/8 time). G Major. Standard tuning. AA'BB. Tune for a single step dance. Wade (Mally’s North West Morris Book), 1988; pg. 13.

 

CLEITE NA PÉACÓIGE. AKA and see "The Peacock's Feather."

 

CLEMATIS. AKA and see “"The All Ireland," "The Burren," "Thady Casey's Fancy.”

 

CLEMENS' REEL. American, Reel. F Major. Standard tuning. AABB. Pretty. Cole (1000 Fiddle Tunes), 1940; pg. 31. Ryan’s Mammoth Collection, 1883; pg. 56.

X:1

T:Clemens’ Reel

M:C|

L:1/8

R:Reel
S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:F

F2 (Ac) f2 (de)|({g}f)efd (eg)g2|F2 (Ac) fagf|ebge fdcA|F2 (Ac) f2 (de)|

({g}f)efd eg(ga)|bagf gfed|(cb)eg f2z2::f2 (cf) (Af) (cf)|fagf egga|f2 (cf) AFcF|

BdcB Acde|f2 (cf) (Af) (cf)|fagf egga|bagf gfed|cbeg f2z2:|

 

CLEM TITUS JIG. Appears in Hans Nathan's collection. Clem Titus’s name appears in Ryan’s Mammoth Collection as a composer of a few tunes. AKA and see "Peggy Whiffle’s," "Ratcatchers Reel," "Evansville Reel," "Wide Awake Reel."

 

CLERGY'S LAMENTATION, THE. Irish, Air. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O’Sullivan, in his definitive work on the bard could find no incontrovertible evidence of its origin. Maggie's Music MM107, "Music in the Great Hall" (1992).

           

CLEVEDON SICILIAN.  AKA – “Doreen’s Delight.” English, Jig. A Major. Standard tuning. The name of a tune and dance composed by teacher, collector, musician and choreographer Pat Shaw. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 21.

           

CLEVELAND IS ELECTED. Old-Time, Breakdown. G Major. Standard tuning. AAB. Source for notated version: Jim Willie Pruitt [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 54.

                       

CLEVELAND'S MARCH (TO THE WHITE HOUSE). AKA – “Cleveland Marching to the White House.” Old‑Time, March. Grover Cleveland ran for the Presidency in the 1880’s and was elected twice, in 1885 and 1893. Mike Yates (2002) believes the tune dates to one of these election campaigns. The tune is fairly well known in the Blue Ridge mountain area of western Virginia and North Carolina. It was in the repertoire of fiddler Emmett Lundy (b. 1864), from Grayson County, Virginia, who was recorded playing the tune in 1941 by Alan and Elizabeth Lomax for the Library of Congress Archive of Folk Song. A version called “Piper’s Gap” was played by banjo player Rob Tate (who lived between Piper’s Gap and Fancy Gap, Carroll County, Virginia) in 1979 for Mike Yates. Heritage 070, Roscoe Parish (Galax, Va.) ‑ "The Old‑Time Way." Musical Traditions MTCD321-2, Rob Tate – “Far in the Mountains, vols. 1 & 2” (2002. Appears as “Piper’s Gap”). Rounder CD 0439/40, Bertie Caudill Dickens (appears as “Cleveland’s Marching to the White House”). Voyager VRCD-354, Hart & Blech – “Build Me a Boat” (appears as “Cleveland Marching to the White House”).

                       

CLEVER COLLEEN, THE. Irish, Reel. A Major. Standard tuning. AB. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Niell (Waifs and Strays of Gaelic Melody), 1922; No. 264.

X:1

T:Clever Colleen, The

M:4/4

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Reel

K:A

E|A2 (3cBA BEEB|A2 (3cBA ceac|A2 (3cBA BEEe|afec A2 E2|

A2 (3cBA BEEB|A2 (3cBA ceac|A2 (3cBA BEEe|afec A2||

(3efg|a2 eg fece|a2 ga bgeg|a2 eg fece|afec A2 (3efg|

agfe fedc|dcBA GABd|ceAa gbeg|agbg agec||

                       

CLEVER HOUNDS, THE. AKA and see "Les Huppes Taiauts."

                       

CLEVER KATIE. AKA and see "Crippled Kattie," "Who'll Dance Wi Wattie." Shetland, Shetland Reel. Shetland, Whalsay.

                       

CLIAB(AN) MÓNA, AN. AKA and see "The Basket of Turf." AKA – “An Cliabh Móna.” Irish, Jig.

                       


CLIFF HORNPIPE, THE. AKA and see "Fred Wilson's Clog (/Hornpipe)," "Higgins' Hornpipe," “Wilson’s Jig.” AKA – “Cliffe Hornpipe.” Irish, English, Scottish; Hornpipe. D Major (Allan's, Callaghan, Craig, Kennedy, Kerr, Raven): F Major (Honeyman). Standard tuning. AABB. The melody is thought to have been one of the many justifiably famous hornpipe compositions 19th century Tyneside, Newcastle, tavern fiddler James Hill (c. 1815-c. 1860), although there is little hard evidence. However, it is a member of a large family of related hornpipe melodies, some more closely related than others. Compare, for example, the signature first four bars of the second part of “Cliff” with the same four bars of the familiar “Harvest Home [1]” hornpipe, although the rest of the melodic material differs. "The Castle Rag Hornpipe" is a similar melody (or similar in parts) to the “Cliff”, as are "Brown's Hornpipe," "Cincinnati Hornpipe [1]," "Cork Hornpipe [1]," "Dundee Hornpipe," "Kildare Fancy," "Ruby Lip," "Standard Hornpipe," "Zig-Zag Hornpipe/Clog," "Kephart's Clog" (Pa.), "Granny Will Your Dog Bite?" (Pa.), "Snyder's Jig" (Pa.). Norfolk, England, musicians Billy Cooper (1883-1964) and Walter Bulwer (1888-1972), on dulcimer and fiddler respectively) recorded a version of the tune in 6/8 time. Honeyman uses the “Cliff” in his hornpipe instructor to introduce another variety of the Newcastle style of hornpipe playing. Barry Calaghan (2007) prints two version, as “Cliffe Hornpipe,” to illustrate the heavily doted-rhythm hornpipe style of northern England players contrasted with the fast and smooth versions favoured by East Anglia or Devon players (who employ it as a vehicle for step dancing). South Tawton, Devon, melodeon player Bob Cann (1916-1990) called the tune as “Uncle George’s Hornpipe,” having learned it from his Uncle George, one of his musical mentors. In America the tune was known under other titles: for example, West Virginia/East Kentucky fiddler Ed Hayley called the tune “Wilson’s Jig.” See also the tune under the title “Fred Wilson’s Clog,” named for a famous American blackface minstrel dancer. Allan's Irish Fiddler, No. 101, pg. 26. Callaghan (Hardcore English), 2007; pg. 15. Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 3. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 41. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 20, pg. 10. Kerr (Merry Melodies), vol. 1; No. 15, pg. 44. Raven (English Country Dance Tunes), 1984; pg. 164. Treoir, vol. 32, No. 4, 2000; pg. 26. DMPCD9401, Karen Tweed – “Drops of Springwater” (2001). Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1960). Topic TSCD 657, Bob Cann –  “First I’m Going to Sing You a Ditty” (various artists. Appears as “Uncle George’s Hornpipe”). Veteran VT144CD, Jack, Les & Jason Rice – “Merrymaking: Mouthorgan, concertina and accordion music from Chagford, Devon.” Veteran VTVS05/06, Oscar Woods – “The Pigeon on the Gate: Melodeon players from East Anglia” (various artists). Victor 21593B (78 RPM), Ed Reavy (1927). Wild Goose WGS268CD, Chris Bartram & Keith Holloway – “Four Red Feet.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Cliff Hornpipe

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:F

c>A|F>Ac>A F>Bd>B|A>cf>c a>fc>A|B>dg>b A>cf>a|(3gaf (3efd (3cdB (3ABG|

F>Ac>A F>Bd>B|A>cf>c A>fc>A|B>dg>b a>gf>e|g2 (f2 f2):|

|:e>f|g>c (3ccc c2 a>c|g>c (3ccc c2 g>a|b>ga>f g>ef>a|(3gaf (3efd (3cdB (3ABG|

F>Ac>A F>Bd>B|A>cf>c a>fc>A|B>dg>b a>gf>e|g2 (f2 f2):|

X: 2

T: Cliff Hornpipe

S: Noel Strange (1927-1970, County Longford)

M: 4/4

L: 1/8

Q: 325

S: Treoir 32/4

Z: Transcribed by Bill Black

R: hornpipe

K: D

(3GFE | DFAF DGBG | FAde fdAF | GBed cegf | (3efe (3dcB (3ABA (3GFE |

DFAF DGBG | FAde fdAF | GBdg fdec | d2 dc d2 :|

cd | eA (3AAA fA (3AAA | gfed eA (3AAA | gefd edcd | (3efe (3dcB (3ABA (3GFE |

DFAF DGBG | FAde fdAF | GBdg fdec | d2 dc d2 :|

           

CLIFFORD.  American, March (4/4 time). D Major. Standard tuning. AABB. Miller (Fiddler’s Throne), 2004; No. 332, pg. 196.

 

CLIFFORD CHIASSON’S STRATHSPEY. Canadian, Strathspey. Canada, Cape Breton. D Major. Standard tuning. AAB. Composed by fiddler Jerry Holland (Invernes, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 87, pg. 26.

           

CLIFFORD DILLON. Canadian, Reel. Canada, Cape Breton. E Mixolydian. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 32.

           

CLIFFS OF MOHER, THE (Aillte Motair Ua Ruadain). AKA and see “Last of the Lot.” Irish, Double Jig. A Dorian (most versions): G Major (Harker/Rafferty, O'Neill/1850): A Major (Levey). Standard tuning. AAB (Carlin, Moylan, O'Neill/1850 & 1001): AABB' (Cranitch, Harker/Rafferty, Mallinson, O'Neill). The Cliffs of Moher are situated on the Atlantic coast northwest of Lahinch, in County Clare. They stretch some eight kilometers from Hag's Head to O'Brien's Tower and reach 200 meters in height. They take their name from a ruined promontory fort, Mothar, which was demolished during the Napoleonic wars to make room for a signal tower. Although the tune is noted in G Major in O’Neill’s/1850, it is usually heard played in the A Dorian mode, and indeed, O’Neill’s version is quite distanced from modern ones.

***

The Cliffs of Moher, County Clare

***

Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; Francis O'Neill learned the tune from an accomplished West Clare flute player (and Chicago police patrolman) named Patrick "Big Pat" O'Mahony, a man of prodigious physique of whom he said: “…the 'swing' of his execution was perfect, but instead of 'beating time' with his foot on the floor like most musicians he was never so much at ease as when seated in a chair tilted back against a wall, while both feet swung rhythmically like a double pendulum" [O'Neill, Irish Folk Music]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Carlin (Master Collection), 1984; pg. 148, No. 258. Cranitch (Irish Fiddle Book), 1996; pg. 117. Harker (300 Tunes from Mike Rafferty), 2005; Nos. 187-188, pg. 58. Jordan (Whistle and Sing), 1975; No. 55. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 34, pg. 14. Mallinson (Essential), 1995; No. 100, pg. 43. Moylan (Johnny O’Leary), 1994; No. 276, pg. 158. O'Neill (Krassen), 1976; pg. 35. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 861, pg. 160. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 121, pg. 35. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995). Green Linnet GLCD 3009, Kevin Burke - "If the Cap Fits" (1978). Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985). Leader LEACD 2004, “Martin Byrnes” (1969).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Cliffs of Moher, The

M:6/8

L:1/8

K: Ador

eaa bag|eaf ged|c2A BAG|EFG ABd|eaa bag|\

eaf ged|c2A BAG|EFG A3::efe dBA|efe dBA|\

GAB dBA|GAB dBd|1efe dBA|efe dBA|GAB dBG|\

EFG A3:|2efe dee|cee Bee|EFG BAG|EDB, A,3|]

X:2

T:Cliffs of Moher

M:6/8

L:1/8

R:Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:A

(3e/f/g/) | a3 bag | faa ged | cAA EAA | cAA BAA | a3 bag |

faa ged | cAA EAA | BAA A3 :: (c/d/) | e3 (dBd) | e3 (dBA) |

(G>AB/c/) (dBA) | (G>AB/c/) (dBd) | e3 dBd | (efg) dBA |

G>(AB/c/ d)BG | (BAA) A2 :|

                       


CLIFTON'S CREW, THE. American. Library of Congress recording, 1938, Patrick Bonner, St. James, Beaver Island, Michigan.

           

CLIMB THE GOLDEN STAIRS. Old-Time, Breakdown. G Major. Standard tuning. AA'BB'. Though the titles are similar, the melodic material for this tune and the minstrel piece "Climbing Up the Golden Stair" are quite different. Source for notated version: Jere Canote [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 54.

           

CLIMB UPSTAIRS THE MONKEY. Old-Time, Breakdown. USA, Missouri. G Major. It is on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’.

                       

CLIMBING UP THE GOLDEN STAIR. Old‑Time, Song and Breakdown. D Major. Standard tuning. AABB. This tune, a composition of F. Heiser, is from the American minstrel repertoire and passed into fiddling tradition. Unfortunately, the words are rather patently racist. There was a singing dance call to the tune.

***

Come all you little n…..s,                                 

Now watch your cues and figures,

Climbing up the golden stairs.

If they think you are a dude,

They will treat you rather rude,

Climbing up the golden stairs!

***

Then hear them bells a‑ringing,

'Tis sweet I do declare.

Oh hear them darkies singing,

Climbing up the golden stairs. (Ford)

***

Additional verses in Ford (1940, pg. 284). Ford (Traditional Music in America), 1940; pg. 38. Ruth (Pioneer Western Folk Tunes), 1948; No. 25, pg. 10.

X:1

T:Climbing the Golden Stairs

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:D

d/d/d/d/ f<a | d/e/d/d/ f<a | d/d/d/d/ fa | e3 (e/f/) | g/f/e/d/ c(e/f/) | g/f/e/d/ ce |

a/aa/ ge | d3(3A/B/c/ :: dfb>a | a g3 g/ | cea>^g | a3 (3A/B/c/ | dfb>a |

a g3 g/ | a/a/a/a/ ge |1 (d2d) (3A/B/c/:|2 (d2d) ||

           

CLINCH MOUNTAIN. AKA and see "Drunken Hiccups [1]," "Rye Whiskey [1]."

           

CLINCH MOUNTAIN BACKSTEP. Old‑Time, Breakdown. G Dorian. AABB. Composed and recorded by banjo player Ralph Stanley in clawhammer style in the 1930's. Fretless/Alcazar Records, Sandy Bradley ‑ "Potluck and Dance Tonight." King/Gusto Records, The Stanley Brothers and the Clinch Mountain Boys. Rounder 0132, Bob Carlin ‑ "Fiddle Tunes for Clawhammer Banjo" (1980. Source: Tracy Schwartz, who calls it "Liza Jane").

           

CLINCH MOUNTAIN BLUES. Old-Time, Country Blues. A Major. Standard. AB. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 24.

                       

CLINTON.  AKA and see “Going to the Free State.” Old-Time, Breakdown. The Volo Bogtrotters play a similar tune called “Apple Knocker.”

 

CLINTON('S) QUADRILLE. Old‑Time, Quarille. Edison 52022 (78 RPM), John Baltzell, 1927. Baltzell was from Mt. Vernon, Ohio, also the home town of minstrel Dan Emmett (d. 1904). Emmett had returned there in 1888, poor, but taught young Baltzell to play the fiddle. Named for the community of Clinton, Ohio, near Mt. Vernon, home to Dan Emmett, Baltzell and African-American musicians and entertainers Ben and Lew Snowdon (see note for “Dixie”).

           

CLISTE LEIS AN MAIDE. AKA and see "Handy with the Stick."

           

CLOAK THAT GOT ITS COMBING, THE (Fallainn A Fuair A Chiorrbhadh). Irish, Air (3/4 time). G Dorian. Standard tuning. One part. Joyce (Old Irish Folk Music and Songs), 1909; No. 634, pg. 322‑323.


           

CLOCH AOIL, AN. AKA and see "Tit for Tat."

           

CLOCH NA CEITHRE MHILE (The Four Mile Stone). AKA and see “The Four Mile Stone.” Irish, Reel. The melody is attributed to Arthur Darley, a Dublin musician who loved for some time in Bruckless, Co. Donegal. Green Linnet GLCD 3090, Mairead Ni Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1982/1994. Learned from the playing of the late New York musician Larry Redigan).

           

CLOCH SA nGARRAI, AN. See "Chloch sa nGarrai."

           

CLOCHES, LES. French, Scottish (2/4 time). A Dorian & G Major. Standard tuning. AAB. Composed by J. Blanchard. Stevens (Massif Central), 1988; No. 8.

           

CLOCK IN THE STEEPLE, THE (An Clog Annsa/San Cloigteac). AKA and see “Jumping Geordie,” “Kilwinning’s Steeple,” “The Pope’s Toe,” “The Prince of Wales’ Fancy,” “The Templeglantine Reel [1].” Irish, Reel. A Major. Standard tuning. AB. O'Neill (Krassen), 1976; pg. 105. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1248, pg. 235. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 522, pg. 98. Ryan’s Mammoth Collection, 1883; pg. 70.

X:1

T:Clock in the Steeple, The

M:C|

L:1/8
R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 522

Z:AK/Fiddler’s Companion

K:A

g|a2 ec defg|afec dBBg|a2 ec defg|afed (3AAA Ag|

a2 ec defg|afec dBBc|Ac (3efg abaf|edBd cA A||

B|c2 cA d2 dB|efec dBBd|c2 cA defg|afed cAAB|c2 cA d2 dB|

efec dBBd|Ac (3efg abaf|ecBd cA A||

 

CLOCKHOUSE, THE. Irish, Hornpipe. Composed by Cork accordion player Jackie Daly, named for a building in his hometown of Kanturk.

 

CLODUN REEL. Scottish. Glen (1891) finds the tune earliest in print in Robert Bremner's 1757 collection (pg. 19).

 

CLOG [1], THE. AKA and see “Dineen Dinny Din Dan’s.” Irish, Slide (12/8 time). G Major. Standard tuning. AAB. The accompaniment to the tune begins on the dominent or relative minor chord of the key. Cranitch (Irish Fiddle Book), 1996; pg. 65. Mallinson (Enduring), 1995; No. 58, pg. 26.

 

CLOG [2], THE. Irish, Polka. D Major. Standard tuning. AA’BB’.

X:1

T:Clog, The

M:2/4

L:1/8

R:Polka

K:D

AD FA|G/A/G/F/ EF/G/|AD FA|de/d/ cB|

AD FA|G/A/G/F/ E2|c/B/A ce|1 de/d/ cB:|2 d2 d>e||

|:fa gf|ec A>e|fd af|e2 ed/e/|fa gf|ec A>B|c/B/A ce|1 d2 d>e:|2 de/d/cB||

 

CLOG À TI-JULES. French-Canadian, Clog or Reel. A Minor. Standard tuning. AA’BB’. The title is a reference to fiddler Jules Verret (1916-1982), who learned his repertoire in the 1930’s from Pit Jornoch, of a neighboring town, note Hart & Sandell. The tune is irregular with meters of 6/4 time interspersed with 4/4 meters. Source for notated version: son Jean-Marie Verret (b. 1945) [Hart & Sandell]. Hart & Sandell (Dance se soir!), 2001; pg. 115, No. 79. “Jean-Marie Verret Rend Hommage à Pit Jornoch.”

 

CLOG DE CHAMPAGNE. AKA and see "Champagne Clog."

 

CLOG DE PARISEAU.  French-Canadian, Clog (4/4 time). F Sharp Minor (‘A’ part) & A Major (‘B’ part). Standard tuning. AABB. The melody was recorded on 78 RPM by Montréal accordion great Alfred Montmarquette (1871-1944). Hart & Sandell (2001) say it was named in honor of Montmarquette’s fellow accordionist and long-time friend, Louis-Philippe Pariseau. Source for notated version: Raynald Ouellet, of the group Éritage [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 63, pg. 96. Gabriel Labbé et al – “Hommage a Montmarquette” (1995). Fogarty’s Cove Records, Éritage – “La ronde des voyageurs” (1982).

 

CLOG DE WILLIAM DURETTE (William Durette's Clog). AKA and see "Champagne Clog."

 

CLOG HORNPIPE [1]. AKA ‑ "Navvie on the Line." English, Hornpipe. G Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 172.

 


CLOG HORNPIPE [2]. Scottish, Hornpipe. G Major. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 291, pg. 31.

X:1

T:Clog Hornpipe

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 291  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d’2 |: bgfg dgfg | dgfg dgfg |1 bgfg dgfg ac’^c’c’ e’d’=c’a :|2 ee’d’c’ bagf | g2b2g2z ||

|: f | e^def gfgf | e2e’2b4 | (ac’)ba (gb)ag |1 (fa)gf e2B2 :|2 (fa)gf e2 ||

                       

CLOG IN C MAJOR. Canadian, Clog. C Major. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 164, pg. 111.

                       

CLOG SAN CLOIGTEAC, AN. AKA and see "The Clock in the Steeple."

                       

CLOGGER’S QUILT, THE. AKA and see "Barry's Fancy," “Corry Hilly,” "Kathleen's Fiddle," “Larry Redican’s [5],” "Micho Russell's Favorite [1]," "Rattigan's,"  "St. Andrew's," "The Swallow [2]." Irish, Reel. F Major. Standard tuning. One part.

T:Clogger's Quilt, The

M:4/4

L:1/8

S:Joe Burke, Andy McGann, & Felix Dolan: A Tribute to Michael Coleman (as “Kathleen’s Fiddle”)

R:Reel

K:F

Bc | d~c3 A~F3 | DGGF G2FD | C~F3 CFAF | GAFG AFFA | !c2c=B cdcA |

GFAF GFDF | CFAF CFAF | GAFG AFF_B | !A~c3 dcAc | dggf gfde |

~f3d c2Ac | fefg affe | !f2df c2Ac | dfga gfde | fefd c2Ac | fefg afgf ||

                       

CLOGHER CROSS.  AKA and see “"The Boys from the West," “I Will if I Can [1],” “Jude’s Farewell,” "(Kenmuir's) Up and Awa," “Up and Away [2],” "Hexham Races," "Kenmore Lads," "Land of the West" “Pins and Needles.” Irish, Jig. The tune was recorded by the Kilfenora Ceili Band on their first LP recording in the 1960’s. According to Gearóid Ó hAllmhuráin (1999), there are versions of the tune in Ulster, the Scottish Highlands, and on Cape Breton, Canada. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999).

           

CLOGHER REEL, THE. AKA and see "Athens," "The Dublin Lasses [3]," "The Dublin Reel," "Jackson's Reel [2]," "Miss Daly's Reel," "The Shuffle Reel," "The Twelve Locks," "The Twister," "The Union Reel," "Victor Wild," "The Westmeath Hunt,” “Country Girl's Fortune,” “Dan McCart(h)y’s Fancy,” “The Flowers of Red Hill [2].” Irish, Reel. Coleman Music Center CHC 009, whistle player Dominic Rushe (Gorthaganny, Co. Mayo, d. 1994) – “The Coleman Archive, vol. 2: The Home Place” (2005).

                       

CLOGRA LEDLOW. AKA and see “Ledlow’s Chimes.”

                       

CLOICHÍNÍ BEAGA NA FARRAIGE. See “Spike Island Lasses [1].”

                       

CLOIG ST. LOUIS. AKA and see "The Bells of St. Louis [2]."

                       

CLONEYHURK CASTLE.  Irish, Jig. Composed by the late County Tipperary fiddler Seán Ryan. Ryan (Seán Ryan’s Dream), No. 25.

 

CLONMACNOISE.  Irish, Reel. Composed by the late County Tipperary fiddler Seán Ryan. Ryan (The Hidden Ireland), 36.

 

CLONMEL(L) LASSIES. AKA and see "The Bruisus," "Kiss the Maid behind the Barrel(s)," "Kiss the Maid Behind the Barn," "The Maid Behind the Bar [2]," "An Bearrchaile taobh thiar den Bhear." Irish, Reel. G Major/Mixolydian. Standard tuning. AB. Source for notated version: “From O’Neill’s collection” (1787) [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 479, pg. 121.

X:1

T:Clonmell Lassies

M:2/4

L:1/8

R:Reel

S:Stanford/Petrie (1905), No. 479

Z:AK/Fiddler’s Companion

K:G

D/>G/G A/>G/G | D/>G/G/d/ c/A/G/F/ | D/>G/G A/G/G | c/A/f/d/ c/A/G/F/ |

D/G/G A/G/G | D/G/G/d/ c/A/G/F/ | D/G/G A/G/G | c/A/f/d/ c/A/G/F/ ||

d/g/g a/g/g | d/g/g/b/ a/g/f/d/ | c/=f/f g/f/f | c/=f/f/g/ a/g/f/d/ | d/g/g a/g/g |

c/g/g/b/ a/g/f/g/ | a/b/g/a/ f/g/f/d/ | c/A/f/d/ c/A/G/F/ ||

                       

CLONMORE JIG, THE. Irish, Jig. G Major. Standard tuning. AABB. The tune begins on the subdominent chord. Source for notated version: Joe Keegan, a flute player from the Co. Laois side of Portartington, father of pianist and fiddler Josephine Keegan [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 13, pg. 4. Miller (Fiddler’s Throne), 2004; No. 22, pg. 26.

X: 1
T:Clonmore Jig
R:Jig

M:6/8

L:1/8
K:G
D|GED DB,D|GEG c2e|dBG GAB|AGE E~E2|
GED DB,D|GEG c2e|dBG GAB|AGF G2:||
d|gdB GBd|gdB c2e|dBG GAB|AGE E~E2|
gdB GBd|gdB c2e|dBG GAB|AGF G2d|
gdd edd|gdB c2e|dBG GAB|AGE E~E2|
GED D2D|GEG c2e|dBG GAB|AGF G2||

                       

CLOON, THE (An Chluain). AKA and see "The Humours of Toomagh [1]." Irish, Reel. G Major/C Major. Standard tuning. AABB. Bulmer and Sharpley print the tune as “The Humours of Toomagh.” Source for notated version: flutist Matt Molloy & fiddler Tommy Peoples (County Donegal, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 132, pg. 62. Bulmer & Sharpley (Music from Ireland), vol. 1; 31. Kells Music 9501, Dervish - "Playing with Fire" (appears as last tune in the "Game of Love" set). Mulligan LUN 017, "Matt Molloy, Paul Brady & Tommy Peoples" (1978).

 

CLOONAGROE REEL. Irish, Reel. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995).

 

CLOONE HORNPIPE (Crannciuil Cluain). Irish, Hornpipe. G Major. Standard tuning. AABB. O’Neill (1922) remarks: “(‘The Cloone Hornpipe’) was obtained from Sergt. James Early who learned it from his tutor on the Union Pipes, ‘Old Man’ Quinn. Like many other fine tunes it was anonymous, so it was named ‘The Cloone Hornpipe’ in honor of the famous piper's native town and parish in County Leitrim, Ireland. Its continued popularity is evidenced by its inclusion in a recent Irish Collection under the identical name invented for it by its sponsor, Sergt. James Early of Chicago.” See also the related “Nelson’s Hornipe [3].” O'Neill (1915 ed.), 1987; No. 324, pg. 160. O'Neill (Krassen), 1976; pg. 164. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1558, pg. 288. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 808, pg. 140. Roche Collection, 1982; vol. 2, pg. 11, No. 213.

X:1

T:Cloone Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 808

Z:AK/Fiddler’s Companion

K:G

B>c|d>de>d Bc>A|G>GA>F GB>c|d>gf>g e>dc>d|e>cA>F G>FE>D|

d>de>d Bc>A|G>GA>F Gd>c|(3BdB G>B (3AcA F>A|G2G>F G2:|

|:B>c|d>gf>g e>dc>d|e>de>f gb>g|e>dc>B A>GF>G|A2D2 D2 (3DEF|

G>BA>c (3BdB G>B|(3cec A>c (3gbg d>c|(3BdB G>B (3AcA F>A|G2G>F G2:|

 

CLOONTIA REEL, THE.  AKA and see  Boil the Kettle Early [3],” “The Cloontia Reel,” “The Far Field,” "An Garda Nua," "Lady Cork's Reel,"

 Michael Dwyer’s Favourite,” "The New Policeman [3]," "Paddy Bolster's Reel," “The Tinker’s Stick,” "The Twin Brothers [1],"

 

CLOOTIE DUMPLINGS. Scottish, Reel. Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985).

 

CLOSE TO THE FLOOR. AKA and see "Father Tom's Wager,” “The Frog in the Well [1]," “Paddy O’Brien’s Jig.” Irish, Jig. G Major. Standard tuning. AABB. One of several compositions credited to J. Hand in Ryan’s Mammoth Collection (Don Meade believes that brothers John and James Hand were Boston-area fiddlers and entertainers in the mid-19th century). The tune was recorded by the Cape Breton trio the MacLellan Trio on a 78 RPM disc. Cole (1000 Fiddle Tunes), 1940; pg. 57. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 20, pg. 7. Miller (Fiddler’s Throne), 2004; pg. 23. Ryan’s Mammoth Collection, 1883; pg. 86. Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.” Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Close to the Floor

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(B/c/) | (d>g).e d>BG | .A(EF) G>DB, | G,B,D GBd | ({d}c)Bc ABc | (dg).e d>BG |

A>(EF) G>DB, | G,B,D GAc | BGG G2 :: (d/c/) | .B.d.(g b).a.g | .f.e(d c).A.F |

(DG).G (FA).A | (GB).B .A(Bc) | .B(dg) b>a(g | g).f.e dBG | c>(ec B>)AG | .A(EF) G2 :|

 

CLOSE TO THE FLOOR [2].  AKA and see “Walking the Floor.” Canadian, Jig. Canada, Cape Breton.

 


CLOSE YOUR EYES (Dun Do Shuile). Irish, "Nurse Song" (Lullabye) {2/4 time}. G Major. Standard tuning. One part. "This air...from Mrs. J.H. O'Brien, Cork" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 651, pg. 329.

 

CLOTHIERS MARCH, THE. AKA ‑ "Limerick's Lamentation [1]." Irish, March. A Mixolydian. Standard tuning. AABBCCD. Roche Collection, 1982; vol. 2, pg. 53, No. 318.

 

CLOUD'S REEL. Old‑Time, Reel. USA, Pennsylvania. G Major. Standard tuning. AB. "A hornpipe in the Bayard Coll., No. 182, has a first part slightly resembling the first of this reel; otherwise the tune is unknown to the editor, and no other version has been identified" (Bayard, 1944). Source for notated version: Robert Crow, Claysville, Pennsylvania, Sept. 13, 1943 ("Learned in that region") [Bayard]. Bayard (Hill Country Tunes), 1944; No. 57.

 

CLOUDY MORNING, A (Maidin Neallac). Irish, Reel. D Major. Standard tuning. AB. O'Neill (Krassen), 1976; pg. 121. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 592, pg. 108.

X:1

T:Cloudy Morning, A

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 592

Z:AK/Fiddler’s Companion

K:D

(3ddd dA BdAF|AFAg fdBc|(3ddd dA BdAF|GFEF GABc|{e}dcdA BdAF|

ABde fdef|{a}gfge fedf|edce dAFA||abaf afdf|gefd edBd|afdf abaf|

Edef d2 df|afdf abaf|gbfa edBe|(3ded dA BdAF|ABde fd d2||

 

CLOUGHER, THE. Irish, Reel. A Minor. Standard tuning. AABB. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 83, pg. 22.

 

CLOUT, THE. AKA and see “(A) Blast of Wind,” “The Cock in the Heath [2],” “Drops of Springwater,” “The Humours of Caledon,” “The Humours of Westmeath,” “Kiss in the Furz [1],” “The Rakes of Westmeath [1].” Irish, Slip Jig. D Major. Standard tuning. AABB. Perhaps the earliest appearance of this tune family, printed a collection by the Neales of country dances, Dublin, 1726. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 21.

X:1

T:Clout, The

M:9/8

L:1/8

R:Slip Jig

S:Neale – 1726

K:D

d2g fdf A3|d2g fdf gec|dfd fdf A3|(=c3 c2)a ge^c:|

|:afd dfd A3|afd dfd gec|afd dfd A3|(=c3 c2)a ge^c:|

 

CLOUT THE CALDRON [1]. Scottish, Irish; Air or March (cut or 2/4 time). B Minor. Standard tuning. One part. From a MS. originally called the Guthrie MS.  Guthrie was a minister beheaded in 1661 for writing a seditious pamphlet, but as a Covenenter he was no friend of dance music; apparently someone with a sense of humor sewed the music MS. into a book of Guthrie's sermons (Alburger). At any rate, the tune is one of the oldest Scottish dance tunes ever found. Source for notated version: “From O’Neill’s collection, 1787" [Stanford/Petrie]. McGibbon (Scots Tunes, book II), c. 1746; pg. 45. Stanford/Petrie (Complete Collection), 1905; No. 403, pg. 102.

X:1

T:Clout the Caldron [2]

M:2/4

L:1/8

S:Stanford/Petrie (1905), No. 403

Z:AK/Fiddler’s Companion

K:B Minor

A | B/c/d/e/ dA | Bc df | ed cB | c2 BA | B/c/d/e/ dA | Bc df | ed cB | c2 BA |

FE EF/A/ | BA FD | FE EF/A/ | B2 AF | FE EF/A/ | BA FD | FE EF/A/ | B2A ||

X:2

T:Clout the Caldron

M:C|

L:1/8

N:”Brisk”

S:McGibbon – Scots Tunes, book II, pg. 45  (c. 1746)

Z:AK/Fiddler’s Companion

K:Bmin

(Bcde) d2A2 | d3ed2f2 | e2d2c2B2 | “tr”c4 (B2A2) :|

|: (F2E2) E2(FA) | B3AF2D2 | (F2E2)E2(FA) | “tr”B4A4 :|

 

CLOUT THE CALDRON [2].  Scottish, Air (4/4 time). C Major. Standard tuning. AABCC. Source for notated version: “Communicated by William Forbes, Newark, Ellon. From an arrangement by John Davidson, Aberdeen” [Skinner]. Skinner (Harp and Claymore), 1904; pg. 164.

X:1

T:Clout the Caldron [2]

M:C

L:1/8

R:Air

N:”Rollicking Style”

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:C

E |: ED DE/G/ .A.G.E.C | ED DE/G/ (A2c2) | ED DE/G/ Ac ED/C/ | ED Dc ({A/B/}A2) G :|

E | c>cce c>cce | .d.c.B.A .c.B.A.G | c>cce cc/c/ ce | .d.c.B.A. c.B.A.G | (ed) d(3e/f/g/ .a.g.e.c |

(ed) d(3e/f/g/ ({g}a2) g2 | (ed) d(3e/f/g/ .a.g.e.c | (ed) d(3e/f/g/ a2 g2 |: e(3.c/.c/.c/ g(3.c/.c/.c/ a(3.c/.c/.c/ g(3.c/.c/.c/ |

{c/d/}(cB).A.G B2 ({c/B/}A)G :|

 

CLOVER BLOSSOM, THE (Blat An t-Seamair). AKA and see “Blacksmith’s Hornpipe (2), “Bristol Hornpipe,” “Hand-Organ Hornpipe,” "Harlequin Hornpipe [3],” “Slayley Bridge Hornpipe.” Irish, Hornpipe. A Major. Standard tuning (fiddle). AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 869, pg. 150.

X:1

T:Clover Blossom, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 869

Z:AK/Fiddler’s Companion

K:A

(3efg|aece Acea|fdBG A2 Bc|defe dcBA|GBAF E2 (3efg|

aece Acea|fdBG A2 Bc|dfed cABG|E2A2A2:|

|:ed|ceAe ceAe|dfBf dfBf|ceAe ceAc|BAGF E2 ed|

ceAe ceAc|dcde fgaf|eaed cABG|E2A2A2:|

 

CLOW BANK. English, North‑West Morris Tune (2/4 time). G Major. Standard tuning. AB. Tune for a polka step dance. Wade (Mally’s North West Morris Book), 1988; pg. 31.

 

CLOWATER’S. Canadian, Reel. Canada, Cape Breton. B Flat Major. Standard tuning. AB. Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 7.

 

CLUAS LE EISDEACD. AKA and see "The Eavesdropper."


           

CLUB CÉILÍ.  Irish, Reel. G Major. Standard tuning. AA’BB’. Treoir, vol. 38, No. 2, 2006; pg. 30. Brick Mixing Records, Garry Shannon – “Punctured” (2006).

X:1

T:Club Céilí

M:6/8

L:1/8

R:Jig

S:Treoir, vol. 38, No. 2, 2006

K:G

B2B BAB|dBA G2B|ded d2B|ded B2A|BcB BAB|dBA G2B|

ded cBA|1 G3 A2A:|2 G3 GBd||:g2g f2f|e2e edB|d3 d2B|ded B2d|

g2g f2f|efe edB|1 ded cBA|G3 GBd:|2 dge dge|dge dBA||

 

CLUB REEL. AKA and see “Within a Mile of Dublin [1],” “Kerry Lasses [2].”

                       

CLUCKIN' HEN. AKA and see "Cacklin' Hen [1]," "Chicken in the Barnyard," "Cluck Old Hen,"  "Hen Cackle(d)," "Old Hen Cackled." Old‑Time, Breakdown. USA, Kentucky, Alabama, Arkansas, Oklahoma (Pottawatomie County for Thede's version). D Major (Brody); A Major (Thede). DDad (Brody), AEae (Thede) tunings. AABBCC. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954. It also is mentioned in "A Preliminary Survey of Folk‑lore in Alabama," a master's thesis by S.M. Taylor, University of Alabama, 1925,  who stated it was a common northwest Alabama tune. Source for notated version: J.P. Fraley (Rush, Ky.) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 69. Thede (The Fiddle Book), 1967; pg. 122. Rounder 0037, J.P. and Annadeene Fraley‑ "Wild Rose of the Mountain." United Artists 3295, Howdy Forrester‑ "Fiddlin' Country Style."

 

CLUCK OLD HEN [1].  AKA and see "Cacklin’ Hen [1]," "Chicken in the Barnyard," "Cluckin' Hen," "Hen Cackle(d),"  "Old Hen Cackle(d) [1]." Old‑Time, Breakdown. USA; widely distributed in the South and Midwest. G Major or Mixolydian (Fiddler Magazine): A Dorian or A Mixolydian (Phillips). Standard (G.B. Grayson, Ed Weaver), DGdg (Charlie Bowman, Joe Birchfield, Fiddlin’ Cowan Powers, Harvey Sampson) or AEae tunings. ABB (Phillips): AABB.

***

Mike Yates (2002) says this piece is usually performed as a banjo-tune, although fiddle versions are numerous and highly idiosyncratic, with many versions extent. In fact, it appears that the only thing that unites several of them, beside the title, is the fact that there is some sort of imitative ‘chicken squawk’ in one of the parts. It was widely distributed around the South, under this title and similar variants, and appears in several older collections of folksongs. Yates says the earliest text he has seen is dated 1886, appearing is the article “South Texas Negro Work-Songs,” included in Rainbow in the Morning (Dallas, 1926, reprinted 1965 & 1975).

***

Charles Wolfe (1982) states the tune was popular with Kentucky fiddlers. Mt. Airy, North Carolina, fiddler Tommy Jarrell tells us that "Cluck Old Hen" is in the "old‑timey tuning of A" also called the "sawmill key" (AEae). Jarrell was inspired to learn the tune from a distant relative and musical contemporary of his father (fiddler Ben Jarrell), named Tony Lowe, who effused the tune with an intricate routine which combined pizzicato "clucks" on the fiddle with elaborate gestures: "He'd swing the whole fiddle way out, and when he started back he'd pluck it in again and hit that with the bow, and all the while he'd never miss his time," said Jarrell (quoted by Barry Poss, 1976). It so happened that Russel County, southwest Virginia, musician Fiddlin' Cowan Powers was playing this tune on stage with the Stanley Brothers (Carter & Ralph) in Saltville, Virginia, when he had a fatal heart attack in the early 1950's. See Fiddler Magazine (Summer 2008) for Jody Stecher’s comparative transcriptions of “Cluck Old Hen” by six influential fiddlers from the Up-Land South: Charlie Bowman, Harvey Sampson, Joe Birchfield, G.B. Grayson, Ed Weaver and Cowan Powers.

***

My old hen's a good old hen,

She lays eggs for the railroad men;

Sometimes one, sometimes two,

Sometimes enough for the whole damn crew.

***

First time she cackled, she cackled in the lot,

Next time she cackled she cackled in the pot;

Cluck Old Hen, cluck and squall,

Ain't laid an egg since late last fall.

***

Cluck old hen, cackle and sing,

You ain't laid an egg since way last spring.

Cluck old hen, cackle and squall,

You ain't laid an egg since late last fall. (Johnson)

***

My old hen's a good old hen,

She lays eggs for the railroad men;

Sometimes one, sometimes two,

Sometimes three and sometimes four.

Sometimes five, sometimes six,

Sometimes seven and sometimes eight;

Sometimes nine, sometimes ten,

And thats enough for the railroad men.

***

My old hen's a good old hen,

She lays eggs for the railroad men;

Sometimes one, sometimes two,

Sometimes enough for the whole damn crew.

First time she cackled she cackled in the lot,

Next time she cackled she cackled in the pot;

Cluck Old Hen, cluck and sing,

Ain't laid and egg since late last spring.

***

My old hen, she won't do,

She lays eggs and 'taters too;  (Frank Proffitt)

***

The old hen she cackled,

She cackled in the morn;

She cackled for the rooster

To come get his pecker warm. (Tom P. Smith, W.Va.)

***

Cluck old hen, cluck for your corn,

Cluck old hen, your winter's all gone.

***

Cluck old hen, cluck in a lot,

The next time you cluck, you'll cook in a pot.

***

I had a little hen, she had a wooden leg,

The best danged hen that ever laid eggs.

***

Laid more eggs than the hens around the barn,

Another little drink wouldn't do me no harm. (Tommy Jarrell)

***

Cluck Old Hen, cluck I tell you,

Don't lay an egg, I'm a-gonna sell you.     (Joel Shimberg)

***

My old hen died, what'll I do,

Guess I'll have some chicken stew.    (Neal Walters)

***

Cluck old hen, you’d better cluck,

Hawk’s gonna eat your chickens up.     (Ed Weaver)

***

Cluck old hen, cluck all night,

Soon you will be Chicken Delight

***

Probable, possible. my fat hen.

She lays eggs in the relative when.

She might lay eggs in the positive now,

If only she could postulate how.

***

Cluck old hen, cluck I say,

The Dow-Jones average is down today.

Cluck old hen, cluck six-ten,

The Dow-Jones average is down again.      (Neil Rossi)

***

Possible, probable my black hen

She lays eggs in the relative when

She can't lay eggs in the positive now

For she's unable to postulate how.          (Spark Gap Wonder Boys)

***

Sources for notated versions: Jay Unger (West Hurley, New York) [Kuntz]: Charlie Higgins and Wade Ward (Va.) [Krassen]. Ken Kosek [Phillips]; Cowan Powers (Va.), Charlie Bowman (Tenn.), Harvey Sampson (central W.Va.), Joe Birchfield (Tenn.), G.B. Grayson (N.C.), Ed Weaver (Shenandoah Valley, Va.), via Jody Stecher [Fiddler Magazine]. Brody (Fiddler’s Fakebook), 1983; pg. 70. Fiddler Magazine, Summer 2008, vol 15, No. 2; pgs. 39-41. Ford (Traditional Music in America), 1940; pg. 92 (appears as "Cackling Hen"). Johnson (The Kitchen Musician: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1982 (revised 1988 & 2003); pg. 2. Krassen (Appalachian Fiddle), 1973; pg. 35. Kuntz (Ragged But Right), 1987; pg. 219‑220. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 32. Warner (Traditional American Folk Songs), 1984; pgs. 292‑293. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson from his father and others). Bay 204, The Arkansas Sheiks‑ "Whiskey Before Breakfast." Carryon Records 007, The Renegades - "I Need to Find." Cassette C-7625, Wilson Douglas - "Back Porch Symphony." County 405, "The Hill‑Billies." County 701, Kyle Creed & Fred Cockerham – “Clawhammer Banjo.” County 745, John Ashby‑ "Down on Ashby's Farm." County 756, Tommy Jarrell‑ "Sail Away Ladies" (1976). County CD 2702, Tommy Jarrell & Fred Cockerham. Document DOCD-8054, Grayson & Whitter (originally recorded 1928). Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 2” (reissue). Folk Legacy FSA 1, Frank Proffitt (1962). Folkways Records FS-3811, Vester Jones – “Traditional Music from Grayson and Carroll Counties” (c. 1964). Gennett 6436 (78 RPM), 1928, G.B. Grayson (Va.). Gennett 6656 (78 RPM), Grayson & Whitter (1928). Heritage 080, Enoch Rutherford ‑ "Old Cap'n Rabbit." Rounder CD 1702, Wade Ward. Rounder 1133, Ed Haley vol. 2 – "Grey Eagle". Rounder 0437, Jimm Beeler Kate  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties.” In the repertoire of Fiddlin' Cowan Powers 1877‑1952? (Russell County, Va.) and recorded by him for Edison in 1925. Rounder Records, “Spark Gap Wonder Boys” (1970). Smithsonian-Folkways SFCD 40077, Billy Cornett. Voyager Records, Vivian Williams – “Winter Moon.”

X:1

T:Cluck Old Hen

M:2/4

L:1/8

B:Kuntz – Ragged but Right

K:A

[Ae]a =g/a/g/f/|e/d/e/e/ df|[Ae]a =g/a/g/f/|e/c/B A2|[Ae]a =g/a/g/f/|e/d/e//e/ df|[Ae]a =g/a/g/f/|e/c/B A2||

[Ae][Ae] [c>e>][ce]|[A/e/][B/e/][Ae] [=G>A>][GA]|[Ae][A/e/][B/e/] [c/e/][B/e/][c/e/]d/|

e/c/B A2|[Ae][Ae] [c>e>][ce]|[A/e/][B/e/][Ae] [=G>A>][GA]|

[Ae][A/e/][B/e/] [c/e/][B/e/][c/e/]d/|e/d/B A2||

 

CLUCK OLD HEN [2]. Old-Time, Breakdown. A Mixolydian. Standard tuning. AABB. The tune, a distanced relative of "Cluck Old Hen [1]," features pizzicato notes. Source for notated version: Charlie Acuff [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 32.

 

CLUCK OLD HEN [3]. AKA and see "Old Aunt Katie [3]." American, Reel. USA, southwestern Pa. G Major. Standard tuning. AB. In this case the title is a floating one, attached to a Scottish piece usually called in southwestern Pa. "Old Aunt Katie." It was collected with the rhyme:

***

Cluck old hen, cluck right along;

Cluck old hen, till your chickens rolls on;

Cluck old hen, and I don't give a damn‑‑

I can git a woman if you can git a man. (Bayard)

***

Source for notated version: Walter Neal (Armstrong County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 284, pg. 237.

 

CLUCK OLD HEN [4]. Old-Time, Breakdown. D Major. Cross tuned. Howdy Forrester. Voyager Records, Bill Long – “Fiddle Jam Session.” Voyager Records, Vivian Williams – “Fiddler.”

 

CLUCK OLD HEN [5]. Old-Time, Breakdown. D Major. Cross tuned. A different tune than “Cluck Old Hen” [4]. Voyager Records. Ora Spiva – “Fiddle Jam Session.”

 

CLUCK OLD HEN [6].  Old-Time, Breakdown. G Major. Standard tuning. AB. Source Weaver knew the following verses for the tune:

***

Cluck old hen, you’d better cluck,

Hawk’s gonna eat your chickens up.

***

Some lays one, some lays two,

Some lay enough for the whole darn crew.

***

Good old hen, good old hen,

You lay eggs for the railroad men.

***

Source for notated version: fiddler Ed Weaver and banjo player Pug Allen (Augusta County, Virginia), via Clare Milliner [Lamancuso]. Mudthumper Music MM-0030, Clare Milliner and Walt Koken – “Just Tunes.” Musical Traditions MTCD321-2, Ed Weaver & L.G. “Pug” Allen (et al) – “Far in the Mountains: Volumes 1 & 2” (2002).

X:1

T:Cluck Old Hen [6]

M:C

L:1/8

R:Reel

S:Clare Milliner

N:ABC’s from a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:G

“G”D2G2B3c | dBcB “D”A2A2 | D2F2A2 (AB) | cABA “G”G2G2 |

D2G2 (BAB)c | (dBc)B “D”(ABA)F | (DE)FG (AB)AB | cA F2 “G”(G2G2) |

D2G2 [G4B4] | [d2g4] “D”A2A2 | D2F2A2A2 | BABA “G”G4 ||

“G”G2g2f2g2 | (ef)ge “C”[E4c4] | [E2c2]g2f2g2 | (ed)BA “G”G3 (A |

B2)g2f2g2 | (ef)ge “C”[E4c4] | [E2c2]g2b2a2 | “D”gedB “G”G4 ||

 

CLUCKIN’ HEN [7]. Old-Time, Breakdown. A Major. AEac# tuning. AA’BB’AA’CC’BB’. Catagorized as a ‘breakdown’ but actually played at slower tempo. Source for notated version: Howe Teague (1913-2005, Dent County, Missouri), learned from a cowboy movie in which it was played in a saloon scene [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 147. Rounder CD 0435, Howe Teague – “Traditional Fiddle Music of the Ozarks, vol. 1” (1999. Various artists).

                       

CLUCKING HEN. See “Cackling Hen,” “Cluck Old Hen.”

                       

CLUCKING PIECE. Old-Time. A Major. AEae tuning. In the repertoire of West Virginia fiddler Edden Hammons. Edden Hammons Collection, Disc 2.

                       

CLUICHE AN GHRÁ. AKA and see “The Game of Love.”

                       

CLUICE SIMME DALLANDA. AKA and see "Hide and Go Seek."

                       

CLUIG SEAN-DUIN. AKA and see "Shandon Bells."

                       

CLUINN THU MI MO NIGHEAN DONN, AN (Will You Listen to Me, My Brown-Haired Maid). Scottish, Slow Air (3/4 time). C Major (Neil): D Major (Martin). Standard tuning. One part. A song‑poem in Gaelic by Domhnall Donn about an older man in love with a younger woman. He wishes to marry her and promises to go to sea no more, but instead stay at home and look after her, pledging a full and happy life together. Martin attributes the tune to Iain McColl. Source for notated version: Neil MacKinnon (Skye) [Martin]. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 8. Martin (Traditional Scottish Fiddling), 2002; pg. 62. Neil (The Scots Fiddle), 1991; No. 150, pg. 193.

X:1

T:An Cluinn Thu Mi Mo Nighean Donn

L:1/8

M:3/4

K:D

A,DE|F3 EFA|B3 c dB|A3 FAF|E3 A,DE|F3 ABc|d4 B2|A3 BAG|E>D (D4|D3) ddc|

B3 dcB|A3 ABA|d3 FED|B,3 A,DE|F3 ABc|d4 B2|A3 BAF|E>D (D4|D3)||

 

CLUMSY LOVER, THE. Canadian, Pipe Tune (2/4 time). A Major. Standard tuning. AABBCCDDEEFF. Composed by Neil Dickie. The tune has also been adapted for fiddle repertoire. Martin & Hughes (Ho-re-gheallaidh), 1990; pg. 9. Temple Records TP021, The Battlefield Band ‑ "On the Rise" (1986). IONA 047, Barra MacNeils – “Traditional Album.”

X:1

T:Clumsy Lover, The

L:1/8

M:2/4

C:Neil Dickie

K:A

d|c/e/e/f/ e/c/B/A/|d/f/f/d/ a/f/d/f/|c/e/e/f/ e/c/B/A/|dB/c/ d/e/c/B/|

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

 

CLUNY CASTLE (INVERNESS-SHIRE). Scottish, Slow Strathspey or Pastoral Air (4/4 time). D Major. Standard tuning. AAB. Composed by Alexander Troup (b. 1835) of Dalbadgie near Ballater. The melody first appears the collection of Scottish fiddler-composer James Scott Skinner (1843-1927) entitled Harp and Claymore, published in 1904. Hardie (Caledonian Companion), 1986; pg. 14 (includes variations). Hunter (Fiddle Music of Scotland), 1988; No. 16. Skinner (Harp and Claymore Collection), 1904; pg. 15.

X:1

T:Cluny Castle

M:C
L:1/8
R:Air

N:”Slowly”

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

A, | D>EF>d (c/B/)A/B/ (AF) | D(F/A/) (B/A/)(G/F/) ({F}E3)A, | D>EF>d (c/B/)A/B/ (AF) |

(A,>F)(E>F) (D2D) :| (d/e/) | f>ed>B (A/G/)(F/A/) D(d/e/) | f>A (B/A/)(G/F/) ({F}E2)E (d/e/) |

f>ed>B (A/G/)(F/A/) dF | (A,>F)(E>F) (D2D) (d/e/) | f>ed>B (A/G/)(F/A/) D(d/e/) |

f>A (B/A/)(G/F/) ({F}E2) EF | D>FE>G F>AG>B | A(f/g/) (a/g/)(f/e/) (d2d) ||

 

CLUNY MACPHERSON’S LAMENT.  Scottish, Slow Air (4/4 time). D Major. Standard tuning. One part. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 148.

X:1

T:Cluny MacPherson’s Lament

MC

L:1/8

R:Slow Air

N:”Woefully”

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

{A/B/}(A>F) ({F}A2) {B}(B>A) ({A}d2) | {d}(e>d) (f>e) (e>d) ({d}B2) | e>d ({A}f>)A “tr”(e2d)z |

{f/g/}(f>d {d}a2) {f/g/}(f>A {A}d2) | ({d}e>)d ({d}f>)e | ({e/f/}e>)d B2 | {B}(A>F) ({F}A2 {A}(B>A) d2 |

({e/f/}e>)A ({f/a/}f>)A {f/g/}(e2d)z ||

 

CLUNY ROCK. Scottish, Reel. A Major. Standard tuning. AABB'. Composed by James Stewart-Robertson, the editor of The Athole Collection. Stewart-Robertson (The Athole Collection), 1884; pg. 35.

X:1

T:Cluny Rock

M:C|

L:1/8

C:James Stewart-Robertson

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

Z:AK/Fiddler’s Companion

R:Reel

K:A

(3e//f//g//|a2 a>e fedc|Bcde fefg|a2 a>e fece|fgac B2A:|

e|cAAe cAec|Bcde fBbB|1 cAAe cAec|fgac B2Ae:|2 cAeA fAeA fgac B2A||

 

CLUNY WATER. Scottish, Strathspey. C Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 66, pg. 24.

 


CLURIES REEL. AKA and see "Carrick,” “Carrick’s Rant.” Scottish. Glen (1891) finds the earliest printing of the tune in Angus Cumming's 1780 collection (pg. 19). See also note for “Sir John Fenwick’s the Flower Among Them All.”

 

CLUTHA HORNPIPE. Scottish, Hornpipe. G Major. Standard tuning. AA'BB. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many tunes found in the Kerr’s collections and also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), vol. 2; No. 323, pg. 36.

X:1

T:Clutha Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 2, No. 323 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

G>B | d2 e>^c d>BG>B | d>^ce>c d2 (3def | g>fe>d c>BA>G | F>GA>B A2 (A>B) | c2 d>B c>AF>A |

c>Bd>B c2 (3cdc | a>gf>e d>ed>c |1 c2B2B2 :|2 B2G2G2 |: (g>f) | (3ege c2 (3ege c2 | (3BdB G2 G>BA>G |

F>GA>B c>de>f | a>g (3gfe d2 (g>f) | (3ege c2 (3ege c2 | (3BdB G2 G>BA>G | F>GA>B c>de>f | g2g2g2 :|

 

CLYDE DURST'S TUNE. Old-Time, Breakdown. USA, Missouri. C Major. Standard tuning. AA'BB. It is on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’. Source for notated version: Cyril Stinnett (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 54.  MSOTFA 007, Charlie Walden - "Draggin' the Bow" (1985).

 

CLYDE HORNPIPE, THE. Scottish, Hornpipe. D Major. Standard. AB.

X:1

T:Clyde Hornpipe, The

C:Jimmy Blair

B:The Jimmy Blair Album

Z:Nigel Gatherer

M:4/4

L:1/8

K:D

A>F|D>FA>F G>Bd>B|A>ce>c d>fa>f|g>ab>g f>ga>f|(3efe (3dcB (3ABA (3GFE|

D>FA>F G>Bd>B|A>ce>c d>fa>f|g>ab>g (3fed (3edc|d2 f2 d2|]

(3ABc|d>AF>A D>FA>F|G>BG>E B,2 (3E^D=D|C>DE>F G>EC>E|

D>EF>B A2 (3ABc|d>AF>A D>FA>F|G>BG>E B,2 (3E^D=D|

C>DE>F (3GAB (3cde|d2 d2 d2|]

 

CLYDE'S BANKS. Irish. A modern composition by fiddler Kevin Burke. Green Linnet SIF1122, Kevin Burke - "Open House" (1992).

 

CLYDE’S HICCUPS [1]. AKA and see “Drunken Hiccups.” Old-Time. Clyde Davenport’s version of “Drunken Hiccups,” renamed by Bruce Molsky and Big Hoedown.

 

CLYDESDALE LASSES. AKA – “Clydesdale Lassies.” Scottish, Reel or Country Dance. F Major. Standard tuning. AB (Surenne): AAB (Kerr, MacDonald, Stewart-Robertson). Another tune in honor of some Scottish local girls (like "Lothian Lasses," "Ayrshire Lasses," "Lasses of Duns," "Lasses of Stewarton," etc.), published by Nathaniel Gow in 1822. In ancient times the River Clyde marked the frontier of the old Celtic British kingdom in the north with the Picts. The name Clyde comes from the Brittonic Cluth. MacDonald says the melody can be played as a reel or a strathspey. See also related Irish versions under titles “Humors of Westport,” “Bill Clancy’s Delight” “Pretty Peggy [5]  and “Milestone at/in the Garden.” Source for notated version: Nathaniel Gow’s 6th collection (1822) [Henderson]. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 31. Henderson (Flowers of Scottish Melody), 1935. Kerr (Merry Melodies), vol. 1; Set 22, No. 2, pg. 14. MacDonald (The Skye Collection), 1887; pg. 139. Stewart-Robertson (The Athole Collection), 1884; pg. 204. Surenne (Dance Music of Scotland), 1852; pg. 3. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton, N.S.) - “In Jig Time!” (1995). Culburnie Records CUL, Alasdiar Fraser & Paul Machlis – “Legacy of the Scottish Fiddle, vol. 2” (2001).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index 

Alan Ng’s Irishtune.info

X:1

T:Clydesdale Lasses

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:F Major

c|:AFcF dFcF|AFcF ABcB|AFcF dFcA|1 BAGA BcdB:|2 BAGA Bcde||

fgag f2 cf|gfga baga|fgag fcAc|BAGA Bcde|

fgag f2 cf|gfga baga|fgaf gefc|BAGA BcdB||

 

CLYDESIDE LASSIES. AKA – “Clyde Side Lassies.” Scottish, Reel. F Major. Standard tuning. AB. The tune belongs to a family of melodies that includes “Maguinnis’ Delight” and the “Pretty Peggy” tunes (see note for that tune). The name Clyde comes from the Brittonic Cluth. The River Clyde marked the frontier between the old Celtic British kingdom in the north and the Picts. Cole (1000 Fiddle Tunes), 1940; pg. 44. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 24. Ryan’s Mammoth Collection, 1883; pg. 72. White’s Unique Collection, 1896; No. 45, pg. 8.

X:1

T:Clyde Side Lassies

M:C

L:1/8

S:White’s Unique Collection (1896), No. 45

Z:AK/Fiddler’s Companion

K:F

AFcF dFcF | AFcF GABG | AFcF cFcF | BAGA BdcB | AFcF dFcF |

AFcA GABG | AFcF dFcF | BAGA (Bc)(de) || fgag f2 (cf) | g^fga baga |

=fgag f2 (Ac) | BAGA Bcde | fgag f2 (cf) | g^fga bagb | afge fdec |

dBcA (BAGB || [A6f6] z2 ||

                       

CNE BREAKDOWN. Canadian, Breakdown. GRT Records SP 203, “Ward Allen Presents Maple Leaf Hoedown, Vol. 1” (reissue).

                       

CNOC AN ARBHAR. AKA and see “The Corn Hill.”

                                   

CNOC AN TEAMPALL. AKA and see "Church Hill."

                       

CNOC AN t-SLUAIGTEAC. AKA and see "Barrack Hill."

                       

CNOC BUNCEIR. AKA and see "Bunker Hill."

                       

CNOC COIMEADUIDE. AKA and see "Keeper Hill."

                       

CNOC NA COILLE (The Wood Hill). AKA and see "Lady Maisterton."

                       

CNOC NA GCLARAC. Irish, Slide (12/8 time). Ireland, West Kerry. A Mixolydian. Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 71, pg. 41.

                       

CNOC NA nGAIBHNE. AKA and see "Knocknagow."


           

CNOC UI CHOILEAIN.  AKA and see “Mountcollins (Reel).”

           

CNOCÁIN NA CÉISE. AKA and see "The Hills of Kesh."

                       

CNOCAN AN TEAMPAILL. AKA and see "The Church Hill."

                       

CNOCKEEN FRAOL. Irish, Air (4/4 time). A Dorian. Standard tuning. AAB. Mulvihill (1st Collection), 1986; No. 5, pg. 119.

                       

CNOIC AITEANNACH LIADROMA (The Whinny Hills of Leitrim). AKA and see “The Whinny Hills of Leitrim.” 

                       

CNOIC FHADA MHUGHDHORNA (The Long Hills of Mourne). AKA and see “The Long Hills of Mourne.”

                       

CNOIC UISNACH (Hill of Uisnach). Irish, Air (4/4 time). G Major. Standard tuning. AB. O’Neill (1922) says: “I am informed by our liberal contributor, Mr. Francis E. Walsh of San Francisco, that variants of the above air are known to several of his musical acquaintances but by different names such as Knuck Usnach Gathering; Knuck Costhnach; The Coming of Lugh; and The Poor Man's Friend. Mr. O'Donohue, whose setting is presented, insists that it is the true air of Willy Reilly, the old time favorite of an earlier generation. The melody is the real thing however.” Source for notated version: P.J. O’Donohue (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Cnoic Uisnach

T:Hill of Uisnach

M:4/4

L:1/8

S:P.J. O'Donohue, San Francisco

Z:Paul Kinder

R:Air

K:G

"Maestoso"e>d|B2 AF E2 F2|D3 E F2 A2|B2 AF E2 E2|E4 (3BAF|

E2 EF A2 B2|e4 d2 e2|f2 ed B2 e2|d6||

AF|E2 EF A2 B2|e4 d2 e2|f2 ed B2 e2|d4 e3 d|

B2 AF E2 F2|D3 E F2 A2|B2 AF E2 E2|E6||

           

CNOTA BAN, AN. AKA and see "The White Cockade."

                       

CNUIC RUDHA MHABOU (Hills of Cape Mabou). AKA and see “Arthur Murray’s Reel,” “Lord Murray Strathspey.” Cape Breton, Strathspey. A Major. Standard, AEae, Adae tunings. AA'B. Source for notated version: Carl MacKenzie (Cape Breton) [Dunlay and Reich]. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 31. Rounder 7009, Doug MacPhee‑ "Cape Breton Piano;" WRCI‑1548, Carl MacKenzie‑ "And His Sound is Cape Breton" (as "Strathspey (trad.)").

                       

CNUIC TIOBRAID-ARAINN. AKA and see "Tipperary Hills."

                       

CNUICIN FRAOIGH, AN.  See “Little Heathy Hill [2].”

 

CNUICIN RUADH, AN. AKA and see "The Red Little Hill."

           

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