The Fiddler’s Companion
© 1996-2009 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] |
COO COO BIRD. AKA ‑
"Cuckoo Bird." Old‑Time, Song Tune. Learned (as were many of
his tunes) by
COO COO'S NEST. See "Cuckoo's Nest [14]."
COOK HORNPIPE. AKA and see “Kirkgate
Hornpipe [1].” English, Hornpipe.
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
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’Neill –
Dance Music of
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 (
COOKHOUSE JOE. Old-Time, Breakdown.
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
COOK'S HORNPIPE. English, Hornpipe.
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.
COOLDERRY HORNPIPE, THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south
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),
X:1
T:Coolea Jig
T:Sport
R:jig
C:Peadar O'Riada
S:Tape of Siobhan Kelly -
N:Written by Peadar O Riada of Cuil
Aodha (Coolea)
N:
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.”
X:1
T:
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
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.
COOLEY WALTZ, THE. Old‑Time, Waltz.
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,
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,
***
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 session tune.
According to David Taylor (1992) the reel was the composition of Co. Mayo and
***
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
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:Emin
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:
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
***
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
***
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
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]. AKA and see "Raccoon's Tail,"
"Lynchburg Town." Old‑Time,
Breakdown.
COON DOG [2]. AKA and see "Angeline the
Baker." Old‑Time, Breakdown.
COON IN THE TREETOPS. AKA - “N....r in the Treetops.” Old-Time, Breakdown.
COONEY IN THE HOLLER.
American. According to Cecilia Conway
(1995) "Cooney in the Holler" was a popular dance tune in the early
19th century in
COONEY IN THE STUBBLE
FIELD. Old‑Time, Breakdown.
COON ON A LOG. AKA and see “Little Moses.”
COONEY'S HORNPIPE (Crannciuil Ui Cuanaig). AKA and see “The Friendly Visit,” "Smith's Hornpipe [1],” “Tamony’s Hornpipe." Irish, Hornpipe. G
Major. Standard tuning. AABB. See also the related “Murphy’s Hornpipe [2].” O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1739, pg. 323. O'Neill (Dance
Music of
X:1
T:Cooney’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
D2|G2 GF GBdB|AGAB cdef|gfgf
ecAG|FGAF DEFD|
GFEF GBdB|AGAB cdef|gfgf
ecAF|G2G2G2:|
|:Bc|dedc Bcdf|efed cdef|gfgf
ecAG|FGAF DEFD|
GFEF GBdB|AGAB cdef|gfghf
ecAF|G2G2G2:|
COONEY'S
(REEL). AKA and see "The Providence Reel," "The Rossport Reel." Irish, Reel. D
Major. Standard tuning. AABB. Source for notated version: Clare fiddler Paddy
Caney [McGuire & Keegan]. McGuire and Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 51, pg. 14.
COONIE IN THE CREEK. Old‑Time, Breakdown. D Major. Standard tuning. AABB. The second
part is the same strain as can be found in "Soldiers Joy" AKA "Kings
Head." Ford (Traditional Music in
COOPER O' STANNERTON
HEUGH, THE. English, Jig.
X:1
T:Cooper o’ Stannerton Deugh, The
M:6/8
L:1/8
R:Jig
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
d|gGG BAG|BcB BAG|gGG BAG|ABd e2 d|
gGG BAG|BcB BAG|gfe dcB|ABd e2:|
d|gbg bgb|faf afa|gbg bgb|faf e2d|gbg bgb|
faf
faf|gfe dcB|ABd e2:|
COOPER'S HORNPIPE. AKA and see "The
Exciseman's Hornpipe," “Fox in
the Dumps,” “Swan’s Hornpipe.”
Scottish, Hornpipe. D Major. Standard tuning. AABB (Athole, Hardings): AA'BB
(Kerr). Barry Callaghan (2007) included it in his section of duple-time tunes
rather than hornpipes as he said “it also makes a great rant.” The melody
appears in a number of English 19th century musicians’ manuscripts,
including those of G. Huddeswell (
X:1
T:Coopers
M:C|
L:1/8
R:Hornpipe
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
AG|FA d2 d2 cB|cd e2 e2 dc|defd gfed|ec A2 ABAG|FA d2 d2 cB|cd e2 d2 ag|
fdec dABG|F2 D2 D2:||(3ABc|dAFA DFAd|edcB Aceg|fdAF DFAd|edcB A3A|
BGBd
gfed|cAce d3A|BGAF GEAG|F2 D2 D2:|
COORACLARE POLKA. Irish, Polka. G Major. Standard tuning. AABB. Carlin (Master Collection), 1984; pg. 154, No.
272. 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:
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E
(ga) | b>ga>f e>gf>e |
d>ef>d B>cB>A | G>Be>d c>fa>g | (3.f.g.f (3.e.d.c B2
g>a |
b>ga>f e>gf>e |
d>ef>d B>cB>A | G>Be=d c>af>^d |e2g2e2 :: (de) |
f>BB>B B>fg>a |
g>ee>e e>fg>a | b>ge>g a>gf>e | d>bc>^a B2 (de) |
f>BB>B B>fg>a |
g>ee>e e>f(ga) | b>gf>e (db) (Bd) | e2g2e2 :|
X:1
T:
M:C
L:1/8
S:Ellis
Knowles
K:D
AG | FA d2
FA d2 | ce g2g2 AA | FA d2 cege | d2d2d2 AG | FA d2 FAd2 |
c3eg2 gecA
| FdBg fdec | d2d2d2 :: ce | eafd cedB | A^GAB cBcd | eafd cedB |
Aa^ga
=gecA | FA d2 FAd2 | ce g2 gecA | FdBg fdec | d2d2d2 :|
L:1/8
M:3/4
S:Elias Howe –
Z:AK/Fiddler’s Companion
K:D
fa|gb fa eg|fa d2 fa|eg A2 ce|df A2 fa|gb fa eg|fa d2 fa|eg A2ce|d4:|
|:fa|eg A2 ce|df A2fa|eg A2 ce|df A2 fa|gb fa eg|fa d2 fa|eg A2 ce|d4:|
|:a2|b2a2f2|d4 a2|b2a2f2|e4 a2|b2a2f2|dcdfaf|agfgec|d4:|
COPE'S MARCH. Scottish, March. The dance figure but not the music appears in the Menzies Manuscript (1749) contained in
the Atholl Collection of the Sandeman Library,
COPEY’S JIGG. AKA and see “Cossey’s Jig,” “Jimmy O’Brien’s Jig,” “Maid in the Meadow [1].” Irish, Jig.
Attributed to the Irish composer Walter “Piper”
COPPER BEECH, THE. Irish, Hornpipe. F Major. Standard. AABB.
Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn,
south
COPPER KETTLE [1]. Old-Time, Air. A Minor. Standard. One
part. Source for notated version: J. P. Fraley (b. 1923,
COPPER KETTLE [2], THE. Irish, Jig. D Major. Standard.
AABB’. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south
COPPERBEECH. Scottish, Reel. E Major.
Standard. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 120.
X:1
T:Copperbeech
M:2/4
L:1/8
R:Reel
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:E
B/ | .e/.f/.g/.a/ b/(e/e’) |
c’/e’/b/e’/ c’/f/f/g/ | .e/.f/.g/.a/ b/e/e’/e/ | (d/4c/4B/ a/f/) g/e/e/ :|
d’/ | .e’/.b/.g/.e/ B/G/E/G/ |
.B/.e/.g/.b/ c’/.f/.f/.d/ | e’/b/g/e/ B/G/E/G/ | A/B/c/d/ e/E/E/b/ |
e’/b/g/e/ B/G/E/G/ | B/e/g/b/
c’/f/f/g/ | e/f/g/a/ b/e/e’/e/ | (d/4c/4B/ a/f/) g/e/e/ ||
COPPERPIPE POLKA, THE. English, Polka. G Major. Standard tuning.
AABB. A modern composition by Ian Ball. Knowles (A Northern Lass), 1995; pg. 28.
COPPERPLATE [1], THE. AKA and see “Lord Wellington [3],” "The New Copperplate," “Wellington’s [3].” Irish, Reel. G
Major. Standard tuning. AB (Mitchell, Mulvihill): AABB (Allan's): AA'BB'
(Flaherty, Tubridy). The title "Copperplate" is a corruption of the
Scots Gaelic phrase "Caber Feidh/Feigh," sometimes rendered
"Caper Fey, meaning 'deer's antlers'." There is a tune called
"The Old Copperplate" which appears to be no relation, although the
two are sometimes paired as a medley. “The Copperplate” was one of the first
tunes recorded by the Ballinakill Céilí Band (East Galway) for Parlophone of
London in July 1930 (the band’s founding members were Anna Rafferty, Stephen
Maloney, Tommy Whelan, Tommy Whyte, Jerry Maloney). Sources for notated
versions: fiddler Fred Finn {1919-1986} (Kiltycreen Kilavil, County Sligo)
[Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Mitchell]; Liam Greenall (Liverpool, England) [Mulvihill]; New Jersey flute
player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 55, pg. 14.
Flaherty (Trip to
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Copperplate, The [1]
M:C|
L:1/8
R:Reel
K:G
G2 dG BGdG|G2 dG BGGB|A2 eA cAeA|A2
ed cAFA|G2 dG BGdG|
G2 dG BGGB|ABcd efge|1 aged cAFA:|2
aged Bdef||
|:g3a g3 ef|gedc BGBd|eaag agea|aged
Bdef|g2 ga g2 de|
gedc BGGB|ABcd efge|1 aged Bdef:|2
aged cAFA||
X:2
T:Copperplate, The [1]
T:New Copperplate, The
R:reel
H:Related to Rakish Paddy, #53, #54, #647
H:The tune comes from the Scottish tune "Cabar Feidh" (The Deer's Antlers).
N:Often played with "The Old Copperplate", #309, as "The Copperplates"
D:Tommy Keane & Jacqueline McCarthy: The Wind among the Reeds
D:Shaskeen: Music for Set Dances
Z:id:hn-reel-308
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
G2dG BGdG | ~G2dc BAGB | A2eA cAeA | ~A2ed cAFA | G2dG BGdG |
~G2dc BAGB | ABcd efge |1 aged cAFA :|2 aged ^cdef ||
|:~g3f g2ef | gedc BAG2 | eaag agea | aged ^cdef | ~g3f g2ef | gedc BAGB |
ABcd efge |1 aged ^cdef :|2 aged cAFA || "variations:" |: G2BG dGBA | G2dG BAGB |
A2cA eAcA | ~A2ed cAFA | G2BG dGBA | G2dc BAGB | ABcd efge |1 aged cAFA :|2
aged ^cdef || |: g2af g2ef | gedc BAGB | Aaag ageg | aged ^cdef | gbaf g2ef | gedc BAGB |
ABcd efge |1 aged ^cdef :|2 aged cAFA ||
COPPERPLATE [2], THE. AKA – “The Old Copperplate.” Irish, Reel. A
Dorian. Standard tuning. AABB. Related to version #1, with which it is usually
paired in a medley. The tune is a variation of the Scots melody "Caber Feidh." Source for notated
version: the late Sligo-style fiddler Paddy Reynolds (
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Copperplate, The [2]
M:C|
L:1/8
R:Reel
K:Ador
A2 EA cAAAe|aged cAFA|G2 DG
BGBd|gedB {d}BAGB|
A2 EA cAAe|aged cdBc|ABcd efge|1 aged
cABG:|2 aged cAAe||
|:ageg agbg|aged cAAf|gede g2fa|gedc
BGGe|
ageg agbg|aged cdBc|ABcd efge|1 aged
cAAe:|2 aged cdBc||
COPPERS
AND/OF BRASS [1]. AKA and see "The Heather Breeze [1]," "The Heather Bloom," "The
Heathery Braes," "The Heathery Braes of Ballyhealy," "Limerick Lasses [1]," "Ladies/Ladys Pantaloo(n)s,"
"The Humours of Appleton,"
"The Dublin Lasses [1],"
"The Green Fields of Erin [2],"
"McNamara's Reel," "Crossing the Field."
COPPERS
AND BRASS [2] (Pinginí is prás). AKA and see “Bliven’s Favorite,” "The Butchers of Bristol [1]",
"By your leave, Larry
Grogan," “The County
Limerick Buckhunt," "Finerty's
Frolic," “Green Sleeves [3],"
"Groom," “Hardigan’s,” "Hartigan's Fancy," “The Humors of Ennistymon [1],”
"The Humours of
Milltown [2],” "Larry
Grogan(‘s) [1]", "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's
Favourite," “Paddy’s the Boy,”
"Pingneacha Rua agus Prás," “Queen
of the Rushes,” "The Waves of
Tramore," “Willie Clancy’s.”
Irish, Double Jig. G Major. Standard tuning. AABBCC (Breathnach): AABBCDD
(Mitchell). The melody is known by most traditional musicians now-a-days by the
title “Humours of Ennistymon,” however, pipers seem to know it better as
“Coppers and Brass.” Breathnach remarks that the tune was originally printed
(by John Walsh before 1736 in Country
Dances Book the Second) under the title “Larry Grogan,” named for the
X:1
T:Coppers
and Brass [2]
M:6/8
L:1/8
R:Jig
K:G
BGB BGB|AFA
AFA|~B3 BAB|GBd gdc|BGB BGB|~A3 ABc|ded cAF|1 AGF G2A:|2 AGF G2e||
|:~f3 fed|cAG FGA|Ggg gfg|afd d2e|~f3 fed|cAG FGA|~B3 cAF|1 AGF G2e:|2 AGF G2A||
COPSHAWHOLM FAIR. English, Waltz. Topic 12TS283, Ned Pearson. Topic TSCD 669, Bob Forrester
& Alf Adamson’s Border Square Dance
Band (et al) – “Ranting and Reeling: Dance Music of the north of
COQUET, THE. AKA and see “Coquette
[4].”
COQUETDALE
HORNPIPE, THE. English, Hornpipe.
***
Near Uswayford, Coquetdale, Northumberland
***
Hall &
Stafford (Charlton Memorial Tune Book),
1974; pg. 49.
X:1
T:Coquetdale
Hornpipe, The
M:C
L:1/8
R:Hornpipe
Z:AK/Fiddler’s Companion
K:G
(3DEF |:
G>F G>B d>g b>a | (3gag f>e d>B G>B | (3cde (3ABc F>A
D>F | (3ABc f>e d>c E>F |
G>F
G>B d>g b>a | (3gag fe d>B G>B | (3ABc f>e d>c B>A |1
G2B2G2 (3DEF :|2 G2B2G2 B>c ||
|: d>B
d>g f>d f>a | (3gab d>g B>d G>B | (3ABc F>A f>e d>^c
| d>e c>d B2 B>c | d>B d>g f>d f>a |
(3gab
d>g B>d G>B | (3ABc F>E D>c B>A |1 G2B2G2 B>c :|2 G2B2 G4
||
COQUETSIDE. AKA and see "Coket Side."
English, Reel.
***
Coquet Valley
***
Raven (English Country Dance Tunes), 1984; pg. 98. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 145.
X:1
T:Coquetside
M:C
L:1/8
R:Reel
S:Bruce & Stokoe – Northumbrian
Minstelsy (1882)
Z:AK/Fiddler’s Companion
K:Ador
edBG Be B2|edBG Bg A2|edBG GBgd|egef gB A2:|
|:BgBe
g/f/e/d/ gd|BgBg eg A2|BgBe g/f/e/d/ gd|e/f/g/f/ g/f/e/d/ gB A2:|
COQUETTE [1]. Scottish, Hornpipe. G Major.
Standard tuning. AA'B. Kerr (Merry
Melodies), vol. 2; No. 351, pg. 39.
X:1
T:Coquette [1]
M:C
L:1/8
R:Hornpipe
S:Kerr’s – Merry Melodies, vol. 2
Z:AK/Fiddler’s Companion
K:G
(dc) | BGBd BGBd | gfge dBGB | ecdB
cBAG |1 F2A2A2 :|2 D2G2G2 ||
(dc) | Bgdg Bgdg | Bgba gfed | caea
caea | ceag fedc |
BgdB AecA | GdBG (AF) D2 | ecdB cBAG
| D2G2G2 ||
COQUETTE [2]. American, Scottish; Hornpipe. F Major. Standard tuning. AABB. There was
a 19th century barque, built in 1844, called the Coquette however its doubtful there was
any connection with this tune. Cole (1000
Fiddle Tunes), 1940; pg. 93. Kerr (Merry
Melodies), vol. 2; No. 395, pg. 44. Miller (Fiddler’s Throne), 2004; No. 283, pg. 169. Ryan’s Mammoth Collection, 1883; pg. 127.
X:1
T:Coquette [2]
M:C
L:1/8
R:Hornpipe
S:Kerr’s – Merry Melodies, vol. 2
Z:AK/Fiddler’s Companion
K:F
(cB) | AFcA fcaf | gabg fedc | dBAB
GAFG | EFDE C2 (cB) | AFcA fcaf |
gabg fedc | dBAB cbge | f2f2f2 :: c2
| gabg ecde | fefc agaf | gabg ecde |
fefd cABG | CFAc DGBd | EGce fefd |
cfdf ebge | f2f2f2 :|
COQUETTE [3]. Old Time, Breakdown. AKA and see “Charles of Sweden,” "Cheat or Swing," "The Cheat,” “Frisky
Jenny,” “In My Cottage
Near the/a Wood,” “Pretty Polly
[5]” (Bayard), “Tenth of June,” “The Weaver’s March.” John Hartford
suspects regionally influential fiddler (eastern Ky./W. Va.) fiddler Ed Haley played this
tune. Samuel Bayard says the tune is ‘international’ and possibly French in
origin (see note for “Pretty Polly”).
Rounder 0392, John Hartford - “Wild Hog in the Red
Brush (and a Bunch of Others You Might Not Have Heard)” {1996}.
COQUETTE [4]. AKA - “Coquet.” English, Jig. England, North‑West. G Minor.
Standard tuning. AABB. Knowles (Northern
Frisk), 1988; No. 19 (appears as “Coquet”).
COQUETTE [5]. American. C Major. Standard tuning. AABA. Howe (Complete Preceptor for the Accordeon), 1843; pg. 14.
X:1
T:Coquette,
The
M:2/4
L:1/8
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
E>F GG |
AA G2 | (c/>B/)(c/>d/) e(f/d/) | c>B c2 :|
|| fede | fe d2 | fe dc | BA Gz ||
“Da Capo”
COQUETTE HORNPIPE. See “Coquette [2]."
COR AN BOGAIG. AKA and see "The Reel of Bogie."
COR AN BREAGNUGAD. AKA and see "The Contradiction
Reel."
COR AN FOISC. AKA and see "The Ewe Reel."
COR AN GUALADOIR. AKA and see "The Collier's
Reel."
COR AN SCOTBUALAD. AKA and see "The Flogging Reel."
COR AN TAOISIG UI
CEALLAIG. AKA and see "Captain Kelly's Reel."
COR AN TIGEARNA
GORDIUN. AKA and see "Lord Gordon's Reel."
COR AN TIGEARNA MIC
DOMNAILL. AKA and see "Lord McDonald's Reel."
COR BAILE-ATA-CLIAT. AKA and see "The Dublin Reel."
COR CAITIN NI
LOSGLAIDE. AKA and see "Kitty Losty's Reel."
COR CAMERONAC. AKA and see "The
Cameronian Reel."
COR CATAIR SICAIGO. AKA and see "The Chicago
Reel."
COR CEATRAIR. AKA and see "The Four-Hand
Reel."
COR EUDON-DOIRE. AKA and see "The Edenderry Reel."
COR INGEAN NI MIC LEOD. AKA and see "Miss
McLeod's/MacLeod's Reel."
COR INGEAN NI TURNTUIN. AKA and see "Miss
Thornton's Reel."
COR MI NA BPOG. AKA and see "The
Honeymoon Reel."
COR MIC CLEIRIG. AKA and see "Clarkson's
Reel."
COR MIC FLANNCADA. AKA and see "Clancy's
Fancy Reel."
COR MIC PAIDIN FEIN. AKA and see "McFadden's
Own Reel."
COR MIC TOMAIS. AKA and see "Thompson's Reel."
COR MUILLEANN A'BATA. AKA and see "The Reel
of Mullinavat."
COR MUINE-COININ. AKA and see "The Mooncoin Reel."
COR NA LUINNEOIGE. AKA and see "The Chorus Reel."
COR NA SEISCINNE. AKA and see "The Shaskeen
Reel."
C(H)OR NA SIOG. AKA and see "The Jolly Banger [1]," "The Fairy Reel," "Largo's Fairy Dance."
COR NA STANADOIR. AKA and see "The Tinker's
Reel."
COR PADRAIG UI TUATA. AKA and see "Pat Tuohy's
Reel."
COR
COR SEAGAIN MIC AILIN. AKA and see "Johnny
Allen's Reel."
COR SEAGAIN UI NEILL. AKA and see "John O'Neill's Reel."
COR SEOSAM UI CANTA. AKA and see "Joe Cant's Reel."
COR UI CARRAIG. AKA and see "Craig's Reel."
COR UI DUIBIDIR. AKA and see "O'Dwyer's Reel."
COR UI DUIBNAIG. AKA and see "Downing's Reel."
COR UI SEADACAIN. AKA and see "Sheehan's Reel."
COR UILLIAM FAOITEAC. AKA and see "William
White's Reel."
CORA DONN, AN. Irish, Hornpipe. G Major (‘A’ part) & D Major (‘B’ part). Standard.
AABB. The table of contents in Mulvihill’s publication gives the title as
“Amaora Doon.” Paul de Grae notes this is probably a miss-spelling of “An
Comhra Donn,” which, while similarly pronounced, is the name of another tune. He
points out the tune is called “Spellan’s
Fiddle” in O’Neill’s Music of Ireland
(1903, No. 1616). Source for notated version: the late Gus Collins (
CORA DYE. Old-Time, Breakdown. G Major. Standard. AB. Source for notated version:
Laurie Andres (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 26.
CORAVAT JIG [1]. AKA and see “Corovat Jig [1],”
“Geese in the Bog [2].”
CORAVOTH JIG. AKA and see “Corovoth Jig,” “Our Own Little Isle.”
CORBIE AND 'DA CRAW, DA. Shetland, Shetland Reel. D
Major/D Mixolydian. Standard. One part. Shetland fiddler and collector Tom
Anderson said the tune is a traditional Shetland reel, known throughout the
islands, depicting a fight between a raven and a crow.
CORCAIGEAC SUGAC, AN. AKA and see "The Jolly
Corkonian."
CORDA SNAIDHMTHE, AN. AKA and see "The Knotted Cord."
CORDAL JIG, THE (Port na Cordaile). AKA and see "Five Hundred a Year," "If I Had in the Clear," “Jackson’s Bouner Bougher,” “Julia Clifford’s (Jig) [2],” “Land of Potatoes,” “Morgan Rattler,” “Padraig O’Keeffe’s (Jig) [2],”
“Tom Billy’s (Jig) [4],” “Wren’s Nest [2].” Irish, Double Jig. D
Major. Standard tuning. AABB. Cordal is a village in
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Cordal Jig, The
T:Morgan Rattler
R:Jig
D:De Dannan: Anthem
Z:id:he-jig-34
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
L:1/8
K:D
BAF ~E3|FEF DFA|BAF EFA|B2A Bcd|BAF
~E3|FEF DFA|def edc|B2A Bcd:|
|:d3 fed|~c3 ecA|~d3 fed|f2e fga|~d3
fed|~c3 ecA|dcB cBA|B2A Bcd:|
CORDAL REEL, THE (Ríl na Cordaile). Irish, Reel. D Mixolydian. Standard
tuning. AB. Source for notated version: fiddler Denis Cronin/Donncha Ó Croinin (
CORDICK'S HORNPIPE. Irish, Hornpipe. D Major. Standard tuning. AABB. "I copied (this
air) from a MS. evidently written by a skilled fiddler with much musical taste,
from
X:1
T:Cordick’s Hornpipe
M:C
L:1/8
R:Hornpipe
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:D
(3ABc|dAFA BGEG|FA dd d2A2|Bdgf
feed|ceAA AGFE|
Fddd dAGF|Eeee ecBA|afbg
fedc|d2d2d2:|
|:B|dgba gfed|ceag fedc|Bdgf
feed|ceAA AGFE|
Fddd dAGF|Eeee ecBA|afbg
fedc|d2d2d2:|
CORDUROY, THE. Scottish, Strathspey. A Major. Standard
tuning. AABB. The title refers perhaps to a corduroy road—one paved with split
logs. Kerr (Merry Melodies), vol. 3;
No. 79, pg. 10.
X:1
T:Corduroy, The
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3, No. 79
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
c<c c>B A>Bc>d|e<e
e>c e2a2|c<c c>B A>BA>G|F<f f>^e f3a:|
|:e>fa>b a<a a>e|c<e
e>c e2a2|(3fed (3cdB A>BA>G|F<f f>^e f3e:|
CORDWAINERS’ MARCH, THE. AKA - “Cordwinders.” English, March. A march
attached to a trade (like “The Taylors’ March,” the “Freemason’s March” etc),
in this case a reference to shoemakers who used cord in their work. Aird.
***
Cordwainers Hall,
CORDWINDERS. English.
CORELLI’S GAVOT. Italian, Gavot. D Major. Standard tuning. AABB.
The melody occurs in the final movement of Archangelo Corelli’s Trio Sonata op.
2, No. 1 (1685). Kate Van Winkler Keller finds that it was printed with a
country dance in Wright’s Compleat Collection (vol. 1,
X:1
T:Corelli’s Gavot
M:C|
L:1/8
S:Willig – Compleat Tutor
(1805)
Z:AK/Fiddler’s Companion
K:D
f2a2b2d2 | gafg e2d2 | f2a2e2A2 |
d>ec>d B2A2 :|
|: e2a2f2 b>a | g>fe>d
“tr”c2B2 | a2A2B2d2 | g>af>g e2d2 :|
CORI McLENON. American, Waltz. B Minor. Standard tuning. AA'B. Composed in 1979 by
New Hampshire contra dance pianist and composer Bob McQuillen, in honor of a friend.
The tune is also circulated via photocopy among contra-dance musicians in the
key of A Minor. Bob's Note Book #4. Mathiesen (Waltz Book II), 1995; pg. 13.
CORI(E)MONIES RANT. AKA and see "Miss Brown's Reel." Scottish,
Strathspey. D Mixolydian. Standard tuning. AB (Surenne): AAB (Athole, Glen,
Gow, Johnson): AABB' (Kerr). Composition of the melody is credited to Daniel Dow (1732-1783) by Kerr, Glen and
others. Linscott (1939) says only "it is very old." Glen (1981) finds
the earliest printing of the tune in Daniel Dow's c. 1775 collection (pg. 21).
Glen (The Glen Collection of Scottish
Dance Music), Vol. 1, 1891; pg. 6. Gow (Complete
Repository), Part 3, 1806; pg. 37. S. Johnson
(A Twenty Year Anniversary Collection),
2003; pg. 44. Kerr (Merry Melodies), Vol. 2; No. 141, pg.
17. Stewart-Robertson (The Athole
Collection), 1884; pg. 90. Surenne (Dance
Music of Scotland), 1852; pgs. 136-137. Greentrax CDTRAX
9009, Donald MacDonell (1888-1967) - “Scottish Tradition 9: The Fiddler and his
Art” (1993).
X:1
T:Corimonie’s Rant
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A|D/D/D A>F d>BA>F|D/D/D A>F E>FG>B|D/D/D A>F d>BA>B|d>fe>g fdd:|
g|f<d d>f g>ef>d|e/e/e f>d g>e=c>e|f<d d>f g>ef>d|e/e/e e/e/e f<d d>g|
f<d
d>f g>ef>d|e>df>d g>e=c>g|f<ae<f d>ef>d|A<F
f>g fdd||
CORINTHIAN
HORNPIPE. American, Hornpipe. B Flat Major.
Standard tuning. AABB. Cole (1000 Fiddle
Tunes), 1940; pg. 87. Ford (Traditional
American Fiddle Tunes), 1940; pg. 31.
Ryan’s Mammoth Collection, 1883; pg. 122. White’s Unique Collection, 1896; No. 136, pg. 24.
X:1
T:Corinthian
Hornpipe
M:2/4
R:Hornpipe
S:White’s Unique Collection (1896), No.
136
Z:AK/Fiddler’s Companion
K:B_
(d/e/) |
f/b/f/d/ B/d/g/f/ | (f/=e/_e/c/) (A/B/c/A/) | B/A/B/c/ (d/B/)(e/d/) |
c/B/c/d/
c/d/e/=e/ | f/b/f/d/ B/d/g/f/ | (f/=e/_e/c/) (A/B/c/A/) | (d/.f/)(B/.d/)
.c/.e/.A/.c/ |
B[DB][DB]
:: F | F/A/c/A/ F/e/c/A/ | B/A/B/c/ d/e/f/d/ | (b/a/g/f/) (=e/f/g/a/) |
_______________________________
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[COMMENT1]This was
Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.