The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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CORK - COT

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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, 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]

 

 

 

CORK AND SWEET MUNSTER. Irish, Air (4/4 time). F Major. Standard tuning. One part. The name Cork is derived from the Gaelic word coraigh, a swamp. "I have known this tune from my earliest days. There was a song to it of which I remember but one verse:‑‑

***

I travelled this country round and round,

From city to city and seaport town;

But of all the fine places that ever I did see,

Cork and sweet Munster, ochone, for me.   (Joyce)

***

Joyce (Old Irish Folk Music and Song), 1909; No. 7, pg. 6.

X:1

T:Cork and Sweet Munster

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:F

F/G/|A2 AA AGFG|{A}f2e2f2 ef|g2 fe dcAc|dfed c2 AB|c2 d>c c2 Ac|dfe>g f4|

A2 AA A<c (3BGF|G2 F2 F3||

                                      

CORK HILL. Scottish, Jig. A Major. Standard. AABBCCDD. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 2.

                                      

CORK HORNPIPE [1], THE. AKA and see  "Cincinnati Hornpipe [1]," "Dundee Hornpipe," "Fred Wilson's Clog," "Granny Will Your Dog Bite?" (Pa.), "Harvest Home [1],” "Higgin's Hornpipe," "Kephart's Clog" (Pa.), "Kildare Fancy," "Snyder's Jig" (Pa.), "Standard Hornpipe," "Wilson's Clog [1]," "Zig-Zag Hornpipe/Clog." Irish, Hornpipe. D Major. Standard. ABB’ (Moylan): AABB (Levey, Roche). The name Cork is derived from the Gaelic word coraigh, a swamp. The tune was known under this title by central New York fiddler Winifred “Murph” Baker (Champion, NY), a regionally significant traditional fiddler in the mid-late 20th century. Most American versions were learned under a variety of alternate titles (the most popular being “Harvest Home”), with “Cork Hornpipe” appearing exclusively in Irish publications. Sources for notated versions: Tom Billy Murphy via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; uilleann piper Andy Conroy (New York, originally from Lough Glynn and Dublin) [Breathnach]. Breathnach (Ceol II, 1), 1965; No. 1. Breathnach (The Man and His Music), 1997; No. 1, pg. 7. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 69, pg. 31. Moylan (Johnny O’Leary), 1994; No. 292, pg. 169. Roche Collection, 1982; Vol. 2, pg. 14, No. 223.

X:1

T:Cork Hornpipe, The [1]

T:Harvest Home

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:D

DAFD DAFA | dfed dcBA | eAfA gAfA | (3efd (3cdB (3ABG (3FGE |

DAFA DAFA | dfed dcBA | efge aece | d2d2d2 z2 :: eAAA fAAA |

gAAA aAAA | eA fA gA aA | (3efd (3cdB (3ABG (3FGE |

DAFA DAFA | dfed dcBA | dfaf bgec | d2d2d2 z2 :|

 

CORK HORNPIPE [2]. Scottish, Hornpipe. G Major. Standard. AA’BB. Kerr (Merry Melodies), Vol. 4; No. 294, pg. 31.

 

CORK LASSES, THE. AKA and see “Conolon’s Dream,” "The Little Pig Lamenting the Empty Trough," "An Claimh i Laimh," "Sally on the Shore,” “The Sword in (the) Hand." Irish, Reel. E Minor. Standard. AAB. See also “Cork Rambler.” Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 27, pg. 8.

                       

CORK RAMBLER, THE. AKA and see “The Rambler in Cork.” Irish, Reel. G Major. Standard. AB. The name Cork is derived from the Gaelic word coraigh, a swamp. The melody is a version of “Cork Lasses,” points out Paul de Grae, who finds it in O’Neill as “The Rambler in Cork.” Source for notated version: “My mother” [Mulvihill]. Mulvihill (1st Collection), 1986; No. 101, pg. 26.

                       

CORK ROAD. AKA and see "The Top of Cork Road [1]," "Father O'Flynn," "The Yorkshire Lasses [1]," "Bonny Green Garters [1]," "The Rollicking Irishman." Irish, Jig. C Major. Standard. AABB. The name Cork is derived from the Gaelic word coraigh, a swamp. Hardings All Round Collection, 1905; No. 176, pg. 56.

                       

CORK REEL.  See “Connacht Reel [1].”

 

CORKONIAN. AKA and see "The Boys of the Lake [2]," "Collins Reel [1]," "Emminence Breakdown," "Ike Forrester's Reel [1]," "Merry Blacksmith," "Paddy on the Railroad," "Peeler's Jacket [1]," "The Police Jacket," "The Shepherd in/on the Gap," "The Policeman's Reel/Peeler's Reel," "The Railroad [2]." Irish, Reel. D Major. Standard tuning. AABB. See also the variant recorded by the great County Sligo fiddler Michael Coleman, “The Devil’s in Dublin.” Cole (1000 Fiddle Tunes), 1940; pg. 20. Ryan’s Mammoth Collection, 1883; pg. 44.

X:1

T:Corkonian

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | d(d/A/) B/A/F/G/ | A/d/c/d/ B/A/F/G/ | A/c/d/e/ f/d/e/d/ | B/e/e B/e/e |

d(d/c/) B/A/F/G/ | A/d/c/d/ B/A/F/G/ | A/c/d/e/ f/d/e/c/ | d/B/A/F/ D :|

|: (f/g/) | “tr”a2 “tr”f2 | .d(d/A/) B/A/F/G/ | A/c/d/e/ f/d/e/d/ | B/e/e B/e/e |

.a(a/g/) .f(f/e/) | .d(d/A/) B/A/F/G/ | A/c/d/e/ f/d/e/c/ | d/B/A/F/ D :| 

                       

CORLAIERNE. The title, perhaps "Coleraine" or "Killarney," appears in a medley of tunes performed by accordionist John J. "Dutch" Kimmel for Edison Records in 1920. Edison 50653 (78 RPM), John H. Kimmel (appears as 1st tune of "Haste to Wedding Jigs").

                       

CORMAC NA PAIDIREACA. AKA and see "Charley the Prayermaster."

                       

CORN BOY, THE. AKA and see “Johnny McGreevey’s Favorite.” Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: students of New York fiddler and accordion player John McGrath (1900-1955, originally from County Mayo) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 28, pg. 14.

X: 1

T: Corn Boy

M: 4/4

L: 1/8

Q: 350

S: Luke O'Malley Volume 1

Z: Transcribed by Bill Black

R: Reel

K: D

D2 FA d2 cA | BE{F}ED EFGB | Adde dcAd | cAGE {F}EDCA, |

DEFA (3dcB cA | BE{F}ED EFGB | A2 de dcAd | cAGE {F}ED D2 :|

|: aged cded | =cBcd efge | aged cded | cAGE {F}ED D2 |

ed (3efg agec | dcAB =c2 dc | (3ABA GE DFAd | cAGE {F}EDCA, :|

                       

CORN BUNTING. See "Tullochgorum/Tulloch Gorm."

                       

CORN CUTTER [1], THE. Scottish, Reel. C Major. Standard tuning. AABB. Composition credited to "Mr. Bernard" by Kerr. Kerr (Merry Melodies), Vol. 2; No. 97, pg. 13.

 

CORN CUTTERS [2], THE. Scottish, Reel. D Major. Standard tuning. AABB. A different tune than “Corn Cutter [1]." A note in McGlashan says “Danc’d by Aldridge.” Aldridge was a famous stage dancer of the later 18th century. McGlashan (Collection of Scots Measures), c. 1780; pg. 35.

X:1

T:Corn Cutters, The

M:C|

L:1/8

R:Reel

S:McGlashan – Collection of Scots Measures (pg. 35)

Z:AK/Fiddler’s Companion

N:”Danc’d by Aldridge”

K:D

A4 BABc|dcBA GFED|GABA GFED| CDEF E4| A4 BABc |

dcBA GFED | GBAG FEDC | D2 D2 D4 :|

|:fdcB ^ABAB | ecBA ^GAGA | defe dcBA | ^GABA E4 | AEAc BEBd |

cAce d3c | def^g aecA | BABc A4 :|

                       

CORN HILL, THE (Cnoc an Arbhair). AKA – “The Cornhill.” Irish, Reel. D Dorian. Standard tuning. ABC. See also the related “Green Groves of Erin.” Source for notated version: fiddler Jimmie McKeirnan, 1966 (Mohill, Co. Leitrim, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 236, pg.

                       

CORN-HUSKERS, THE. Old‑Time, Breakdown. USA; W.Va., southwestern Pa. G Major. Standard tuning. AB. Source for notated version: Scott Phillips (Wetzel County, W.Va., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 3, pg. 18.

                       

CORN ON THE COB. AKA and see "Logger's Breakdown." American, Reel/Breakdown. USA, North Dakota. B Flat Major. Standard tuning. AABB. Pancerzewski believes this tune to be similar to "Logger's Breakdown," recorded by Canadian fiddler Don Messer in the 1940's. It was also reportedly in the repertoire of Texas fiddler Eck Robertson and his father, also a fiddler, about 1920. Source for notated version: Nelson brothers, prior to 1920 (Grinnell, North Dakota) [Pancerzewski]. Pancerzewski (Pleasures of Home), 1988; pg. 14.

                       

CORN RIGGS (ARE BONNY). AKA and see “New Corn Riggs,” “Northern Song [1].” Scottish (originally), Irish, English; Reel. Scotland, Lowland region. England; Northumberland, northwest England. Ireland, County Donegal. D Major (Barnes, Hall & Stafford, Kerr, Lerwick, Kennedy, Miller & Perron, Raven, Sweet): G Major (Athole, Emmerson, Wade, Williamson). Standard tuning. AAB (Athole, Emmerson): AABB (Barnes, Hall & Stafford, Kennedy, Kerr, Lerwick, Miller & Perron, Raven, Sweet, Wade, Williamson): AABBCCDDEEFFGGHHIIJJ (Hall & Stafford {includes variations).  The 'riggs' referred to in the title specifically are furrows of a newly plowed field, though the title is taken to mean fields of grain. Scottish poet Robert Burns set verses to the melody, describing the seduction of a girl named ‘Annie’ in such a field. In modern times the lyric scans as innocuous enough, but hardly so in the Victorian era. David Murray (1994) references a footnote in a Victorian collection of Scots songs which reads: “As the prevalent idea of this fine song as originally written by Robert Burns renders it unfit to be sung by ladies, or in the company of ladies, a modern version, retaining as much of the old lines as possible, is here presented.”

***

The tune, a Scottish Measure, dates from the 17th century and has had currency in both "old" and "new" sets. The new set has words written to it by the Scottish national poet Robert Burns, and is still popular, while an "old set" of the tune was printed in the Panmure 9454 MS, Seventy‑Seven Dances, Songs and Scots Airs for the Violin (c. 1675). Munro wrote a variation sonata based on the tune published in 1732 (Collection of Scots Tunes) and it was his idea to combine the Scottish air‑jig form with the Italian sonata da camera. The melody was ascribed to Robert McIntosh by Mr. John Glen who added it in hand in his copy soon after it was published (in the McLean Collection by James Johnson in Edinburgh in 1772).

***

Chappell (1859) asserts that the melody was taken from an English tune called "Sawney was tall and of noble race," a song in Thomas D'Urfey's play The Virtuous Wife (1680), although there was no music printed with the text. The “Sawney” melody is printed by Playford in Choice Ayres (vol. iii, pg. 9) along with D’Urfey’s words as “A Northern Song,” without the name of the composer. Emmerson (1971) also suggests the prototype for "Corn Riggs" is the melody "Sawney," which he says can be found in John Playford's Appolo's Banquet (Fifth Ed., 1687). Similarly, it was the opinion of G. Farquhar Graham, writing in The Popular Songs and Melodies of Scotland (Glasgow 1893), that "...setting aside historical evidence, of which there is plenty, whoever will look at the air without prejudice, must see that it has no Scottish characteristics whatever, and that its flowing English style is apparent from the first bar to the last."  John Glen in Early Scottish Melodies (1900, pg. 51), admits the tune is “somewhat of an English character,” but still maintains it could have been a Scot imitating English style (as certainly did English composers of the Scottish). Allan Ramsay is credited with the name “Corn riggs are bonny” for the melody, which appears in his Tea Table Miscellany. Stenhoue believed that a much older Scottish song of “Corn Rigs” to the tune predated Ramsay’s. Glen (1900) thought this correct, from the fact that an entirely different tune in the Blaikie Manuscript (1692) is called “New Cornriges” (No. 104).

***

Along with the previously mentioned sources, other stage works incorporated the melody;  it was used, for example, by Ramsay in his ballad opera The Gentle Shepherd (1725), which was published three years before Gay's Beggar's Opera made the genre famous. Also in England the piece was used as a vehicle for a polka step in the North‑West Morris tradition (Wade), and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. It is one of the "missing tunes" from William Vickers' 1770 manuscript of Northumbrian melodies.  Corn Rigs is also the name of a country dance frequently taught by country dance masters in Scotland in the 19th century. Caoimhin Mac Aoidh (1994) remarks that the tune and dance were well-known in County Donegal, and states “its popularity may be inferred by the existence of at least three versions of the tune which is widespread throughout the county including a very masterful one by (fiddler) Mickey Doherty.”

***

Set as a march, the melody was employed by the former King’s Own Royal Regiment, the 4th of Foot, which David Murray (Music of the Scottish Regiments, Edinburgh, 1994, pg. 206) says was “one of the regiments originally raised to garrison Tangier, part of the dowry brought by Princess Catherine of Braganza when she married King Charles II in 1660.” In modern times “Corn Riggs” is part of the medley of tunes (along with “D’yer Ken John Peel,” and “The Lass o’ Gowrie”) played since 1959 as the march past of the King’s Own Royal Border Regiment.

***

Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 22. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 22, pg. 126. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 22. Jarman, Old Time Fiddlin' Tunes; No. or pg. 20. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 14, pg. 7. Kerr (Merry Melodies), vol. 1; No. 1, pg. 24. Lerwick (Kilted Fiddler), 1985; pg. 9. McGibbon (Scots Tunes, Book 1), c. 1762; pg. 28. Miller & Perron (101 Polkas), 1978; No. 92. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 79. Northumbrian Pipers' Tune Book, Vol. 2; pg. 2. Raven (English Country Dance Tunes), 1984; pg. 165. Stewart-Robertson (The Athole Collection), 1884; pg. 148. Sweet (Fifer’s Delight), 1964/1981; pg. 63. Wade (Mally’s North West Morris Book), 1988; pg. 19. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 47. Topic 12TS382, New Victory Band ‑ "One More Dance and Then" (1978, learned from Yorkshire melodeon player George Tremain). Topic 12TS283, Ned Pearson. Topic TSCD 669, Ned Pearson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Fiddler Pearson was born c. 1875 at Cambo, near Morpeth, Northumberland).

X:1

T:Corn Riggs are Bonny

L:1/8

M:C|

K:D

|:dc de f2 ed|cB cd e2 A2|dc de fg ef|d2a2a2 (3ABc|dc de f2 ed|cB cd e2A2|

Bc dB ed cB|A2d2d2 (3ABc:|

|:d2a2 fga2|cB cd ec A2|d2a2 fg ef|d2 ab a2 (3ABc|d2a2 ba gf|gf ed cd eA|

Bc dB ed cB|A2d2d2A2:|

X:2

T:Corn Rigs

M:C|

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:G

D|G3A cBAG|FEFG A2D2|G3A BcAB|G2de d2D2|G3A cBAG|

FEFG A2D2|EFGE AGFE|D2G2G3:|

D|G2d2 BcdG|FEFG A2D2|G2dc BcAB|G2de d2D|G2d2 edcB|

cBAG F2D2|EFGE AGFE|D2G2G3D|G2d2 BcdG|FEFG A2D2|

G2 dc BcAB|G2de d2ef|gfed edcB|cBAG GFED|EFGE AGFE| D2G2G3||

X:3

T:Corn Riggs are Bonny

M:C|

L:1/8

N:”Lively”

S:McGibbon – Scots Tunes, Book 1 (c. 1762) 

Z:AK/Fiddler’s Companion

K:A

E2 | A3B ({A/B/}c2) (BA) | “tr”(G>FG)A B2E2 | A3B c>dcB | A2 (e>f) e2E2 |

(AG)(AB) c2 “tr”(BA) | “tr”(G>FG)A B2 (AG) | (F>GA)F (BA)(GF) | E2 (A>B) A2 :|

|: E2 | A2 e2 (cd) e2 | “tr”G3A B2E2 | A2 (ed) c>dcB | A2 (e>f) e2E2 | A2e2 (fe)(dc) |

(dc)”tr”(BA) (G>AB)G | (F>GA)F (BA)”tr”(GF) | E2 (A>B) A2 :|

|: E2 | AGAB ce (d/c/)(B/A/) | “tr”(G>FG)A GABE | (AG)(AB) c(e/d/ c/d/c/B/) |

A2 e>f e2E2 | (AG)AB ce (d/c/)(B/A/) | “tr”(GFG)A B2 “tr”(AG) | FGAF (BA)(GF) |

E2 (A>B)A2 :: E2 | A2 e2 (c/B/c/d/) eA |(GFG)A GABE | A2 (ed) (c/B/c/d/) (c/d/c/B/) |

A2(e>f)e2E2 | (A/B/c/d/) eA (gf)”tr”(BA) (G(F/G/A/ B)G | F/(E/F/G/ A)F (BA)”tr”(GF) | E2 (A>B) A2 :|

X:4

T:Sawney was tall

M:C|

L:1/8

S:Playford (1687)

Z:AK/Fiddler’s Companion

K:C

c2 cde2 dc|B3A d3G|c3d (ef) ed|c2g2g2G2|c3d e2 (dc)|B3A d2 (cB)|A3G AB cA|G2c2 c3c||

cc gg ef g2|B2d2d3d|c2g2e3d|(cd) (ef) g3c|c2 gg (ag)(fe)|(dc)(BA) B2 AG|A3G ABcA|G2c2 c4||

           

CORN STACK. THE.  Irish, Reel. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). See also the related “Cottage in the Grove [3].” Ryan (The Hidden Ireland), 39.

           

CORN STALK FIDDLE (AND SHOESTRING BOW). Old‑Time, Breakdown. USA, Mississippi. A Major. The tune is perhaps "Cotten Eyed Joe," the title being taken from the lyric:

***

Corn stalk fiddle, shoe string bow,

All they played was "Cotten Eyed Joe."

***

Mississippi Department of Archives and History AH‑002, Frank Kittrell (Lauderdale County, Miss.) ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985. Originally recorded in 1939).

                       

CORN WHISKEY. Old‑Time, Breakdown. USA, Missouri. D Major. Standard or ADae tuning. AABB. Source for notated version: Bill Katon (or Caton), Missouri [Christeson]. R.P. Christeson (Old Time Fidders Repertory, vol. 2), 1984; pg. 60.

                       

CORNA AN tSLIABI. AKA and see "Roll Her on the Mountain."

                       

CORNBREAD, MOLASSES, SASSAFRAS TEA. Old‑time. USA, north Georgia. Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986. Learned from a Fiddlin' John Carson recording).

                       

CORNCRAKE, THE. Irish, Slow Air (4/4 time). G Major. Standard tuning. AB. The melody has irregular measures in both parts. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 127, pg. 141.

                       

CORNE, LA.  French, Country Dance (6/8). G Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 46.

X:1

T:Corne, La

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 46

Z:AK/Fiddler’s Companion

K:G

gdB G3 | gdB G3 | gfe dcB | cBA G3 | DFA d3 | DFA d3 | d^cB AGF | GFE D3 :|

|: dfa afd | afd B3 | agf edc | c3B3 | dBG ecA | fdf g3 | ege faf | g3G3 :|

                       

CORNELIA’S REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AA’BB’. Composed by Chetticamp, Cape Breton, Nova Scotia fiddler Marcel Doucet. Source for notated version: Edward P. Arsenault (b. 1921, Chrysostom, East Prince County, Prince Edward Island) [Perlman]. Perlman (Fiddle Music of Prince Edward Island), 1996; pg. 55.

                       


CORNELIUS CURTIN'S BIG BALLOON (Balún Mór Chonchúir Mhic Cruitín). AKA and see “Captain Holmes,” “Hide and Go Seek.” Irish, Jig. E Minor. Standard tuning. AAB. Fiddler Con Curtain ran a pub for many years in Fulham, south London called The Balloon, (or The Big Balloon), though most Irish music session pubs were north of the river. Of late he and his wife Anne run a pub in Brosna, north Kerry. Con gives what he considers irrelevancies short shrift, guitarist Paul de Grae relates, as he did on one occasion when a visitor to Con's pub complained of the absence of a lock on the men’s toilet door. Expletives deleted, Con's reply was that he had never heard of anyone in Kerry stealing shit. Sligo flute player Tommy Healy has been credited with coming up with the title in lieu of the original one which had been lost. Source for notated version: flute player Paddy Carty (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 22, pg. 11. Shanachie 29001, "Paddy Carty."

                       

CORNER HOUSE [1], THE (An Teach ar an gCoirnéal). Irish, Reel. A Dorian. Standard tuning. AABB (Breathnach): AABB’ (Mulvihill): AA’BB’ (Harker/Rafferty). Columbia County, New York, flute player Mike McHale (originally from County Roscommon) says the tune was derived from the march “Battle of Aughrim” and came into circulation in the 1950’s. Composition has sometimes been credited to east Clare fiddler Martin “Junior” Crehan (1908-1998). See also the related “Down the Broom,” “Lamb on the Lawn” and “Trip to Birmingham.” Sources for notated versions: Jim Bly (Co. Roscommon/England) [Mulvihill]; flute player Éamonn de Stabaltún (Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 120, pg. 49. Harker (300 Tunes from Mike Rafferty), 2005; No. 33, pg. 11. Mulvihill (1st Collection), 1986; No. 214, pg. 58. MKM 7590, 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:Corner House, The  [1]

R:reel

C:Martin “Junior” Crehan? (1908-1998)

Z:id:hn-reel-71

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:Ador

EAAG ABcd|e2dB cAAG|EGGF G2AB|cABG AGED|

EAAG ABcd|e2af gedB|d2Bd efge|1 dBGB A2AG:|2 dBGB A2Bd||

|:eaag a2ga|bgab gedB|d2Bd edBd|(3efg fa gdBd|

eaag a2ga|bgab gedB|d2Bd efge|1 dBGB A2Bd:|2 dBGB A2AG||

 

CORNERHOUSE [2], THE. AKA and see “Dinny O’Brien’s [2].” Irish, Reel. G Major. Standard tuning. AA’BB’. A variant of Breathnach’s “The Corner House [1]." Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 315 (a), pgs. 180-181 & No. 335, pg. 190.

 

CORNER HOUSE [3].  AKA and see “Trip to Birmingham.”

                       

CORNEY DREW'S HORNPIPE (Crannciuil Crotuir Uí Draeda). AKA and see “Fitzgerald’s Hornpipe [2].” Irish, Hornpipe. G Major. Standard tuning. AABB (O’Neill): AA’BB’ (Breathnach). This tune is associated with the blind Irish fiddle master Corney Drew, of the Sliabh Luachra region of the Cork/Kerry border. Caoimhin Mac Aoidh remarks that there is “strong evidence” that Drew learned from a fiddle player named O’Grady who moved to the region from Tipperary. Drew in turn influenced area musicians Din Tarrant and Tadhg “an asal” Buckley, who all played a “house dance” style, less ornamented with less slurring than the other famous Sliabh Luachra style typified by fiddler Pádriag O’Keeffe (1887-1963) and his students Denis Murphy and Julia Clifford. Donal Hickey, however, in his book on Sliabh Luachra musicians Stone Mad for Music, suggests O’Keeffe was much influenced, albeit indirectly, by Drew. Pádriag’s mother was Margaret O’Callaghan, from Doon, Kiskeam, Cork, and it was from her family that he inherited much of his music. Margaret’s brother Cal was an excellent fiddler and greatly influenced the young O’Keeffe. The O’Callaghans, says Hickey, got much of their music from Corney Drew, “and unusual tunes which Pádriag played in later life came from Drew, who had inherited music from the late 18th and early 19th centuries.” The alternate title “Fitzgerald’s Hornpipe,” by which title the melody appears in the music manuscripts of Church of Ireland cleric James Goodman (1828-1894), may refer (remarks Paul de Grae) to William Fitzgerald of Conrea, Ballydesmond. Fitzgerald was a travelling fiddle master and a contemporary of Corney Drew, who wrote a music manuscript dating from 1866, after which he emigrated to America and was lost to history.  His manuscript survived in Ireland, however (Dan Herlihy has a copy, Paul says).

***

Source for notated version: piper Liam Ó Floinn (Kildare) [Breathnach/Man & his Music]; “Hartnett,” probably referring to Chicago Police Sergeant Michael Hartnett whom O’Neill identified in Irish Minstels and Musicians as a dancer originally from the Sliabh Luachra region who "was born and brought up within a radius of a dozen miles or so of where the Counties of Kerry, Cork and Limerick come together" [O’Neill]. A variant of “Corney Drew’s Hornpipe” appears in Joyce's Old Irish Folk Music and Songs under the title "Dwyer's Hornpipe" with the note: "This was a great favourite as a dance tune, and I learned it in boyhood from pipers and fiddlers” (Joyce was born in 1827 in Glenosheen, Limerick, near the Cork border). Breathnach (The Man & his Music), 1996; No. 6, pg. 104. O'Neill (Krassen), 1976; pg. 200. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1713, pg. 313. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 903, pg. 155.

X:1

T:Corney Drew’s Hornpipe

M:4/4

L:1/8

R:Hornpipe

S:Breathnach (1996)

K:G

G2 GE GABd|edef (3gfe df|edef (3gfe dB|AGAB (3cBA GE|

G2 GE GABd|edef (3gfe d2|(3efg dc BGAF|1 G2 GF GEDE:|2

G2 GF G2||

|:Bd|g3b aaga|(3bag af gedg|edef (3gfe dB|1 BAAG A2 Bd|g3b aaga|

(3bag af ge d2|(3efg dc BGAF|G2 GF G2:|2 AGAB BAGE|

G3E GABd|edef (3gfe d2|(3efg dc BGAF|G2 GF GEDE||

                       

CORNEY IS COMING (“Tá Crotuir Ag Teacd” or “Tá Cornaí ag Teacht). AKA and see "The Barrack St. Boys," "The Bride(s) to Bed," "Brides Away," "The British Naggon," "Cheese It," "Crawford's Reel [1]," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House [1]," "Shannon Breeze [2]," "Six Mile Bridge,” "Tom Fitzmaurice's Reel." Irish, Reel. D Major. Standard tuning. AB (Harker/Rafferty, O'Neill): AA'B (Breathnach, Mitchell): AABB (Taylor/Tweed). “Corney is Coming” is usually associated with uilleann pipers in modern times, sometimes called “The Honeymoon Reel.” Goodman gives the tune as “The Bride to Bed,” “Brides to Bed” and “My Love is in America.” Joyce has it as “Brides Away” and “My Love is in the House.” Breathnach (1985) says the tune was first printed by Robert Bremner as “Knit the Pocky” in his Collection of Scots Reels (1751-61).  According to Gearoid Ó hAllmhuráin, “Corney is Coming” is “an old West Clare tune” whose title is associated in local folklore with Cornelius O'Brien, a County Clare landlord  who lived in Birchfield House outside Liscannor. O’Brien is chiefly remembered today as the builder of the famous O'Brien Tower near the Cliffs of Moher in 1837, an oft-photographed landmark. However, he also had a notorious reputation especially with women, leading to the warning “Corney is coming (so look to your daughters).” An alternate suggestion is that the title refers to itinerant 19th century fiddle master Corney Drew, in anticipation of his coming for a season of music and dance instruction. It was a favourite of uilleann piper and whistle player Willie Clancy, of Miltown Malbay. See also the related “New Road.” Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, West Clare, Ireland) [Breathnach, Mitchell]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ III), 1985; No. 173, pg. 79. Harker (300 Tunes from Mike Rafferty), 2005; No. 85, pg. 27. Mitchell (Dance Music of Willie Clancy), 1993; No. 8, pg. 33. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1548, pg. 286. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 762, pg. 133. Ryan’s Mammoth Collection, 1883; pg. 56. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 26. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999). Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, vol. 1” (1980). Green Linnet SIF 9011, Maeve Donnelly (et al) – “Playing with Fire.” Maeve Donnelly – “Sailing into Walpole’s Marsh.”

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Corney is Coming

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 762

Z:AK/Fiddler’s Companion

K:D

c|Addc defd|cAGF EFGE|Dddc defa|gece fdec|Addc defd|

cAGF EFGE|Dddc defa|gecd edd||c|defg afdB|cdef gecA|

defg agfa|gecd eddf|afdf afdf|gece gfge|defg abaf|gecd edd||

                       

CORNFLOWER WALTZ. American, Waltz. American Heritage Music Corporation AH-4-1-4, Harold Allen – “Fiddling Around” (on the album Allen is credited with composing the tune).

                       

CORNHILL DANCE. English, Scottish. F Major. Standard tuning. ABB’. The tune appears in a 1799 collection by Thomas Calvert, a musician from Kelso, Scotland, in the Borders region. A note with the collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.”

X:1

T:Cornhill Dance

M:4/4

L:1/8

B:Calvert Collection Page 12/13

N:Cornhill is a village in England, south of the Tweed, just across the

N:bridge from Coldstream

Z:P Whittaker

K:F

B | A>Fc>Fd>Fc>F | A>F d/2c/2B/2A/2 BGGB | A>Fc>Fd>Fc>F |

{A}B2 GcAF [A,CF] || c |  f>gag fdcf  | {d}cdfa g>fga |1 f>gag fdcf  |

agfe f2 f :|2 a>gb>f g>df>c | {A}B2 GcAF [A,CF] ||

                       

CORNIN’S. AKA and see “O’Keefe’s Plow.” Cornin is undoubtedly 'Cronin'.

                       

CORNISH FLORAL DANCE. English (Cornwall), Country Dance (3/4 time). F Major. Standard tuning. One part. Raven (English Country Dance Tunes), 1984; pg. 154.

                       

CORNISH FOUR-HAND REEL.  English, Reel. England, Cornwall. D Major. Standard tuning. AABBCCDDAA. Source William Hocken was recorded by Richard Dimbleby at the Wellington Hotel in Bocastle in 1943. Hocken was a local bandmaster. The melody is strongly associated with the dance the Bocastle Breakdowns, but can be played for the four-hand reel. Source for notated version: William Hocken (Bocastle, Cornwall) [Callaghan]. Callaghan (Hardcore English), 2007; pg. 92. Topic Records 12T240, William Hocken (et al)  “Bocastle Breakdown: Southern English Country Music” (1974. Various artists).

 

CORNISH QUICKSTEP. English (Cornwall), Quickstep. D Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 154.


                       

CORNPHÍOPA AN BHREATHNAIGH. AKA and see "Walsh's Hornpipe."

                       

CORNPHÍOPA AN DREOILIN. AKA and see "The Wren's Hornpipe."

                       

CORNPHÍOPA AN FLAITHEARTAIGH. AKA and see "Flaherty's Hornpipe."

                       

CORNPHÍOPA AN TIARNAWILSON.  AKA and see “Lord Wilson’s.”

 

CORNPHÍOPA AN TÍOGAIR.  AKA and see “Tiger Hornpipe.”

 

CORNPHÍOPA GHRÉAGÓRA. AKA and see “Gregory’s Hornpipe.”