The Fiddler’s Companion

© 1996-2009 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’Neill – Dance 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’Neill – Dance 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, button accordion player Paddy O’Brien (1922-1991), in honor of renowned County Galway D/D# box player Joe Cooley, a contemporary who also helped to popularize the tune. There are several variants of the second part of the tune in modern usage, but regardless it remains a popular session tune. 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”). Cranford (Jerry Holland: The Second Collection), 2000; No. 188, pg. 71. 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 session 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: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: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]. AKA and see "Raccoon's Tail," "Lynchburg Town." Old‑Time, Breakdown. USA, Oklahoma (Delaware County in version from Thede). G Major. Standard tuning. AABB. Bill Grant (Thede). Thede (The Fiddle Book), 1967; pg. 127.

 

COON DOG [2]. AKA and see "Angeline the Baker." Old‑Time, Breakdown. USA, southwestern Virginia. A band tune and title characteristic of Patrick County, Va., quite similar to the better-known "Angeline the Baker." Dudley Spangler (Patrick County, Va.) is the primary source for the tune. County 201, J.W. Spangler (Patrick County, Va.) ‑ "The Old Virginia Fiddlers: Rare Recordings 1948‑49." Yodel-Ay-Hee 020, Rafe Stefanini & Bob Herring - "Old Paint."

                       

COON IN THE TREETOPS. AKA - “N....r in the Treetops.” Old-Time, Breakdown. USA, West Virginia. AEac# tuning. GFS‑901 (issued by the Gambier Folklore Society, Kenyon College), John Scotland Hannah (late of Columbus Ohio, born in Logan county, W.Va.) - "Seems Like Romance To Me, Traditional Fiddle Music From Ohio" (1985).

                       

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 Philadelphia and the Five Points dance halls and dives of New York. See note for apparent variant "Possum Up a Gum Tree."

                       

COONEY IN THE STUBBLE FIELD. Old‑Time, Breakdown. USA, southwestern Pa. G Major (noted in E Major). Standard tuning. AAB. Bayard (1981) identifies this as a composite tune with an 'A' part resembling "Sally Goodin'" and a 'B' part reminiscent of "Turkey in the Straw." Source for notated version: Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 12, pgs. 21‑22.

                       

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 Ireland: 1001 Gems), 1907/1986; No. 916, pg. 157.

X:1

T:Cooney’s Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 916

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 America), 1940; pg. 95.

                       

COOPER O' STANNERTON HEUGH, THE. English, Jig. England, Northumberland. G Major. Standard tuning. AABB. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 181.

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 (Leeds, west Yorkshire), poet John Clare (c. 1820, Helpstone, Northants), and Swallow. In the Browne family manuscripts (Troutbeck, Lake District, Cumbria) it appears as “Swan’s Hornpipe,” while Northumbrian musician William Vickers had it in his 1770 manuscript twice, as “Fox in the Dumps” and “Exciseman’s Hornpipe.” Callaghan (Hardcore English), 2007; pg. 33. Hardings All Round Collection, 1905; No. 57, pg. 17. Kerr (Merry Melodies), vol. 2; No. 346, pg. 38. Stewart-Robertson (The Athole Collection), 1884; pg. 297.

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).

                       

COPENHAGEN HORNPIPE [1]. American, Hornpipe. E Major. Standard tuning. AABB. "Can be used as a Clog," says the note in Ryan. Cole (1000 Fiddle Tunes), 1940; pg. 96. Miller (Fiddler’s Throne), 2004; No. 282, pg. 169. Ryan’s Mammoth Collection, 1883; pg. 130.

X:1

T:Copenhagen Hornpipe [1]

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 :|

 

COPENHAGEN HORNPIPE [2]. English, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: the music manuscript of Ellis Knowles c. 1847 (Lancashire, England) [Plain Brown Tune Book]. Plain Brown Tune Book, 1997; pg. 9.

X:1

T:Copenhagen Hornpipe [2]

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 :|

                       

COPENHAGEN WALTZ. English, Scottish, American; Waltz (3/4 or 3/8 time). G Major (O’Farrell, Raven): C Major (Howe/Accordeon, Linscott, Plain Brown): D Major (Ashman, Howe/Diamond, Kennedy, Kerr, Miller, Plain Brown, Sumner). Standard tuning. ABC (Plain Brown): AABBC (Howe/Accordeon): AABBCC (most versions). "('Copenhagen Waltz' is a) ...melody characteristic of the 18th century, says Linscott, although in fact it was a quite popular tune dating from the beginnings of the fad for waltzes in the early part of the 19th century. The melody appears in numerous fiddlers’ manuscripts throughout the 19th century and was even collected in tradition as late as the 1950’s, in Yorkshire (the fiddle playing of Billy Pennock, recorded in 1953 by PK Goathland). Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; the 1823-26 music ms. of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Ashman (The Ironbridge Hornpipe), 1991; No. 34, pg. 11. Howe (Complete Preceptor for the Accordeon), 1843; pg. 22. Howe (Diamond School for the Violin), c. 1861. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 110, pg. 26. Kerr (Merry Melodies), vol. 1; No. 9, pg. 51. Linscott (Folk Songs of Old New England), 1939; pg. 119. Miller (Fiddler’s Throne), 2004; No. 365, pg. 215. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 141. Plain Brown Tune Book, 1997; pgs. 6 & 23 (includes variations). Raven (English Country Dance Tunes), 1984; pg. 134. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 79 (originally set in the key of ‘C’ major in the ms.). Wilson (Companion to the Ballroom), 1816; pg. 152. BEJOCD-28, The Mellstock Band – “The Dance at Pheonix: Village Band Music from Hardy’s Wessex and Beyond” (based on a three-part setting in a book compiled by Joshua Gibbons of Market Rasen in the 1830’s).

X:1

T:Copenhagen Waltz

L:1/8

M:3/4

S:Elias Howe – Diamond School for the Violin

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, Perth. The title undoubtedly refers to the general Johnny Cope (see "Johnny Cope"), an Englishman whose forces were routed by the Scottish.

                       

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” Jackson in Clinton’s Gems of Ireland. The first part of the tune is similar to “Greenfields of America [1].”

                       

COPPER BEECH, THE. Irish, Hornpipe. F Major. Standard. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 71.

                       

COPPER KETTLE [1]. Old-Time, Air. A Minor. Standard. One part. Source for notated version: J. P. Fraley (b. 1923, Rush, Ky.) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 26.

 

COPPER KETTLE [2], THE. Irish, Jig. D Major. Standard. AABB’. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 57.

           

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 Sligo), 1990; pg. 74. Harker (300 Tunes from Mike Rafferty), No. 50, pg. 16. Lyth (Bowing Styles in Irish Fiddle Music), 1981; 22. Mitchell (Dance Music of Willie Clancy), 1993; No. 65, pg. 68. Mulvihill (1st Collection), 1986; No. 196, pg. 53. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 20. MKM7590, Mike McHale – “The Schoolmaster’s House” (2000).

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 (Staten Island, N.Y.) [DeMarco & Krassen]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. DeMarco & Krassen (A Trip to Sligo), 1978; pg. 37,51,66. Harker (300 Tunes from Mike Rafferty), 2005; No. 51, pg. 16. Green Linnet SIF 1035, Tony DeMarco & Brian Conway ‑ "The Apple in Winter" (1981). Green Linnet 1101, Tony DeMarco & Brian Conway ‑ "Playing with Fire: the Celtic Fiddle Collection" (1989).

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 County Wexford gentleman piper of the early-mid 1700's. Aird’s (Selections, vol. II, c. 1790) “The Lasses of Melross” has the same first part. O’Neill prints versions of the tune as “Hartigan’s Fancy” (a poor version, states Breathnach), “By your leave, Larry Grogan,” “Little Fanny’s Fancy,” and “The County Limerick Buckhunt.” In a later O’Neill publication (Waifs and Strays) it appears as “The Limerick Buckhunt” and “The Waves of Tramore.” Joyce (1909) gives it as “Green Sleeves.” See also note for “Groom.” Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Sean Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 4, pg. 4 (appears as “Pingneacha Rua agus Prás”). Mitchell (Dance Music of Willie Clancy), 1993; No. 41, pg. 53. Gael-Linn CEF 045, “Paddy Keenan” (1975). Dervish – “A Midsummer’s Night Session” (Video. Performed with flute player Seamus Tansey, who says its an old pipers’ tune he learned as a child).

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 England” (1998. Harmonica player Forrester was from Carlisle, Cumberland).

           

COQUET, THE. AKA and see “Coquette [4].”

                       


COQUETDALE HORNPIPE, THE. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AA'BB' (Hall & Stafford). Composition credited to Tom Carruthers by Hall & Stafford.

***

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. England, Northumberland. G Major. Standard tuning. AABB. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. Raven's version is a reprint from A Tutor for the Northumbrian Small‑pipes, by J.W. Fenwick, published in the late 1800's. The Coquet (pronounced “Coke-it”) is a river in Northumberland some forty miles long, flowing eastward to the North Sea. The notable Northumbrian piper Will Allan (1704-1779), father of the notorious piper Jamie/Jimmy Allan, was river-keeper of the Coquet.

***

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 SALAMANCA. AKA and see "The Salamanca Reel."

                       

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 (Bronx, NY) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 38, pg. 100.

                       

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. Anderson (Ringing Strings), 1983; pg. 100. Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, Vol. 2" (1978).

                       

CORBY AND THE PYETT, THE (The Raven and the Magpie). AKA and see “Bonnet Makers of Dundee,” “Sweet Molly [2].” Scottish, Strathspey. James Oswald printed the tune under the “Corby and the Pyett” title in his Caledonian Pocket Companion (1743-48). It appears in Robert Bremner’s 1757 volume as “Bonnett Makers of Dundee” and in Aird (1782) and Kerr (c. 1887) as “Sweet Molly.” Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

                       

CORBY REEL. Scottish, Reel. The tune appears in David Young's 1734 Drummond Castle Manuscript (also known as the Duke of Perth MS because of Young's inscription).

                       

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 County Kerry, between Castleisland and Ballydesmond. Breathnach (1976) says it is sometimes incorrectly called “The Idle Road.” The melody is a sleeker version of O’Neill’s ten-part “Morgan Rattler,” but the ancestor appears to be “Jackson’s Bouner Bougher,” attributed to the gentleman-piper Walker ‘Piper’ Jackson, printed in Dublin about 1774 in Jackson's Celebrated Irish Tunes. “The Cordal Jig” is Denis Murphy’s title, given to Brendan Breathnach (see CRÉ II). See also the similar “Winnie Hayes’” and “Lame Crowley.” Sources for notated versions: fiddler Denis Murphy, 1966 (Gneeveguilla, County Kerry, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Breathnach (CRÉ II), 1976; No. 50, pg. 28. Cranitch (Irish Fiddle Book), 1996; pg. 107. Moylan (Johnny O’Leary), 1994; No. 333, pg. 189. Compass Records 7 4407 2, Ciaran Tourish – “Down the Line” (2005. Learned from the playing of Dermot and Tara Diamond). DARA 013, De Dannan - “Anthem.” TRAD HCD 008, Tommy Peoples - “Traditional Irish Music Played on the Fiddle” (follows “King of the Pipers,” played in the key of G Major).

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 (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 169, pg. 66.

                       

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 Limerick, but the name of the writer nowhere appears" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 349, pg. 160.

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, London.

                       


CORDWINDERS. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Probably “Cordwainers’ March.”

           

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, London, c. 1740). See also the variant “Mr. Cosgill’s Delight.” Source for notated version: in the music manuscript book of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution. Bush had evidently copied it from a tutor for the fife printed in Philadelphia in 1776, thought to be reprinted by George Willig around 1805 [Keller]. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 17. 
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 :|

                                   

CORGARFF CASTLE [1]. Scottish, Slow or "Pastoral Air" (4/4 time). G Minor. Standard tuning. AB (Skinner): AAB plus variations by Skinner CCD (Cranford). Composed by the great Scottish fiddler and composer J. Scott Skinner (1843-1927). According to Paul Cranford (1997), the tune was a favorite of the late Cape Breton fiddler Dan Hughie MacEachern. “Amongst the last generation of Cape Breton fiddlers Dan Hughie was not only one the the finest composers, he also had one of the largest repertoires of traditional tunes.” Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 228, pg. 91. Skinner (The Scottish Violinist, with variations); pg. 39.

 

CORGARFF CASTLE [2]. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 7, pg. 3.

                       

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

L:1/8

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/) |

B/g/f/=e/ [Af] (g/a/) | b/a/g/f/ e/d/c/B/ | (A/c/g/f/) (f/=e/_e/c/) | (d/.f/)(B/.d/) .c/.e/.A/.c/ | B[DB][DB] :|

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

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