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
(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.
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
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
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
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 (
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:
N:Also in William
Pitt Turner’s 1788 ms. (
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:
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
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
|:
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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