The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

COM - COMP

[COMMENT3] 

 

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

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

 

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

 

 

[COMMENT4] 

COM SEAN LEIS NA CNOCAIB. AKA and see "Old as the Hills."

                       

COMA LEAM FEIN A' MINISTEAR. AKA and see "What Care I for the Minister?"

                       

COMACD'S TUILE LE DO UILLEANN. AKA and see "More Power to Your Elbow."

                       

COMB YOUR HAIR AND CURL IT (Cior Do Gruaig Agus Case E). AKA and see “Coleman’s (Slip Jig) [2],” “Mount the Hair and Curl it.”  Irish, Slip Jig. E Minor. Standard tuning. AB (O'Neill): AAB (Tubridy): AABB (Miller & Perron, Williamson). The melody was recorded by famed County Sligo fiddler Michael Coleman (1891-1945) in New York in 1925 as the second tune paired with “The Foxhunters.” It appears in Bulmer & Sharpley (Music from Ireland, 1974, vol. 3, No. 78) as “Coleman’s 2.” S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 5. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 24. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 44. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 447, pg. 87. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 42. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 2; 11. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 85. Intrepid Records ‑ Michael Coleman. Claddagh Records CC2, The Chieftains.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Comb Your Hair and Curl It

M:9/8

L:1/8

R:Slip Jig

Z:AK/Fiddler’s Companion

K:E Dorian

B2E E2F G2A|B2e eBe dBA|B2E E2F G2A|BcB A2G FED:|

g2e efe e2f|g3 efg afd|g2e efe e2c|d2B ABG FED|

g2e efe e2f|g3 efg afd|g3 afd g2e|d2B ABG FED||

                                      

COMBINATION RAG. Old‑Time, Country Rag. Fashioned by the East Texas Serenaders from bits of other rag tunes. Recorded by Serenaders fiddler Daniel Wiliams for Columbia in 1927. County 410, "The East Texas Serenaders, 1927‑1936."

                                      

COMBINED EFFORT. Canadian, Jig. Canada, Cape Breton. G Dorian. Standard tuning. AAB. Composed by Jerry Holland (Inverness, Cape Breton) and editor/fiddler Paul Stewart Cranford (Little River, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 276, pg. 79.

                                      

COMBS, THE. See notes for "The Kitchen Comb," "Jacksons' Combs."

                                      

COME AGEN YE'RE WELCOME. AKA and see "You're Welcome Charlie Stewart." Shetland, Shetland Reel. Shetland, Unst. G Major. Standard tuning. AA'BB'. Source for notated version: J.J. Stickle (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 23. Topic 12TS379, "Shetland Folk Fiddling, vol. 2" (1978).

                                      

COME ALL YE FAIR MAIDENS. Irish, Air (6/8 time). G Major. Standard tuning. One part. O’Neill (1913) points out this is an example of the class of tunes facetiously termed “Come, all ye...” on account of the comparatively large number of songs which began with those words in British Isles tradition. Source for notated version: "Ned Goggin the professional fiddler of Glenosheen Co. Limerick (1844 to 1850)" {Joyce}.

***

Come all ye fair maidens, take warning by me,

And never look up to the top of a tree;

For the leaves they will wither and the roots they will die;

And my love has forsak'n me, and sorry am I,

My dear, and sorry am I. (Joyce)

***

Joyce (Old Irish Folk Music and Song), 1909; No. 167, pg. 84.

                       

COME ALL YOU GOOD FELLOWS. AKA and see "Bounce Upon Bess," “Kissing and Drinking," "Larry O Lashem," "Paddy's Trip from Dublin," "The Parson in/on his Boots," "The Priest and/in his Boots [1],” "Sagart na mBuataisi," “There are sounds of mirth," "The Tivoli."

                       

COME ALL YOU MAIDS WHERE’ER YOU BE. Irish, Air (4/4 time). A Minor. Standard tuning. One part. Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 456, pg. 115.

X:1

T:Come all you maids where’er you be

M:C

L:1/8

N:”Andante”

S:Stanford/Petrie (1905), No. 456

Z:AK/Fiddler’s Companion

K:A Minor

cB | A2E2 GE DE | G2G2G2 cd | e2e2d2e2 | c4 E2 cd | e2e2d2e2 |

A2 AG E2 DE | G2G2G2 AB | c4 B2 cB | A2 AG ED E^G | A4 z ||

                       

COME ALL Y’UNITED IRISHMEN, AND LISTEN UNTO ME [1]. Irish, Air (6/8 time). G Minor. Standard tuning. One part. The United Irishmen led the rising of 1798. Source for notated version: “(The Irish collector) Mr. Joyce, from Joseph Martin and Peggy Cudmore” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 463, pg. 117.

X:1

T:Come all y’united-Irishmen, and listen unto me [1]

M:6/8
L:1/8

R:Air

N:”Allegretto”

S:Stanford/Petrie (1905), No. 463

Z:AK/Fiddler’s Companion

K:G Minor

d/c/ | B2G A2F | G2F D2C | D=EF G2G | G3 G2F | G2G B2c | d2c f2d |

c2A F2A | (B3B2)A | G2G B2c | d2c f2d | c2A FGA | (B3B2) d/c/ |

B2G A2F | G2F D2C | DEF G2G | G3 G2 ||

 

COME ALL UNITED IRISHMEN AND LISTEN UNTO ME [2]. Irish, Air (4/4 time). F Mixolydian. Standard tuning. AB. Source for notated version: “Set by Mr. Joyce from Joseph Martin” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 464, pg. 117.

X:1

T:Come all united Irishmen and listen unto me [2]

M:C
L:1/8

R:Air

N:”Con spirito”

S:Stanford/Petrie (1905), No. 463

Z:AK/Fiddler’s Companion

K:F

c>B | A2A2 AG FA | c2c2 _e>d c=e | f2A2 A>G FA | B4 c2 c>B | A2A2 A>G FA |

c3 d _e>d ce | d>c AF G3F | (F4 F2) || cd | _e>d c/A/G A2 cd | _e d/c/A f2A2 |

~B4 {c/d/}c2 c>B | A2A2 A>G FA | c3 d _ed ce | dc AF {A}G3F | F4 F2 ||

                                      

COME AGAIN YOU'RE WELCOME. AKA and see "Come Agen Ye're Welcome."

                                      

COME ALONG AND KEEP YOUR PROMISE (Teann a nall is cum do ghealladh). Scottish, Strathspey. C Minor. Standard tuning. AB. This tune "is an air to which the editor has heard his father sing several good verses, but is infinitely better as a dancing tune, and forms an exquisite medley with No. 145 ("I'll Kiss the Bonny Lassie, Oh!"), which follows it" (Fraser). The title perhaps references a promise to “come out” for the 1745 rebellion. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 144, pg. 58. Stewart-Robertson (The Athole Collection), 1884; pg. 267.

X:1

T:Come Along and Keep Your Promise

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:E_

e|B<G G>F E/F/G/A/ B>G|B<G G>F G<B c2|B<G G>F E/F/G/A/ B>F|

G<c e>c d>^B c2|B<G G>F E/F/G/A/ B<G|B<G G>F G<B c2|B<G G>F E/F/G/A/ B>A|

G>FE>g f>d c||g|e>g f<d g<c B<G|e<gf<d b<d c2|e>g f<d g<c B<G|B<G G>F G>=B c2|

e>g f<d g<c B>G|e<gf<d b<d c2|g<bf<g e>cB>A|G>F E<g f>d c2||

                                      

COME ALONG JOHN. AKA and see “Johnny Walk Along with Your Paper Collar On,” “Walk Along John [1].” American, Breakdown. USA, Arizona. G Major. Standard tuning. AAB. Ruth (Pioneer Western Folk Tunes), 1948; No. 89, pg. 32.

X:1

T:Come Along John

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:G

D|:G>GAd|B/d/A/d/ B/GD/|G>GAd|B/G/A/F/ G>D:|

e2{(f/)e2)|f/e/d/f/ e/d/B/A/|d<d f/ed/|B/G/A/F/ Gd|

e2{(f/)e2)|g/f/e/g/ f/e/d/B/|d<e f/ed/|B/G/A/F/ G2||

                                      

COME ALONG WITH ME [1] (Tar Liomsa). Irish, Air (2/4 time, "with force"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 343, pg. 59.

X:1

T:Come Along with Me [1]

M:2/4

L:1/8

R:Air

S:”With force”

S:O’NeillMusic of Ireland (1903), No. 343

Z:AK/Fiddler’s Companion

K:G

D|G2 A>F|G2 A>c|d2 c>A|G>F D>F|G2 A>F|G2 (3ABc|d2 e>c|(d2d)||B/c/|

d2 f>d|G2 d>c|B2 c>A|G>F D>F|G2 A>F|G2 (3ABc|d2 c>A|(G2 G2)||

 

COME ALONG WITH ME [2]. AKA and see "Fahy's Jig [1],” “The Green Forest." Irish, Double Jig. G Major. Standard tuning. AABB. A version was printed in Martin Mulvihill’s collection as “The Green Forest.” Source for notated version: accordion player Finbar Dwyer [Breathnach]. Breathnach (CRÉ III), 1985; No. 24, pg. 12. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 337, pg. 70.

X:1

T:Come Along with Me [2]

M:6/8

L:1/8

R:Jig

S:O’NeillDance Music of Ireland: 1001 Gems (1907), No. 337

Z:AK/Fiddler’s Companion

K:G

g|dBG GFG|GBd efg|dBG GBd|ecA ABc|dBG EFG|DGB ABc|dec BcA|BGG G2:|

|:B|gfg GBd|gbg afd|gfg GBd|ecA A2d|gfe ded|cBc ABc|dec BcA|BGG G2:|

 

COME ASHORE. See "Come Ashore, Jolly Tar, with Your Trousers/Trowsers On."

                       


COME ASHORE, JOLLY TAR, WITH YOUR TROUSERS/TROWSERS ON. AKA and see "The Cuckoo," "Cuckoo's Nest [14]," "Come Ashore," "The Trousers On," "Jacky Tar," "An Spealadoir," "The Reaper," "I do confess thou art sae fair." Scottish, Reel. E Minor: D Minor (Kidson). Standard tuning. AB: AABBCC (Kidson). A large tune family that includes versions well-known under the “Cuckoo” or “Cuckoo’s Nest” titles. The tune was published twice by late 18th century Glasgow publisher James Aird (in his A Selection of English, Irish, and Foreign Airs, adapted for the Fife, Violin and German Flute, vol. I, c. 1775 or 1776, which includes a fourth part), probably because of its association with the popular stage character dance 'The Sailor's Hornpipe', which Emmerson (1971) says was referred to as 'Jacky Tar' in that city's dancing schools of the time. The rather strange title may refer to the renowned sexual appetites of sailors released to port after a long voyage. Many captains refused shore leave when in port to prevent desertions, and instead ferried out boatloads of ‘companions’ for shipboard recreation. The tune also appears in the Gillespie Manuscript of Perth (1768). Of interest may be Cruickshank’s drawing of  “Tars Carousing,” from one of Dibdin’s song folios.

***

The melody also appears in a numerous British musicians’ music manuscript copybooks, including those of Lawrence Leadley (Helperby, Yorkshire, c. 1840’s), George Spencer (Leeds, West Yorkshire, 1831), John Clare (Helpstone, Northants, c. 1820), William Vickers (Northumberland, 1770), James Winder (Wyresdale, Lancashire, 1835), John Fife (Perthshire, Scotland, c.1780), and the Rev. Robert Harrison (Brampton, Cumbria, 1820). It does not appear to have been exported to America under the “Come Ashore…title,” at least as evidenced by the absence of the title in American musicians’ manuscript copybooks. See note for "Cuckoo's Nest" for more. Aird (Selection), vol I, 1782; No. 190. Callaghan (Hardcore English), 2007; pg. 16. Kidson (Old English Country Dances), 1890; pg. 15 (from a MS. dated "Falkirk, 1824").

X: 1
T:Come Ashore Jolly Tar with your Trousers On

T:Jacky Tar

T:Cuckoo’s Nest
M:4/4
L:1/8
C:As played by John Adams
S:18th C London Stage Hornpipe
A:England
H:18th C London Stage Hornpipe
Z:John Adams
K:G
BA | GFGE g2 fe | dBGB d2 cB | AGFE D2 d^c | d2 A2 A2 BA | GFGE g2 fe
| dBGB d2 cB | AGFE DEFA |1G2 E2 E2:|2 G2 E2 E4||: e2 ef g2 fe | d2 B2
B3 B |  ABde faef | d2 A2 A2 Bd | e2 ef g2 fe | dBGB d2 cB | AGFE DEFA
|1 G 2 E2 E4 :|2 G2E2 E2 GA |: BGEG BAGF | E6 FG| AFDF AFDF | AGFE D2
EF | GF GE g2 fe | dBGB d2 cB | AGFE DEFA |1G2 E2 E2 EG :|2 G2 E2 E2 ||

X:2

T:Come Ashore, Jolly Tar, Your Trousers On

M:C

L:1/8

R:Hornpipe

S:Frank Kidson – Old English Country Dances (1890)

Z:AK/Fiddler’s Companion

K:F

AG|FEFD f2 ed|cAFA c2 BA|GFED C2 cB|c2 G4 AG|

FEFD f2 ed|cAFA c2 BA|GFED C2 EG|F2D2D2:|

|:Ac|d2e2f2 ed|c2A2 A3c|GAcd egde|c2G2G2 AG|
FEFD f2 ed|cAFD c2 BA|GFED C2 EG|F2D2D2:|
|:FG|AFDF AGFE|D4 z2 EF|GECE cEDE|GFED C2 Ac|

dcde f2 ed|cAFA c2 BA|GFED C2 EG|F2D2D2:|

                       

COME AWA' IN. Shetland, Reel. G Major. Standard tuning. AABB. Composed by Shetland fiddler, composer, teacher and collector Tom Anderson (1980). Anderson (Ringing Strings), 1983; pg. 76.

                       

COME BACK BOYS, LETS FEED THE HORSES. Old-Time, Breadown. A Major. AEae tuning. Kerry Blech sees some possible similarity to Edn Hammons’ “Let's Hunt the Horses.” The tune is known as a West Virginia tune (some times attributed to a member of the Hammons’ family, although this cannot be verified), and has been popularized in recent times by Jimmy Tripplet and Gerry Milnes.

                       

COME BACK TO ERIN (Tar Ar Ais Go Eirinn). Irish, Slow Air (4/4 time). D Major (Roche): C Major (O'Neill). Standard tuning. AB. Composed by Claribel (Roche). O’Neill gives credit to collaborator and fiddler James O’Neill for the version he prints in Music of Ireland. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). While mostly traditional in his repertoire, Goodman regularly played several novelty or ‘popular’ tunes. Source for notated version: Chicago Police Sergeant James O’Neill, a fidder originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 194, pg. 34. Roche Collection, 1982; vol. 1, pg. 32, No. 68.

X:1

T:Come Back to Erin

M:4/4

L:1/8

R:Air

N:”Slow”

S:O’NeillMusic of Ireland (1903), No. 194

Z:AK/Fiddler’s Companion

K:C

G2 c>B c2 ^F>G|B2 A>F A2 G2|E2 F>G A3 A|A2 d>c Bc/B/ A_A|G2 c>B c2 ^F>G|

B2 A>F A2 {B/A/}G2|E2 F>G A2 B>c|d2 AB c3 z||E2 c>B A2 ^D>E|F2 E>D D2 C2|B,2 B>A G2 ^F>E|

G2 ^F>F E3 z|E2 {d}c>B A2 ^D>E|F2 E>^G B2 A2|c2 A>^F d2 BG|D^DE^F G3F||

                       

COME BY THE HILLS. AKA and see “Buachaill ó’n Éirne.”

                       

COME (LET US) DANCE AND SING. AKA and see "La Belle Catharine [1]," "Inkle and Yarico [1]." English, Scottish, New England; Reel and Country Dance Tune. England, Dorset. D Major. Standard tuning. AB (Kerr): AABB (Brody, Kennedy, Miller & Perron, Raven): AABA (Trim). The title “Come Let Us Dance and Sing” is the name of a song set to the popular country dance air “La Belle Catharine.” Bayard (1981) dates the tune from the 18th century, and says it has been a much‑favored tune of fifers. Jim Taylor (1996) notes that it was played by fifers in the early 19th century and in the American Civil War. Carlin (1977) speculates (without discernable evidence) that the tune may be related to a Shaker hymn bearing the same name. In fact, as “La Belle Catharine” it was published in Preston’s New Istruction for the German Flute (London, 1780), predating the Shakers, and was a favorite country dance in England and the Post-Revolutionary United States. In modern times the melody has been a staple of northern (United States) contra-dance repertoire. Charles Waterton, in his book Wanderings in South America, etc. (1879), visited the Caribbean island of Barbados around 1820 and heard a variant of the song there, which went:

***

Come let us dance and sing,

While Barbadoes [sic] bells to ring;

Quashi scrapes the fiddle-string,

And Venus plays the lute.

***

See note for “Inkle and Yarico” for more. Source for notated version: Fennig's All Stars (New York) [Brody, Carlin]. Brody (Fiddler’s Fakebook), 1983; pg. 72. Carlin (English Concertina), 1977; pg. 38. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 22. Kerr (Merry Melodies), vol. 1; No. 21, pg. 29. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 74. Raven (English Country Dance Tunes), 1984; pg. 145. Trim (Thomas Hardy), 1990; No. 86 (appears as "La Belle Catharine"). Adelphi 2004, Delaware Water Gap‑ "String Band Music." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Jim Taylor – “The Civil War Collection” (1996).

X:1

T:Come Dance and Sing

L:1/8

M:C|

K:D

|:A2|d2 cd e2 de|f2d2 de dc|B2e2 ef ed|c2A2A2(3ABc|d2 cd e2 de|

f2d2 de dc|B2e2 dc Bc|d4d2:|

|:AG|F2A2 AB AG|F2A2A3G|F2A2d2f2|ed cB A2AG|F2A2 AB AG|

F2A2A2 Bc|d2d2 fefg|a2A2A2:|

                       

COME DOWN AND LET ME IN. AKA and see "The Top of the Morning."

                                      

COME FOLLOW (FOLLOW ME). AKA and see "The Spanish Gipsy." The air appears under this title, taken from the first line of several ballads to the tune, in the ballad opera The Fashionable Lady (1730).

                       

COME FROM THE DEVIL AND SHAKE YOURSELF. AKA and see "Go to the Devil and Shake Yourself [1]," "When sick is it tea you want? [1]," "The Penniless Traveller," "The Irish Newsman."

                       

COME FY, LET'S A' TO THE BRIDAL. AKA and see “Blithesome Bridal,” “Come Let's A’ to the Bridal.” “Come to the Bridal,” “I’m the Boy for Bewitching Them,” “Let us waa to the wedding.” The Jolly Pedler’s [4].” Scottish, Jig (9/8 time). A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 232, pg. 26.

X:1

T:Come Fy, Lets a’ to the Bridal

L:1/8

M:9/8

K:A

A2A A2f ecA|B2B Bce (f2a)|A2A A2f ecA|B2B cBc F3:|

|:a2a aba gfe|c2e efc efg|a2a aba gfe|c2f fg^e f3:|

                       

COME GET ME. AKA and see "Viens m' Chercher."

                       


COME GET YOUR NUBBIN. 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.

                       

COME HAP ME WITH THY PETTICOAT. Scottish, English; Air or Reel. England, Yorkshire. G Major. Standard tuning. AAB. Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. McGibbon (Scots Tunes, book II), c. 1746; pg. 42. McGlashan (Collection of Scots Measures), 177?; pg. 9. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 121, pg. 64.

X:1

T:Come hap me with thy Peticoat (sic)

M:C|

L:1/8

R:Reel

B:McGlashan – Collection of Scots Measures (177?)

Z:AK/Fiddler’s Companion

K:G

g|dBAG EDEG|d>edB d3g|dBAG G>ABd|e>ged e3g|dBAG E>DEG|

d>gdB d3g|dBA>B G>ABd|e>ged e3||g|d>ega g/a/b ag|d>edB d3e|

d>ega g/a/b ag|e>ba>g e3g|d>ega g/a/b ag|d/g/f/e/ d/c/B/c/ d3g|

e/d/c/B/ c/B/A/B/ G/F/G/A/ B/A/B/d/|e/d/e/f/ g/f/e/^d/ e3||

X:2

T:Come hap me with thy Petticoat

M:C|

L:1/8

N:”Brisk”

S:McGibbon – Scots Tunes, book II, pg. 42  (c. 1746)

Z:AK/Fiddler’s Companion

K:G

g3 | d3B “tr”A3G | E3DE2G2 | d4 d3B | d6g2 | d3B”tr”A3G | “tr”E3D E2G2 |

e4”tr”e3d | e6 :: g2 | d3e g3a | (gab2) “tr”(a3g) | d3ed2B2 | d6g2 | d2e2g2a2 |

(gab2) “tr”(a3g) | e3b “tr”a3g | e6g2 | d3eg3a | (gab2) “tr”a3g | d3ed2B2 | d6g2 |

(ed)(cB) (cB)(AG) | “tr”E3D E2G2 | e6”tr”e3d | e6 :: g2 | (ded)B c(BAG) | (EG)(DG) E2G2 |

(dBd)e (ded)B | d6g2 | (ed)(cB) (cB)(AG) | EGED E2G2 | (ede)g (eg)(ed) |

e6 :: g2 | (dBd)e (deg)a | (g3a/b/) “tr”(a3g | d(gfe) (dcB)c | d6e2 | d2(ef) (gfg)a |

(g3a/b/) “tr”a3g | e3b (aba)g | “tr”e6g2 | (dBd)e (deg)a | g3(a/b/) “tr”a3g |

d(gfe) d(cBc) | d6g2 | (ed)(cB) (dB)(AG) | EGDG “tr”(EDE)G | e3g (ege)d | e6 :|

                       

COME HASTE TO THE WEDDING. AKA and see "Haste to the Wedding." Irish, Jig. D Major. Standard tuning. AABB. "The tune 'Come, Haste to the Wedding', of Gaelic origin, was introduced in the pantomime 'The Elopement' in 1767. This version is known as the Manx tune and was printed by the Percy society in 1846. It is the basis for the Manx ballad, 'The Capture of Carrickfergusby,' written by Thurot in 1760 (Linscott)." One of the tunes associated with the dance "Lady in the Lake" in N.H./ Widely known in the USA: in the repertory of Buffalo Valley, Pa., dance fiddler Harry Daddario. Source for notated version: Smith Paine (Wolfboro, N.H.) [Linscott]. Linscott (Folk Music of Old New England), 1939; pg. 87. Sweet (Fifer’s Delight), 1964/1981; pg. 24.

                                      

COME HERE SON. Old‑Time, Breakdown & Song Tune. USA, Georgia. A Major. Standard tuning. AAB. Source for notated version: Curly Fox (Ga.). Maloy, The Devil's Box, #27, Dec. 1, 1974; pgs. 22‑23. King Records KLP 562, Curly Fox (Ga.) {1947}.

                       

COME IN FROM THE RAIN ("Tar Astac On Baisdead" or "Taristeac On Baisteac"). Irish, Single Jig. E Aeolian. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 204, pg. 110. O'Neill (Krassen), 1976; pg. 71. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1104, pg. 208. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 397, pg. 79.

X:1

T:Come in from the Rain

M:6/8

L:1/8

R:Single Jig

S:O’NeillDance Music of Ireland: 1001 Gems (1907), No. 397

Z:AK/Fiddler’s Companion

K:E Minor

A|B2E EFE|d3 A2G|F2D DED|F2G A2c|B2E EFE|d3 e2f|g2e f2d|e3 e2:|

|:f|gfe b2e|gfe b2e|f2d A2g|f2g a2f|gfe b2e|gfe b2e|f2d Bcd|e3 e2:|

                       

COME IN THE EVENING. AKA and see "The Kelso Races," "The Welcome," "A Western Lilt," "The Lark in the Morning [1]," "Galway Tom [1]," "Galloway Tom [2]," "Gallua Tom," "An Buachaillin Bui," "The Goats’ Horn(s)," "The Spotted Cow," "The Little Yellow Boy," "The Thrush's Nest."

 

COME INTO THE ROOM, I WANT YOU.  AKA and see “Johnny When You Die [1],” “Mayo Lasses,” “Old Maid(s) of Galway.” Irish, Reel.

                       

COME INTO THE TOWN. Irish, Jig. D Major. Standard. AAB. Source for notated version: fiddler Jimmy Murphy (b. 1938, Meelick, near Swinford, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 42 (appears as “Unknown”).

                       


COME JOLLY BACCHUS. AKA and see "The Weaver's March," "The Gallant Weaver," "Twenty-First of August," "The Tenth of June," "(Glorious) First of August," "The Constant Lover," "The Swedes Dance at the new Playhouse," "Frisky Jenny," "Charles of Sweden." English, Air (cut time). B Flat Major. Standard. AAB. This old melody has seen much use as the vehicle for ballads, which Chappell (1859) outlines. "Come Jolly Bacchus" is perhaps its best‑known title, and is the song written to it in The Devil to Pay. In Playford’s Dancing Master the tune was known as "Frisky Jenny" and "The Tenth of June,” and, in the third volume, as "The Constant Lover." Walsh, in his Lady's Banquet, gives it as "The Swedes Dance at the new Playhouse," and in The Devil to Pay and The Rival Milliners or The Humours of Covent Garden it was known as "Charles of Sweden," while in The Beggar's Wedding it appears as "Glorious First of August." Chappell also notes it was the melody to which many topical broadsiders printed their ballads. See Bayard's (1981) note to "Pretty Polly" (No. 294, pg. 250) for more information. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 109‑110.

X:1

T:Come Jolly Bacchus

T:Charles of Sweden

M:C|

L:1/8

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

Z:AK/Fiddler’s Companion

K:B_

F2 FF D2 EF|G2G2F4|GA B2A Bc|d2d2 B4:|

||d2 ed c2 BA|B2c2A2F2|GA B2 A2 Bc|Bc de c4|

F2 FF D2 EF|G2G2 F4|GA B2A2 Bc|d2c2B4||

                                      

COME KISS WITH ME (COME CLAP WITH ME). AKA and see "Newburn Lads," "Kail and Knockit Corn," "The Bob of Fettercairn." Scottish, Reel or Air. "The Bob of Fettercairn" is the title Neil Gow gave to the tune in his third collection, but it was known half a century earlier than that as the song "Come Kiss With Me, Come Clap With Me." In the Shetlands the same tune was known as "Kail and Knockit Corn" (kail and bruised oats) which was also a song still in oral tradition during the 1970's (Cooke, 1986)./ Bayard believes the tune to be a special development of "Boyne Water."

                       

COME LASSES AND LADS [1]. English, Air (6/8 time). D Major (Raven): G Major (Kerr). Standard tuning. AB (Raven): AABB (Kerr). Kerr (Merry Melodies), vol. 3; No. 404, pg. 44. Plain Brown Tune Book, 1997; pg. 29. Raven (English Country Dance Tunes), 1984; pg. 121.

X:1

T:Come Lasses and Lads [1]

M:6/8

L:1/8

R:Jig

K:G

GAB g2g | agf e2g | ded d2B | (d3 d2) B | B2e e^de | B2e e2f | gfe f2^d | (e3e2) :|

|: d | ded g2f | (e3e2)e | efe a2g | (f3 f)ga | b2g a2f | gfe d2B | cde dgf | (g3g2) :|

 

COME LASSES AND LADS [2]. English, Air (6/8 time). G Major. Standard tuning. AB. The earliest copy that Chappell (1859) finds of this ballad, "still popular" at the time he was writing, is in Westminster Drollery (part ii., 1672) where it is titled "The Rural Dance about the May‑pole: the tune, the first Figure‑Dance at Mr. Young's Bal, in May, '71." By the time Cecil Sharp commented on the song in English Folk Song (1907) it had ceased to be sung in folk tradition. Sharp, a critic of Chappell due to his meddling with traditional tunes through over-editing them, points out that “the modulation to the relative minor at the middle cadence is obviously the addition of a latter day musician.” Chappell's song is taken from