The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

COO - CORI

[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] 

COO COO BIRD. AKA ‑ "Cuckoo Bird." Old‑Time, Song Tune. Learned (as were many of his tunes) by North Carolina musician Hobart Smith from John Greer, a neighbor. The piece is known as a banjo song and employs a special tuning ("sawmill tuning") of the instrument. Folk Legacy FSA‑17, Hobart Smith ‑ "America's Greatest Folk Instrumentalist" (appears as "Cuckoo Bird"). Folkways FA 2953, Clarence (Tom) Ashley - "Anthology of American Folk Music, Vol. 3" (1952). Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986. Version from Hobart Smith).

                       

COO COO'S NEST. See "Cuckoo's Nest [14]."

                       

COOK HORNPIPE. AKA and see “Kirkgate Hornpipe [1].” English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. No relation to the Shropshire- collected "Cook's Hornpipe." The tune appears in Kidson (1890) as “The Kirkgate Hornpipe [1].” Kidson notes the tune was very popluar in Leeds, Yorkshire, area in the early 19th century, where a small musical society used to hold its meetings in Kirkgate. Perhaps ‘Cook’ is a miss-hearing of Kirkgate? Source for notated version: a MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Callaghan (Hardcore English), 2007; pg. 16. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 18, pg. 32.

                                      

COOK IN THE KITCHEN [1], THE (An Cocaire Annsa Cistean) Irish, Double Jig. G Major (Harker/Rafferty): G Major/Mixolydian (most versions). Standard tuning. AABBCC (Harker/Rafferty, O’Neill, Russell): AA’BB’CC’ (Mitchell, O’Malley). The ‘F’ natural note in the second measure is a characteristic of many versions of this tune. A Cape Breton jig titled “Northside Kitchen” shares a closely related ‘A’ part. Sources for notated versions: the playing partners of Chicago police Sergeant James Early and John McFadden, a piper and fiddler from adjoining counties in the province of Connaght [O’Neill]; piper Willie Clancy (1918-1993, Miltown Malbay, west Clare) [Mitchell]; Terry Lane (Co. Clare) [Russell]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]; from a recording by Jackie Roach [O’Malley]. Harker (300 Tunes from Mike Rafferty), 2005; No. 189, pg. 59. Mitchell (Willie Clancy), 1993; No. 105, pg. 91. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 81, pg. 41. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 133, pg. 77. O'Neill (Krassen), 1976; pg. 59. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1042, pg. 195. O'Neill (Dance Music of Ireland: 1001Gems), 1986; No. 252, pg. 56. Russell (The Piper’s Chair), 1989; pg. 9. GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Shanachie 79093, Paddy Glackin & Robbie Hannan – “The Whirlwind” (1995). Topic TSCD 602, The Flanagan Brothers – “Irish Dance Music” (1995. A reissue of the 1923 original).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Cook in the Kitchen, The [1]

M:6/8

L:1/8

R:Jig

S:O’NeillDance Music of Ireland: 1001 Gems (1907), No. 252

Z:AK/Fiddler’s Companion

K:G

D | G>DG GAG | FDE F2A | G>DG GFG | Add cAG | G>DG GAG | FDE F2d | cAG FGA | AGG G2 :|

|: A| B>cB BAG | ABA AGF | GAG GFG | Add cAG | B>cB BAG | ABA A2d | cAG FGA | AGG G2 :|

|: B | d2e f2g | a2g f2d | cAG FGA | Add cAG | d2e f2g | a2g f2d | cAG FGA | AGG G2 :|

 

COOK IN THE KITCHEN [2], THE (Carraig an tSoip). AKA and see "The Angry Peeler," “The Boys of Thomastown,” "Buachailli Bhaile Mhic Anndain,” "The Drunken Gauger [2].” Irish, Double Jig. G Major. Standard tuning. AABB. The tune bears no resemblance to O’Neill’s “Cook in the Kitchen” although it is the same tune as his “Angry Peeler.” “The Drunken Gaugher” title is from the Goodman Manuscripts. See also “The Tromore Jig.” Source for notated version: piper Joseph Walsh/Seosamh Breathnach (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 3, pg. 4 (appears as “Carraig an tSoip”).

                                                  

COOKHOUSE JOE. Old-Time, Breakdown. USA, Kentucky. A Major. AEae tuning. AABBCC. Similar in parts to the Skillet Lickers “Pretty Little Widow.” Jeff Titon (2001) calls this a local, Bell County, tune, played by no one else except for his source, Estill Bingham. Source for notated version: Estill Bingham (Pineville, Bell County, Ky., 1977), who learned the tune from his father, Noah Bingham [Titon]. Titon (Old-Time Kentucky Fiddle Music), 2001; No. 27, pg. 61. Historical Images 36-22 (cassette), Bruce Greene – “Southern Tunes of the Civil War Era” (1991).

                                                  

COOKIE SHINE. Scottish, Reel. F Major. Standard tuning. AA'BB'. Kerr (Merry Melodies), vol. 3; No. 166, pg. 20.

X:1

T:Cookie Shine

M:C

L:1/8

R:Reel

B:Kerr – Merry Melodies, vol. 3, No. 166  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

c2 (AB) cfef|cBAB c2A2|1 d2 (Bc) dgga|bagf edc=B|c2 (AB) cfef|

cBAB c2A2|dgga bagf|ecde f2||(AB)|cAfA cAAB|cAfA c2 (BA)|

dBgB dBBc|dBgB d2 (AB)|cAfA cAAB|cAfA c2 (BA)|dgga bagf|ecde f2a2||

                                      

COOKIE'S JIG. Canadian?, Jig. A Major. Standard tuning. AA'BB'. Source for notated version: learned by Hamilton County, N.Y., fiddler Vic Kibler from a Rod Dorman recording [Bohrer]. Bohrer (Vic Kibler), 1992; No. 10, pg. 10.

                                      

COOK'S HORNPIPE. English, Hornpipe. England, Shropshire. G Major. Standard tuning. AABB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 114a, pg. 47.

                          

COOK’S PURSUIT.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, under the title “The Cooks Persuite.”

X:1

T:Cook’s Pursuit

M:2/4

L:1/8

S:William Vickers’ music manuscript, pg. 22  (1770)

Z:AK/Fiddler’s Companion

K:G

[G,2D2B2g2][G,2D2B2g2]|d/c/B/A/ BG|[G,2D2B2g2][G,2D2B2g2]|d/c/B/A/ G2 :|

|:G/A/B/G/ A/B/c/A/|B/c/d/B/ c/d/e/c/|d/e/f/d/ e/f/g/e/|d/c/B/A/ G2:|

 

COOK'S WALTZ. American, Waltz. USA, Missouri. G Major. “Cooks Waltz” is one of the ‘100 essential Missouri fiddle tunes’ according to Missouri fiddler Charlie Walden.

                                      

COOLA SHORE. AKA and see “I Rise in the morning with my heart full of woe,” "My Love is an Arbutus."

                          

COOLDERRY BRIDGE. Irish, Reel. D Major. Standard tuning. AABB. Composed by Mullaghbawn, south County Antrim, fiddler and piano player Josephine Keegan (b. 1935). The tune is named for Coolderry, Cul Doire (Oak Wood), a tiny village and townland next to Keegan’s childhood home of Cornonagh. It is deserted now. Keegan (The Keegan Tunes), 2002; pg. 27.

                                      

COOLDERRY HORNPIPE, THE. Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 78.

                          

COOLEA JIG, THE. AKA and see “Sport [2]." Irish, Jig. D Major. Standard tuning. AA’BBCC’. Composed by whistle player Peadar O’Riada of Cuil Aodha (Coolea), County Cork, the son of Sean Ó Riada.

X:1

T:Coolea Jig

T:Sport

R:jig

C:Peadar O'Riada

S:Tape of Siobhan Kelly - East Durham 7/22/00

N:Written by Peadar O Riada of Cuil Aodha (Coolea)

N:Co. Cork (son of Sean O Riada).

D:Amidst These Hills (Bar/None Records)

Z:Michael Hogan

M:6/8

L:1/8

K:D

|:AdF ~A3|GBE ~G3|AdF ~A3|GBE cde|!

AdF AzA|GBE ~G3|1 c2c ABA|GEA D3:|2 czc A(3FGA|GEA D2A|

|:c3 ded|cec ~A2g|~f3 ged|cec A2g|!

~f3 ~g3|faf d2e|fdB AFA|GEA D3:|!

|:AGG AEE|AGE EDD|AGG c2e|dcA AGE|!

[1 AGG AEE|AGE EDD|c2c ABA| GEA D(3EFG:|!

[2 AGG AEE|AGE EDD|c2c ABA|GEA D3||!

                                      

COOLEEN BAWN. AKA and see “(An) Cailin Ban,” “Mary Mavourneen.”

                       


COOLEEN BRIDGE (Droicead Na Ciulin). AKA and see "Tarbolton Reel," "Wild Irishman [5].” Irish, Reel. E Minor. Standard tuning. AB. Source for notated version: fiddler Johnny Allen, County Clare, who gave this tune and “The Maids of Feakle” to O’Neill when the latter was visiting in the area. Allen had a local reputation which still lingers. The tune, however, is the earlier Scots melody “Tarbolton Reel.” Gearóid Ó hAllmhuráin (1999) says the tune was collected by O’Neill during a trip to East Clare in 1906, where, in the Sliabh Aughty area, he had several tunes from fiddler Johnny Allen, a dance musician and contemporary of Pat Canny and a blind fiddler named Paddy MacNamara. The latter taught music in the region in the early part of the 20th century. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 780, pg. 135.

X:1

T:Cooleen Bridge

M:C|

L:1/8

R:Reel

S:O’NeillDance Music of Ireland: 1001 Gems (1907), No. 780

Z:AK/Fiddler’s Companion

K:E Minor

F|Eee^d e2 BA|GBAF GEEF|Ddd^c d2 AF|GBAG FDDF|Eee^d efga|

fedf eBBA|G2 G FGAc|BGAF GEE||f|gfef gebe|geba gee^c|defg a2 fd|

gefd edBA|G2 BG F2 AF|Eee^d e3f|gefd edB^c|(3dcB AF GEE||

                                      

COOLELAN JIG, THE. Irish, Jig. G Major. Standard tuning. AABB. 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. 11, pg. 3.

                                      

COOLER, THE. English, Reel. England, Northumberland. G Major or Mixolydian. Standard tuning. AABBCCDD. "There is an alternative title (in the MS.) which looks like 'Lar Drummer Rant'(?) {Seattle}. Seattle (William Vickers), 1987, Part 2; No. 264.

                       

COOLEY WALTZ, THE. Old‑Time, Waltz. USA, Nebraska. A Major. Standard tuning. AABB. Source for notated version: Bob Walters (Burt County, Neb.) [Christeson]. R.P. Christeson (Old-Time Fiddlers Repertory), 1984; pg. 151.

                       

COOLEY'S HORNPIPE. AKA – “Joe Cooley’s Hornpipe.” Irish, Hornpipe. G Major (most versions): A Major (O’Malley). Standard tuning. AABB (most versions): AA’BB’ (O’Malley). Composed by Nenagh, County Tipperary, accordion player Paddy O’Brien (1922-1991), in honor of renowned Galway D/D# box player Joe Cooley, who also popularized the tune. There are several variants of the second part of the tune in modern usage. Sources for notated versions: Seán Ryan [Miller & Perron]; Eddie Bolger [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974; book 3, No. 74 (appears as “Coolies”). Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 1. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 114. O’Brien (The Compositions of Paddy O’Brien), 1992. O’Malley (Luke O’Malley’s Collection of Irish Music), 1976; No. 124, pg. 62. Sullivan (Session Tunes), vol. 2; No. 43, pg. 18. Noel Hill & Tony Linnane (1978).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Cooley's Hornpipe

M:4/4

L:1/8

C:Paddy O'Brien (Tipp.)

R:Hornpipe

K:G

(3def|gG~G2 EGDC|B,G,B,D GBdg|~e2 ce ~d2 Bd| (3cBA BG ~A2 (3def|

gG~G2 EGDC|B,G,B,D GBdg|ecAG FAdc| ~B2 GF G2:||

GA|BGBd edBd|~g2 bg egdB|~c2 ge dGBd|cBA^G ~A2 dc|

BGDC B,DG=F| ~E2 CE DGBd|gfge dBcA|~B2 GF G2  :||

X:2
T:Cooley's Hornpipe
C:Paddy O'Brien, Tipperary
R:hornpipe
D:Noel Hill & Tony Linnane
D:Mary Bergin: Feadoga Stain 2
Z:id:hn-hornpipe-62
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
K:G
(3def|gG~G2 EGDC|B,DGB dg~g2|e2ce d2Bd|cAAG A2 (3def|
gG~G2 EGDC|B,DGB dg~g2|ecAG FAdc|BGGF G2:|
|:GA|BG (3Bcd edBd|g2bg edBd|~g3e dBGA|BAAG Ad^cd|
BG~G2 E2cE|~E2cE DGBd|~g3e dBcA|BGGF G2:|

              

COOLEY’S JIG. See “Joe Cooley’s Jig,” “Seamus Cooley’s Jig.”

              

COOLEY'S REEL [1]. AKA and see "Joe Cooley's Reel [2],” “Lutrell Pass,” “Reynold’s Reel,” “Ríl na Tulai,” “Tulla Reel.” Irish, Reel. E Dorian. Standard tuning. AAB (Carlin, Laufman): AABB (Brody, Mallinson, McNulty, Mulvihill, Songer, Taylor): AA'BB (Miller & Perron, Moylan): AA'BB' (Alewine, Harker/Rafferty, O’Malley). The tune is associated with the renowned button accordion player Joe Cooley (1924-1973), originally from Peterswell, County Galway, near the northern boundary of the Sliabh Aughty mountians. Cooley spent much of his later life in an itinerant lifestyle in various cities in America, and back and forth to Ireland. He was a member for a time of the famous Tulla Céilí Band in Ireland.

***

Peter Wood, in his book The Living Note: the Heartbeat of Irish Music (1996), had this to say about Cooley:

***

Cooley's accordion playing made a great impression on all those

who heard him.  He had great energy and style. Everything for

him was wrapped up in emotion. There was at the time, and

there have been since, technically better players, faster players,

players who know their way round the box better than Joe did,

but it was always about Joe that you'd find the crowd gathered,

looking at him, watching him drive his whole body behind his

box. You could be standing at the back of a place when Cooley

came to play, the place emptied out into the corners, but when

he strapped on the box and launched into a tune the crowds

would start toward him, even if they didn't know who he was.

He inspired people. Oh, they'd say, can't he make it talk.

***

There are several stories circulating regarding the origins of this extremely popular tune. According to David Taylor (1992) the reel was the composition of Co. Mayo and New York fiddler John McGrath (1900-1955). Philippe Varlet maintains it was the invention of accordion player Joe Mills of the Aughrim Slopes Céilí Band, who originally entitled it “Lutrell Pass.  Charlie Piggott, writing in his book co-authored with Fintan Vallely, Blooming Meadows (1998), has yet another version, related to him by Joe’s brother Séamus.  Its origins date to the 1940’s when the teenaged brothers attended a house session in the neighboring county of Clare. There they listened to an old man with a battered concertina playing in front of an open fire (Séamus remembers some of the buttons had been replaced by cigarette ends!), and one tune in particular caught their attention.  On returning home the brothers tried their best to remember what the old man had played, staying up through the night working and worrying the remembered fragments until finally the reel took shape. Séamus credits Joe with the first part of their refashioned piece, while himself taking credit for the turn.

***

Joe Cooley (1924-1973)

***

The melody is often paired with “The Wise Maid,” a medley recorded by Cooley himself on his Gael-Linn album. Sources for notated versions: Jay Ungar (West Hurley, New York) [Brody]; accordion player Johnny O’Leary (Slaibh Luachra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann, November, 1990 [Moylan]; Jim Bly (Co. Roscommon/Northampton, England) & Frank McCollam (Ballycastle, Co. Antrim) [Mulvihill]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 13. Brody (Fiddler’s Fakebook), 1983; pg. 74. Carlin (Master Collection), 1984; pg. 117, No. 197. Harker (300 Tunes from Mike Rafferty), 2005; No. 78, pg. 25. Laufman (Okay, Let's Try a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall), 1973; pg. 35. Mallinson (Essential), 1995; No. 27, pg. 12. McNulty (Dance Music of Ireland), 1965; pg. 7. Miller & Perron (Irish Traditional Fiddle Tunes), 1977; vol.1, No. 33. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 58. Moylan (Johnny O’Leary’s), 1994; No. 170, pg. 98. Mulvihill (1st Collection), 1986; No. 7, pg. 2. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 65, pg. 33. Songer (Portland Collection), 1997; pg. 54. Taylor (Music for the Sets: Yellow Book), 1995; pg. 21. Avoca 139, Sean Maguire‑‑"Music of Ireland.” CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994). Coleman Music Center CHC 009, fiddler P. Fitzpatrick & flutist Desmond Higgins – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Coleman Music Center CHC 009, whistle player Jim Donoghue – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists). Fretless 118, Marie Rhines‑ "The Reconciliation." Gael-Linn Records, Frankie Gavin & Paul Brock - "Tribute to Joe Cooley." Green Linnet 1009, Patricia Conway and Mick Moloney‑ "Irish Music: The Living Tradition" (appears as "Joe Cooley's Reel"). Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004). Greenhays GR 710, John McCutcheon ‑ "Fine Times at Our House" (1982). Philo 1040l, Jay Ungar and Lynn Hardy‑ "Catskill Mountain Goose Chase" (1977. Appears as third tune of "Four Reels"). Rounder 0111, Russ Barenberg‑ "Cowboy Calypso." Tara Records, Tony Linnane & Noel Hill. Voyager 320‑S, Frank Ferrel‑ "Fiddle Tunes."

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Cooley’s Reel

M:C|

L:1/8
R:Reel

K:E Minor

EBBA (B2 B)A|~B2 AB dBAG|FDAD BDAG|FDFA dAFD|

EBBA (B2 B)A|~B2 AB defg|afef dBAF|1 DEFD E2 z2:|2 DEFD E2 zf|

|:eB ~B2 eBfB|eB ~B2 gedB|A2 FA DAFA|~A2 FA defd|eB ~B2 eBgf|

eB ~B2 defg|afef dBAF|DEFD E2 z2:|

 

COOLEY’S (REEL) [2]. AKA and see “All Around the World,” “The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel [1],” “Johnny Doherty’s Reel [1],” “Jolly Beggar [2],” “The Knotted Chord [2],” “Matt Molloy’s [1],” “The Mistress,” “Mot Malloy,” “Tinker Doherty,” “The Wise Maid [1].”

 

COOLEY’S (REEL) [3]. AKA and see “Last Night’s Fun [4].”

                       

COOLEY’S WALTZ [1]. Irish, Waltz. A Major. Standard tuning. ABB’. Chart Records CHCD 015, Brendan Begley, Seamus Glackin & Michael O'Brien – “Crossroads Ceili.”

T:Cooley's Waltz #1

R:waltz

M:3/4

L:1/8

D:"Crossroads Ceili", Brendan Begley on accordion

Z:Han Speek

P:ABA

K:D

P:A

e2|:f6|f a5|f3 (3afdB|~A2 F2 D2|B6|B3 A ~G2|F6|-F4 e2|

f4 (3afe|f a5|f3 (3afdB|~d2 B2 A2|c6|c6|e3 fgf|eg cg BA|

f4 (3afe|f a5|{=f}f3 (3afdB|~A2 F2 D2|B6|B3 A ~G2|F6|-F4 (3ABc|

d4 cd|e4 (3ffg|a2 ~f2 d2|g4 ag|f A5 |f4 (3ege|d2 {f}dAFA|D6||

P:B

D2 F2 A2|~d2 c2 d2|~e2 d2 g2|g4 cB|A2 c2 e2|a3 ^gag|agegfe|f4 AF|

D2 F2 A2|~d2 c2 d2|~e2 d2 g2|g4 (3BcB|A2 c2 e2|a3 ^gag|abagfe|

[1 d4 AF:|2 d6|

 

COOLEY’S WALTZ [2]. AKA and see “Tommy Bheatty’s Waltz.”

                       

COOLFADDA REEL. See “Killfadda Reel.”

                       

COOLIES. See “Cooley’s Hornpipe.”

                       

COOLIN, THE. AKA and see "The Coolun."

                       

COOLIN ROE. AKA and see "Harry Munro."

                       


COOLUN/COOLIN, THE (An Cúilfhionn/Chuilfhionn) AKA‑ "An Cuilfion Le Atrugad," "An Cuilrionn," "The Coulin," "The Coolin," "Cuilin." AKA and see "In This Calm Sheltered Villa," "Had You Seen My Sweet Coolin," "Oh! Hush the Soft Sigh," "Oh! The Hours I Have Passed," "Though the Last Glimpse of Erin," "The Lady of the Desert." Irish, Slow Air (3/4 time). D Major (Gow): G Major (Ó Canainn, O’Farrell, O'Neill/1915 & 1850, Roche): F Major (Joyce). Standard tuning. AB (Joyce, O'Neill/1850, Sullivan): AAB with variations (Roche): AA’B (Ó Canainn): AABB (Gow): AABBCCDDEEFF (O’Farrell). “The Queen of Irish Airs” maintains Francis O’Neill (1913). There are many versions of this ancient and celebrated air "of which Bunting's and Moore's are not among the best: they are both wanting in simplicity," states Joyce (1909), who prints the tune as collected by Forde from Hugh O'Beirne (a Munster fiddler from whom a great many tunes were collected). He considers Forde's version "beautiful...(and) probably the original unadulterated melody," and adds that it is similar to the version he heard the old Limerick people sing in his youth during the 1820's. Grattan Flood (1906) states it is probable the air dates from the year 1296 or 1297, believing it must have been composed not long after the Statute, 24th of Edward I, in 1295, which forbade those English in Ireland (who were becoming assimilated into the majority Gaelic culture) to affect the Irish hair style by allowing their locks to grow in 'coolins.' The original song, told from a young maiden's point of view, berates those Anglo‑Irish who conformed to the edit by cutting their hair, and praises the proud Irishman who remained true to ancestral custom (the Gaelic title "An Chuilfhionn," means 'the fair-haired one'). The Irish Parliament passed another law in 1539 forbidding any male, Irish or Anglo‑Irish, from wearing long or flowing locks of hair‑‑this enactment, relates Flood, is the source of the claim printed by Walker in 1786 in Historical Memoirs of the Irish Bards as the impetus for the song. [Ed. note—Grattan Flood is notorious for inaccuracies and unsubstantiated claims, and his information should be viewed as suspect until confirmed]. Walker states:

***

In the twenty-eighth year of the reign of Henry VIII [i.e.,
1536-7], an Act was made respecting the habits, and dress
in general, of the Irish, whereby all persons were restrained
from being shorn or shaven above the ears, or from wearing
Glibbes or Coulins (long locks), on their heads, or hair on
their upper lip, called Crommeal.  On this occasion a song
was written by one of our Bards, in which an Irish Virgin is
made to give the preference to her dear Coulin (or the youth
with the flowing locks), to all strangers (by which the English
were meant), or those who wore their habits.  Of this song
the air alone has reached us, and is universally admired.

***

Thomas Moore used the tune printed by Walker (who had no words) and wrote his own verses to the air. A.A. Lloyd writes that an informant, John Doonan, told him the song “The Coolin” was the work of one Maurice O’Dugan, who flourished in the latter half of the 16th century, but in this version the title refers to the hair style of a blond girl (A.A. Lloyd). In fact, the Irish word cuileann (sometimes chúilfhionn) means “fair lady” (a male character would be Cúilfhionn).  

***

The air was played by Irish harper Charles Fanning at both the first and second Granard Harp Competitions in 1781 and 1782, performances which earned him the first prize of ten guineas and eight guineas respectively. Fanning, 56 years old in 1781, won a similar contest eleven years later at the Belfast Harp Festival with the same air (Flood, 1906), although Bunting (who was in attendance, recording the tunes played) says he was not the best performer but used modern variations on the tune which was much in vogue with young pianoforte players at the time. It was well known enough to have been mentioned by name by the Belfast Northern Star of July 15th, 1792, as having been one of the tunes played in competition by one of ten Irish harp masters (i.e. by Fanning) at the last great convocation of the ancient harpers, the Belfast Harp Festival, held that week.

***

In the alternate title for the tune, "The Lady of the Desert,” the word ‘Desert’ may refer to "Dysert" (though it has the same meaning), a place name in several parts of Ireland, including North Kerry. Bunting’s source Hempson claimed to have his version from Cornelius Lyons, a North Kerry musician.

***

Sources for notated versions: the Irish collector Edward Bunting noted the tune from the harper "Hempson, at Magilligan in 1796," who learned his set with variations from the famous harper Cornelius Lyons (of the Barony of Clanmaurice) who composed them in 1700 (Lyons, a friend and companion of O’Carolan, had built his reputation as the arranger of variations in a more ‘modern’ style to old melodies such as this and “Eileen a Roon”); Joyce prints the version collected by Forde from Hugh O'Beirne, a renowned fiddler from Ballinamore in the mid-19th century; “From Taig MacMahon, as sung in Clare” [Stanford/Petrie]; fiddler James O’Neill (Chicago) [O’Neill]. Carlin (Gow Collection), 1986; No. 537. Gow (Complete Repository), Part 2, 1802; pg. 10. Hime (Pocket Book), c. 1810; pg. 33. Holden (Old Established Tunes), 1806-7; pg. 28. Joyce (Old Irish Folk Music and Song), 1909; No. 564, pg. 299 (appears as "The Coolin"). Kinloch (100 Airs), c. 1815; No. 25. McFadden (Scotch, English, Irish and Foreign Airs), volume V, 1790-7; pg. 29. Mooney (History of Ireland), 1846; pg. 532. Murphy (Irish Airs and Jigs), 1809; pg. 8. Ó Canainn (Traditional Slow Airs), 1995; No. 103, pg. 88. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 33 (appears as “Coolun with Variations”). O'Farrell (Pocket Companion), 1801-10; No. 122. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 46, pg. 30 (with variations). O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 89, pg. 16 (with nine variations). O'Sullivan/Bunting, 1983; No. 119, pgs. 168-170. Roche Collection, 1982; vol. 1, pg. 22, No. 43. Stanford/Petrie (Complete Collection), 1905; Nos. 598 & 599, pgs. 150-151. Sullivan (Session Tunes), Vol. 3; No. 40, pg. 17. Walker (Historical Memoirs of the Irish Bards), part X, 1786; pg. 8. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007). Green Linnet SIF 1084, Eugene O'Donnell ‑ "The Foggy Dew" (1988). Green Linnet SIF 1045, Joe Burke – “The Tailor’s Choice.” MKM7590, Mike McHale – “The Schoolmaster’s House” (2000). Topic 12TS230, Noel Pepper (et al) - “The Lark in Clear Air: Irish Music Played on Small Instruments” (1974. Learned from an old Waterford fiddler, Charlie Sweeney).

X:1

T:Coolun

M:3/4

L:1/8

R:Air

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:D

(3ABc|d2 ~d>f (f/e/)d/c/|~d2 A2 (3DFA|d2 (de/f/) {f}e>d|(d2c)z ~d>c|

~(B2 B)c/d/ (e/d/)(c/B/)|A2 (FA)(d>A)|(c/B/)A/G/ F2 E2|D4:|

|:A>G|~F>E(D>E)(FG)|A>^G ABcA|~d>c (de/f/) ed|(d2c2) d>c|

~B2 (B/c/d/c/) (e/d/)(c/B/)|A2 (FA)d>A|(c/B/)(A/G/) F2 E2|D4:|

X:2

T:Coolin, The

M:3/4

L:1/8

R:Air

N:”With great expression”

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

Z:AK/Fiddler’s Companion

K:F

c>d | f>g a2 g>f | f2 A2 c>d | f>g a2 g>f | f4 fe | dcfdcA | c2F2 Ac |

d2 cA {A}G>F | F4 || AG | FGAcdf | c2A2 cd | f>g a2 g>f | f4 f>e |

dcfdcA | c2A2 cf | d2 cA {A}G>F | F4 ||

X:3

T:Old Coolin, The

M:3/4

L:1/8

R:Air

N:”Moderato”

S:Stanford/Petire (1905), No. 599

Z:AK/Fiddler’s Companion

K:D

AB/c/ | d2 dcde | f2A2A2 | f2 gfed | {d}c2 A2 AB/c/ | d2 dcde |

f2A2 AB | AG F2 “tr”G2 | A4 || FG | A2A2 GF | =c2 BAGF | GF GB AG |

F2D2 FG | A2f2 ef | de f2 AG | F2 DF E>D | D4 || AB/c/ | d2 dcde | f2A2A2 |

f2 gfed | {d}c2A2 AB/c/ | d2 dcde | f2 A2 AB | AG F2 “tr”G2 | A4 || FG |

A2A2 GF | =c2 BAG>F | GF GB AG | F2D2 FG | A2f2 ef | de f2 AG |

F2DF E>D | D4 ||

                       

COON BUNCH. Old‑Time. One of the tunes mentioned as having been played in a 1931 account of a LaFollette, N.E. Tenn. fiddlers' contest.

                       

COON DOG [1]