The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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

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

 

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

 

 

 

COUCHE-COUCHE APRES BRULER (Couche-Couche is Burning). See "Country Gentlemen."

 

COUGHLAN’S. AKA and see “Baby Gavin,” “Burke’s [1],” “Charlie Mulvihill’s (Jig) [1],” “Connie O’Connell’s Jig [2],” “Gallagher’s [2],” “Lad O’Beirne’s (Jig),” “Matt Molloy’s (Jig),” “The Short Road,” “The Silver Vale.” Irish, Jig.

                       

COUGHLAN’S MARCH. Irish, March (4/4 time). G Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. 1); c. 1805; pg. 72.

X:1

T:Coughlan’s March

M:C

L:1/8

R:March

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805).

Z:AK/Fiddler’s Companion

K:G

G/A/ | B>cBe dGG>B | A>B A/B/c/d/ e/d/c/B/ A>G/A/ | B>cBe dGG>g |

(e/d/)(c/B/) (d/c/)(B/A/) G2G2 :: B/c/ | d>e de/f/ gd de/f/ |

(g/f/)(e/d/) (e/d/)(c/B/) BAA(G/A/) | B>cBe dGG>g | (e/d/)(c/B/) (d/c/)(B/A/) G2G2 :|

 

COUGHLIN'S REEL. Irish, Reel. D Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 293, pg. 147.

X:1

T:Coughlin’s Reel

M:4/4

L:1/8

R:Reel

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

D2 (3FED FAAB | defd (3BcB A2 | BcBA FAdB | AFDF EGFE | D2 (3FED FAAB |

defd (3BcB A2 | BcBA FAdB | AFDF E2D2 || defg afdf eB B2 | defg afdf | abaf e2d2 |

defg afbf | afdf eB B2 | BcBA FAdB | AFDF EGFE ||

                       

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

                       

COULTER'S RAG. Old-Time, Country Rag. A Minor. Standard tuning. AA'BB'. Source for notated version: fiddler Lotus Dickey (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 35.


                       

COUNSELOR'S. Canadian, Jig. Canada, Cape Breton. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993).

                       

COUNT BROWN'S MARCH. English, Scottish; March. D Major. Standard tuning. AABB. The tune appears in the Gillespie Manuscript of Perth (1768), but was printed before in the earliest known fife tutor published by Rutherford in London c. 1756. Source for notated version: the music manuscript book of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 18.  

                       

COUNT D'ARTOIS. Scottish, Reel. C Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 3; No. 126, pg. 15. Stewart-Robertson (The Athole Collection), 1884; pg. 78.

X:1

T:Count D’Artois

L:1/8

M:C|

R:Reel

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:C

g|e2dc AcGE|GcGE AcGE|e2dc AcGE|FdEc dDD:|

g|ecgc fgag|ecgc Bddf|ecgc fgaf|e/f/g df eccf|ecgc fgaf|

ecgc Bcde|fdec dBcF|EGDF ECC||

N:The last two measures of the second part may be played

N:fdec afgc|GAcd ecc||

                       

COUNT NOT THE HOURS. AKA ‑ "Na Comaiream Na Uaire." Irish, Air (6/8 time, "cheerful"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 258, pg. 45.

X:1

T:Count Not the Hours

M:6/8

L:1/8

R:Air

N:”Cheerful”

S:O’Neill – Music of Ireland (1903), No. 258

Z:AK/Fiddler’s Companion

K:G

G>AB Bg>d | d2B A2 B/A/ | G>AB gdB | A3 z2 B/A/ | G>AB Bg>d |

.d.e.f g2 f/e/ | .d.g.B .d.c.A | G3 z2 || g/a/ | b2g ag.e | d2B B2 g/a/ |

b2g age | d3 g2 g/a/ | .b.a.g .a.g.f | .d.g.B .d.c.A | G3 z2 ||

                       

COUNT SAX'S MARCH. Scottish, March. The tune appears in the Gillespie Manuscript of Perth, 1768.

                       

COUNT SAX’S MINUET. AKA – “Mashall Saxe’s Minuet.” Welsh, Minuet. G Major. Standard tuning. AA’BB. The tune appears in A Collection of Welsh, English and Scotch Airs (1761) published by John “Blind” Parry of Rhiwabon (1710?-1782), a famous Welsh Triple Harpist, and is perhaps his own composition. Parry was harper to Sir Watkin Williams Wynn of Wynnstay, near Rhiwabon, Maelor, but achieved some fame in his lifetime, traveling to London to perform in the company of his patron. He was known to the composer Frederich Handel, who admired the harper’s playing. The minuet was published in Six Sonatas op. 2 (1752) by André Joseph Exaudet. The tune is named for Maurice, Compte de Saxe (1696-1750), one of the most brilliant commanders in the history of the French army. Born the natural son of the King of Poland, Augustus II and countess Aurora Königsmarck, he was the first of 354 illegitimate children. Indeed, he too was notorious for his own amorous exploits and for his tragic liaison with the famous French actress Adrienne Lecouvreur (who mysteriously died, some say at the hands of her rival, the duchesse de Bouillon). Saxe served in the armies of several countries on the Continent, and became Marshal of France in 1743. His reputation was ensured by his important victories at Fontenoy (1745) and Raucoux (1746), and by the capture of Maastrcht (1748). Louis XV gave him life tenure of the castle of Chambord. The writer George Sand was a descendent of his. Source for notated version: the music manuscript of Captain George Bush (1753?-1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]. Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 6. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 10. Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol fy Ngwlad/Welsh Music on the Welsh Triple Harp” (1996).

X:1

T:Count Sax’s Minuet

M:3/4

L:1/8

R:Minuet

K:G

G>G G4|A>A A4|c4B2|A4G2|FAcABG|FAcABG|1 FAcABG|A2 GFED:|2

Dc B2A2|G6||:dBAG g2|f3e d2|dcBABc|B4A2|Gb b2b2|Fa a2a2|

bagfed|^c4d2|efgefd|^cegefd|Agfde^c|d3c BA|G>G G4|

A2A A4|c4B2|A4G2|FAcABG|FAcABG|Dc B2A2|G6||

                       

COUNT TALLARD. English, Jig. D Major. Standard tuning. AABB. The tune was first printed in the 13th edition (1706) of John Young’s Dancing Master, and reappeared in every subsequent edition through the end of the series, with the 18th in 1728. It also was printed by the Walsh’s, first in The New Country Dancing Master, 2nd Book (London, 1710), then in The Compleat Country Dancing Master (editions of 1718, 1731 and 1754)) See note for “French Ambassador”, a previous Playford melody, for information on the Duc de Tallard (1652-1728). Tallard was captured at the battle of Blenheim in August, 1704, and returned to England as a prisoner, where he was kept at Nottingham. In 1711 he was released and returned to France, where apparently no ill will was accorded to him for his defeat, as he was made a duke in 1712 and a Peer of France in 1715. The Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 1985; No. 521, pg. 117. Plain Brown Tune Book, 1997; pg 7.

X:1

T:Count Tallard

M:6/4

L:1/8

S:Dancing Master, 13th edition (1706)

K:C

G2|G2E2G2G2E2G2|c6 B4A2|G2E2F2 D4C2|(D6 D4) EF|G2E2G2 G2E2G2|

c6 d6|ef g2e2 d2B2G2|(c6 c4)::g2|g2e2g2 g2e2g2|g6 g3fe2|d3ed2 d2B2G2|

d6 d3cB2|A2B2c2 G2F2E2|F2G2A2 D4B2|c2E2F2 D4C2|(C6 C4):|

            `          

COUNTERFAITTE, LA. French, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. Aird (Selections), vol. II, 1782; No. 79, pg. 29.

X:1

T:Counterfaitte, La

M:6/8

L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

D | G2G G2D | A2D B2d | c2B A2G | FGA D2D |

G2G G2D | A2D B2d | c2B BAG | AGF G2 :|

|: B/d/| e2G Gce | d2G GBd | c2B A2G | FGA D2 B/d/ |

e2G Gce | d2G GBd | c2B BAG | AGF G2 :|

                       

COUNTESS OF AIRLY. AKA and see "Money Musk/Monymusk." Scottish, Strathspey. G Major. Standard tuning. AAB. "In the early 18th century this tune was known as 'The Countess of Airly'. It came from the village of Money Musk, in Aberdeenshire, Scotland" (Linscott, 1939). Glen attributes the composition to John Bowie and notes it can be found in Charles Duff's collection. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 31.

X:1

T:Countess of Airly

M:C

L:1/8

R:Strathspey

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:G

B/c/|d<GB<G d<G B>g|e<c d>B A<D F>D|d<GB<G D<G B>g|ec B/c/d BGG:|

e/f/|g>d B<g d<B g2|g>d B<g Aa a2|g>dB>g d<B g>d|e>c B/c/d/c/ B>G G>d|

g>d B<g d<B g2|g>d B<g A<a a2|g<dg>b a<f g>e|e<c B/c/d/c/ BGG||

                       

COUNTESS OF ANCRAM’S STRATHSPEY.  Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by Nathaniel Gow (1766-1831). The most famous Countess of Ancram in Nathaniel’s time was Lady Henrietta Hobart, daughter of John Hobart, 2nd Earl of Buckinghamshire. She was forced into an arranged marriage in 1780 (while still a teen-ager) to Armar Lowry-Corry, later Lord Belmore, whom she did not even know by sight. It was a loveless marriage, in spite of Armar’s attempts to win her over, and the couple separated in 1781 soon after the birth of their first and only child. The couple lived apart for nine years (he in Ireland, she elsewhere), and Henrietta lost custody of her daughter immediately upon the separation, although it had been stipulated she was to raise her for her first fiver years before giving her over to her father. In 1790, Henrietta began a liaison with William Kerr (1763-1824), Earl of Ancram, son and heir of the 5th Marques of Lothian. This became so blatant that Lord Belmore felt honor-bound to divorce her, and a public scandal ensued. After the divorce was final she married Ancram in 1793, and when her father died the following year she (or, rather, Kerr, as  her husband) inherited Blickling Hall and his Norfolk estate. Henrietta died in 1805, but not before delivering four more children to Anram. After her death Kerr remarried the next year to Lady Harriet Scott, a younger daughter of the 3rd Duke of Buccleuch, by whom he had another eight children. It is Harriet Scott that Gow perhaps meant the tune for. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 14.

X:1

T:Countess of Ancram’s Strathspey

M:C

L:1/8

R:Strathspey

N:”Slowly”

C:Nathaniel Gow (1763-1807)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:D

DFDF G/F/E/D/ C2|D<F D<F D<d “tr”A>F|D>F D>F G/F/E/D/ Cz/E/|D/E/F/G/ A/B/c/A/ {c}d2D2:||

df df g/f/e/d/ ~c2|dfdA d/e/f/g/ a/f/g/e/|df Af/a/ (g/f/).e/.d/ c/d/e/c/|d/e/f/g/ f/d/e/c/ “tr”d2 D>A|

.d.f .d.f g/f/e/d/ c/d/e/c/|d/e/f/g/ a/g/f/e/ d/c/B/A/ f/e/d/c/|d/c/B/A/ B/A/G/F/ G/F/E/D/ C/D/E/C/|D/E/F/G/ A/B/c/A/ {c}d2D2||

                          

COUNTESS OF BREADALBANE. AKA – “Countess of Breadalbane’s Favorite Strathspey.” Scottish, Reel. B Flat Major. Standard tuning. AAB. The melody appears in Malcolm McDonald's 1797 collection, a volume dedicated to the Countess of Breadalbane. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 30. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 1. Stewart-Robertson (The Athole Collection), 1884; pg. 294.

X:1

T:Countess of Breadalbane

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Bb

F | ~B>cBF D/E/F/D/ B,>D | E>F G/F/E/D/ E>Cc>G | ~B<F G>B F>BE>g |

f>B e/d/c/B/ F<B~B :| g | f2 e/d/c/B/ f>Bb>B | e>f e/d/c/B/ A<c c>g | f2 e/d/c/B/ f>Bb>B |

f<B e/d/c/B/ F<B ~B>g | f2 e/d/c/B/ f<B b>d | e>f e/d/c/B/ A<c c>d |

~B>cB>F D/E/F/D/ B,>g | f>B e/d/c/B/ F<B~B ||

X:2

T:Countess of Breadalbane’s Favorite Strathspey

M:C

L:1/8

R:Strathspey

N:”Slow”

S:MacDonald – 4th Collection of Strathspey Reels (1797)

Z:AK/Fiddler’s Companion

K:Bb

F | B>cBF D/E/F/D/ B,>D | E>F G/F/E/D/ ECcG | BFGB FBEg | f>b e/d/c/B/ FB B :|

g | f2 e/d/c/B/ fdbd | e>f e/d/c/B/ Accg | f2 e/d/c/B/ fdbd | f>B e/d/c/B/ FBBg |

f2 e/d/c/B/ fBbd | e>f e/d/c/B/ Acc>d | B>cBF D/E/F/D/ B,>g | f>B e/d/c/B/ FBB ||

                       

COUNTESS OF BREADALBANE’S REEL. Scottish, Reel. B Flat Major. Standard tuning. AABB’. The melody appears in the 4th collection of Malcolm MacDonald of Dunkeld, a volume dedicated to the Countess of Breadalbane. MacDonald (A Fourth Collection of Strathspey Reels), 1797; pg. 1.

X:1

T:Countess of Breadalbane’s Reel

M:C|

L:1/8

R:Reel

S:MacDonald – 4th Collection of Strathspey Reels (1797)

Z:AK/Fiddler’s Companion

K:B_

d | B2 BF DB,FD | EC c=B cGGc | B2 BF DB,FD | ECFE DB,B, :|

f | dBfB bgfB | dBfB Acce |1 dBfB bgfB | Fcec dBB :|2 dBcA BG”tr”FE | Dgfe dBB ||

 

COUNTESS OF BUCHAN’S, THE.  Scottish, Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 28, pg. 8.

 

COUNTESS OF CASSILLIS [1]. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Nathaniel Gow (1766-1831). The ballad “Johnnie Faa” tells of the abduction of the Countess of Cassillis by the gypsy chieftain Faa, and his subsequent execution by the enraged Earl. She was then imprisoned for the remainder of her life in Cassilis Castle, Maybole, Ayrshire. The Countess of Cassillis in Gow’s time was Margaret (1772-1848), daughter and heiress of John Erskine, who married Archibald Kennedy, the 12th Earl of Cassillis, in 1793. They had six children, all of whom survived to adulthood. She also became the Marchioness of Ailsa in 1831, after her husband was raised Marquess. Carlin (The Gow Collection), 1986; No. 29. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 2.

X:1

T:Countess of Cassillis’s Strathspey [1]

M:C
L:1/8

N:”Slow”
R:Strathspey

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:A

E|AAAA A>B ({A/B/}c>)B|”tr”A>B (A/F/)E/C/ “tr”B,B”tr”B {d}c/B/|AAAA A>B ({A/B/}c>)B|A>B (A/F/)E/C/ A,AA:||

“tr”c>d|.e.e (d/c/)”tr”B/A/ “tr”f>g (b/a/)(g/f/)|ec (d/c/)”tr”B/A/ GBB “tr”c/>d/|.e.e (e/d/)(B/A/) “tr”f>g (b/a/)(g/f/)|({^d}e>)E (F/G/)(A/B/) cAA “tr”c/>d/|

ef/e/ (d/c/)(B/A/) “tr”f>g (b/a/)(g/f/)|ea/e/ (d/c/)(B/A/) GBB “tr”c/>B/|A>c “tr”F>A “tr”E>F (E/D/)(C/B,/)|A,A (c/B/)(A/G/) AA,A,||

 

COUNTESS OF CASSILLIS [2]. Scottish, Reel. A Mixolydian. Standard tuning. AAB. Carlin (The Gow Collection), 1986; No. 241. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pgs. 2-3. Stewart-Robertson (The Athole Collection), 1884; pg. 29.

X:1

T:Countess of Cassillis (Reel) [2]

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

F|ECA,C E2EF|ABcA BB,B,F|ECA,C E2EF|EFAB cAA:|

e|AacA eAA=g|fde=c B=GGB|AacA eAAa|f/g/a ef cAAe|

AacA eAA=g|fdec dBBd|cAGA FAEd|c/d/e f/g/a cAA||

                       

COUNTESS OF COVENTRY’S MARCH.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody was first published in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1753). Subsequently it appeared in John Johnson’s 200 Favourite Country Dances, vol. 7 (London, 1756), and Charles and Samuel Thompson’s 1757 country dance collection. The tune honors the beautiful Maria Gunning Coventry (1733-1760), a nexus of society in the city during the reign of King George II. Maria was born in Ireland, but took London society by storm, along with her sister Elizabeth, and both sisters married will (Maria to the 6th Earl of Coventry and Elizabeth to the Duke of Hamilton. Maria died young, the victim of toxic poisoning from the lead in her cosmetics, which she used liberally. See note for “Miss Gunning’s Fancy (Reel)” for more on the sisters. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 75.

X:75

T:Countess of Coventry’s March

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

gb b2|fa a2|egfd|ecBA|gb b2|fa a2|Adce|d2 D2:|
|:fafd|gbge|fafd|ce e2|fafd|gbge|Adce|d2 D2:||

 

COUNTESS OF COVENTRIE'S MINUET. Scottish, Minuet. The tune appears in the Gillespie Manuscript of Perth (1768).

                       


COUNTESS OF CRAWFORD, THE. AKA and see "Dunecht House." Scottish, Slow Strathspey or Air. A Major. Standard tuning. AB. One of the most famous compositions of  Peter Milne (1824-1908), a Scottish fiddler, one of J. Scott Skinner’s teachers and, later, fiddling partner. Milne managed to make a living playing theater venues all over Scotland, but became addicted to opium in the drug laudenaum, which he originally took as a pain-killer. Milne ended his life in reduced circumstances, busking on the ferry which crossed the Firth of Forth until the Forth Bridge was built in 1908. He died in an insane asylum. The “Countess of Crawford” is considered to be among those of Milne’s better compositions. See also Milne’s companion reel, “The Earl of Crawford’s Reel.” Sources for notated versions: Arthur S. Robertson (Shetland) [Hunter]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; Hector MacAndrew [Martin]. Cranford (Winston Fitzgerald), 1997; No. 88, pg. 38. Hunter (Fiddle Music of Scotland), 1988; No. 121. Martin (Traditional Scottish Fiddling), 2002; pg. 138. Olympic 6151, Arthur Robertson ‑ "Scottish Traditional Fiddle Music" (1978).

                       

COUNTESS OF DALHOUSIE. Scottish, Strathspey. F Major. Standard tuning. AB. Composed by Nathaniel Gow (1763-1831). MacDonald (The Skye Collection), 1887; pg. 149. Stewart-Robertson (The Athole Collection), 1884; pg. 226.

X:1

T:Countess of Dalhousie

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

d|c<c ~c>f f/g/a g>f|d/e/f c>A B>G G>d|c<c ~c>f f/g/a g>f|d>fc>f A<F F>d|

c<c ~c>f f/g/a g>f|d/e/f c>A B<G G>d|c<c ~cf/g/ a>fg>e|f>cd>f A<FF||

c|A<F F>c A/B/c B>A|B/c/d c>A B<G G>c|A<F F>c A/B/c B>A|B/c/d c>e f<F F>B|

A<F F>c A/B/c B>A|B/c/d c>A B<G G>B|A<Fc<A d<Bf<d|e/f/g g/a/b a<f~f||

                       

COUNTESS OF DALKEITH. AKA and see "Kinrara (Strathspey) [1]." Scottish, Strathspey. B‑Flat Major. Standard tuning. AB. William Marshall (1748-1833) claimed composer credit for this tune as the "Kinrara Strathspey" which appears in his First Collection of 1781. It was re-titled by the Gows and appears in their Fourth Collection of 1800 without composer credits, which has led many to cite this as another instance of the Gows’ plagiarism of others’ melodies. Carlin (The Gow Collection), 1986; No. 30. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 5. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 2, (appears as "Kinrara Strathspey").

X:1

T:Countess of Dalkeith

M:C
L:1/8

N:A re-titling of William Marshall’s “Kinrara Strathspey.”

R:Strathspey

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:Bb

F|”tr”B>cBd FB (G/F/)E/D/|BF (B/c/d) cCC>c|”tr”B>cBd FB (G/F/).E/.D/|E>g “tr”f>e dBBF|

“tr”B>cBd FB G/F/E/D/|BF (B/c/d) cCC>c|”tr”B>dBd FB (G/F/).E/.D/|E<g “tr”f>e dBB||

f|df (e/d/).c/.B/ b>Be<g|f>B (e/d/)(c/B/) A(cc)d/e/|.f.B.d.B gBeg|F>B {d}cB/c/ dBBd/e/|

f>g/2a/4 b>G g>Bf>B|e>c (e/d/).c/.B/ A(cc>)d|”tr”B>FG<B F>B (G/F/).E/.D/|E<g “tr”f>e dBB||

                       

COUNTESS OF DUMFRIES JUNR.  Scottish. Glen (1891) finds the earliest printing of the tune in John Riddell's 1782 collection (pg. 52).

                       

COUNTESS OF EGLINTON, THE. Scottish, Strathspey. D Major. Standard tuning. AAB. The Countess of Eglinton referred to in the title was one of two possible women. The “Countess of Eglinton” may have referred to the Dowager Countess, Susannah, daughter of Sir Archibald Kennedy of Culzean, Bart., and Elizabeth Lesly. She was born in 1689 and died in 1780 at the age of 91, and survived her husband Alexander (who died in 1729) by fifty-seven years. Her death was a few years before the publication of the tune in the Gow collections, but she was a remarkable woman much celebrated in her time and famous long after her passing. A striking six feet tall she was celebrated for her beauty and accomplishments, and described by king George II as the most beautiful woman in his domains. Poet Allan Ramsay dedicated his Gentle Shepherd (1726) to her, and she was lauded by Dr. Samuel Johnson in his Tour, after visiting her in her Ayrshire manor. She enjoyed the entertainments of Edinburgh, as the following indicates (from Harry Graham’s A Group of Scottish Women, New York, 1908):

***

…and (she) ws generally admitted to be the most beautiful woman of her time. The sight of that lengthy procession of

sedan chairs, of which contemporary chroniclers write in such glowing terms, bearing the lovely Susannah, Countess

of Eglinton, and her seven equally lovely daughters to the Assembly Rooms, was one calculated to send the blood

coursing more quickly through the veins of each fashionable dandy of the day, and make the oldest beau feel young

again. It would not indeed be easy to call to mind the name of any woman who caused so great a stir in the society

of the Scottish capital as did Lady Eglinton, perhaps the most famous “toast” of the eighteenth century.

***

Susannah was the third wife of Alexander, the 9th Earl of Eglinton, who plucked her from the charms of another worthy suitor, Sir John Clerk of Pennycuik. Sir John courted her hard, even sending her some poems he had penned rolled up inside a flute (which were discovered when no one could produce a sound on the instrument).  However, the Earl’s second wife was an invalid and ailing at the time and passed away just in time for the elderly Earl to prevail upon Susannah, whom he had his eye on for some time.

***

It is said that when Sir John proposed to Susannah, that young lady’s calculating father took the precaution of asking

the advice of Lord Eglinton before allowing his daughter to reply to her importunate suitor. “Bide a wee, Sir Archie,”

said the flippant old gentleman, with a twinkle in his eye, “my wife’s very sickly!”  [Graham, 1908]

***

Lady Susannah remained elegant, and a great wit, to the end. The following account, of Lady Eglinton in later life, is from Boswell’s Life of Johnson:

***

Lady Margaret Dalrymple, only daughter of John Earl of Stair, married in 1700, to Hugh, third Earl of Loudoun.

She died in 1777, aged one hundred. Of this venerable lady, and of the Countess of Eglintoune, whom Johnson

visited next day, he thus speaks in his Journey.—‘Length of live is distributed impartially to very different modes

of life, in very different climates; and the mountains have no greater examples of age than the Lowlands, where I

was introduced to two ladies of high quality, one of whom (Lady Loudoun) in her ninety-fourth year, presided at

her table with the full exercise of all her powers; and the other, (Lady Eglintoun,) had attained her eighty-fourth

year, without diminution of her vivacity, and little reason to accuse time of depredations on her beauty.’

***

‘Lady Eglintoune, though she was now in her eighty-fifth year, and had lived in the retirement of the country for almost

half a century, was still a very agreeable woman. She was of the noble house of Kennedy, and had all the elevation

which the consciousness of such birth inspires. Her figure was majestic, her manners high-bred, her reading extensive,

and her conversation elegant. She had been the admiration of the gay circles of life, and the patroness of poets. Dr. Johnson

was delighted with his reception here. Her principles in church and state were congenial with his. She knew all his merit, and

had heard much of him from her son, Earl Alexander, who loved to cultivate the acquaintance of men of talents in every

department.’

***

‘In the course of our conversation this day, it came out that Lady Eglintoune was married the year before Dr. Johnson

was born; upon which she graciously said to him, that she might have been his mother, and that she now adopted him;

and when we were going away, she embraced him, saying “My dear son, farewell!” My friend was much pleased with

this day’s entertainment, and owned that I had done well to force him out.’

***

‘At Sir Alexander Dick’s, from that absence of mind to which every man is at times subject, I told, in a blundering manner,

Lady Eglintoune’s complimentary adoption of Dr. Johnson as her son; for I unfortunately stated that her ladyship adopted

him as her son, in consequence of her having been married the year after he was born. Dr. Johnson instantly corrected me.

“Sir, don’t you perceive that you are defaming the Countess? For, supposing me to be her son, and that she was not

married till the year after my birth, I must have been her natural son.” A young lady of quality who was present, very

handsomely said, “Might not the son have justified the fault?” My friend was much flattered by this compliment, which

he never forgot. When in more than ordinary spirits, and talking of his journey in Scotland, he has called to me, “Boswell,

what was it that the young lady of quality said of me at Sir Alexander Dick’s?” Nobody will doubt that I was happy in

repeating it.  

***

On the other hand, the Countess of Eglinton at the time of Gow’s First Collection (1784) was Eleanora Hamilton (1743-1817), daughter of Robert Hamilton of Bourtree Hill, Ayr, and Anne Cunningham. She married her cousin, the 12th Earl of Eglinton, Hugh Montgomerie, in 1772, and seems to have been content to stay out of the limelight and raise her family. A portrait of her, seated playing the harp, was painted by Sir Joshua Reynolds in 1777.

***

Carlin (The Gow Collection), 1986; No. 31. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 10.

X:1

T:Countess of Eglintoun’s, The

M:C

L:1/8

R:Strathspey

N:”Slow”

S:Gow – First Collection of Niel Gow’s Reels (1784)

Z:AK/Fiddler’s Companion

K:D

E|(D/E/F) [A,F][A,F] “tr”F>ED>F|A>dA>F E/E/E “tr”E>F|(D/E/F) [A,F][A,F] “tr”F>ED>F|

A>B{AB}d>B AFF:||g|f>ae>f d>fBd|AF{F}d>B AF [CE>]g|”tr”f>ae>f d>fB>d|AF{F}d>B AF “tr”F>g|

f>ae>f d>fBd|A<F{F}d>B A>F “tr”[CE>]F|(D/E/F) [A,F][A,F] “tr”F>E D<F|A>B{AB}d>B AF “tr”F||

                       

COUNTESS OF EGLINTON'S DELIGHT. Scottish, Jig. B Flat Major. Standard tuning. AAB. Composed by Niel Gow (1727-1807). The Gow’s dedicated their Fourth Collection (1800) to the Earl of Eglinton. His Countess was Eleanora Hamilton (1743-1817), daughter of Robert Hamilton of Bourtree Hill, Ayr, and Anne Cunningham. She married her cousin, the 12th Earl of Eglinton, Hugh Montgomerie, in 1772, and seems to have been content to stay out of the limelight and raise her family. A portrait of her, seated playing the harp, was painted by Sir Joshua Reynolds in 1777. Carlin (The Gow Collection), 1986; No. 327. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 1.

X:1

T:Countess of Eglinton’s Delight

M:6/8

L:1/8

R:Jig

N:”Slowish”

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:Bb

E|(D/E/F)F “tr”F2d|”tr”c>Bc (dB)G|(D/E/F)F “tr”F2d|”tr”c3 {B/c/d/}G2z|(D/E/F)F “tr”F2e|

“tr”c>Bc dBG|(g/a/b).g fdb|fdB B2:||g|(fd).f (bf_).za|”tr”g>fg c2g|(fd).f (bf)_a|”tr”g>fg c2g|

(fd).f (bf)_a|(ge).g fdB|”tr”g>ab fdB|(FB).A B2g|(fd).f (bf)._a|(ge).g (fd).B|(fd).f (bf)._a|
”tr”g>fg c2.g|(fd).f (bf),_a|(ge).g (fd).B|.g(ec) .f(dB)|(FB).A B2||

                       

COUNTESS OF ELGIN, THE. Scottish, Reel. D Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pg. 135.

X:1

T:Countess of Elgin, The

M:C
L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 135   (1852)

Z:AK/Fiddler’s Companion

K:D

f | d2 AG FGAF | EFGA Bgfe | d2 AG FGAF | DEFG Addf | d2 AG FGAF |

EFGA Bgfe | d2 AG FGAF | DEFG Add || e | fddf geeg | fafd ceeg | fddf geeg |

fedc d3e | fddf geeg | fafd ceeg | fedc dAFA | DEFG Add ||

 


COUNTESS OF FIFE, THE. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 21, pg. 8.

                       

COUNTESS OF HADDINGTON, THE. Scottish, Reel or Strathspey. B Flat Major (Skye): C Major (Surenne). Standard tuning. AB (Surenne): AAB (Skye). Composed by the great Scots fiddler Niel Gow (1727-1807). Gow (Second Collection of Niel Gow’s Reels), 3rd ed., pg. 9; 1788. MacDonald (The Skye Collection), 1887; pg. 132. Surenne (Dance Music of Scotland), 1852; pg. 108.

X:1

T:Countess of Haddington, The

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:Bb

F|(D/E/F) BF (D/E/F) BF|GEFD Ccc>d|(D/E/F) BF (D/E/F) Bg|fd (e/d/)c/B/ FBB:|

d|B/c/d/e/ fb Bbfd|e(d/c/) (e/d/)c/B/ G(cc)d|(B/c/d/e/) fb Bbfd|ed/c/ (e/d/)c/B/ FBB>d|

(B/c/d/e/) fb Bbfd|e(d/c/) (e/d/)c/B/ G(cc>)d|B<FD<F D<FD<g|f>d (e/d/)c/B/ FBB||

X:2

T:Countess of Haddinton, The

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 108  (1852)

Z:AK/Fiddler’s Companion

K:C

G | E/4F/2<G) cG (E/4F/2<G) cG | AF (A/G/F/E/) Dd2e | (E/4F/2<G) cG (E/4F/2<G) ca |

ge (f/e/d/c/) GccG | E/4F/2<G) cG (E/4F/2<G) cG | AF (A/G/F/E/) Dd2e | (E/4F/2<G) cG (E/4F/2<G) ca |

ge (f/e/d/c/) Gcc || e | (c/d/e/f/) gc’ cc’ge | fd (f/e/d/c/) Ad2e | (c/d/e/f/) gc’ cc’ge | fd (f/e/d/c/) Gcce |

(c/d/e/f/) gc’ cc’ge | fd (f/e/d/c/) Ad2e | (c/d/e/f/) gc’ cc’ge | fd (f/e/d/c/) Gcc ||

                       

COUNTESS OF HOPETON’S ALLEMAND, THE. Scottish (?), Country Dance Tunes (2/4 time). D Major. Standard tuning. AABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 29.

X:1

T:Countess of Hopeton’s Allemand, The

M:2/4

L:1/8

R:Country Dance Tune

B:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:D

dABc|dc/B/ A2|Bgec|dAFD|dABc|dc/B/ A2|Bgec|d2d2:|

|:f2 af|e2 ge|afce|dAFD|f2af|e2ge|fdec|d2d2:|

|:AG/F/ GA|B2A2|BABc|d/c/d/e/ df|AG/F/ GA|B2A2|Bgec|d2d2:|

                       

COUNTESS OF LOTHEAN'S REEL. AKA and see “The Blackthorn,” “The Old Blackthorn,” "The Rising Sun [2]," "The Countess of Louden's Reel," “The Jolly Clamdiggers,” "Mahon's Reel."

                       

COUNTESS OF LOUDEN('S REEL). AKA and see “The Blackthorn Stick [4],” "The Countess of Lothean's Reel," “The Irishman’s Blackthorn Stick,” “Mahon’s Reel,” “The Rising Sun [2]." Scottish, Reel. D Major. Standard tuning. AAB (Lerwick): AB (Cole). Nigel Gatherer finds this tune in Airds Selections (1782) and remarks that it has similarities with “Kitty Clyde’s.” Irish versions are numerous, see the “Jolly Clamdigger”/”Blackthorn Stick [4]" family of tunes. The Countess of Loudoun was Flora Mure Campbell (1780-1840), only child and daughter of Major-General James Mure Campbell and Flora MacLeod (daughter of MacLeod of Raasay), who in 1804 married the Earl of Moira (created Marquis of Hastings in 1816). She came into her inheritance at age six after the suicide of her father, and was entrusted into the care of the earl and countess of Dumfries, with who she remained until the earl’s death in 1803. Other accounts (Chambers and Wallace (Life and Works of Robert Burns, 1896, pg. 137) have Flora being raised by her aunts, the Misses MacLeod (sisters of MacLeod of Raasay). She later extended Loudon Castle into one of the stateliest manors in Ayrshire. Her husband, the Marquis, was an eminent statesman and held for some years the office of Governor-General of British India. Flora went with him. She was known as a gracious and intelligent woman, notable for her respect for Indians and those of mixed-blood. She found a school for Indian boys and some Eurasian and European girls at Barrackpore. There three languages from textbooks that she not only selected, but translated into Hindustani and Bengali. He later became the governor and commander-in-chief of the strategic British-held Island of Malta in the Mediterranean and died there in 1836. The Marquis had promised his wife that they should lie in the same grave, and, although the state of mortuary arts and the Mediterranean heat did not permit that at the time of his death, he compromised with the direction that his right hand be amputated upon his death and sent home, that it might be buried with the Marchioness. This was done and the appendage was deposited in the family vault in Loudoun Kirk. When the Marchioness died at Kelburn House, Ayrshire (the seat of the Earl of Glasgow), in 1840, it was laid in the grave beside her body. See also “Lady Flora Charlotte Hastings” for another tune written for her. Cole (1000 Fiddle Tunes), 1940; pg. 19. Lerwick (The Kilted Fiddler), 1985; pg. 22. Ryan’s Mammoth Collection, 1883; pg. 42.

X:1

T:Countess of Louden (sic)

L:1/8

M:C|

K:D

|:f|d2 dA FDAF|Eeed cABc|d2 dA FDAg|fdec d(D D):|

g|fdad fdad|gebe gbeg|fdad fdad|fdec d(DD)g|fdad fdad|

gebe gbeg|fdec dBAG|FAdf e(d d)||

                       

COUNTESS OF LOUDON'S STRATHSPEY. AKA and see "Earl of Moira's Welcome to Scotland." Scottish, Strathspey.

 

COUNTESS OF LOUDON(‘S STRATHSEY) [2].  Scottish, Strathspey. B Flat Major. Standard tuning. AB. Surenne (Dance Music of Scotland), 1852; pgs. 2-3.

X:1

T:Countess of Loudon(‘s Strathspey) [2]

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pg. 2  (1852)

Z:AK/Fiddler’s Companion

K:Bb

d/e/ | (f<B)f>d (f<B)f>d | (f<B)f>d (g<c) cd/e/ | (f<B)f>d (f<B)f>d | (e<g)f>e (d<B) Bd/e/ |

(f<B)f>d (f<B)f>d | (f<B)f>d (g<c) cd/e/ | (f<B)f>d (f<B)f>d | (e<g)f>e (d<B) B ||

B | F>BD>B F>Bd>B | F>BD>B c>CC>B | F>BD>B F>Bd>B | (G<g f>e (d<B) B2 |

F>B D>B F>Bd>B | F>B D>B c>CC (e/f/) | g>ef>d e>cd<B | (G<g) f>e (d<B) B ||

                       

COUNTESS OF ORMOND’S GALLIARD. A dance tune named for the second wife of Tomás Dubh Butler (1532-1614), 10th Earl of Ormond, called “Tom Duff” by Tudor courtiers. She was Elizabeth Sheffield.

                       

COUNTESS OF PERCY. Scottish, Reel. D Major. Standard tuning. AAB. Glen (1891) finds the earliest printing of the tune in John Riddell's 1782 collection (pg. 25). Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 5.]

X:1

T:Countess of Percy

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 1   (1891)

Z:AK/Fiddler’s Companion

K:D

d|ABde f2 ed|f2 ed Beef|ABde f2 ec|dBAF D/D/D D2:|

f/g/|afdf a2 gf|efga bgef/g/|afdf a2 gf|geag fddf/g/|afdf a2 gf|

gafg edef|dBAF ABdA|Bgfe fdd||

                       

COUNTESS OF ROTHES. Scottish, Strathspey. F Major. Standard tuning. AAB. The melody appears in Robert Mackintosh's 1793 collection. Glen (The Glen Collection of Scottish Dance Music), vol. 2, 1895; pg. 23. Stewart-Robertson (The Athole Collection), 1884; pg. 232.

X:1

T:Countess of Rothes, The

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:F

A|F<(c c)>B A<(f f)>c|G<(d d)>c B<d d>g|F<(c c)>B A<(f f)>c| d>ef>g a<ff:|

F|C>FA>F c<Fd<F|c<FA<F B<G G>A|F/E/F/G/ A<F c<Fd<F|

c<f A>G A<F F>A|C>FA>F c<Fd<F|c<FA<F B<G G>B|A<fc<A B<fd<B| e/f/g c>b a<ff||

                       

COUNTESS OF SEAFIELD [1], THE. Scottish, Jig (9/8 time). B Flat Major. Standard tuning. AABB. Composed by William Marshall (1748-1833). Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 20.

X:1

T:Countess of Seafield, The

M:9/8

L:1/8

R:Jig

S:Marshall -1845 Collection

Z:AK/Fiddler’s Companion

K:Bb

B3 B2d fdB|C2c c2d efg|B,2 B B2d fdB|GAB cdB AGF|

B3 B2d fdB|C2c c2d efg|fga bag fed|edc FdA B3||

f3 d2b fed|e3 c2d efg|f2b d2B f2d|GAB cdB AGF|f3 d2b fed|

e3 c2d efg|fga bag fed|edc FdA B3||

 

COUNTESS OF SEAFIELD [2], THE. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 17, pg. 6.

                                      

COUNTESS OF SELKIRK'S FAVORITE. Scottish, Strathspey. C Aeolian. Standard tuning. AAB. Composed by Nathaniel Gow. Carlin (The Gow Collection), 1986; No. 32.

                                      

COUNTESS OF SUTHERLAND [1]. AKA and see “Glasgow Ladys,” "Lady Hamilton." Scottish, Reel. B Flat Major (Athole, Gow, Hunter, Kerr, Skye): C Major (Hardings, Surenne). Standard tuning. AB (Kerr, Surenne): AAB (Athole, Gow, Hunter, Skye): AABB (Hardings). Composed by George Jenkins, a dancing master in London who may or may not have been of Scottish birth. Several writers have pointed out that many of his compositions seem to lack a genuine Scottish idiom. On the death of the 18th Earl of Sutherland, William Gordon, without male issue, the title passed to his daughter Elizabeth (1765-1839). She became the 19th Countess of Sutherland only a few weeks after her first birthday, in 1766. She married an Englishman, George Granville Leveson-Gower, Marquis of Stafford, in September, 1785, and later became Duchess when Stafford was created Duke of Sutherland in 1833. Elizabeth was a distinguished artist and painter. Their reputation has been marred by their ill-treatment of tenants in the matter of the Highland clearances, initiated to “improve” their estates by displacing people in favour of sheep. She is said to have pursued the depopulation of her lands with “vigour and cruel thoroughness,” so that “her name is still reviled in many homes with Highland connections across the world today.” Karl Marx wrote an article condemning her practices, entitled “The Duchess of Sutherland and Slavery” (The People’s Paper, March 12, 1853). See also the related Irish reels "Tansey's Favourite [1]," "The Bloom of Youth," “Doctor Taylor,” "The Downshire Reel," and "Gardiner's Favourite [1]." Carlin (The Gow Collection), 1986; No. 242. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 32. Harding’s All Round Collection, 1905; No. 30, pg. 9. Hunter (Fiddle Music of Scotland), 1988; No. 264 (arranged for string quintet). Kerr (Merry Melodies), vol. 3; No. 174, pg. 20. MacDonald (The Skye Collection), 1887; pg. 148. Stewart-Robertson (The Athole Collection), 1884; pg. 288. Surenne (Dance Music of Scotland), 1852; pg. 19.

X:1

T:Countess of Sutherland [1]

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Bb

f|~B2 FB GBFB|EBDB Cccd|~B2 FB Ggfe|dfce dBB:|

(3f/g/a/|bfdf egce|dfBd cF Ff/g/4a/4|bfdf egce|dfce dB Bf/g/4a/4|

bfdf egce|dfBd cFFf|gfga bgfe|dfce dB~B||

X:2

T:Countess of Sutherland [1]

M:C

L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 19   (1852)

Z:AK/Fiddler’s Companion

K:C

e | c2 Gc AcGc | FcEc Ddde | c2 Gc Aagf | egdf ecce | c2 Gc AcGc |

FcEc Ddde | c2 Gc Aagf | egdf ecc || (3g/a/b/ | c’geg fadf | egce dGGb |

c’geg fadf | egfd eccb | c’geg fadf | egce dGGg | agab c’agf | egdf ecc ||

 

COUNTESS OF SUTHERLAND [2]. Scottish, Reel. D Minor. Standard tuning. AAB. Glen (1891) finds the earliest printing of the tune in Daniel Dow's c. 1775 collection (pg. 25). Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 21.

X:1

T:Countess of Sutherland, The [2]

M:C

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:Dmin

A|F(DD)^c defd|=cdAc ECDE|FDDc defc|AGA^c dD D:|

d|ADFD FADc|ECGC EGGc|ADFD FADF|EGcE FDDd|

ADFD FADF|Egcd egcg|afge fdec|AGA^c dD D||

                                      

COUNTESS OF SUTHERLAND’S STRATHSPEY, THE. Scottish, Strathspey. A Major. Standard tuning. AB. McGlashan (A Collection of Reels), 1786; pg. 45.

X:1

T:Countess of Sutherland’s Strathspey, The

M:C|

L:1/8

R:Strathspey

S:McGlashan – Reels   (1786)

Z:AK/Fiddler’s Companion

K:A

C|A,CEC ACEC|A,CDC FB,B,C|A,CDC ACEC|Aec>B cAAC|A,CEC FCEC|

A,ECE FB,B,C|A,CEC ACEC|A,dcB cA A||c/d/|e>Ac>A eAcA|f>Bd>B fBdf|

e>Ac>A e>Ac>A|c/d/e Bd cAAc/d/|e>Ac>A e>Ac>e|fBdB fBdf|ceBd aec>B|AFE>C A,/A,/A, A2||

                                      

COUNTESS OF WEEMS MINUET. Scottish, Minuet. The tune appears in the Gillespie Manuscript of Perth (1768).

                                      

COUNTRY BUMPKIN. AKA and see “Elsie Marley.” Scottish. Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 71).

X:1

T:Country Bumpkin

M:6/8

L:1/8

S:London, c. 1805

N:Also in William Pitt Turner’s 1788 ms. (Norwich, Conn.)

K:G

c3 B3|ABG FEF|GAG BAB|GAG BAB|c3 B3|Aag fef|g2d edc|1

B3 GAB:||2 B3 G2c||Bde/f/ gdB|ABG FEF|GAG BAB|GAG BAc|Bde/f/ gdB|

Aag fef|g2d edc|1 B3 G2c:||2 B3 GAB||cAc BGB|ABG FEF|GAG BAB|GAG BAB|1

cAc BAB|cag fef|g2d edc|B3 GAB:||2 cac BgB|Aag fef|g2d edc|BgB GAB||

                                      

COUNTRY COLL, THE. English, Country Dance Tune (Longways for as many as will). Playford, The English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 45.

                                      

COUNTRY COURTSHIP, THE. AKA and see "The Irish Washerwoman," (Irish), "The Free Masons [1]," "In Bartholemew Fair," "Star at Liwis," "The Scheme," "Corporal Casey [1]," "Paddy McGinty's Goat," "The Snouts and Ears of America," "The Big Jig." English, Rapper Sword Dance Tune (6/8 time). G Major (Karpeles, Raven): C Major (Chappell). Standard tuning. AB. Bayard (1981) states this tune is from "perhaps 1688, but certainly from 1715," and says it arose from an earlier tune called "Dargason," first published in 1609. His authority for the 1688 date apparently is Chappell (1859) who stated that in that year a song entitled "The Country Courtship," beginning 'Honest Sir, give me thy hand,' was entered at Stationers' Hall, to John Back. The well‑known "Irish Washerwoman" is a nearly identical outgrowth of the "Courtship" tune. Chappell, writing in England in the 1850's declared the tune to be in common use in his time. It appears in Playford's Dancing Master (vol. iii), and Walsh's New Country Dancing Master. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pg. 128. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 31. Raven (English Country Dance Tunes), 1984; pg. 74.

X:1

T:Country Courtship, The

L:1/8

M:6/8

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

K:C

G|EDC CDC|EFG GAG|FED DED|FGA ABA|

EDC CDC|EFG GAG|GFE DGF|ECC C2||

G|cBc GAG|cdc edc|BAB GAG|BcB dcB|

Acc Gcc|F>EF E2E|FEF DGF|ECC C2||

                       


COUNTRY DANCE. A purely English dance style, of no particular form but rather distinguished by its steps and manner of performance. Its origins are very early: "it was, in its original state, the merry frolic of the countryman and his lass, free in performance and gay in character" (Pulver, 1923), and may have taken some of its conventions from the varied forms of the Branle. Country Dance reached its early peak in mid-17th century in England, where John Playford and others published numerous collections of both tunes and steps, and where the various forms ("Longways for 6," "Longways for as many as will," "a square-dance for eight," etc.) were danced by nobility and populace alike. Many of the tunes Playford published were already old in his day and part of the traditional repertoire, melodies such as "Dargason," "Blew Cap," "All in a Garden Green," "Bobbing Joe" and others. Pulver reminds us that Playford published during the period of Cromwell's Commonwealth, and remarks "it will be realized how little the Puritan regime interfered with the innocent pastimes of the masses." During the Restoration a fad for things imported included dance forms from the Continent, however, after the Pavanes, Branles, Galliards and such were danced, the evening still ended with jigs and Country Dances. Later, as the country dance was superseded at court altogether, the forms reverted to the populace who kept them alive for centuries, importing them to the various English colonies. The country dance took root especially in the American and Canadian colonies where it was an extremely popular recreation, engendering strong dance traditions which survive to this day. It is interesting to note that the origins of this quintessentially English dance were blurred due to the mania for things foreign, and at one time it was maintained (and still is, in some sources) to have derived from the French 'Contredanse', rather than the other way 'round.

***

The Country Dance (1745). William Hogarth (1697-1764)

                                                              

COUNTRY DANCE--BY SHIELDS. English, Reel. England, Northumberland. A Major. Standard. AABB. "The Fashionable Lover" was crossed out in the original MS. by Vickers (Seattle). William Shields was a renowned composer of the later 18th century. Seattle (William Vickers), 1987, Part 3; No. 545.

                                      

COUNTRY DANCE IN DENII, THE. English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 540.

                                      

COUNTRY FARMER, THE. English, Country Dance Tune (2/2 time). F Major. Standard tuning. ABB. The melody was printed by Playford. Sharp (Country Dance Tunes), 1909/1994; pg. 76.

X:1

T:Country Farmer, The [1]

L:1/8

M:2/2

S:Sharp – Country Dance Tunes   (1909)

Z:AK/Fiddler’s Companion

K:F

F2|cBcd c2 BA|B2G2A2c2|fefg f2e2|d4 c2F2|cBcd c2 BA|B2G2 A2c2|fefg f2e2|d4 c2||

|:c2|gfga g2 ab|a2 gf g2 ab|a2 gf g2 fe|defg e2 dc|f2 ef d2 ef|g2 fg e2 fg|a2 ga fgab|g4 f2:|

 

COUNTRY FARMER [2]. English, Jig. G Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 180.

X:1

T:Country Farmer  [2]

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

D|EFG GFE|A2A ABc|BAG FED|G2G G2::c|Bcd efg|d2d dcB|

cde efg|A2A A2B|cde dcB|ABG c2B|ABG FED|G2G G2L:||

                                      

COUNTRY FARMER'S DAUGHTER, THE. English, Country Dance Tune (6/4 time). C Major. Standard tuning. AAB. The air was published by Playford in his Dancing Master. Watson (A Rollick of Recorders or Other Instruments), 1975; No. 4, pg. 5.

                                      

COUNTRY GARDEN(S). AKA and see "Blue‑eyed Stranger [1]," "The Vicar of Bray." English, Air and Morris Dance Tune (4/4 time). F Major (Karpeles): G Major (Barnes, Mallinson):  D Major (Chappell). Standard tuning. AB (Chappell): AABB, x4 (Bacon‑Fieldtown, Barnes, Mallinson): AABBCCB'B'(Karpeles): AA'BBB (Bacon‑Bampton). The song was first presented in 1728 in stage production The Quaker's Opera and subsequently appeared many other ballad operas of the 18th century. It was later included in Daniel Wright’s Compleat Tutor for Ye Flute (c. 1735).

***

Fuld (1966) notes that Chappell included two versions in an early work on English airs (A Collection of National English Airs, London, 1838-1840) which "provide an interesting link between the 1728 version and the 'Handerchief Dance" (i.e. morris dance) tune collected by Cecil J. Sharp and Hervert C. MacIlwaine in 1907 and popularized by Percy Grainger in 1919." Indeed the morris versions were in use in tradition among dance musicians into the 20th century, a tradition which continues today. Mallinson's morris version is from the Fieldtown (Leafield, Oxfordshire) area of England's Cotswolds; Bacon gives morris versions from Bampton, Field Town, Headington, and Longborough. Kidson says the tune was used by morris dancers in Oxfordshire, where a fragment of the original song was remembered:
***
Madam, if you please

Will you buy a peck of peas

Out of my fine country garden?

***

Sharp (1907) calls the tune for the song “The Vicar of Bray” a ‘free rendering’ of “Country Gardens,” and remarks: “Needless to say, the peasants do not sing and, probably, never have sung the ‘Vicar of Bray’. Leaving out of account the tune, which lacks the spontaneity, artlessness and spirit of the genuine folk-melody, the words would not appeal to them” (see note for “Vicar of Bray”). The marriage of the words of “The Vicar of Bray” and the tune “Country Gardens” occurred in the late 18th century, appearing first in the publications Convivial Songster (1782) and Ritson’s English Songs (1783). Parodies soon appeared, one called “A Gallon a Day” printed on music sheets. Edward Rushton used the melody for his song “The Neglected Tar.”

***

Source for notated version: Arnold Woodley (Bampton) [Bacon]. Bacon (The Morris Ring), 1974; pgs. 50, 150, 185, 248. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 24. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 122‑123. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 33. Mallinson (Mally’s Cotswold Morris Book), 1988, Vol.2; No. 16, pg. 10. Raven (English Country Dance Tunes), 1984; pg. 75. Sharp (English Folk-Song), 1907; pgs. 112-113.

X:1

T:Country Gardens

L:1/8

M:C

S:Sharp – English Folk Song (1907)

Z:AK/Fiddler’s Companion

K:F

F2B2B2d2|c>dc>B A2 A>B|c2F2G2B2|A3G F4:|

f>gf>d e2c2|f>ef>d e2c2|f2 f>e d2g2|e3d c2 A>B|

c2 f>e d2d2|c>dc>B A2 A>B|c2F2G2B2|A3G F4|

f2 f>e d2d2|c2 c>B A2 A>B|c2F2G2B2|A3 G F4||

                                      


COUNTRY GENTLEMEN. AKA - "Couche-Couche Apres Bruler" (Couche-Couche is Burning), "Don't Get Married," "Jeunes Gens de la Campagne." Cajun, Two-Step?  USA, Louisiana. G Major. Standard tuning. BB(Vocal)BBBB(Vocal)BBB(Vocal)BB. The alternate title is an old version of the tune. Couche-Couche derives from the Arabic word couscous, a concotion of salt, water and durum wheat semolina popular in France. Since wheat was not a Louisiana staple, cornmeal was substituted as the main ingredient (Francois, 1990). Related songs, identified by Raymond Francois (1990) are Jimmie Venable's "Jeunes Gens de la Compagne [1]," and Iry LeJeune's "Don't Get Married." Source for notated version: Iry LeJeune (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 89-91. Goldband Records GB-LP7740, Iry LeJeune.

                                      

COUNTRY GIRL'S FORTUNE. AKA and see “The Clogher Reel,” “Dan McCart(h)y’s Fancy,” “The Flowers of Red Hill [2],” “The Hills of Clogher.” Irish, Reel. Ireland, Connemara. G Mixolydian. Standard tuning. AABBCC. “A Connemara reel” (Petrie, 1855). Stanford/Petrie (Complete Collection), 1905; No. 910, pg. 231.

                                      

COUNTR(E)Y KATE. AKA and see “Hey for Nothing,” "Kate." Scottish, Country Dance Tune (9/8 time). The melody appears in the Drummond Castle Manuscript, in the possession of the Earl of Ancaster at Drummond Castle. It is inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734."

                                      

COUNTRY LASSE, THE. AKA and see "Sally in our Alley." English, Air. C Major. Standard tuning. AAB. The tune dates from c. 1720, a precursor to Henry Carey’s “Sally in our Alley.” Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 300.

X:1

T:Country Lasse, The

M:3/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:C

G | Gc B3c | d/e/d/ c3B | AG F3 E | E c3 z :|

G | GE G3A | AF A3e | fe d3c | B d3 z G |

FE D2C2 | fe d3c | dc B3A | G c3 z || \

                                                                          

COUNTRY LASSES. Scottish, Reel. B Flat Major. Standard tuning. AA'BB'. Kerr (Merry Melodies), vol. 3; No. 172, pg. 20.

X:1

T:Country Lasses

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 172  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Bb

F|:B2 (df) bfdf|gabg fdBd|efge defd|cdcB AFGA|

B2 (df) bfdf|gabg fdBd|efge defd|cBcd B3||f|

b2 (ba) bfdf|b2 (ba) bfdf|efge defe|cdcB Accf|

b2 (ba) bfdf|b2 (ba) bfdf|efge defe|cBcd B3||

                                      

COUNTRY MAN'S HORNPIPE. Old‑Time. The "Countryman's Reel"?? USA, Mo. Caney Mountain Records CEP 210 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66.

                                      

COUNTRY PLAYBOY'S SPECIAL. See "Grande Nuit Special."

                                      

COUNTRY WALTZ [1]. See "Rainbow Waltz."

 

COUNTRY WALTZ [2]. Canadian, Waltz. Canada, Prince Edward Island. D Major. Standard tuning. AA’BB’. Source for notated version: Alvin Bernard (b. 1929, Long River, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 172.

                                      

COUNTRYMAN'S REEL. AKA and see "Flowers of Cahirciveen." American, Reel. B Flat Major. Standard tuning. AABB. The "Country Man's Hornpipe" played by Lonnie Robertson?? Source for notated version: John Francis [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 58. 

                                      


COUNTRYSIDE POLKA. Canadian, Polka. D Major. Standard tuning. AABB. Source for notated version: Jack O'Connor [Hinds]. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 9. London EB44, "Andy DeJarlis and His Early Settlers" (Manitoba fiddler DeJarlis credits Montreal fiddler Jean Carignan as his source for the tune).

                                      

COUNTY BALL. Irish, Double Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 203, pg. 23.

X:1

T:County Ball, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 203  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

d2A ABA|F2G A2A|d2d ede|fgf ecA|d2A ABA|

F2G A2A|def gec|(d3 d2)A::d2e f2g|a2f def|

gag fgf|efd cBA|d2e f2g|a2f def|g2e f2d|(e3 e2)A:|

                                      

COUNTY DOWN [1]. AKA and see "Kitty in the Fog," "The Kitten and the Frog," "The Stonecutter's Jig," "Young Tom Ennis," "Banks of Lough Gowna," "The Mug of Brown Ale [2]," "The Rambler From Clare [1]," "One Bottle More [2]," "The Ball (Humours) of Ballynafeidh." Irish (originally), American; Jig. USA, southwestern Pa. A Dorian. Standard tuning. AA'BB. Bayard (1981) identifies this as one of the tunes from an indistinct but probably Irish tune family that has incorporated a variety of usually floating titles. In southwestern Pa. it was known as a martial tune. Sources for notated versions: Hiram Horner, Hiram White, John Tustin, Hoge MS., George McCune (southwestern Pa. fifers and fiddlers) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 601A‑E, pgs. 528‑530.

 

COUNTY DOWN [2]. Scottish, Jig. A Major. Standard tuning. AA'BB'. Kerr (Merry Melodies), vol. 3; No. 228, pg. 26.

X:1

T:County Down [2]

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 228  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

A|EAA ABc|BAA A2c|1 EAA ABc|eBB B2e:|2 efg a2e|cAA A2||

|:e|ecA Ace|efg a2f|1 ecA ABc|dBB B2:|2 efg a2e|cAA A2||

                                      

COUNTY HALL. Scottish, Reel. G Mixolydian. Standard tuning. AAB. Stewart-Robertson (The Athole Collection), 1884; pg. 199.

X:1

T:County Hall

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

B|G2 BG cABG|A=fcf A=FFA|G2BG cABG|Agdg BGG:|

B|Gggd gbgd|=fgfc A=FFA|Gggd gbgd|Bdgd BGGB|Gggd gbgd|

=fgfc A=FFA|BGcA dgfa|gedc BGG||

                                                  

COUNTY LIMERICK BUCKHUNT. AKA and see “Groom,” "Larry Grogan."

                                                  

COUNTY MAYO [1], THE (Contae Mhaigheo). Irish, Slow Air (6/8 time). D Major. Standard tuning. AB. "The Irish song to this air‑‑a farewell from an emigrant‑‑composed by Thomas Lavelle, will be found in The Irish Penny Journal, p. 352, with a metrical translation" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 750, pg. 370.

 

COUNTY MAYO [2]. AKA and see “Contae Mhaigheo,” “Paddy Lynch’s Boat.” Irish, Slow Air (4/4 time). D Major. Standard tuning. One part. Some general similarities to “County Mayo [1]." Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 50, pg. 45 (appears as “Contae Mhuigheo”).

                                   

COUNTY MEETING. AKA and see "Crieff Meeting."

                                   


COUNTY OF LEITRIM, THE. Irish, Harp Air. One of the tunes played by 95 yr. old Irish harper Denis O'Hampsey, Hempson or Hampson (Donnchadh a Haimpsuigh) at a meeting of Belfast harpers in July 1792. He lived to the age of 110.

                                      

COUNTY OF MAYO, THE. See “Billy Byrne of Ballymanus.”

                                      

COUNTY LIMERICK BUCKHUNT. AKA and see "Larry Grogan."

                                      


COUNTY TYRONE, THE (Contae Thir Eoghain). Irish, Air (3/4 time). A Mixolydian. Standard tuning. One part. Source for notated version: the index to the Irish collector Edward Bunting's 1840 collection gives the source as "J. McCracken, Esq., Belfast, 1800." O'Sullivan/Bunting, 1983; No. 128, pgs. 186-187.

                       

COURT HER ALONG THE ROAD. AKA and see "Boil the Breakfast Early."

                       

COURT LADY. AKA and see "Confess."

                       

COURTESAN’S JIG. American, Jig. D Mixolydian/Major. Standard tuning. AABB. Composed by Antrim, New Hampshire, fiddler and composer Rodney Miller. Songer (Portland Collection), 1997; pg. 55. Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

                       

COURTIERS, COURTIERS (THINK IT NO HARM). AKA and see "The King of Poland." English, Air (6/8 or 6/4 time). E Minor (Gay, Howe): D Minor (Chappell). Standard. AB. The air appears in John Gay's Beggar's Opera (1729) under the title "Man may escape from rope and gun," and in Playford's Dancing Master (1686) as "The King of Poland." It is also on early half‑sheet music and broadsides. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pg.  60. Howe (1000 Jigs and Reels), c. 1867; pg. 166. Raven (English Country Dance Tunes), 1984; pg. 58.

X:1

T:Courtiers Think it No Harm

M:6/8

L:1/8

R:Air

Z:AK/Fiddler’s Companion

K:Emin

G2E G2A | B>cB E2F | G>AB e2B | G2 F/E/ E3 :| e/f/ |g>fe ^d2e | e2E E2F |

G>AB d2B | d2B A2F | G>AB e2B | G2F/E/ E2 ||

                       

COURTING IN THE GARDEN. AKA and see “Gilbert Clancy’s Reel,” “Sean Reid’s Reel,” “The West Wind [1].” Irish, Reel. G Major. Standard tuning. One part. O'Neill (O’Neill’s Irish Music), 1915; No. 292, pg. 147.

X:1

T:Courting in the Garden
M:C|

L:1/8

R:Reel

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

DGGA B2 Bd | cAAB cAFA | DGGA B2 Bd | cABG A2d2 | DGGA B2 Bd |

cAAB cAFA | DGGA B2 Bd | cABG A2 || de | fefd gGGA | BABG FAAd |

fefd gfdc | BGAF G2d2 | fefd gGGA | BABG AFFd | fefd gbag | fdcA G2 z2 ||

                       

COURTING IN THE KITCHEN. AKA and see "One Bumper at Parting," "Her Blue eyes they gleam and they twinkle," "Mall Rua," "Moll Roe{‘s} [1]," "Moll Roe in the Morning," "Though late was I plump," "Munsterman's Flattery," "Ditherum Doodle," "I'll take a glass with a friend," "Come under my Dimity," "The Night of the Fun [3]," "Late on a Saturday Night." The tune features pizzicato or plucked notes in American tradition (Pappy Taylor, Effingham, Illonois).

                       


COURTING THEM ALL ("Ag Suirid Iad Go Leir," "Ag Suirí Leo ar Fad" or "Da Siurad Go Leir"). AKA and see "The Bashful Bachelor [1],” "Don't Bother Me," “Jimmy Holmes' Favorite,” "The Moving Bog(s) [2]," "Miss Rae's Reel," "Rachel Rae." Irish, English, Scottish; Reel. D Major. Standard tuning. AABB' (Breathnach, Kennedy, O'Neill/Krassen, Raven): AB (O'Neill/Krassen & 1001). The melody appears to have Scots origins in John Lowe’s “Rachel Rae.” Breathnach (CRÉ II), 1976; No. 174. Kennedy (Fiddler’s Tune Book), Vol. 2, 1951; pg. 13 (appears as "Rachel Rae"). O'Neill (Krassen), 1976; pg. 149. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1489, pg. 275. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 713, pg. 126. Raven (English Country Dance Tunes), 1984; pg. 178 (appears as "Rachel Rae"). Ryan’s Mammoth Collection, 1883; pg. 73. Mulligan Records LUN 039, Keving Burke & Jackie Daly ‑ "Eavesdropper" (1981).

X:1

T:Courting Them All

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1903), No. 713

Z:AK/Fiddler’s Companion

K:D

F | DF (3ABc d2 (3ABc | d2 fd ecAc | d2 Ac BAGF | EFGE FDDE | DF (3ABc d2 (3ABc |

d2 fd ecAc | d2 Ac BAGF | EFGE FD D2 || c | d2 fd (3fga fd | g2 bg ecAc | d2 fd (3fga fd |

efge fddc | d2 fd (3fga fd | g2 bgt ecAc | d2 Ac BAGF | EFGE FD D2 ||

 

COURTING THEM ALL [2].  AKA and see “Don’t Bother Me.” Irish, Reel. Source for notated version: fiddler Kevin Burke & accordion player Jackie Daly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 199, pg. 58.

                       

COURTNEY MACPHERSON’S. Canadian, Pipe Reel. Canada, Cape Breton. A Dorian. Standard tuning. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 31, pg. 9. Fiddlesticks cass., Jerry Holland - “Lively Steps” (1987).

                       

COURTNEY'S FAVORITE [1] ("Roga Cuirtnaig" or "Roga Mic Cuairt"). Irish, Double Jig. E Minor (O'Neill/1850): E Dorian (O'Neill/1001). Standard tuning. AA'BB. Source for notated version: obtained from an Edison recording by fiddler James Carbray, from Québec, Canada, who later moved to Chicago [O’Neill]. Mitchell (Dance Music of Willie Clancy), 1983; No. 57, pg. 62 (appears as untitled jig). O'Neill (Krassen), 1976; pg. 24. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 798, pg. 148. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 71, pg. 28.

X:1

T:Courtney’s Favorite [1]

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 71

Z:AK/Fiddler’s Companion

K:Edor

BEE BEE|BAB/c/ dAF|BEE BEE|A2G FED|BEE cEE|dEE cEE|1 BAB/c/ dcB|
ABG FED:|2 Bec dcB|A2G FGE||DFA ~d2d||BAB/c/ dAF|DFA dcd|BAG FED|

DFA ABd|Bee efg|fed e2d|BAG FED:|

 

COURTNEY’S FAVORITE [2]. Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton). Cranford (Brenda Stubbert’s), 1994; No. 30, pg. 11. Brenda Stubbert - “Tamerack ‘er Down” (1992).

 

COURTNAYS FAVORITE [3]. Irish, Jig. D Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 36.

X:1

T:Courtnays Favorite [3]

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:D

A | d2d dcd | efe efg | f2d dfd | cde ABc | d2d dcd | efe efg | fad edc | d3 d2 :|

|: f/g/ | aba f2f | gfg e2g | fdd fdd | cde A2 f/g/ | aba f2f | gfg e2g | fag fed | {f}a2b a/g/f/e/ :|

                       

COURTNEY’S JIG. Irish, Jig. D Major. Standard tuning. AABB. Source for notated version: copied from O’Farrell’s Pocket Companion (1804-10) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 151.

X:1

T:Courtney's Jig

M:6/8

L:1/8

S:O'Farrell's Pocket Companion 1804-10

Z:Paul Kinder

K:D

F/2G/2|A2 d dcd|efe efg|f2 d dfd|cde ABc|

A2 d dcd|efe efg|fad edc|d3 d2:|

|:f/2g/2|aba f2 f|gfg e2 g|fdd ged|cde A2 f/2g/2|

aba f2 f|gfg e2 g|faf gec|d3 d2:||

                       

COURTNEY'S RANDO. English, Country Dance Tune (2/4time). G Major. Standard tuning. AAB. Huntington (William Litten's), 1977; pg. 34.

 

COURVILLE BREAKDOWN. Cajun, Two-Step??  USA, Louisiana. G Major. Standard tuning. AABB. Source for notated version: Dennis McGee and Sady Courville (La.) [Francois]. Francois (Yé Yaille Chère), 1990; pg. 94.

 

COUSIN FROG WENT OUT TO RIDE, FA LEE LINKIN’ LADDY OH. Irish, Air (2/4 time). B Flat Major. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 647, pg. 162.

X:1

T:Cousin frog went out to ride, fa lee linkin’ lady Oh
M:2/4
L:1/8

S:Stanford/Petrie (1905), No. 647

Z:AK/Fiddler’s Companion

K:B_

FBBB | cd B2 | e2 ed | dd c>c | dB BB | cF FE | DFGA |BG AF | DFGA | B2 B2 ||

 

“COUSIN” MICHAEL RAFFERTY’S. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black in honor of “the other” Mike Rafferty, who remained in Ballinakill, Galway, when his namesake emigrated to America. Black (Music’s the Very Best Thing), 1996; No. 129, pg. 67.

X:1

T: "Cousin" Michael Rafferty's

C: © B. Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: G

B | dGG Ecc | BcG EDD | DEG AGA | Bdg ede |

dgd ece | BcG EDD | DEG Adc | BGF G2 :|

B | eBB gBB | b2 a gfe | dAA fAA | a2 g fed |

BGB cAc | dBd efg | DEG Adc | BGF G2 :|

 

COUSIN SALLY BROWN [1]. Old-Time, Breakdown. A Minor. Standard tuning. AAB. A Galax, Va. area stand‑by; also known in western N.C. (in repertory of the Watson family). Source for notated version: Marcus Martin (North Carolina) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 58. Rounder CD 0383, Mike Seegar and Paul Brown - “Down in North Carolina.”

 

COUSIN SALLY BROWN [2]. AKA and see "Miss Brown [1]." Old‑Time, Breakdown. D Major. Standard tuning. AABB. See related melody "Cotton Eyed Joe [2].” These words are sometimes sung to the ‘B’ part:
***

Where you goin' my cousin Sally Brown?

Where you goin' my cousin Sally Brown?

***

Joel Shimberg writes that Mike Seegar heard and sings:
***

Prettiest girl in this here town,

(She’s that girl called) Cousin Sally Brown.

***

X:1

T:Cousin Sally Brown [2]

L:1/8

M:C|

S:Jay Ungar

Z:AK/Fiddler’s Companion

K:D

A2B2 d4|e>d B>A d3B|A2B2d2f2|e>d B2 A4:|

|:{f}a2 a2 f2f2|e>d B>A d3B|A2 A>B d2f2|e>d B2 A4:|

“variations”

A2B2d2d2|e>d B>A d3B|A>F A>(B d2) f>d|e>d B>(d A4:|

|:{f}a2a2 f2 (f>d)|e>d B>(A d2) d>B|A>F A>(B d2) e>d|e>d B>(d A4):|

                       

COUSINS, THE. Irish, Reel. A Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black.

X: 1

T: Cousins (The)

M: 4/4

L: 1/8

R: reel

C: B.Black

K: A

EA (3AAA cBAc | efec BcAF | EFAB cdef | ecAc B2 AF |

EA (3AAA cBAc | eafe cBAF | EB (3BAB Aece | dBGE A4 :|

eaag abag | fcce fcBc | ec (3cBc faec | dcBA B2 cd |

eaag abag | fcce fcBc | Acec fgaf | edBG A4 :|

                       

COUSIN’S DELIGHT. AKA and see “Cuz Teahan’s Delight,” “Terry ‘Cuz’ Teahan’s Polka [1].”

                       


COUTIE'S WEDDING. AKA and see “Cuttie’s Wedding.” AKA – “Cutty’s Wedding.” Scottish, Strathspey. A Aeolian. Standard tuning. AB (Surenne): AAB (Gow, McGlashan, Stewart-Robertson): AABB' (Kerr). Cuttie is Scots for ‘shorty’, supposedly the nickname of the bridegroom, a local fisherman in the parish of St. Fergus, Drumlithie, Scotland. His wedding was around the year 1770 and was a penny (or “siller”) affair, and this tune was composed for it, according to collector Peter Buchan (1790-1854), writing in his Ancient Ballads and Songs of the North of Scotland (1828). Words to the melody, printed by Buchan, go:

***

Busk and go, busk and go,

Busk and go tae Cuttie’s wedding;

Fa’s the lassie and the lad,

That widnae gang if they were bidden.

***

Cuttie he’s a lang man,

o he’ll tak’ hissel’ a wife;

Gin he tak’s on tae the toonlan’,

Gin she takes on her fikie-fikie.

***

Cuttie he cam’ here yestreen,

Cuttie he fell o’er the midden;

He wat his hose an’ tine his sheen,

Courtin’ at a cankered maiden.

***

Carlin (The Gow Collection), 1986; No. 33. Gow (First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 11. Kerr (Merry Melodies), vol. 3; No. 143, pg. 17. McGlashan (A Collection of Reels), c. 1786; pg. 22 (appears as “Cutty’s Wedding”). Stewart-Robertson (The Athole Collection), 1884; pg. 57. Surenne (Dance Music of Scotland), 1852; pgs. 90-91. Springthyme Records, Iain McLachlan – “An Island Heritage” (1998).

X:1

T:Coutie’s Wedding

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 90-91  (1852)

Z:AK/Fiddler’s Companion

K:A Minor

A<A c2 (e/d/c/B/) c2 | A<Ac>d e>A(c<e) | A<A c2 (e/d/c/B/) c2 | G<GB>G d>G(B<d) |

A<A c2 (e/d/c/B/) c2 | A<Ac>d e>A(c<e) | A<A c2 (e/d/c/B/) c2 | G<GB>G d>G(B<d) ||

(c<g)g>a g>c e2 | (c<g)g>a g>c(e<g) | (c<g)g>a (g<c) e2 | G<GB>G d>G(B<d) |

(c<g)g>a g<c e2 | (c<g)g>a g>c(e<g) | a>fg>e f>de>c | d>Bc>A d>G(B<d) ||

X:2

T:Cuttie’s Wedding

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Amin

A<A c2 e/d/c/B/ c2|A<A c>d e<Ac<e|A<A c2 e/d/c/B/ c2|G<G B>G d>G B<d:|

c>gg>a g<c e2|c<g g>a g<ce<g|c<g g>a g<c e2|G<G B>G d>B B<d|

c<g g>a g<c e2|c<g g>a g<ce<g|a>fg>e f<de<c|d<G B>G d>G B<d||

 

COUTT’S CONCERT HORNPIPE. Scottish, Hornpipe. F Major (‘A’ part) & D Minor (‘B’ part). Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 2; pg. 43 (appears as “Concert Hornpipe”). Kerr (Merry Melodies for the Piano), pg. 29.

X:1

T:Concert Hornpipe, The

T:Coutt’s Concert Hornpipe

M:C
L:1/8

R:Hornpipe

B:Kerr – Merry Melodies, vol. 2, No. 384  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:F

c2|:Acac Acac|Bcgc (Ac) a2|b2 a>b g>af>g|e>fd>e c2B2|

Acac Acac|Bcgc (Ac) a2|b2 a>b g>af>g|e>d (3cde f2:||A2|

|:a>ag>A f>Ae>A|d>Ad>f a>fd>A|^c>Ac>e a>ec>A|d>Ad>f a>fd>A|

a>ag>A f>Ae>A|d>Ad>f a>fd>A|^c>Ac>e a>ec>A|d>Af>e d2:|

 

COVE OF CORK, THE. AKA and see “The Groves of Blackpool [2],” “Orchill’s Favorite.” Scottish Slow Air. F Major. Standard tuning. AABB’. Gow gives “Orchill’s Favorite” as an alternate title. The Cove of Cork was the former name of Queenstown, Ireland. W.H. Bartlett (1841) writes:

***

The town, which is neatly built, has a busy lively look, and is cleaner than the

generality of seaports. It can boast but few objects of antiquarian interest,

being merely an insignificant village at the beginning of the present century;

its subsequent importance has been in a great degree owing to the late war,

during which Cork harbour was made a rendezvous station for the British

navy. But the town owes its greatest celebrity to the mildness of its climate

and its excellent situation, being open to the sea on the south, and encompassed

on every other side by high hills, which effectively shelter it from the cold winds.

This happy position, and the picturesque beauty of its environs, have for many

years past made it a favourite resort for numbers of invalids, who as a medical

writer remarks, “would otherwise have sought the far-off scenes of Montpellier

or Madeira, with their vehement suns and less temperate vicissitudes of climate.

The many recoveries here have justified the selection, and proved the restorative

and invigorating principle of its atmosphere. An admirable equability of climate,

and an absence of sudden and violent interruptions, are the great characteristics

which have so beneficially marked out this town to the ailing and debilitated,

establishing its reputation.

***

The ancient name of Cove was changed in 1849 to honor the occasion of the landing of Queen Victoria, however in 1922 it reverted back to Cobh of Cork. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 14 (3rd edition).

X:1

T:Cove or Cor, or Orchill’s Favorite

M:3/8

L:1/8

R:Slow Air

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 14  (orig. 1788)

Z:AK/Fiddler’s Companion

K:F

f|{d}”tr”c2B|({B}”tr”A2) G/A/|FDf|(c/B/A/G/F)|GAc d2:||:A|”tr”fef|({e/f/}g)fe|

~dAD|”tr”fef|({e/f/}g)fe|”tr”d2D|1 fef|({e/f/}g)fe|d>ef|(c/B/)A/G/F|

GAc|d2:|2 (f/g/a).A|(e/f/g).A|({A/B/}c)Af|(c/B/)A/G/F|GAc|d2||

 

COVER THE BUCKLE. AKA and see “The Blooming Meadows [1],” “Chasing the Hare Down the Hill,” “The Hag in Her Praskeen.” Irish. O’Neill (1913) finds references to this title confusing as to whether it was a tune or a dance. It is mentioned by Charles Lover in his song “Darby the Blast,” a part of which goes:

***

As he plays ‘Will I Send for the Priest?’

Or a jig they call ‘Cover the Buckle.’

***

Hall’s Ireland, of about the same date, relates an infatuated swain telling of his observing the object of his affections, Kate Leary, “covering the buckle, and heel on toe on the flure” opposite his rival in a dance. O’Neill cites a source, a respected County Leitrim piper born in the beginning of the 19th century named James Quinn, who lived near Chicago for many years, played a double jig   he called “Cover the Buckle” or “The Hag and Her Praskeen” (which O’Neill states is generally known as “The Blooming Meadows”). O’Keefee and O’Brien’s A Handbook of Irish Dance lists “Cover the Buckle” with figure or set dances which are irregular in structure.  O’Neill finally quotes Shelton Mackenzie, born at Mallow, County Cork, in 1809. In an article on dancing masters Mackenzie describes:

***

...that wonderful display of agility known in my time as ‘Cover the Buckle’—a

name probably derived from the circumstance that the dancing master, while

teaching, always wore large buckles in his shoes, and, by the rapidity of motion

with which he would make his ‘many twinkling feet’ perpetually cross, would

seem to ‘cover’ the appendages in question.

***

Furthermore, while instructing his students the dancing master would encourage them by saying, “That’s the way,” “Now a double cut,” “Cover the buckle, ye divel,” “Oh then, ‘tis he that handles his feet nately” etc.

 

COW ACROSS THE ROAD. See "Cow Cross the Road."

 


COW BEHIND THE HAY-COCK. Irish, Single Jig. D Major. Standard. AABB. This air, "in the Pigot Collection, (was) obtained from Miss Mary Eva Kelly of Portumna, Co. Galway; better known as 'Eva', the writer of national ballads in 'The Nation' newspaper, who seems to have had as cultivated a taste for Irish music as for literature. She is now Mrs. O'Doherty, the widow of the well‑know Dr. Kevin Izod O'Doherty, and is living in hale old age in Australia" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 782, pg. 382.

X:1

T:Cow Behind the Hay-Cock, The

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

A2a g2f | e2d cde | f2d faf | e3c3 | A2a g2f | e2d cde | fdf ece | d3D3 :|

|: F2A D2d | F2A D2g | f2d faf | e3E3 | F2A D2d | F2A D2g | fdf ece | d3D3 :|

 

COW BIT OFF THE MILLER'S THUMB, THE. English, Reel. England, Northumberland. D Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 2; No. 281.

 

COW BOY, THE (Giullan nam bo). Scottish, Slow Air (6/8 time). E Flat Major. Standard tuning. AABB. This tune "is a beautiful and tender love‑song, of which the origin is not easily traced, no name being mentioned. The cow‑boy seems, however, from the words, either to have been drowned, or at least amissing,‑‑ perhaps enlisted,‑‑ whilst his sweetheart and parents are querulously in search of him" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 9, pg. 4. Howe (1000 Jigs and Reels), c. 1867; pg. 131.

X:1

T:Cow Boy, The

T:Guillan nam bo

M:6/8

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:E_

E>FG G3|c>BG G3|E>FG G3|c2d c2B|E>FG G3|c>BG G3|G<EF G3|e2d c2B:|

|:e2e f2f|g2a gcz|e2e f2f|g2a g2f|e2e f2f|b2g (gf)z|c2B BGz|e2d c2B:|

 

COW CROSS' THE ROAD [1]. AKA and see “Old Cow Crossed/Crossing the Road.” American, Country Rag tune (4/4 time). USA, southwestern Pa. G Major. Standard. ABB. Bayard (1981) identifies it as a tune reworked for the fiddle and probably taken from a fairly recent song tune. Source for notated version: Marion Yoders (Greene County, Pa., 1963) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 149B, pg. 84.

 

COW ACROSS THE ROAD [2]. American, Polka. C Major ('A' part) & F Major ('B' part). Standard. AABB'. Source for notated version: Hugh Farr [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 343.

                       

COW BEHIND THE FENCE, THE. Irish, Polka. D Major. Standard. AABBCC. Composed by Falmouth, Massachusetts, writer and musician Bill Black.

X: 1

T: Cow Behind the Fence (polka)

M: 2/4

L: 1/8

C: © B. Black

N: “We were visiting the late Mick Cronin up beyond Gneevgullia one

N: pitch-dark night some years back. I was parking the car near a

N: fence when suddenly one his cows - which, unbeknownst to me, had

N: presumably been sound asleep on the other side of the same fence -

N: awakened and let forth a hair-raising MOOO. Naturally I yelped and

N: dropped my banjo at the unexpected noise, and of course the racket

N: only scared the poor beast even more. By the time we were leaving,

N: no cow was in evidence - guess she had gone across the field to sleep

N: in peace far from any crazy urban banjo players. This tune is dedicated

N: to her.”

R: polka

K: D

A>d cd | BA FA | DA FA | DA B2 | A>d cd | BA FD | E>G FD | A,C D2 :|

E>A ce | ae cA | E>A ce | gf e2 | E>A ce | ae ce | f>e dA | Bc d2 :|

dA FA | dA FD | A,>C EF | GF E2 | dA FA | dA FD | A,>C EG | FE D2 :|

                       

COW IN THE CABBAGE PATCH. AKA and see "Saro," "Caro in the Cabbage Patch."

                       

COW THAT ATE THE BLANKET [1], THE. AKA and see “Kitty Come Over.” Irish, Double Jig. G Major. Standard. AAB (Russell): AABB (Black, Mulvihill). Doolin, North Clare tin whistle player Micho Russell (1989) noted this tune was played for the Clare set. According to Russell (who was known for “embellishing” his stories) “it was a disease in some cows” who were known to consume clothes, shirts, frocks or other articles. Black (Music’s the Very Best Thing), 1996; No. 74, pg. 38. Mulvihill (1st Collection), 1986; No. 99, pg. 85. Russell (The Piper’s Chair), 1989; pg. 5.

X:1

T: The Cow that Ate the Blanket [1]

S: "Treoir"

Q: 325

R: jig

M: 6/8

L: 1/8

K: G

A | B2 A BGD | GAG GBd | ege dBG | ABA ABc |

B2 A BGD | GAG GBd | ege dBA | BGF G2 :|

d | gfg efg | eag fed | gfg edB | BAG ABc |

B2 A BGD | GAG GBd | ege dBA | BGF G2 :|

 

COW THAT ATE THE BLANKET [2]. AKA and see “Miss Johnson [2]." Irish, Reel. G Major. Standard tuning. AABB. Source for notated version:  Frank Mahony [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 43, pg. 12.

X:1

T:Cow that Ate the Blanket [2]

M:C|

L:1/8

R:Reel

K:G

dc | BcBA G2 BG | DGBG DCB,C | DBBA GBAG | FGAB cedc | BcBA G2 BG |

DGBG DGBc | (3dcB cA BGAG | FGAB cedc :: Bcde dB (3BcB | dBgB bBgd |

Bcde dcBc | A2 ag fedc | Bcde dB (3BcB | dBgB bBgB | Bcde dcBA | a3g fedc :||

 

COW THAT ATE THE BLANKET [3]. Irish, Reel. D Major. Standard. AABB. Source for notated version: Leo Ginley [McGuire & Keegan]. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 42, pg. 11.

X:1

T:Cow that Ate the Blanket, The [3]

M:C|

L:1/8

R:Reel

K:D

dB | AD (3FED FAdf | g2 fg efdB | AD (3FED FA (3AAA | (3Bcd ec d2 dB |

AD (3FED FAdf | gafg efdB | AD (3FED FA (3ABA | (3Bcd ec d2 :: (3ABc |

d2 fa (3aba fd | cdec dcBA | d2 fa (3aba fd | cdec d2 (3ABc | defg adfd |

cdec dcBA | defg abag | fgfe d2 :|

 

COW THE GOWANS. Scottish, Air. Williamson’s version is from W. Christie's Traditional Ballad Airs, collected in the Buchan (eastern Scotland) from the singing of a blind beggar named Jamie. Christie substituted a poor song for Jamie words, which unfortunately were deemed unsuitable for the collection. Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 1."

                       

COW TOWN RAG. American, Country Rag. A Major. AEac# tuning. In the repertoire of Tommy Magness.

 

COW WITH THE CROOKED HORN. AKA and see "Dowd's No. 9," "Summer in Ireland," "Jackson's No. 9," "Hugh Gillespie's."

                       

COW WITH ONE HORN, THE (Bó na Leath Adhairce). Irish, Air (6/8 time, “Slow & marked”). G Major. Standard tuning. AAB. One interpretation of the title is that it refers to a still—the ‘one horn’ referring to a distilling tube. Source for notated version: a manuscript collection dated 1861, compiled by Church of Ireland cleric and uilleann piper James Goodman (1828-1896) who collected largely in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 2001; No. 33, pg. 16.

                       


COWAL GATHERING, THE. Scottish, Pipe March (2/4 time). The melody was composed by John McClellan, D.C.M., a poet and painter from Dunoon who was formerly Pipe‑Major of the 8th Battalion, Argyll and Sutherland Higlanders during World War I. He also composed "Taking of Beaumont Hamel," "Lochanside," and "Burning Sands of Egypt." Flying Fish FF‑250, Battlefield Band ‑ "Home is Where the Van Is" (1981).

                       

COWBOY AND INDIANS. American, Country Dance Tune (2/4 time). G Major. Standard tuning. AAB. Shaw (Cowboy Dances), 1943; pg. 386.

X:1

T:Cowboy and Indians

L:1/8

M:2/4

S:Shaw – Cowboy Dances  (1943)

Z:AK/Fiddler’s Companion

K:G

e|dB cA|B/A/G/B/ A/F/D|G/F/G/A/ BB|c/d/e/c/ A>e|dB cA|B/A/G/B/ A/F/D|

E/F/G/A/ Bc|d/c/B/A/ G2:|

(^d<e) =d/B/G|(f<g) e/d/B|(^d<e) =d/B/G|EA A2|^d<e =d/B/G|

f<g e/d/B|^d<e =d/B/G|AF G2||

                       

COWBOY HALLING. Swedish, Halling. D Major. Standard tuning.

X:1
T:CowboyHalling
M:4/4
L:1/8
R:Halling
D:Filarfolket 1980-1990 Amalthea CDAM76
P:AA B AA B CC DD
Q:1/4=155
C:Ale Moller
N:Posted to the woodenflute mailing list February 2002
Z:Steve Mansfield 16 February 2002
K:D
P:A
D2 d2 d2 d2 | d=cBA F2D2 | GBdB A2 FD | EFGB A2FE | D2 d2 d2 d2 |
d=cBA F2D2 | GBdB A2 FD |1 EFE2 D2 D2 :|2 EFE2 D2 f2 ||
P:B
d2 ec d2 f2 | d2 ec d2 f2 | d2 ~E2 D2 f2 | d2 ec d2 f2 |
d2 ec d2 f2 | d2 ec d2 (fe | d) (FED) (fed) (F | ED) (ce(d d3)) ||
P:C
aa |: abaf gage | f2 dc B g2 e | f2 d2 edce |
A2 FE D2 aa | abaf gage | f2 dc B g2 e |
g2 d2 edce |1 d2 FE D2 aa :|2 [M:2/4 L:1/16] d4 f4 |:
P:D
[M:4/4 L:1/8] d2 ec d2 f2 | d2 ec d2 d2 | Bfff fgfd |1 edce d2 f2 :|2
edce d4 ||
W:Played AA B AA B CC DD

                       

COWBOY JIG. See "Cowboy's Jig."

                       

COWBOY WALTZ [1]. AKA and see “Cavalier’s Waltz.” Old‑Time, Waltz. D Major. Standard tuning. ABB' (Phillips/1995): AABB (Phillips/1989). A simplified version of “Keller’s Walz.” Paul Tyler (Fiddle-L, 02/02/06) remarks that the ‘A’ and ‘B’ strains of the tune are each reminiscent of other tunes. The ‘A’ strain, for example, reminds of Eddy Arnold’s pop song “Cattle Call,” and Tyler also hears a “Minnesota Dutchman” waltz recorded as the “St. Paul’s Waltz” by Whoopee John Wilfhart. “I first heard it played by Herman Fox,” writes Tyler, “an old German concertinist in Fort Wayne, Indiana, who I met in 1976. (Indiana fiddler) Lotus Dickey played a similar tune. Herman sang a snatch of German lyrics in referring to the tune. He also called it ‘Cheese, Cheese, Limburger Cheese’. Bruno Rudzinski, a wild Polish concertinist from Chicago who recorded in 1928 played that strain as the ‘Pawel Waltz’.” These different, but related melodies may have had a common ancestor in German tradition. Paul Gifford says he believes the melody was in circulation “among children of Germans who came to Ravenna, Michigan, after the Civil War.” Source for notated version: Mike Seegar and Mosheh Savitsky [Phillips]. Phillips (Fiddlecase Tunebook), 1989; pgs. 12‑13. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 247. Folkways FA 2492, New Lost City Ramblers ‑ "String Band Instrumentals" (1964. Learned from a Folkways recording called "Woody Guthrie and Friends"). New Lost City Ramblers - “Out Standing in their Field.”

 

COWBOY WALTZ [2]. AKA and see "Valse des Vachers." Swing Cat Records, Al Berartd – “Al Berard and Friends.”

 

COWBOY WALTZ [3]. Old-Time, Waltz. USA, Missouri. D Major. Standard tuning. AABB'. Source for notated version: Casey Jones (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 248.

 

COWBOY WALTZ [4]. Old-Time, Waltz. USA, Missouri. D Major. Standard tuning. AA'BB'. Source for notated version: Cyril Stinnett (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 248.

X:1

T:Cowboy Waltz

M:3/4

L:1/8

Q:122

C:Trad.

R:Waltz

A:Missouri

N:Taken from the playing of Cyril Stinnett

Z:Bill Shull, trans., R.P. LaVaque, ABCs

K:D

|:[D3D3] [DA] [DA] [EA]|[F3A3] [AA] [FA] [EA] |D2 [G,3G3] (A|B2) d2 (3(B dB)|! [A3A3] [AA] (AB)|A2 FA (DF)|1 [E3A3] [EA] [EA][DA]|[E3A3] [FA] (E/2F/2E/ 2D/2):| |2 [E3A3] [DA] [FA][EA]|[D4D4]:|! |:2df|a3 (g ab)|a2 (fa) ed|(B d2) (e d2)|(3(BdB) A df|! a3 (g ab)|a2 (fe) df|[e3e3] [ee] (ef)|[e3e3] d (3(cBA)|! d3 (e fg)|a2 (fa) ed|(B d2) (e d2)|(3(BdB) A (DF)|! [A3A3] [AA] (AB)|A2 FA (DF)|[E3A3] [DA] ([FA][EA])|[D4D4]:|!

 

COW-BOYS' (JIG) [1], THE. AKA and see "Charley the Prayermaster," “(An) Fear a Fuair Bas,”  I Will if I Can [2].” American (originally Irish), Jig. G Major (most versions): A Major (Songer). Standard tuning. AABB. Sources for notated versions: Rodney Miller (Antrim, N.H.) [Phillips]; George Penk (Portland, Oregon) who learned it from Alasdair Fraser’s album [Songer]. Cole (1000 Fiddle Tunes), 1940; pg. 55. S. Johnson (The Kitchen Musician No. 6; Jigs), 1982 (revised 1989, 2001); pg. 7. O'Neill (Music of Ireland: 1850 Melodies), 1979; pg. 160 (appears as "Charley the Prayermaster"). Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 363. Ryan’s Mammoth Collection, 1883; pg. 84. Songer (Portland Collection), 1997; pg. 56 (appears as “Cowboy Jig”). SG155, Alasdair Fraser - “The Road North.” Tartan Tapes CDTT1004, Alasdair Fraser – “Heat the Hoose” (1998).

X:1

T:Cow Boys, The
M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

B/A/|GDE G2A|Bgf gdB|ABc BGA|BcA BGE|GDE G2A|

Bgf gdB|ABc BcA|BGG G2::B/d/|e2e e2e|egf edB|

D2d d2d|dge dBG|c2d e2d|gdB A2d|BGA BcA|BGG G2:|

 

COWBOYS [2]. AKA and see "Lardner's Reel," “Leviathan Hornpipe,” "Hopple's Reel" (1st part), "Galaxy Reel."

 

COWBOY'S DREAM, THE. Old‑Time, Breakdown. USA, Ohio. D Major. Standard tuning. AB (Silberberg): AABB (Kuntz): AABB' (Phillips). John McCutcheon identifies this as an Ohio tune, although its origins are somewhat obscure. Kerry Blech says the tune was played by Barnesville, Ohio, fiddler John W. Hutchison (1915-1979), from whom it was learned by fiddler Greg Dearth who was playing with Hutchison’s sons in a bluegrass band for a time. Hutchison says he learned many of his tunes from “’old man’ Bondy, an Irishman.” Dearth later played with the Hot Mud Family, who Blech thinks “were probably the main conduit for this tune getting spread around.” Gus Meade (2002) links the tune “Rachel” with “Cowboy’s Dream.” Sources for notated versions: fiddler Bill Christopherson and Scott Ainslie with the Fly By Night String Band (learned from friends in California) [Phillips]; Tony Mates [Silberberg]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 58. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 26. Greenhays GR 70710, John McCutcheon ‑ "Fine Times at Our House" (1982. Learned from Pete Vigour and Ellen Scherer). Mudthumper CD MM-0050, The Fat City String Band (Walt Koken, Mac Benford, Bob Potts). Fly By Night String Band (1980).

X:1

T:Cowboy’s Dream

L:1/8

M:C|

S:John McCutcheon

Z:AK/Fiddler’s Companion

K:D
(A2 | d)efg afed | cdec d4 | defg a2 (3fgf | ec3 A4 | defg afed | cdec d2 Ac |

BABc dBAG | FD E2 D2 :: DE | F2 D2 DEFD | EA,3 A,4 | DCDE FGAB |

d2 f2 edBA | F2 D2 DEFD | EA,3 A,4 | DEFD FGAB | cdec d2 :|

           

COWDEN KNOWS. AKA ‑ "Cowdenknowes." AKA and see "Broom of Cowdenknowes," "The Bonny Broom of Cowdenknowes."

           

COWHIDE BOOTS. Old-Time, Breakdown. G Major. Standard tuning. AB (Silberberg): AABB' (Phillips). Carthy Sisco plays the parts reversed from the usual rendering. The tune is sourced to Oklahoma fiddler Lymon Enloe. Sources for notated versions: Armin Barnett (Seattle) [Phillips]; Carthy Sisco [Silberberg]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 59. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 27.

           

COWS ARE A-MILKING, THE. Irish, Reel. G Major. Standard tuning. AABB. O'Neill (1910, Irish Folk Music: A Fascinating Hobby) invites comparison of "Bummer's Reel [1]" with this tune which he believes related. Breathnach (1963) writes that the reel is related to “Woman of the House [2].” Source for notated version: Mr. John Healy, Teacher of Smithstown National School near Castlecomer, Co. Kilkenny. In 1884 or 1887 (when he sent Joyce the tune) he was then over 70 years of age, and had learned it early in life [Joyce]. Joyce (Old Irish Folk Music and Dance), 1909; No. 346, pg. 159.

X:1

T:Cow are a-Milking, The

M:2/4

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G
G>B cB/A/|G/B/d/B/ ed/B/|G>B c/B/c/d/|e/A/A e/A/A|D/G/B/G/ cB/A/|

G/B/d/g/ ed/B/|G>B AG/A/|BA/c/ B/G/G:|

|:g/f/g/d/ ed/B/|d/g/g/d/ ed/B/|G>B c/B/c/d/|e/A/c/A/ e/A/c/A/|

gg/d/ ed/B/|d/g/g/d/ e/B/d/B/|G/F/G/B/ A/G/A/c/|BA/c/ B/G/G:|

           

COWS COME HOME. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

           

COWS IN THE CORN QUADRILLE. Old‑Time, Quadrille. USA; Arkanses, Ohio. The title, similar to "Cattle in the Corn," appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Edison 51548 (78 RPM), 1923, John Baltzell (Mt. Vernon, Ohio) {appears as 2nd tume of "Farmer's Medley Quadrille"}. Baltzell was taught fiddle by Dan Emmett (d. 1904), minstrel, who also was born in Baltzell's home town of Mt. Vernon, Ohio. Emmett had returned there, poor, in 1888.

           

COW’S TIT, THE. Irish, Jig. G Major. Standard tuning. AABB. Composed (in the key of B Flat Major) by New York accordion player Luke O’Malley. Black (Music’s the Very Best Thing), 1996; No. 238, pg. 127. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 76, pg. 38.

X:1

T: The Cow's Tit

C: Luke O'Malley

Q: 325

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: G

G,B,D GBd | gag fed | ece dBG | cdc A2 G |

G,B,D GBd | A,CE Ace | fed cBA | FDF G3 :|

|: EGB eBG | BcB AGF | GEG F^DF | EFE =D2 B, |

G,B,D GBd | A,CE Ace | fed cBA | FDF G3 :|

W:

K: Bb %(original key)

B,DF Bdf | bc'b agf | geg fdB | efe c2 B |

B,DF Bdf | CEG ceg | agf edc | AFA B3 :|

|: GBd gdB | ded cBA | BGB A_GA | GAG F2 D |

B,DF Bdf | CEG ceg | agf edc | AFA B3 :|

                          

COWSLIP.  Welsh, Country Dance Tune (4/4 time). D Minor. Standard tuning. AABB. Cowslip is an herb, sometimes called a Fairy Cup. It is mentioned in Shakespeare in connection with the fairy Ariel—

***

Where the bee sucks, there lurk I;

In a Cowslip’s bell I lie;

There I couch when owls do cry;

On a bat’s back I do fly

After summer merrily.

Merrily, merrily, shall I live now

Under the blossom that hangs on the bough.

***

“The fine small crimson drops in the Cowslip’s chalice are said to possess the rare virtue of preserving, and even restoring, youthful bloom and beauty; for these ruddy spots are fairy favours, and therefore have enchanted value. Shakespeare says of this flower of the Fays:--

***

And I serve the Fairy Queen,

To dew her orbs upon the green:

The Cowslips tall her pensioners be;

In their gold coats spots you see;

Those be rubies, fairy favours:

In those freckles live their saviors.     [Quoted from Richard Folkard, Plant Lore, Legends and Lyrics, 1884]

***

 The melody appears in Edward Jones’ Musical Relicks of the Welsh Bards (1794). Barnes (English Country Dance Tunes, vol. 2). 2005; pg. 24.

 

COYNE’S REEL.  Irish, Reel. B Minor. Standard tuning. AA’BB.

X:1

T:Coyne's Reel
M:4/4
L:1/8
K:Bm
||:BEGA BEGA|~B2 AB GE-E2|(A2 A)B AGFA|dBAG FGAF|(G2G)B efgf|edBA BcdB|A
2 BA GABG|1 AG FGE4:||2 AG FG(E2E)B||:(e2 e)f g2 fe|dB ~B2 dcdB|ABde  (f2f)e|
(~f2f)e fg2f|edef g2 fe|dBB2dcdB|A2 BA GABG| AG FGE4:||

 

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