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]

 

 

 

CO NI MIREADH RI MAIRI. AKA and see "Who Will Dandle My Mary?"

                       

COACH ROAD TO SLIGO [1], THE (Bóthar an Chóiste go Sligeach). AKA and see "Billy Patterson(‘s Favorite)," "The Blackthorn Stick [1]," "The Boys of Bockhill/Rockhill," "The Catholic Boys [3]," "The Eagle's Nest," "Fire on the Mountain(s) [2]," "Fire in the Valley,” "The Hare on the Mountain," "Humors of Bantry," "The Maid(en) on the Green," "The Rose on the Mountain [1]." Irish, Jig. G Major. Standard tuning. AA'B (Breathnach): AABB (Mulvihill): AABB' (DeMarco & Krassen, O'Neill). Breathnach identifies that Goodman and Joyce print the tune under the title “Boys of Rockhill,” which is one of O’Neill’s titles, although it also appears in O’Neill as “Humours of Bantry” and “Billy Patterson.” Bayard (1981) gives it as “The Catholic Boys.” The ‘A’ part shows up as the second part of “Welcome Home, Royal Charlie” in County Donegal versions. Breathnach also finds it in manuscripts from Castleisland, County Kerry, and County Limerick as “Fire on the Mountain” and “Fire in the Valley,” respectively. Source for notated versions: Sligo style fiddler Paddy Killoran (County Sligo, Ireland) [Breathnach, DeMarco & Krassen]. Breathnach (CRÉ III), 1985; No. 5, pg. 4. DeMarco & Krassen (A Trip to Sligo), 1978; pg. 28,42,56. Mulvihill (1st Collection), 1986; No. 42, pg. 73. O'Neill (Krassen), 1976; pg. 71. Shanachie 33003, "Paddy Killoran's Back in Town" (1977).

X

T:Coach Road to Sligo, The

R:Jig

M:6/8

K:G

~g3 ege|dBG AGE|DGG FGA|BGB A2e|gfg age|dBG AGE|DGG FGA|BGG G2d:|

|:edd gdd|edd gdd|ede ~g3|edB A2e|gfg age|dBG AGE|DGG FGA|BGG G2d:|

 

COACH ROAD TO SLIGO [2], THE. AKA and see “The Tar Road to Sligo,” “The Races at Carrick.” Irish, Jig. B Minor (‘A’ part) & D Major (‘B’ part). As “The Tar Road to Sligo” this was part of County Sligo/New York City fiddler Michael Coleman’s 1927 “Tobin’s Fancy” medley.

 

COACHMAN’S WHIP. Irish, Reel. Composed by flute player Vincent Broderick, originally from Bullaun, near Loughrea, County Galway, hard by the Turoe Stone, a famous Iron Age monument. Different players will sometimes start on either part of the tune; one is never quite sure. “Coachman’s Whip” is one of Broderick’s more popular tunes. Source for notated version: Eamon Coyne [Bulmer & Sharpley]. Broderick (The Turoe Stone). Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 18. Green Linnet SIF 3051, Frankie Gavin – “Frankie Goes to Town.” Desi Wilkinson, Gerry O’Connor & Eithne Ni Uallachain.

X:1
T:Coachman's Whip, The
C:Vincent Broderick
S:Green Tree Session, Edinburgh 5/9/95
Z:Nigel Gatherer

R:Reel
M:4/4
L:1/8
K:G
d2 BG DGBG | E2 cE dEcE | d2 BG DGBG | FGAc BG G2  |
d2 BG DGBG | E2 cE dEcE | D2 DE GABd | gedB A2 G2 :|
D2 DE GABc | d2 BG DGBG | d2 BG DGBG | dBAG FG A2  |
D2 DE GABc | d2 BG DGBG | FGAB  cdef | gedc BG G2 :|

X:2

T:Coachman's Whip, The
R:reel
C:Vincent Broderick
S:varied
Z:Jack Gilder
M:C|
L:1/8
K:G
d2 BG DGBG|~E2 BE dEBc|d2 BG DGBG|FG Ac BG Bc|d2 BG DGBG|!
~E2 BE dEBE|DEGA Bd ef|1gedc BG Bc :|2gedc BG~G2 ||!
~D3  E ~G3B|d2 BG DGBG |~E2 BE dEBc|dBAG EFGE|~D3  E ~G3B|!
d2 BG DGBG|FGAB cdef|1gedc BGGE :|2gedc BG Bc||!

X:3

T:Coachman's Whip, the
R:reel
C:Vincent Broderick
S:John Skelton, East Durham 2002
Z:lesl
M:C|
K:G
GE|:D2DE G2GB|d2BG DGBG|E2cE dEcE|dBAG FAGE|
D2DE G2GB|d2BG DGBG|FGAB cdef|gdcA BGG2:|
|:d2BG DGBG|E2cE dEcE|d2BG DGBG|FGAc BGGB|
d2BG DGBG|E2cE DEcE|FGAB cdef|gdcA BGG2:|

                       

COADY’S DREAM. Irish, Air (6/8 time). E Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 398, pg. 101.

X:1

T:Coady’s Dream

M:6/8

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 398

Z:AK/Fiddler’s Companion

K:E_

e2f e2c | B3 B2c | e3 e2f | g3f3 | e2f e2c | B2G B2c | e2B e2G | “tr”F3E3 ||

E2G B2G | c3e3 | E2G F2E | F2E F2G | E2G B2G | c3 e2c | B2G B>GF/E/ | “tr”F3 E3 ||

                       

COAL BLACK ROSE. American, Minstrel Air (2/4 time). G Major (Kerr): C Major (Howe). Standard tuning (fiddle). AABB. An early minstrel song, dating to 1829, popularised on stage by George Washington Dixon. Howe (Complete Preceptor for the Accordeon), 1843; pg. 18. Kerr (Merry Melodies), vol. 3; No. 294, pg. 43.

X:1

T:Coal Black Rose

M:2/4

L:1/8

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

egfa | eg d2 | egfa | gB c2 | egfa | eg d2 | egfa | gB c2 :|

|: e2f2 | ed c2 | e/e/e/e/ fa | gB c2 | e2f2 | ed c2 | e/e/e/e/ fa | gB c2 :|

                       

COAL CREEK. Old-Time, Breakdown. USA, Kentucky. A Mixolydian. AEae tuning. AA’BB. A different tune than “Coal Creek March.” The tune was played by only one fiddler, Manon Campbell (1890-1987), who said it was the first tune he learned to play as a boy of ten or eleven, obtained from local sources (Titon, 2001). Campbell told Mark Wilson the tune at one time had words attached to it, although he could not remember them. Joel Shimberg points out this tune is a close relative of West Virginia fiddler Oscar Wright’s “Shootin’ Creek.” Source for notated version: Manon Campbell (Hallie, Letcher County, Ky., 1978) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 25, pg. 60. 

                       

COAL CREEK MARCH. Old‑Time, Breakdown. USA; Russell County, southwest Va., N.C., northeast Tenn., central Ky., north Georgia.  The title commemorates the 1890 coal mining war in Anderson County, Tennessee. It was in the repertoire of Fiddlin' Cowan Powers (1877‑1952?) family band of Russell County, Va.; his son Charlie Powers, who played banjo in the ensemble, taught the tune to Dock Boggs (C. Wolfe). The melody became reknowned as a banjo tune in northeast Tennessee and Kentucky, and was a Dick Burnett (Monticello, Ky.) showpiece, whose performance featured  rapping on the banjo head to represent the drumming of militia. Marion Underwood's (Madison and Garrard Counties, Ky.) 1927 recording of the piece for Gennett remains one of the finest examples of mountain‑style banjo picking, in the opinion of musicologist Charles Wolfe (1982) and others, and was an influential rendition, as was a version by Pete Steele {Underwood was also the banjoist for Taylor's Kentucky Boys, who recorded for Gennett and featured Jim Booker on fiddle‑‑the only black hoedown fiddler known to have recorded commercially}. It was learned by Georgia musician George Childers from his cousin Uncle John Childers, the former saying of the tune that it was so common in his region that "everybody has a different version of 'Coal Creek March.'" Copper Creek CCCD-0196, Tom, Brad & Alice – “We’ll Die in the Pig Pen Fighting.” County 788, Clyde Davenport (Monticello, Ky.) ‑ "Clydeoscope: Rare and Beautiful Tunes from the Cumberland Plateau" (1986). Folkways FTS 31062, "Ship in the Clouds: Old Time Instrumental Music" (1978. Learned from Marion Underwood's recording). Gennett 6240 (78 RPM), Marion Underwood (Ky.), 1927. Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”

                       

COAL FIDDLE, THE.  English, (Schottische?). England, Northumberland. G Major. Standard tuning. AABB. Composed by musician, teacher, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. A note in the manuscript indicates: “made at Hareshawhead.” Graham Dixon finds that Hareshawhead was a farm on which coal was discovered, and that a drift mine was opened up in the 19th century. Source for notated version: J. “Keilder Jock” Davidson 20th century manuscript, at the Morpeth Chantry Bagpipe Museum [Dixon]. Dixon (Remember Me), 1995; pg. 44.

 

COAL HARBORBEND. Old-Time, Breakdown. G Major. Standard tuning. AB. Source Manon Campbell (1890-1987) learned the tune from his paternal aunt, Viney Campbell Lusk. Apparently, the source for the tune in the family was Campbell’s uncle, who supposedly learned the tune while rafting down the Kentucky River at night. He heard it coming from house parties and dances along the river, but named it “Coal Harbor Bend” because he had become caught in a slow whirlpool at a bend in the river at Coal Harbor (Titon, 2001). Source for notated version: Manon Campbell (Hallie, Letcher County, Ky., 1978) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 26, pg. 61.

                       

COAL HOLLOW. Old-Time. F Major. From the repertoire of Alabama fiddler Charlie Stripling.

                       

COAL MINE BLUES. Old‑Time, Breakdown. USA, Alabama. Composed by Ala. fiddler Charlie Stripling (1896‑1966) when he began playing for dances in the mining camps of Walker County, Alabama. "The tune was very popular among the miners who inspired it" (Cauthen, pg. 113). County 401, "The Stripling Brothers." Vocalion 5453, Stripling Brothers (Alabama) {1929}.

                       

COAL TIPPLE BLUES. Old‑Time, Country Blues. USA, Kentucky. Recorded by Doc Roberts (1897‑1978) in the 1920's, and indigenous to east‑central Kentucky (Wolfe, 1982). Roberts learned most of his repertory from a black fiddler named Owen Walker and paid little attention to music outside the region where he lived. Conquerer 8510 (78 RPM), Doc Roberts.

                       

COAL VALLEY. Old‑Time. C Major. Recorded by Alabama fiddler Charlie Stripling for Decca in 1936, and named for a mining camp where the Stripling Brothers performed.

                       

COALLIERS DAUGHTER. See "Collier's Daughter."

                       

COALMINER'S REEL, THE (Fir an Ghuail). AKA and see “More Power to Your Elbow.” Irish, Reel. G Major. Standard tuning. AABB. The tune was recorded in the 1930's in America by the Flanagan Brothers. Source for notated version: flute player Harry McGowan (b. 1937, Carrowmore, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 157. CIC CD, Marcas a Murchu - "Ó Bhéag go Béal.” Gael Linn CEF 115, Frankie Gavin & Paul Brock - “A Tribute to Joe Cooley.” Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997).

X:1

T:Coalminers, The

T:Fir an Ghuail

M:4/4

L:1/8

S:Dan Cummins

Z:transcribed by Liam Hart

R:reel

K:D

|D2DED2DF|A2FD  EDB,D|D2DED2FA|dBAFE2FE|

D2DED2DF|A2FD EDB,D|D2DED2FA|dBAFD4:|

|d3 B ABdB|A2 FD EDB,D|d3 B ABde|fedf e2 de|fddd edBd|

A2 FD EDB,D|D2DED2FA|dBAF D4||

X:2

T:Coalminer's Reel, The

R:reel

H:Also in D, #509. Different version, see #746.

Z:id:hn-reel-745

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

M:C|

L:1/8

K:G

DGBG AGEG|dGBG AGEG|DGBG AGEG|gedB A2GE| DGBG AGEG|

dGBG AGEG|DGBG AGEG|1 gedB G2GE:|2 gedB G2 (3def||

~g3e d2ge|d2BG AGEG|~g3e dega|bagb a2ga| bg~g2 abge|

d2BG AGEG|DGBG AGEG|1 gedB G2 (3def:|2 gedB G2GE||

X:3

T:Coalminer’s Reel, The

M:C|

L:1/8

R:reel

H:Also in G, #745. Different version, see #747

Z:id:hn-reel-509

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

K:D

A,DFD EDB,D|ADFD EDB,D|A,DFD EDB,D|dBAF E2 DB,|

A,DFD EDB,D|ADFD EDB,D|A,DFD EDB,D|1 dBAF D2DB,:|2 dBAF D2 (3ABc||

|:d3B A2dB|A2FD EDB,D|~d3B ABde|fedf e2 de|

fd~d2 efdB|A2FD EDB,D|A,DFD EDB,D|1 dBAF D2 (3ABc:|2 dBAF D2 DB,||

                       

COAT SO RED, THE. English, Reel. D Major. Standard tuning. One part. A modern composition by editor Michael Raven. Raven (English Country Dane Tunes), 1984; pg. 205.

                       

COATTER WIFE, THE. See “Cottar’s Wife, The.”

                       

COBBLER [1], THE. English, Country Dance (4/4 time). G Major. Standard tuning. One part. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 14.

X:1

T:Cobbler, The [1]

M:C

L:1/8

K:G

d2 | g2g2 f>g a2 | e4d4 | e2e2f2 e>f | g6d2 | g2 fe fg a2 | e^cce dAAd |

e^cde fdef | g2 fe d2 ef | g2d2e2d=c | B3c d2 cB | A3B c2  dc | B3A G2A2 |

B3A G2A2 | BcBA G2A2 | Bc d2B2A2 | G6 || 

 


COBBLER [2], THE. AKA and see "Dan the Cobbler." Irish, Jig. D Major. Standard tuning. AABB. Breathnach (1976) points out that this tune has the same second part as “An Chailleach is a Ceag ar a Gualainn," although the first part differs. Source for notated version: Johnny Henry (Sligo) [Flaherty]. Allan's Irish Fiddler, No. 17, pg. 5. Cotter (Traditional Irish Tin Whistle Tutor), 1989; pg. 48. Flaherty (Trip to Sligo), 1990; pg. 145. Giblin (Collection of Traditional Irish Dance Music), 1928; pg. 67. Treoir, vol. 37, No. 4, 2005; pg. 26.

X:1

T:Cobbler, The [2]

M:6/8

L:1/8

R:Jig

K:D

DFA B2A|def gfe|fdf ecA|BGB AFE|DFA B2A|def gfe|

fdf ecA|1 Adc dAF:|2 Adc d2e||:fad fad|faa agf|eg=c egc|

efg gfe|fef gfg|agf efg|fed = cAG|1 Adc d2e:|2 Adc dAF||

 

COBBLER [3], THE. AKA and see “Blue Ribbon Polka [2]," “Din Tarrant’s [9],” “Din Tarrant’s No. 1,” “O’Keeffe’s (Polka) [2],” “Tarrant’s [2].” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. B Minor. Standard tuning. AABB. Source O’Leary thought Kerry musicians Julia and Billy Clifford responsible the the title. He paired the tune with either “I Won’t Marry Her” or “Dan Sweeney’s.” Source for notated version: Din Tarrant via accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 80, pg. 46. Gael-Linn CEF092, Julia and Billy Clifford - “Ceol as Sliabh Luachra.” Topic 12T357, Johnny O’Leary - “Music for the Set” (1977. Appears as first tune of “Din Tarrant’s”).

                       

COBBLER THERE WAS, A. AKA ‑ "The Cobbler's End," "Derry Down," "Abbott of Canterbury," "Death and the Cobbler." English, Air. G Minor. Standard tuning. One part. The air was set by Richard Leveridge to the words "A Cobbler There Was" and published by John Gay in the third and later editions of The Beggar's Opera (1729), under the title "Ourselves, like the great, to secure a retreat." It also appears in Watts' Musical Miscellany (1731) and in many ballad operas throughout the 18th century. Kidson (1922) identifies it as a "Derry down" air from the 17th century, which has been used for a number of songs through the ages; in fact, Claude Simpson notes that more than a hundred adaptations of the tune were contrived in the 18th century alone. In the 19th century it appears as "The Queer Little Man," "Dennis Bulgruddery" and others. The version printed by Howe (c. 1867) is a developed version the air printed by Gay. Howe (1000 Jigs and Reels), c. 1867), pg. 157. Raven (English Country Dance Tunes), 1984; pg. 68 (facsimile of Beggar’s Opera).

X:1

T:Cobbler There Was, A

M:6/8

L:1/8

R:Air

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:G Minor

d | dcB cBA | BAB G2d | dcB cBA | BAB G2F | FFF FFF | FFF f2f/f/ |

gfg gag | dcB cAB | G3d3 | cAB G3 ||

                       

COBBLER'S END, THE. See "A Cobbler There Was."

                       

COBBLER'S HORNPIPE [1], THE. AKA and see "Mr. Englefield's New Hornpipe." English, Old Hornpipe (3/2 or 3/4 time). D Minor. Standard tuning. AABB. The tune appears in the 11th edition of Playford's Dancing Master of 1701 and subsequent editions, and Walsh's Compleat Country Dancing Master (vol. i). The 11th edition marked Henry Playford’s taking over publication of the series from father John Playford. A manuscript version appears in the J.Winder MS, compiled in Wyresdale, Lancashire, England, in 1789. The Plain Brown Tune Book notes “A real Lancashire hornpipe, c. 1700.” Callaghan (Hardcore English), 2007; pg. 76. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 80. Plain Brown Tune Book, 1997; pg. 6. Raven (English Country Dance Tunes), 1984; pg. 14.

X:1

T:Cobbler’s Hornpipe, The [1]

M:3/4 time

L:1/8

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

Z:AK/Fiddler’s Companion

K:D Minor

F2 DE/F/ G/F/E/D/|E C2 G FE|F>G AG/F/ D/E/F|A, D2 FED:|

|:d2 d/e/f ed|e c2 g fe|f>g ag/f/ e/f/e/d/|A d2 fed:|

X: 2

T:Cobbler's Hornpipe

M:3/2

L:1/8

Q:470

K:Dm

F4D2EF GFED|E2C4G2F2E2|F3G A2GF EFED|A,2D4F2E2D2:|!

|:d4de f2e2d2|e2c4g2f2e2|f3g a2gf efed|A2d4F2E2D2:|

 

COBBLER'S HORNPIPE [2], THE. AKA and see "Connolly's Reel," “Craig’s Pipes,” "The Fiddler is Drunk," "The Foxhunters (Reel) [1]," “Greg’s Pipe Tune,” “Gregg’s Pipes,” “Gun Do Dhuit Am Bodach Fodar Dhomh” (The Old Man Wouldn’t Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," “The Manchester Reel [1],” "Píopaí Greig,” "Willie Wink(ie)'s Testament [2],” "Willy Wilky." English, Reel or Hornpipe. England, Northumberland. F Major. Standard tuning. AABB. Source for notated version: the 1770 music manuscript book of Northumbrian musician William Vickers [Seattle]. Seattle (William Vickers), 1987, Part 2; No. 305.

                       


COBBLER'S JIG [1], THE. AKA and see "Engels Lapperken," "Cold's the wind and wets the rain." English, Dutch; Sword Dance (2/2 time), Country Dance (4/4 time) or Polka. D Major (Chappell, Karpeles, Raven): C Major (Miller & Perron). Standard tuning. AB (Chappell, Karpeles, Raven): AABB (Miller & Perron). The air appears in Bellerophon (1622), Nederlandtsche Gedenck-Clanck (1626), and Playford's Dancing Master (1686). Samuel Bayard (in his article “A Miscellany of Tune Notes,” Studies in Folklore, pg. 170) finds the tune in Walsh's Dancing Master of 1731 and as the first air on page 105 of the second volume of Nicholas Bennett's Alawon fy Ngwlad (1896). It has been used for the second figure in the sword dance from the area of Sleights, England. An old song was set to the tune, having nothing to do with a cobbler, which begins:

***

Cold's the wind and wet's the rain;

St. Hugh be our good speed!

Ill is the weather that bring-eth no gain,

Nor helps good hearts in need.

Chorus: 

Hey down, a-down, hey down a-down

Hey derry derry down a-down;

Ho! well done, To me let come,

Ring compass, gentle joy. (Kines)

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 279. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 28. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pg. 73. Miller & Perron (100 Polkas), 1978; No. 101. Raven (English Country Dance Tunes), 1984; pg. 73.

X:1

T:Cobbler's Jig, The

M:2/2

L:1/8

K:D

d2d2c2e2|B2B2A3A|B2B2c2A2|d6A2|d2d2c2e2|B2B2 A3A|

B2B2c2A2|d4||A4|d2A2B2AB|F3G A2 GF|E2F2G2A2|

F3E D2E2|F3E D2E2|F3ED2E2|FGA2 E3D|D6z2||

 

COBBLER'S JIG [2]. Irish, Jig.. D Major. Standard tuning. AABB. Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 145.

                       

COBBLER'S REEL [1] (Reel du cordonnier). AKA and see "You Married My Daughter But Yet You Didn't." Canadian, New England; Reel. G Major. Standard tuning. AABB. The original title for the tune. Source for notated version: Danny Gardella [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 55.

 

COBBLER'S REEL [2]. AKA and see "Shoemaker's Reel." Canadian?, Reel. D Major. Standard tuning. AABB. Source for notated version: Ben Guillmette [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 55. Philo Records 2000, “Louis Beaudoin” (1973. Learned from an Isidore Soucy recording, although recorded under title “Wilfred Guillette’s Favorite Reel,” after a friend).

 

COBBLER’S REEL [3] (Le Reel du Cordonnier). AKA - “The Shoemaker’s Reel.” French-Canadian, Reel. Canada; Gaspé region, Québec, Prince Edward Island. G Major (Perlmand): D Major (Remon & Bouchard). Standard. AABB’ (Perlman): AA’BBB’ (Remon & Bouchard). Ken Perlman (1996) writes that this reel is always played in a medley with “Reel du Pendu” on Prince Edward Island in the form of two times through for “Reel du Pendu,” once for “Reel du Cordonnier” and finally two more times through of “Pendu.” In Québec the second part is usually played three times rather than two. Maritime fiddler Don Messer played a version of the tune he called “Spud Island.” Sources for notated versions: Louise Arsenault (b. 1956, West Prince County, Prince Edward Island) [Perlman]; Mario St-Germain [Remon & Bouchard]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 66. Remon & Bouchard (25 Crooked Tunes, ol. 1: Québec Fiddle Tunes), 1996; No. 21. 

                       

COBURG, THE.  English(?), Waltz. D Major. Standard tuning. AABBCC. The tune is contained in the late 18th century McFadyen manuscript, pg. 29. Coburg, Germany, was the home of Austrian-born Johann Strauss (the “Waltz-King”) from 1887, when he was an older man. He moved from his native country because he could not obtain a divorce from his second wife, Angelika Dittrich, in order to marry his new infatuation. In fairness, Angelika had her own discretions, and was not a fervent supporter of his music. He not only moved out of Austria, but converted to Protestantism, and was duly re-married in Coburg’s town hall a few months later to Adele, who encouraged him in his art. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 108, pg. 26.

 

COCAIRE ANNSA CISTEAN, AN. AKA and see "The Cook in the Kitchen."

                       

COCHIN CHINA. English. G Major. Standard tuning. AABB.

X:1

T:Cochin China

M:2/4

L:1/16

K:G

|:d4d2d2|B2G2B2d2|B2G2B2d2|d2c2 A4|d4d2d2|B2G2B2d2|d2c2A2F2|G4z4:|

|:B4B2B2|G2E2 E4|c4c2c2|A2F2 F4|d4d2d2|B2G2B2d2|d2c2A2F2|G4z4:|

                       


COCHONCHINE. French, Dance Tune (2/4 time). G Major. Standard. AABB. Stevens (Massif Central), 1987, vol. 1; No. 123.

                       

COCK A BENDIE. AKA - “Cockabendie.” AKA and see “Cawdor Fair,” “Hawthorne Tree of Cawdor.” Scottish, Country Dance Tune (4/4) or March. The melody appears in both the Drummond Castle Manuscript (1734) and the Bodleian Manuscript, the latter residing in the Bodleian Library, Oxford. The MS is inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740." The melody appears in Middleton’s and, as a march, in Ross’s Collection of Pipe Music (1885, 1976).

                       

COCK AND BACON. Northumbrian. One of the "missing tunes" of Vickers' 1770 manuscript.

                       

COCK AND HEN [1], THE (An Coileac Agus an Cearc). Irish, Air (6/8 time). G Major. Standard tuning. AB. While it may have no connection with the title of this tune, the 18th century was famous for its clubs among all classes in England (and no reason not to believe Ireland as well). Some of these clubs were called “Cock and Hen” or Chair” clubs, according to Liza Picard (Dr. Johnson’s London, 2000), who describes:

***

At each end of a long table was a chair, one for a young man,

the other for a girl. The evening began at eight, and wore on with

drinking, smoking, swearing and singing ‘flash songs’. ‘The boys

and girls paired off by degrees till by twelve none remained.’   (pg. 131)

***

O’Neill (Music of Ireland: 1850 Melodies), 1903; No. 567, pg. 99.

X:1

T:Cock and Hen, The

M:6/8

L:1/8

R:Air

N:”Playfully”

S:O’Neill – Music of Ireland (1903), No. 567

Z:AK/Fiddler’s Companion

K:G

d/c/|BAB GAB|cBc d2g|cAA BGG|cAA A2 d/c/|BAB GAB|cBc d2g|fdd c2A|BGG G2||

B/A/|GBd gfg|agf g2e|ddc BAB|cAA A2 d/c/|BAB GAB|cBc d2g|fdd c2A|BGG G2||

 

COCK AND HEN [2], THE. AKA and see “The Cock and the Hen.” Irish, Slip Jig.

                       

COCK AND THE BULL, THE. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 311.

                       

COCK AND THE HEN, THE. AKA and see “Cathal McConnell’s,” "Dennis Ryan's Slip Jig," “Doodley Doodley Dank.” Irish, Slip (or sometimes, 'Hop') Jig (9/8). B Minor (‘A’ part) & D Major (‘B’ part) {Cole, Feldman & O’Doherty, Kennedy, Miller & Perron, Roche, Ryan}: F# Minor ('A' part) & A Major ('B' part) {Taylor}: C Major ('A' part) & A Minor ('B' part) {Joyce}. Standard. ABB (Miller & Perron): AABB (most versions). The tune is sometimes called "Dennis Ryan's Slip Jig" (by, for example the Boys of the Lough) in honor of the County Offaly fiddle player. The group Lunasa called it “Cathal McConnell’s” on their album “Otherworld,” in honor of the Boys of the Lough flute player, while Josephine Marsh recorded it as “The Northern Jig” on her first solo album. Sources for notated versions: fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]; Fred Breunig (Brattleboro, Vermont) [Miller & Perron]. Cole (1000 Fiddle Tunes), 1940; pg. 66. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 160 (appears as 1st “Untitled Slip Jig”). Joyce (Old Irish Folk Music and Songs), 1909; No. 529, pg. 284 ('A' and 'B' parts are reversed from Cole's & Roche). Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 12, pg. 5. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 44. Roche Collection, 1982; vol. 2, pg. 24, No. 252. Ryan’s Mammoth Collection, 1883; pg. 97. Taylor (Crossroads Dance), 1992; No. 53, pg. 40. Shaskeen ‑ "The Mouse Behind the Dresser." Patty Bronson and Laura MacKenzie - "Cherish the Ladies." Kells Music 9501, Dervish - "Playing with Fire." Chulrua – “Barefoot on the Altar” (appears as tune following “The Whinny Hills of Leitrim,” despite the fact that the liner notes call it another version of “The Whinny Hills”).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Cock and Hen, The

M:9/8

L:1/8

S:Ryan’s Mammoth Collection (c. 1883)

Z:AK/Fiddler’s Companion

K:G

BcB BAB g2e | BcB BAB dcB | BcB BAB g2e | f2d e2B dBA :|

|: afd def g2e | afd def gfe | afd def g2e | fed e2B dBA :|

X:2

T:Cock and the Hen, The

R:slip jig

N:Also in F#m, see #14

Z:id:hn-slipjig-51

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

M:9/8

L:1/8

K:Bm

~B3 BdB fef|~B3 BdB cBA|~B3 BdB f2g|afd edB dBA:|

|:afd def g2b|afd def edB|afd def g2e|fed edB dBA:|

                       

COCK CRAW THOU WHILL DAY. Scottish, Dance Tune. Mentioned in the earliest chronicles of the country dance, from the 15th century.

                       

COCK IN THE HEATH [1]. AKA and see "Three Little Drummers [1]."

 

COCK IN THE HEATH [2]. AKA and see “(A) Blast of Wind,” “The Clout,” “Drops of Springwater,” “The Humours of Caledon,” “The Humours of Westmeath,” “Kiss in the Furz [1],” “The Rakes of Westmeath [1].” Irish, Slip Jig. G Major. Standard tuning. AABB. The tune appears in O’Farrell’s Pocket Companion for the Irish or Union Pipes (vol. II, c. 1806) as “Cock in the Heath,” although as “The Clout” it had earlier been printed in one of the Neale’s collections of country dances in Dublin, 1726. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 142.

X:1

T:Cock in the Heath [2]

M:9/8

L:1/8

R:Slip Jig

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:G

A2d FDD F2E | FDD G2B AFD | A2d FDD F2E | FDD FAF GEC :|

|: G2c BdB c2A | BAG GAG cAF | G2c B{c}dB c2A | BAG FAF GEC :|

                       

COCK LORREL. AKA and see "An Old Man is a Bed Full of Bones." English, Country Dance Tune (6/8 time). G Minor. Standard tuning. One part. Chappell (1859) states the tune appears in 180 Loyal Songs (1685), Pills to Purge Melacholy, and The Dancing Master (1650 and all later editions, under a different name). As is usual with ballad tunes, which it once was, this melody was used as the  vehicle for several songs and so is also variously known by the titles "The Rump roughly but righteously handled", "The City's Feast to the Lord Protector," "St. George for England," "The Painter('s Pastime)," "Michaelmas‑Term," "The Rambling Clerke," and "A Bill of Fare," among others. The song "The Cock Lorrel" is in Ben Jonson's masque The Gipsies Metamorphosed and Pepys collection of ballads in addition to Pills to Purge Melacholy. Chappell (Popular Music of the Olden Times), Vol. 2, 1859; pgs. 40‑41.


 

COCK OF THE EAST AND WEST. Canadian, Jig. Canada, Prince Edward's Island. G Major. Standard tuning. AAB. Bayard (1981) collected these lyrics with the tune:

***

Cock of the East and West

And cock of the North and South,

And if you don't get out of me way,

I'll put me cock in your mouth.

***

Bayard says: "After reciting these lines, the player seemed to have some compunctions, for he promptly remarked 'I'm afraid you fellers has formed the idea that I'm drastic!' ('Drastic' was the word he habitually used to characterise anything lewd or outrageous)." Source for notated version: Simmons (Prince Edward Island, 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; Appendix No. 43, pg. 590.

 

COCK O' THE NORTH [1].  AKA and see "Auntie Mary" {Ireland, New Foundland}, "Joan's Placket (Is Torn)" {England}, "Jumping John." Scottish, English, Canadian; Jig, 6/8 March, and Morris Dance Tune. Canada; Cape Breton, Prince Edward Island, New Foundland. A Major (Hunter, Johnson, Kennedy, Miller & Perron, Perlman, Raven): G Major (Bayard, Bullen, Kerr, Sweet, Wade). Standard tuning. AB (Bullen): AAB (Bayard, Hunter): AABB (Johnson, Kennedy, Miller & Perron, Raven, Sweet, Wade): AA'BB' (Kerr, Perlman). The 'Cock o' the North' was an honorary title of the (fifth and last) Duke of Gordon, who held sway over the northern part of the Scottish Highlands (from a note in a monograph on William Mashall printed in his 1845 Collection). David Murray, in Music of the Scottish Regiments (Edinburgh, 1994), writes: “While most of the great magnates of the Highland had a Gaelic patronymic, the Duke of Gordon’s was ‘The Cock of the North’, for although he owned vast estates in the Highlands, Gaelic was not widely spoken in Aberdeenshire, where his influence was the strongest” (pg. 181). Chappell alleges the earliest reference to the tune (under the title "Joan's Placket") is in an entry in Pepys' diary for June 1667. Bayard (1981) and Kidson (1915) both trace the tune to the 17th century, where they find the titles for this tune were "Jumping John/Joan" and "Joan's Placket (Is Torn)." It was published by Oswald (Vol. 10) c. 1758, by Feuillet in Recueil de Contredanses (1706) in Paris, and by Playford in the 1674 and 1686 editions (and all subsequent editions) of his Dancing Master, each time under the title "Jumping Joan." In fact, a Shetland reel version of the tune from the island of Whalsay collected in modern times still goes by the name "Jumping John" (Cooke, 1986).

***

The dance and ballad air was assumed into martial repertory, the obvious connection being with the Gordon Highlanders, whose military band play it as the regimental march past in quick time. It has been recorded that the melody helped win Gordon Highlander Piper George Findlater the Victoria Cross in 1897. It seems that while leading the charge storming Dargai Heights with other pipers, he was shot through both legs; "undaunted, he propped himself against a boulder, and continued to play" the stirring air to encourage the successful action  (Winstock, 1970; pg. 212). Kidson (1915) relates another military story of its earlier use in the siege of Lucknow during the Indian Mutiny of 1857. The British were initially hard pressed and were for some time besieged in various locations in the city by native Indians. Signals had been regularly sent between the forces defending parts of the besieged town, and those under attack in the Residency quarters. A drummer boy named Ross, after the signaling was over, climbed to the high dome from which signals were sent and despite harassing fire from the Sepoys he sounded "Cock o' the North" in defiance, rallying the English with his bravery (though being a drummer, exactly how he 'sounded' the tune remains a mystery, ed.)

***

In England, Andrew Bullen  (Country Dance and Song, May 1987, vol. 17, pg. 11). suggests there is some evidence to think that "Cock of the North" was the tune traditionally used in the famous horn dance of Abbots Bromley, Staffordshire (currently performed in most Christmas Revels pageants). "This standard version," he states, "taken from Pruw Boswell's 'Morris Dancing of the Lancashire Plain', is used in the Wigan St. John's Dance."  Wade records that the tune is still used for a single step dance in the North‑West Morris tradition. The second part resembles that of "We Must All Wait Till My Lady Comes Home," from a Northumbrian musicians manuscript book dated 1816. 

***

Perlman (1996) notes that this tune was remembered by many Prince Edward Island fiddlers as the very first tune they tried to play. They were perhaps influenced by ‘Down-East’ Canadian fiddler Don Messer and his group the Islanders, who recorded the tune as one of their first sides in 1942, for Apex Records. In New Foundland “Cock o’ the North” was known by the title “Auntie Mary,” by which it is known in Ireland. The refrain below is sometimes sung, unaccompanied, in the middle of the tune:

***

Auntie Mary had a canary

Up the leg of her drawers;

She was sleeping, it was creeping,

Up the leg of her drawers.

***

Variants of the “Auntie Mary” lyrics were known in Scotland and Ireland, although the first two lines seem common to all.

***

Miscellaneous notes: The tune was used by the Scots poet Robert Burns for his song "Her Daddie Forbad and Her Minnie Forbad."  In America, it was given to Bayard that there was an obscene New England song to the tune called "Chase Me, Charlie," but he did not hear it. It has been asserted that a trumpet version of the tune was played at the execution of Mary Queen of Scots in 1587, but this cannot be substantiated and it is not credited.  It is not, as has been proposed by Johnson‑Stenhouse, the progenitor of "Lillibulero." Sara Lee Johnson (1986‑87) says the tune is often heard at the Old Michigan Fiddler's Association gatherings. Sources for notated versions: Hiram Horner (fifer from Fayette and Westmoreland Counties, Pa., 1960) [Bayard]; Elliot Wright (b. 1925, Flat River, Queens County, Prince Edward Island; now resident of North River) [Perlman]. Bayard (Dance to the Fiddle), 1981; No. 580, pg. 513. Bullen, Country Dance and Song, May 1987, vol. 17, pg. 11. Hunter (Fiddle Music of Scotland), 1988; No. 299. Jarman (Old Time Fiddlin' Tunes); No. or pg. 19. Jarman, 1951; pg. 66. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), vol. 7, 1986‑87; pg. 6. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 36. Kerr (Merry Melodies), vol. 2; No. 311, pg. 34. McDonald (Gesto), 1895; pg. 135. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 43. Page, Heritage Dances of Early America; No. or pg. 41. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 141. Raven (English Country Dance Tunes), 1984; pg. 105. Ross, 1934,  Army Manuel of Bagpipe Tunes; Book 1, pg. 10. Sweet (Fifer’s Delight), 1964/1981; pg. 21. Wade (Mally’s North West Morris Book), 1988; pg. 14.-

X:1

T:Cock o’ the North [1]

M:6/8

L:1/8

K:A

cdc cBA | cde f2e | cdc cBA | B3 e2d | cdc cBA | cde f2d | Ace B=GB | A3 A3:|

|: a2e f2e | a2e f2e | cdc cBA | BcB B2e | a2e f2e | a2e f2e| cAc B=GB | A3 A3:|

 


COCK OF THE NORTH [2], THE (Coileach an Taobh-Tuath). Scottish, Strathspey. B Flat Major. Standard tuning. AAB. "The Cock of the North explains its original, being an honorary title of the Dukes of Gordon, by which that noble family deserve and delight to be known" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 105, pg. 40. MacDonald (The Skye Collection), 1887; pg. 192. Stewart-Robertson (The Athole Collection), 1884; pg. 282.

X:1

T:Cock of the North, The [2]

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The Athole Collection  (1887)

Z:AK/Fiddler’s Companion

K:Bb

d|B<B, B,/B,/B, F>B, D<d|B>B, D/B/d c>AB>G|F>B, B,/B,/B, F>B, D<B| C<CD<F G2G:|

d|B>f d<f F<B D>d|B<f d>f g>B f<d|B>f d<f F<B D>B|C<C D>F G2 G>d|

B>f d<f F<B D>d|B<f d>f g>B f<b|f<d d>B c>A B<d|C<C D>F G2G||

 

COCK OF THE NORTH [3]. Irish, Slide.

X:1

T:Cock o' the North [3]

D:Jackie Daly, "Many's a Wild Night", track 13(b)

M:12/8

N:From the album notes by Ma/ire O'Keeffe:

N:[T]he last two slides are versions of the well known

N:"Cock o'the North".  This is a common Scottish piping

N:tune which can be found in 6/8 time in James Hunter's

N:"The Fiddle music of Scotland" No. 299, where we are

N:told that the Cock o' the North was an honorary title

N:for the Duke of Gordon.  The second tune came from

N:the playing of Maurice O'Keeffe of Kishkeam who

N:attributed this version to the playing of Johnny Billy,

N:a far‑out relation of Tom Billy's who was renowned

N:for the sweetness of his playing.  According to

N:Maurice, Johnny Bill was a shy man and was never

N:recorded.

L:1/8

R:slide

K:A

"A" c3 "Bm" dcd "A" e3‑e2 e | efe cBA "E" B3 BAB |

"A" c3 "D" dcd "A" e3‑e2 e |1 efe "E" c2 B "A" A3 A2 B :||

2 "E" efe c2 "A" B A3‑A2 e ||

||: "D" a2 e "A"c2 e "D" a2 "A" e c2 e | efe cBA "E" B3 B2 e |

"D" a2 e "A" c2 e "D" a2 e "A" c2 e |

1 efe "E" c2 B "A" A3 A2 e :|| 2 "E" efe c2 B "A" A3 A3 ||

***

A Bm A / | / / E / | A D A / |1 / E A / :|| 2 E / A / ||

||: D A D A | / / E / | D A D A | 1 / E  A / :|| 2 E / A / ||

 


COCK UP THY/YOUR BEAVER. AKA – “Johnny Cock the Beaver.” English, Scottish; Jig (6/8 or 6/4 time). England, Northumberland. C Major (Seatle/Vickers): G Major (Howe, Kennedy, McGibbon). Standard tuning. AB (Howe): AABB (Kennedy): AABBCC (Seattle/Vickers): AABBCCDD (McGibbon). The title refers to a beaver top-hat, popular in the late 18th and early 19th century among fashionable men; to ‘cock up’ in this sense would be either to wear it at a rakish angle, to tip it or to brush it so as to make it more presentable. "The consistent disparity between Bars 4 & 8 is noteworthy, being repeated thus in each strain. C.f. Bewick's Pipe Tunes, No. 33. Although different in detail, these versions have more in common with each other than with others encountered, e.g. Playford (c. 1725), No. 248; Mooney (Choicest Tunes/Lowland Pipes), pg. 11. A long variation set is found in Playford's Division Violin of 1684, now republished, edited by Margaret Gilmore. In her Concordances, she mentions other versions under the names 'The Horse‑race' and 'Newmarkett', but on a first glance 'Cock up thy Beaver' seems to have little in common with our 'Newmarket Races', Vickers No. 288. However, if one extracts the most basic underlying harmony from the Playford divisions, one gets: I,I/II,II/I,I/I,I/IV,I/II,II/I,I/I,I. Comparing this sequence with our No. 288 (and other versions, see Note), one finds it is the same, but displaced, starting at Playford's Bar 7. Alternately, Playford's version starts with Vickers' Bar 3. The tunes obviously became separated at an early date and developed independently. The final curiosity is that the tune common to Vickers and Bewick has the same harmony as Vickers' 'Horse and Away', if one makes some allowances for ambiguity between I and VI chords (relative major and minor)" (Seattle). The tune appears the Henry Atkinson manuscript of Morpeth (1694, as “Cock Up Thy Beaver, Jem!”), in the 1768 Gillespie Manuscript of Perth. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800. The title comes from a song, old in Robert Burns’ day, which he modified slightly and printed in his Scots Musical Museum. It goes:

***

When first my brave Johnnie lad

Come to this town,

He had a blue bonnet

That wanted the crown;

But now he has gotten

A hat and a feather,--

Hey, brave Johnnie lad,

Cock up your beaver!

***

Cock up your beaver,

And cock it fu’ sprush,

We’ll over the border

And gie them a brush;

There’s somebody there

We’ll teach better behaviour—

Hey, brave Johnnie lad,

Cock up your beaver!

***

Complete Collection of Carolan's Irish Tunes, 1984; No. 204, pg. 137 (variations by Turlough O'Carolan). Howe (1000 Jigs and Reels), c. 1867; pg. 124. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 89, pg. 22. McGibbon (Scots Tunes, book II), c. 1746; pg. 49. Seattle (William Vickers), 1987, Part 3; No. 455. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 179. Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T:Cock Up Your Beaver

M:6/8
L:1/8

R:Jig
S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:G

g | d2G B>AG | A>BA c2e | d2G (B>AB) | Ggd B>cd | c/B/c/d/e/f/ gdB | A3 c2 e |

d2 c BcA | Ggd B2 || d | Ggd (B/c/d)B | AaA c2A | Ggd (B/c/d)B | Ggd B/A/B/c/d/B/ |

c/B/c/d/e/f/ g/f/e/d/c/B/ | AaA c>de/f/ | g(a/g/).f/.e/ d(B/c/.d).B | Ggd B2 ||

X:2

T:Cock up your Beaver

M:3/4

L:1/8

R:Air
N:”Brisk”
S:McGibbon – Scots Tunes, book II, pg. 49 (c. 1746)

Z:AK/Fiddler’s Companion

K:G

g2  | d4 G2B3AG2 | A3BA2c4e2 | d4G2”tr”(B3AB2) | G2g2d2B3cd2 | e3 def g2d2B2 |

A3BA2c4g2 | d4 c2 (BcdcBA) | G2g2d2B4 :: D2 | G2g2d2 (Bcd2)B2 | A2a2A2 “tr”c4BA |

G2g2d2 (Bcd2)B2 | G2g2d2 (BABc)dB | (cBc)(def) g2G2B2 | A2a2A2 cBcdef | g2(agfe) d2 (Bcd)B |

G2g2d2B4 :: D2 | G2(Bcd2) d2 (Bcd2) | A2 ABcA “tr”c4e2 | (dcBAB)G (BAB)cdB |

G2g2d2BABcdB | (cBc)def g2d2B2 | A3BA2 “tr”c4e2 | dcdedc BcdcBA | G2g2d2B4 :|

|: D2 | G2g2d2 BABcdB | A2a2A2 “tr”c4 (BA) | G2g2d2 | BABcdB | G2 (efg)d BABcdB |

cBcdef gfefgB | A2a2A2 cBcdef | gfefge dcBcdB | G2g2d2B4 :|

X:3

T:Cock up they Beaver

M:6/8

L:1/8

R:Jig

S:William Vickers’ music manuscript copybook, pg. 134   (1770)

Z:AK/Fiddler’s Companion

K:C

g2g afg|cec e2A|g2g ag/f/ a|dfd f2A|g2g ag/f/g|cec efg|

faf ege|ded f2A::gcc ecc|gcc e2A|gcc ecc|dfd e2A|gcc ecc|

gcc efg|faf ege|ded f2A::c2c ege|cec e2A|c2c ege|

dfd f2A|c2c ege|cec efg|faf ege|ded f2A||

X:4

T:Johnny cock thy Beaver

M:6/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:F

d2|c4F2 A3GF2|G2A2G2 B4d2|c4F2 A3GA2|F2f2c2 A2B2c2|d2c2d2 f2c2A2|

G2A2G2 B4d2|c4F2 A4G2|(F2f2)c2 A4F2||(F2f2)c2 ABc2A2|(G2g2)d2 B4G2|(F2f2)c2 ABc2A2|

(F2f2)c2 A3Bc2|BA Bcde f3FA2|G2A2G2 B4f2|c4B2 A4G2|(F2f2)c2 A4F2:||

 

COCK UP YOUR CHIN, BILLY. AKA and see “Clay Pipe,” “The Monaghan {Jig}.” Irish, Jig. E Dorian. Standard tuning. AABBCC. Joyce had the tune from the Pigot Collection. Joyce (Old Irish Folk Music and Songs), 1909; No. 698, pgs. 349‑350.

X:1

T:Cock Up Your Chin, Billy

M:6/8

L:1/8

S:Joyce – Old Irish Folk Music and Songs (1909), No. 698

Z:AK/Fiddler’s Companion

K:E Dorian

A | B2E EGE | GFG/A/ BGE | B2E EGE | FDF/G/ AGF | B2E EGE | GFG ABc | dcB ABG | FDF/G/ AGF :|

|: E2e efg | fed eBG | DF/A/B/c/ dAG | FDF/G/ AGF | E2e efg fed edc | dcB ABG | FDF/G/ AGF :|

|: g2e ege | gfg/a/ bge | g2 e ege | fdf/g/ agf | g2e efe | gfg/a/ bge | dcB ABG | FDF/G/ AGF :| 

 

COCK YOUR PISTOL CHARLEY [1]. AKA and see “Captain Murray’s Fancy,” “Gooseberry Blossoms.” Irish, Reel. A Dorian. Standard tuning. AAB. See Bayard, 1981; No. 220, pg. 177‑178 for a note that includes his rather vague speculations on this tune. The rhythms of different versions varies between duple and triple: Kennedy prints a reel version, Roche gives versions in both jig (see [2], below) and a dotted duple-metre that could almost be a single jig. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 23, pg. 7. Roche Collection, 1982; vol. 2, pg. 21, No. 242.

X:1

T:Cock Your Pistol Charley [1]

M:2/4

L:1/8

R:Reel

S:Roche (vol. 2, No. 242)

Z:AK/Fiddler’s Companion

K:Ador

E>(A A)(B | c>)(d e>)(c | d>)(B c>)(A | G>)(E ~E>)D | E>A A>B | c>d e>f |

g>e d>B | (~B>A)A2 :| (3e/f/g/ | a>g e>g | a>g e>f | g>e d>f | g>a b>g |

a>g e>g | a>g e>f | g>e d>(B | B>)A A(3e/f/g/ | a>g e>g | a>g e>f |

g>e d>f | g>a b>f | g>a b>g | a>g e>f | g>e d>(B | ~B>)A A2 ||

 

COCK YOUR PISTOL CHARLEY/CHARLIE [2]. Irish, Single Jig and Song Air. E Dorian (Roche): E Minor (Emmerson, Joyce). Standard tuning. AAB (Joyce): AABB (Emmerson, Roche). Learned by Joyce in his boyhood in Co. Limerick, c. 1845. See also "Captain Murray's Reel," “Gooseberry Blossoms,” "Polly's Reel," "The Tap House," "The Tap Room," "Sweet Molly [4]," "The Mountain Lark [7]," "The Youngest Daughter [1]," "Hopetoun House," "B(h)aintreach na Radaireacht." Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 70, pg. 157. Joyce (Old Irish Folk Music and Song), 1909; No. 73, pgs. 39‑40. Roche Collection, 1982; vol. 2, pg. 21, No. 243.

X:1

T:Cocky Your Pistol, Charlie [2]

M:6/8

L:1/8

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

Z:AK/Fiddler’s Companion

K:Emin

E2B B2A|B2G A2F|d2B A2F|D2E F2D|E2B B2A|B2G A2F|d2B A2F|E3 E3:|

B2e e2f|g2e f2d|B2d A2F|D2E F2D|E2e e2f|g2e f2d|B2d A2F|E3 E3|

B2e e2f|g2e f2d|B2d A2F|D2E F2D|EFE G2A|Bcd e2f|d2B A2F|E3 E3||

 

COCKABENDIE. AKA and see "Cock a Bendie." Scottish, Reel. 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 Highland Reels written by David Young, W.M. & Accomptant" (1734).

 

COCKERAL IN THE CREEL.  Scottish, Pipe Reel. Composed by the late Donald MacLeod from the Isle of Lewis. Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).

 

COCKERS ROSES. See "The Blooms of Bon Accord."

 

COCKLE GATHERER, THE (Trusaidh mi na colleagain). Scottish, Reel. G Major. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 23.

 

COCKLE GEORDIE. English, Reel. England, Northumberland. G Dorian. Standard tuning. AABB. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 146. Flying Fish FF‑250, The Battlefield Band ‑ "Home is Where the Van Is" (1981).

X:1

T:Cockle Geordie

M:2/4

L:1/8

R:Reel
S:Bruce & Stokoe – Northumbrian Minstelsy  (1882)

Z:AK/Fiddler’s Companion

K:Gdor

fdeg|fd A2|fdeg|fd G2|fdeg|fd A2|fdeg|fd G2:|

|:FG AB/c/|dc A2|FG AB/c/|dc G2|FG AB/c/|dc A2|FG AB/c/|dc G2:|

              

COCKLE SHELLS. See “Cockleshells.”

 

COCKLED OLD MAN [1], THE (An Sean Fear Cocailleac). AKA and see “Bryan O’Lynn [1].” Irish, Double Jig. A Aeolian. Standard tuning. AABB. Roche Collection, 1927/1982; vol. 1, pg. 52, No. 127.

X:1

T:Cockled Old Man, The [1]

M:6/8

L:1/8

S:Roche Collection, vol. 1, No. 127

Z:AK/Fiddler’s Companion

K:Amin

B|cAd cAG|EDE GAB|cAd cAG|EAA (A2B)|cAd cAG|

EDE cde|(ef)e ded|cAG A2::^f|gfa ged|cAB cde|(ea)(a a)ge|

edd (d2f)|gfa ged|cAB cde|(e<=f)e ded|cAG A2:|

 

COCKLED OLD MAN [2], THE. Irish, Double Jig. G ('A' part), C ('B' part) {the modality shifts quite a bit}. Standard tuning. AABB'. Roche Collection, 1982; vol. 3, pg. 31, No. 102.

 

COCKLESHELLS. AKA – “Cockle Shells.” AKA and see “An Gabhairín Buí,” "The Bonnie Lass of Livingston,""Clashing At Her," "The High Caul/Caul’d Cap," "Hielan Laddie [1]," "The Temple Change.” English, Country Dance Tunes (cut time). F Major. Standard. AABB. The tune is printed under this title by Henry Playford in his Dancing Master of 1701 (Eleventh Edition, pg. 304), and in all subsequent editions, through until the last (18th) in 1728. “Cockleshells” was also printed by London publishers Hare and Walsh in The Compleat Country Dancing Master in both the 1718 and 1731 editions. It is a variant of “The High Cauled Cap” and “Hielan Laddie.” Barlow (Compleat Country Dance Tunes from Playford’s Dancing Master), 1985; No. 428, pg. 99. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 21.

X:1

T:Cockleshells

M:C|

L:1/8

S:Playford – Dancing Master, 11th Edition (London, 1701)

K:F

A2|F3G A2c2|A2d cAGF|A2G2G2 FG|A2G2G2D2|F3 G A2c2|

A2d cAGF|A2D2D2C2|F2D2D2::c|dcdc A2c2|dcdc A2 (GF)||

A2G2G2(FG)|A2G2G2c2|dcdc A2c2|dcdc A2(GF)|A2D2D2C2|F2D2D2:|

 

COCKS LOUNS WALIE HOYN. AKA and see “Moss Plate,” “New Way of Wooing [1],” “What Will I Do gin My Hoggie Die?”  Scottish, Scottish Measure. The tune appears in John Young’s ...Scotch Tunes for the Violin.  The whole Pleasant & Comicall being full of the Highland Humour (London 1720).

 

COCK’S TAIL, THE. AKA – “The Cocktail.” AKA and see “Dublin Reel.” Irish. Ireland; Donegal, Fermanagh. The tune is sometimes miss-named “The Cocktail Reel.” A County Donegal version of “The Dublin Reel” (Cathal McConnell calls it an unusual version of “Dublin Reel”). In the repertoire of Vincent Campbell, and of John and Mickey Doherty, who learned from their father. Caoimhin Mac Aoidh remarks that Mickey Doherty sometimes occasionally called it by the title “The Wagtail Reel,” referring to a small black and blue-ish white bird. The Wagtail features a long tail that bobs about nervously, giving rise to its name—in Irish, Gleasog. Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000. Learned from Eddie Duffy, a flute player from Drumcruhan, County Fermanagh). Tara Records 4008, “Josephine Marsh” (1996. Appears as “The Cocktail”).

X:1

T:The Cocktail

M:4/4

L:1/8

Q:210

S:setting: Noel Hill

R:Reel

K:D

DF{A}FE ~F3E | DF~F2  ABGE | DF{A}FE DFAd | cABG EFGE :||

A3B A2GA | (3AAA GA BG (3GGG | A2AG EFGB | =cBAG EFGB |

A2AB (3AAA GB | ABGA BG (3GGG | AaaA aAag | fdec dBAF || D

 

COCKSTEP IN THE DUNGHILL, THE. Composed by flute player Vincent Broderick, originally from Bullaun, near Loughrea, County Galway, hard by the Turoe Stone, a famous Iron Age monument. Broderick (The Turoe Stone).

 

COCKSTOUNS HOGGIE. Scottish. A tune from the lost Straloch Lute Manuscript, unfortunately not one of the ones transcribed by Graham into his two partial transcripts of the MS. There is no known copy extent. A song called “Coxston’s Hoggie” was, according to James Dick, the original for Robert Burns “What Will I Do Gin My Hoggie Die” though it is not known if there is a relationship with the Straloch tune.

 

COCKTAIL, THE. See “The Cock’s Tail.”

 

COCKY MI CHARI, SHE. AKA and see "Lord Frog (and Lady Mouse)."

 

COCO BRAM.  AKA and see “Bang It Up.” English, Rant. A Major. Standard tuning. AABB. Thomas Wilson (Companion to the Ballroom, 1815, pg. 119) prints the tune under the title “Russian Dance.” Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 24, pg. 8.

 

CODGER'S IN THE CANNONGATE.  See “Cadgers of the Cannongate.”

 

CODRETTO, LO. French, Bouree (3/8 time). France, Auvergne (Central France). C Major. Standard tuning. AABB. Stevens (Massif Central), 1987; No. 38.

 

COEN’S MEMORIES. AKA – “Tommy Coen’s.” AKA and see “Tommy Coen’s (Reel) [2],” “Paddy Canny’s [1].” Irish Reel. E Minor (Dorian). Standard tuning. AABB. Composed by Urrachree, Aughrim, East Galway, fiddler and accordion player Tommy Coen (1910-1974), most famous for his composition “Christmas Eve.” Coen’s day job was a conductor on Connemara busses, and in later life he lived in Salthill. “Coen’s Memories” is similar to Roche’s “Cottage in the Grove [1],” also known as “McGovern’s Favorite” (as recorded by Paddy Killoran) and “Maurice Casey’s Fancy.” Source for notated version: fiddler Jimmy Murphy (b. 1938, Meelick, near Swinford, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 43 (appears as “Unknown”). Treoir, 1972, vol. 4, No. 1. Shanachie 79005, De Dannan – “The Mist Covered Mountain.” “Music at Matt Molloy’s” (appears as “Tommy Coen’s”).

 

COEY'S HORNPIPE (Crannciuil ui Coblaig). AKA and see “The Southern Shore,” “Tammany Ring,” “The Wonder Hornpipe.” Irish, Hornpipe. G Major. Standard tuning. AABB. As “The Southern Shore” the melody appears again in O’Neill. Scottish/English versions have been printed as “The Wonder Hornpipe” and “Miss Ferry’s Hornpipe,” while an American printing appears in Ryan’s Mammoth Collection (1883) as “Tammany Ring.” Recorded by button accordion player George Ross in the 1950’s. O'Neill (Krassen), 1976; pg. 175. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1604, pg. 298. Shanachie 78005, De Danann – “Hibernian Rhapsody” (appears as one of “George Ross Hornpipes”). Patty Furlong –“Traditional Irish Music on Button Accordion” (1999. Learned from New York fiddle player Pat Keogh, who learned it from the playing of Frankie Gavin).

X:1

T:Coey’s Hornpipe

M:C|
L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1604

Z:AK/Fiddler’s Companion

K:G

(3DEF | GdBG FcAF | GABG D2 (GF) | EGAB cBAG | FAd^c (3fed (3ecA | GdBG FcAF |

GABG D2 (GF) | E>edc BAGF | A2 G2G2 :: (AG) | FAd^c dBAG | FAd^c dfed | ^cdef gece |

d^cde d2 d=c | BcBA GBec | ABAG FAdf | dgfe dcBA | G2B2G2 :|

 

COFFEE. American, Jig. A Dorian. Standard tuning. AABB. Composed by Gary Haggerty of Lopez Island, Washington, who ran a music store in Portland, Oregon. Source for notated version: Dan Compton (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 52.

 

COFFEE AND TEA [1]. AKA and see "Jamie Allen's Fancy." English, Reel. England, Northumberland. G Major. Standard tuning. AB (Bruce & Stokoe): AABB (Plain Brown). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 164. Plain Brown Tune Book, 1997; pg. 29.

X:1

T:Coffee and Tea

T:Jamie Allen’s Fancy

M:C

L:1/8

R:Reel

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

ef|g2d2 BGdB|Gggf g2ed|g2d2 BGdB|Aefg f2ed|g2dc Bg B/c/d/B/ |

Gggf g2 ed|g2 dc BG B/c/d/B/|Aefg f2||ed|BgBg (3def gd|BgBg f2 ed |

BgBg (3egf gd|Aegf gfed|BgBg f/g/f/e/ gd|BgBg f2 ed|BgBg f/g/f/e/ gB| Aefg f2||

 

COFFEE AND TEA [2]. AKA and see “Aineen’s Double,” “Banish Misfortune [2]," “The Cherry Grove Jig,” “(An) Ghaoth Aniar Andeas” (The Southwest Wind), “Jimmy the Tailor.”


 

COFFEE HOUSE, THE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody seems unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). The coffee-house was a London fixture from the time English merchants started trading for it with Turkish sources in Commonwealth times. By 1700 there were over 2,000 coffee houses in London, in which customers could read the newspaper, meet friends and conduct business, all for a small sum. Regarding such establishments, Tom Brown wrote:

***

[a coffee house was] the place where several knights-errant come together to

seat themselves at the same table without knowing one another, and yet talk as

familiarly together as if they had been of many years acquaintance. They have

scarce looked about them, before a certain liquor as black as soot is handed to

them, which being foppishly fumed into this noses, eyes, and ears, has the virtue

to make them talk and prattle together of everything but what they should do.    [quoted in Maureen Waller, 1700: Scenes from London Life, 2000]

***

Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 169.

X:1

T:Coffee House, The

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

G2B2|d3 c/B/|cecA|FAFD|G2B2|d3g|fed^c|d2 D2:|
|:d2f2|a3c|cBgB|c2 Ac|defg|cBec|BAGF|G2 G,2:||

 

COFFEY’S REEL. Irish, Reel. A Dorian. Standard tuning. A Dorian. Green Linnet GLCD 1184, Patrick Street – “Made in Cork” (1997).

X:1

T:Coffey’s Reel

M:C|

R:reel

Z:Bud Burroughs

K:Ador

A3B AGED|G2Bd edBd|eaaf gedB|AcBG AGEG|

A3B AGED|G2Bd edBd|eaaf gedB|1 AcBG A2cB:|2 AcBG A2eg|

a3b ageg|gedB GABd|(3efg fa gedB|AcBG AGED|

a3b ageg|gedB GABd|(3efg fa gedg|gedB A2eg|

a3b ageg|gedB GABd|(3efg fa gedB|AcBG AGED|

A3B AGED|G2Bd edBd|eaaf gedB| AcBG A2cB|

 

COFFIN SHIPS, THE. Irish, Slow Air. A Major. Standard tuning. Composed by Donegal fiddler Tommy Peoples. The title refers to the decrepid, often barely seaworthy, vessels that traversed the Atlantic during the Irish Potatoe Famine of the mid 19the century bringing refuges to North America. They were termed ‘coffin ships’ because of the wretched, overcrowded and unsanitary conditions that bred illness among those herded passengers already weakened by hunger. Tommy Peoples – “The Quiet Glen.”

***

A period American cartoon on the coffin ship theme, from Harpers Weekly.

***

X:1

T:The Coffin Ships

C:Tommy Peoples

S:Tommy Peoples

D:The Quiet Glen

Z:Juergen.Gier@post.rwth‑aachen.de

L:1/8

R:Slow Air

M:3/4

K:A

{B}c4 BA|{E}F4 FE|F A4 B,|{B,}C6|E3F (3ABc|\

M:4/4

BA3 a2f2|\

M:3/4

{B}[c6(e6]|[c6)e6]|{Bc}e4 c/B/A|{E}F4 FE|F A4 B,|\

{B,}(C4 C)B,|A,4 CE|{E}F4 FE|{E}F(A A4|A6)|]\

{ef}a4 fe|{e}f4 a(f|f3) ecB|{cB}A6|{ef}a4 fe|\

{B}(c4 c)B|{B}c[c(e] [c4e4]|[c6)e6]|\

{f}a3f (3ecB|(c4 c)e|{B}c3B (3AFE|(F4 F)A|\

{E}F3 ECB,|{B,}(C4 C)B,|A,6|]{ab}c'3b a2|\

{e}(f4 f)e|f3 ec<B|(A4 A)B,|C E4 E|F A4 B|\

c4 {dc}B2|{B}c[c(e] [c4)e4]|{ab}c'3b a2|\

{e}(f4 f)e|f3 ec<B|{B}(c4 c)B|(A4 A)e|\

f4 {g}fe|f(a a4|a6)|]

 

CÓFRA DONN, AN. AKA and see “(An) Comhra Donn,” “The Brown Chest.”

 


COGAD/COGADH/CIGAUDG NA SITH (Peace or War/War or Peace). AKA – “S’ coma leam fhèin cogadh no sith” (War or peace I care not which.” Scottish, Pipe Air. D Minor. Standard tuning. One part. Played to inspire the troops by gallant Kenneth Mackay piper to the Grenedier Company of the 79th Regiment (Cameron Highlanders) at Waterloo, when he bravely stepped outside the protection of his comrades' traditional square formation (formed to receive the charge of the French cavalry), walking too and fro before the enemy. O’Neill (1913) relates its similar use in India, when a piper in Lork McLeod’s regiment, seeing the British army giving way before superior numbers, played “War or Peace” which inspired the Highlanders with such spirit that they rallied and cut through their enemies. For this circumstance Sir Eyre Coote, filled with admiration, presented the regiment with fifty pounds to buy a stand of pipes. Still another military anecdote has pipers of the 92nd Gordon Highlanders playing the tune at St. Piere during the Peninsular War. The first lines of the song set to it go:

***

War or peace, peace or war, its all the same to me,

In war I might be killed, in peace I might be hanged!

***

Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 3, pg. 2.

X:1

T:War or peace I care not which

T:S’ coma leam fhèin cogadh no sith

M:6/8

L:1/8

R:Air

N:”Slow”

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 3 (c. 1882)

Z:AK/Fiddler’s Companion

K:Dmin

D | D>CD F>GA | c>dc c2c | dfd d>cA | G>AG F2F |

f>ed d>cA | G>Ac d2C | F>GF FGA | {G}F>DC D2 ||

 

COGIE O' ALE, A. Scottish, Air. The melody was composed by Robert Mackintosh (born c. 1745) with words by Andrew Shirrefs (1762‑1807). A ‘cogie’ was a small barrel or drinking vessel.

 

COGUE IN THE EVENING. AKA and see “Cosa Buidhe Arda, Dearga,” “Yellow Legs.” Irish, Slip Jig. ‘Cogue’ is perhaps ‘cogie’, a word meaning a drinking vessel. The tune is attributed by Goodman to the famous 18th century uilleann piper Walker ‘Piper’ Jackson, of the townland of Lisdaun, parish of Ballingarry, Aughrim, County Limerick. O’Neill gives the tune as “Yellow Legs.” Goodman collection, vol. IV, pg. 4-5.

 

COIG NA SCALAN. AKA and see "Roy's Wife of Aldivalloch," "Lady Francis Wemys' Reel," "The Ruffian's Rant," "I'm Over/Ower Young to Marry Yet [1]," "Ben Nevis," "Old Virginia Reel [1]," "The Kilt is My Delight."

 

COIGE MHUMHAN. AKA and see "The Province of Munster."

 

COIGREAC TREIGTE, AN. AKA and see "The Forlorn Stranger."

 

COIL AWAY THE HAWSER. Shetland, Shetland Reel. Shetland, Whalsay.

 

COIL-A-CREICH INN, DEESIDE. Scottish, Reel. C Minor. Standard tuning. AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c), 1866; No. 75, pg. 26.

 

COILANTOGLE. Scottish, Strathspey. G Minor. Standard tuning. AB (Surenne): AABB (Williamson). "Coilantogle, at the foot of Ben Ledi in Perthshire, was for long an important ford on the river Teith, and was a key point on the ways to the North. Sir Walter Scott refers to it as such in his poem 'The Lady of the Lake' (Williamson, 1976)." Surenne (Dance Music of Scotland), 1852; pgs. 98-99. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 63.

X:1

T:Coilantogle

M:C

L:1/8

R:Strathspey

S:Surenne – Dance Music of Scotland, pgs. 98-99  (1852)

Z:AK/Fiddler’s Companion

K:Gmin

(D<G)G>B A>GF>C | (D<G)G>B A>G g2 | (f<a)(d<f) (c<f)A>F | D>GB>G A>^F G2 |

(D<G)G>B A>GF>C | (D<G)G>B A>G g2 | (f<g)(d<f) (c>f)A>F | D>GB>G A>^F G2 ||

(G<g)g>a f>c f2 | (G<g)g>a ^f>d g2 | (=f<a)(d<f) (c<f)A>F | D>GB>G A>=F G2 |

(G<g)g>a f>c f2 | (G<g)g>a ^f>d g2 | (=f<a)(d<f) (c<f)A>F | D>GB>G A>=F G2 ||

 

COILEAC FEADA, AN. AKA and see "The Woodcock."

 

COILEACH AN TAOGH TUATH. AKA and see "The Cock of the North."

 

COILEACH COMHRAIC, AN. AKA and see “The Game Cock.”

 

COILLE AN TOGAIL. AKA and see "Cheap Mutton."

 

COILLE CHNACUIDH. AKA and see "Killiecrankie."

 

COILLTE AN FOGMAIR. AKA and see "Autumn Woods."

 

COILLTE CILL-CAINNIG. AKA and see "The Woods of Kilkenny."

 

COILLTE CRÍONA, AN. AKA and see “Kiltycreen,” “Patsy Tuohey’s Favourite.” Irish, Reel. E Minor. Standard tuning. AB. Breathnach (1963) calls the tune a twin of “Pat Tuohey’s Reel.” The title literally means ‘the old woods’ and refers to the birthplace of Sligo fiddler Freddy Finn. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland), who had the tune from Finn [Breathnach]. Breathnach (CRÉ I), 1963; No. 179, pg. 70.

 


COILSFIELD HOUSE. Scottish, Strathspey ("Slowly") or “Pastoral” Air (4/4 time). G Major. Standard tuning. AAB. The air was composed by Nathaniel Gow (1763-1831), the fourth son of famed Scottish fiddle-composer Niel Gow. It was named after the home of Colonel Hugh Montgomery (1749-1819), Earl of Eglinton, in the parish of Tarbolton, Ayrshire. Neil (1991) explains the name "Coilsfield" apparently derives from the grave of King Coil, reputed to lie somewhere near the mansion house. Coil, or sometimes Coilus or Coel Hen, was a British king in the Roman or post-Roman era who was linked to the Strathclyde area; his name comes down to us in modern times in the nursery rhyme “Old King Cole.” The property was once known as "Quillisfield" and was so named in the charter of John De Graham, who assigned the property to the monks of Melrose. Around 1640 it was acquired by James Montgomery, 4th son of Alexander, 6th Earl of Eglinton, and remained in the family for 250 years. His descendent Colonel Hugh Montgomery (or Montgomerie) was himself an amateur fiddler and Scottish music enthusiast and also was honored as the dedicatee of the Gow's Fourth Collection of Strathspey Dances (Edinburgh, 1800). The mansion was well-known to the poet Robert Burns when he dwelt at Lochlea, for it was where he went to meet his Highland Mary, Mary Campbell, then residing as a dairymaid at Coilsfield Housse.  It is where "Summer first unfaulds her robes," and where "they langest tarry,” said he. His romance was short-lived however, for while they were lovers in the Spring, by October, 1786, Mary had died of a fever caught while waiting on a sick boy, her brother.

***

Ye banks and braes and streams around
The castle o' Montgomerie,
Green be your woods and fair your flours,
Your waters never dumlie!
There simmer first unfauld her robes,
And there the longest tarry;
For there I took the last farewell
O' my sweet Highland Mary.

***

Sources for notated versions: Nathaniel Gow’s 5th collection (1809) [Henderson]. Cape Breton style fiddler Harvey Tolman (Nelson, N.H.) [Little]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 82, pg. 133. Carlin (The Gow Collection), 1986; No. 23. Cranford (Jerry Holland: the Second Collection), 2000; No. 315, pg. 113. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 7. Henderson (Flowers of Scottish Melody), 1935. Hunter (Fiddle Music of Scotland), 1988; No. 5. Johnson (The Kitchen Musician’s No. 10: Airs and Melodies of Scotland’s Past), vol. 10, 1992 (revised 2001); pg. 4. Little (Scottish and Cape Breton Music in New Hampshire), 1984; pg. 30. Neil (The Scots Fiddle), 1991; No. 100, pg. 135. Perlman (The Fiddle Music of Prince Edwards Island), 1996; pg. 205. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001). Iona Records IR002, Ossian - "Seal Song" (1981). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Coilsfield House

M:C

L:1/8

C:Nathaniel Gow (1763-1831)

Z:AK/Fiddler’s Companion

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

R:Air

N:”Slowly”

K:G

(G/A/)| (BD) (GB,) G,3 (A/B/)| (cA) (BG) ~(FA) D>c| (c/B/)(A/G/) (G2F/)E/D/ {F}G2 EC| (B,G) A,”tr”F GG, G,:|!

(B/c/)|(dB) (dB) {cd}e2 AB/c/| d(GFG) (A/G/)F/E/ DB/c/| dB dB (c/4d/2<e) (e/4f/2<g)| (f/g/a/g/) (f/d/e/f/) “tr”g2 G2 g/a/|!

bgdB (c/4d/2<e) AB/c/|d(GFG) (A/G/F/E/) Dc| BGDB, (CD/E/) A, D/C/| B,G A,”tr”F GG, G, ||

                       

COIM-SEASAM NA BEIDLEADOIR. AKA and see "The Fiddlers' Contest."

           

COIMCEANGAL LUIMNIG. AKA and see "Limerick Junction."

                       

COIMLEANGA BAILE-BARROIN. AKA and see "The Barronstown Races."

 

COIN DU CIEL (A Corner of Heaven). French‑Canadian, Waltz. D Major ('A' part) & A Major ('B' part). Standard tuning. AB. Source for notated version: Louis Riendeau (Berlin, New Hampshire) [Kaufman]. Kaufman (Beginning Old Time Fiddle), 1977; pgs. 80‑81.

 

COINEACHAN, AN. AKA and see "The Fairy Lullaby."

 

COINN DHU DIELISH. Irish, Harp Air. The tune was recorded by the Belfast Northern Star of July 15th, 1792, as having been played in competition by one of ten Irish harp masters at the last great convocation of ancinet Irish harpers, the Belfast Harp Festival, held that week.

 

COINNEAMH AN t-STRATH MHOR. AKA and see "The Strathmore Meeting."

 

COINNLEACH GHLAS AN FHOMHAIR.  Irish, Air.  In Ireland the song "Lady Margaret" is sung to this air.

 


CÓIR A CHEARRAIG. AKA and see "The High Road to Fort Augustus."

 

CÓIR GHAOITHE. AKA and see "The Fair Wind."

 

COIRE AN LOCHAN. Scottish, Canadian; Reel. Canada, Cape Breton. C Major. Standard tuning. AB. Composed by Douglas Muir . The tune is arranged by James Hunter in Kerr’s Thistle Collection. Kerr (Thistle Collection). Joseph Cormier – “Old Time Wedding Reels.” RC2000, George Wilson – “The Royal Circus” (2000). Rounder CD 7013, Joseph Cormier – “Joseph Cormier and Friends” (1992).

X:1

T:Coire an Lochan

M:C

L:1/8

C:D. Muir

S:From the playing of Joseph Cormier

R:Reel

A:Scotland, Cape Breton, Eastern US and Canada

B:"Joseph Cormier and Friends", Mel Bay Publications, ISBN 0-7866-1829-9

D:"Judique on the Floor";Buddy MacMaster,1989, Sea Scape Music,ACD-902

D:"Joseph Cormier and Friends",1992, Rounder CD 7013

Z:W. Armstrong, Jan-98

K:C

E/2||"Am"A2 ed e2 A2|edea gedc|"G"BABd G2 GA|

BcdB "Em"edBG|"Am"A2 ed e2A2|

edeg a2 ag|"C"e^fge "G"dcBd|"Em"e2 dB "Am"A2:|

AB||"C"c2 g^f g2 c2|agea gedc|

"G"B2 AB GABc|dBGB gdBG|c2 g^f g2c2|

cdeg "Am"a2 ag|"C"e^fge "G"dcBd|"Em"e2 eB "Am"A2:|

 

COIRE MHONAIDH. AKA and see "Corrimony."

 

COIRECHOILLE. Scottish, Reel. B Minor. Standard tuning. AABB. Stewart-Robertson (The Athole Collection), 1884; pg. 129.

X:1

T:Coirechoille

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:B Minor

FBBc d2cB | cAcd ecAc | BFBc d2cB | FBc^A B2B2 :|

|:c | d2fd ceAc | d2fd cABc| d2fd ceAB | FBc^A B2B :|

 

COIRNÉAL MHAC RUAIDHRÍ (Colonel Rogers). AKA and see “Colonel Rogers.”

 

COIS A’ GHAORTHAIDH. AKA and see “The Hare’s Paw,” “The Hare’s Foot.”

 

COIS ABHANN. AKA and see "Beside the River."

 

COIS ABHANN I nDÉ.  See note for “Is Your Wallet Made of Silk?”

 

COIS AIMHNE NA LEAMHNA. AKA and see "Beside the River Laune."

 

COIS AN GHIORRIA (The Hare’s Foot). AKA and see “The Hare’s Paw [1],” “The Hare’s Foot.”

 

COIS CÉIMEANNA.  AKA and see “Washington Hornpipe.”

 

COIS LEASA AGUS ME GO h-UAIGNEAC [1]. Irish, Air (4/4 time). D Major. Standard tuning. AAB. Roche Collection, 1982; vol. 1, pg. 8, No. 6.

 

COIS LEASA [2] (Beside a Rath). AKA and see "Beside a Rath."

 


COIS NA BRIGHDE, SEAL DO BHIOSSA, GO SUGACH SAMH. AKA and see “The Bog-Deal Board,” "The Soft Deal Board."

 

COIS TAOIBH A CHUINN. AKA and see "Beside the Harbour."

 

COIS TINN, AN. See "An Chois Tinn."

 

CÓISTE FOSTAITHE MHIC SHIACAIS. AKA and see “Jackson’s Post-Chaise.”

 

COKET SIDE. AKA and see "Coquetside." English, Reel. English, Northumberland. G Major. Standard tuning. AABB. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 30.

 

COKEY HORNPIPE.  English, Hornpipe. G Major. Standard tuning. AABB. From South Tawton, Devon, melodeon player Bob Cann (1916-1990), who came from a large family of musicians and step dancers. In particular, he learned many of his tunes from his musician uncles, George, Bob and Jim. Bob Cann himself was a step dancer, and also played for stepdancing, both recreation and competition. In 1989 he was awarded the British Empire Medal for his services to local and national folk music. The “Cokey Hornpipe” was apparently named after a local man named Crocker, notes Barry Callaghan (2007), and is a step-dance tune. Callaghan (Hardcore English), 2007; pg. 15. Fellside Records FECD192, Spiers & Boden – “Tunes” (2005). Veteran VT138CD, Bob Cann – “Proper Job!: Melodeon playing from Dartmoor recorded 1952-1988.”

 

COL McBAIN (An Ardtaoiseac Mic Baeitine). Irish, Reel. E Minor. Standard tuning. AB. See “Colonel McBain.” O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1403, pg. 261.

X:1

T:Col McBain

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1403

Z:AK/Fiddler’s Companion

K:Emin

EF | GBEF GEBE | FADE FDAD | GBEF GEBE | FADF E2 EF |

GBEF GEBE |FADE FDAD | G2 GF GBdB | AFDF E2 || EF |

G2 GF GBdB | ABAG FAAF | Eee^d  e2 ef | gefd Beef |

gfge dedB | ABAG FGAF | Beed BcdB | AFDF E2 ||

 

COLAMÓ(I)R SÚGACH, AN. Irish, Reel. A Minor ('A' part), D Minor ('B' part). Standard tuning. AAB. A version of “The Mountain Lark [4],” albeit Breathnach (1963) considers it a poor one. See also "The Connacht Rangers," "O'Connell's Reel [1]," "The Gauger," "Lady O'Brien's Reel," "Father Henebry's Reel." Roche Collection, 1982; vol. III, pg. 24.

 

COLBECK HOUSE. Scottish, Reel. C Major. Standard tuning. AA'B. The tune appears in Malcolm MacDonald of Dunkeld’s 3rd Collection, a volume dedicated to Miss Drummond of Perth. MacDonald (A Third Collection of Strathspey Reels), c. 1792; pg. 10. Stewart-Robertson (The Athole Collection), 1884; pg. 154.

X:1

T:Colbeck House

M:C|

L:1/8

R:Reel

B:MacDonald – 3rd Collection of Strathspey Reels (c. 1792)

Z:AK/Fiddler’s Companion

K:C

G/F/ | EFGF EGcG | EFGE FDDF|1 EFGF EGcG | G,B,DF ECCF :|2

EFGE FAdf | ecGB cCC || (e/f/) | gece gage | fdec Bd de/f/ | gece gage |

fdec Gc ce/f/ | gece gage | fdec Bddf | egGE F>dFD | Bcdf ecc ||

 

COLBERTH'S HORNPIPE. AKA and see “Angus MacEachern’s.” American, Hornpipe. G Major. Standard tuning. AABB. The melody appears earliest in print in George Saunders’ tutor New and Scientific Self-Instructing School for the Violin (Providence, R.I., 1847, No. 21, pg. 55; republished by Oliver Ditson in the 1850’s). Saunders, who claimed to be a “Professor of Music and Dancing,” put his initials next to the tune, indicating he was the composer. Seattle fiddler, researcher and publisher Vivian Williams, who reviewed the volume, believes there is no reason to disbelieve Saunders’ claim, as many other melodies in his volume are correctly attributed to their composers. Source for notated version: learned in Boston, MA, by Jerry Holland from Angus MacEachern [Cranford/Holland]. Cole (1000 Fiddle Tunes), 1940; pg. 103. Cranford (Jerry Holland: The Second Collection), 2000; No. 211, pg. 78. Ryan’s Mammoth Collection, 1883; pg. 140.

X:1

T:Colberth’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(B/c/) | d/g/f/e/ .d(B/c/) | d/g/f/e/ .d(B/c/) | d/B/G/B/ e/d/B/c/ | d/B/G/B/ .A(B/c/) |

d/g/f/e/ .d(B/c/) | d/g/f/e/ .d(B/c/) | d/B/g/d/ e/c/A/F/ | GGG :: (d/c/) |

.B/(G/D/G/) B/G/D/G/ | .B/(G/D/G/) .d(c/B/) | .c(A/F/A/) D/A/F/A/ | D/A/F/A/ .c(B/A/) |

.B/(G/D/G/) B/G/D/G/ | .B/(G/D/G/) .d(c/B/) | A/B/c/e/ d/c/B/A/ | GGG :||

X:2

T:Colberth’s Hornpipe

M:2/4

L:1/8

C:George Saunders

B:George Saunders - New and Scientific Self-Instructing School for the Violin (Providence, R.I., 1847, No. 21)

Z:AK/Fiddler’s Companion

K:G

(B/c/)|d/g/f/e/ {e}(d/B/c/)|d/g/f/e/ {e}(d/B/c/)|d/B/G/B/ e/d/B/c/|d/B/G/B/ {B}A(B/c/)|

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

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

 

COLCANNON (The Skillet Pot). AKA and see “First of May.” Irish, Air. The melody generally conforms to the hornpipe “First of May.” Dara CD 023, The Black Family. LER 3036, Tim Lyons – “The Green Linnet” (1972).  

 

COLCHESTER WAITS. English, Air (3/8 time). B Flat Major. Standard tuning. AB. The air appears in Appolo's Banquet (1669). See note for "Cheshire Waits" for more information. Colshester was the capital of the Celtic Trinovantes under Cunobelin and the first Roman town founded in Britain. Around the year 750 it was the capital of the East Saxons. The castle was occupied by French troops in 1215 supporting the civil war against King John, but was regained by him after a lengthy siege the next year. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 12.

 


COLD AND RAW. AKA ‑ "Cold and Rough." AKA and see "Stingo," "Oil of Barley," “Juice of Barley [1],” "Lull(e) Me Beyond Thee," "The Farmer's Daughter [2]." English, Scottish, Irish; Country Dance and song tune. The air was published by Playford in his Dancing Master (1651) under the title “Stingo, or Oyle of Barley,” and it carried that title through all editions until 1690, when the name is changed to “Cold and Raw.” The Dancing Master kept the latter until the last, 1728, edition. Kidson (Groves) thinks the “Stingo” title may have originated with a ballad called “A Cup of Old Stingo” printed in Merry Drollery Complete. The “Cold and Raw” title comes from D’Urfy and is the beginning of a song called “The Farmer’s Daughter.”

***

As with many popular ballad tunes, many songs were set to it, leading to a variety of titles. In different editions of D’Urfy’s Pills to Purge Melancholy it appears as the aforementioned "The Farmer's Daughter,” a song whose first appearance was in D’Urfy’s Comes Amores (1688). John Gay printed the tune under his song title "If any wench Venus's girdel wears," from The Beggar’s Opera (1729).  Emmerson {1971} claims Gay’s song is a parody of the ‘Scottish’ song "Cold and Raw,” however, Sharp (1907) declines to believe the Beggar’s Opera version is a parody, and points out that Gay was not a musician but rather employed the services of a German, Pepusch, by name, to note down and arrange the airs which Gay sang to him. “It needs but a cursory examination of this opera to see that the airs are anything but faithful transcriptions of genuine peasant-tunes…’Cold and Raw’ is converted to a minor tune with a minor 6th and a sharpened leading tone…” Scottish versions are usually called "Cold and Raw," but it can also be found as “Up in the Morning Early.” Grattan Flood (1906) characteristically (miss-)identifies the melody as an Irish bagpipe tune of the mid‑17th century, though Kidson (1922) and most writers ascribe Anglo‑Scottish origins.

***

The English composer Henry Purcell used the tune as a bass part for a Royal Birthday Ode in 1692. Kidson refers to the "well‑known" anecdote related by Sir John Hawkins who recalled that Queen Mary asked Mrs. Arabella Hunt, in composer Purcell's presence, if she could not sing "Cold and Raw," one of her favorite melodies. This was seen (by Hawkins) as an affront to Purcell and an indication that the Queen was tired of Purcell’s compositions. His response was to use the tune in her next, 1692, birthday ode.

***

One of the "lost tunes" from William Vickers 1780 Northumbrian dance tune manuscript is called "Cauld and Raw the Wind Doth Blaw," and is presumably this tune (see note for “Up in the Morning Early”). Raven (English Country Dance Tunes), 1984; pg. 50 ("Cold and Raw"), pg 37 ("Stingo"). Flying Fish FF‑407, Robin Williamson ‑ "Winter's Turning" (1986).

 

COLD AND ROUGH. AKA and see "Cold and Raw."

 

COLD AND ROUGH THE NORTH WIND BLOWS.  Irish, Air (6/8 time). E Minor. Standard tuning. AB. P.W. Joyce (Ancient Irish Music, 1873) notes: “The song to this air is common I believe to England, Ireland and Scotland. It has been long known in the south of Ireland, and is still printed as a street ballad. The English version originated with Tom D’Urfey, a well known song writer, who died in the beginning of the last century. The old version of the Irish song differs a good deal from it; and may be questioned which is the original. Both are however low in point of literary merit as well as of morality; and they are not worth disputing about. The air to which the song is sung in England is also claimed by Scotland; and it is published both in Chappell’s Popular Music of the Olden Time, and in Wood’s Songs of Scotland.  But the Irish air, which I think very graceful and beautiful, is entirely different; so that we may claim undisputed possession of it. I give it here as I learned it long ago, with one verse of the song. In the last line I have thought it better to substitute the words in italics for those in the original.”

***

Cold and rough the north wind blows,

Black in the morning early,

When all the fields were cover’d with snow,

And winter came in severly.

***

As I was riding out one day,

I met a farmer’s daughter,

With cherry cheeks, and smiles most sweet,

(By sweet Glangarriff’s) water.

***

Joyce (Ancient Irish Music), 1873; No. 55, pg. 56.

X:1

T:Cold and Rough the North Wind Blows

M:6/8

L:1/8

R:Air

S:Joyce – Ancient Irish Music (1873)

Z:AK/Fiddler’s Companion

K:Emin

A|B2B A2B|G2E D3|E2E D^CD|E3 G2A|B2B A2B|G2E D3|E2E D^CD|E3 E2||

B,|E2F G2A|B2A G2A|B2e efd|e3 B2d|e2B A2B|G2E D3|E2E D^CD|E3E2||

 

COLD FROSTY MORNING [1]. AKA and see "Frosty Morning [1].” The title “Cold Frosty Morning” is sometimes mistakenly employed for Henry Reed’s “Frosty Morning,” set in A dorian.

 

COLD FROSTY MORNING [2], A. AKA and see “I am asleep and don’t waken me [2],” “Past one o’clock.” Scottish, Slow Air or Waltz (3/4 time). F Major. Standard tuning. AAB. Carlin (The Gow Collection), 1986; No. 588. Gow (Complete Repository), Part 2, 1802; pg. 4.

X:1

T:A Cold Frosty Morning [2]

M:3/4

L:1/8

R:Air

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:F

C2|C>D F2F2|~F4 F2|(GA)(BA)(GF)|{E}D4 C2|~C>D F2~F2|AB c2f2|{A}G3 FGA|F4:|

cd|~_e3 gfe|{e}d4c2|c2d2 fg|(f2d2) c>d|(_ed)(eg)(fe)|d4 (d=e/f/)|c>dcA (GA)|

(F2D2) C2|(_ed)egfe|(dc)(Ac)(df)|~c>d cAGA|(F2D2)C2|C>D F2~F2|A>Bc2f2|F2 FGA|F4||

 

COLD FROSTY MORNING [3]. Old‑Time, Quadrille (6/8 time). D Major. ADae tuning. AABBBA. The source for the tune, Stephen B. Tucker of Lauderdale County, Mississippi, began playing the fiddle in the late 1860's and was recorded for the Library of Congress in 1939 by Herbert Halpert. The 6/8 jig rhythm is relatively rare in Southern old‑time playing. Mississippi Department of Archives and History AH‑002, Stephen B. Tucker ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985).

 

COLD FROSTY MORNING [4].  AKA and see “Frosty Morning [2].” Old-Time, Breakdown. USA, West Virginia. A Major. Standard tuning. AB. From the playing of Braxton County, West Virginia, fiddler Melvin Wine. Recorded sources: Poplar LPU 40390, Melvin Wine – “Cold Frosty Morning” (1976). Recorded version: http://www.aca-dla.org/cgi-bin/viewer.exe?CISOROOT=/Berea&CISOPTR=726&CISORESTMP=/site-templates/search_results.html&CISOVIEWTMP=/site-templates/item_viewer.html&CISOGRID=thumbnail,A,1;title,A,1;subjec,A,0;descri,200,0;publis,A,0;20&CISOBIB=title,A,1,N;subjec,A,0,N;descri,K,0,N;0,A,0,N;0,A,0,N;10&CISOTHUMB=2,5&CISOTITLE=10&CISOMODE=bib

 

COLD ICY FLOOR. AKA and see “Goodbye Annie Belle.”

                       

COLD SPRINGS BREAKDOWN. Canadian, Breakdown. C Major ('A' part) & G Major ('B' part). Standard tuning. AA'BB. Composed by Canadian fiddler Bill Guest. Bohrer (Vic Kibler), 1992; No. 26, pg. 26.

                       

COLD WINDS FROM BEN WYVISS. AKA‑ "Highlander's Jig," "Forest and Glen" “Graham’s Brook.” Canadian, Jig. Canada, Cape Breton. A Mixolydian (D). Standard tuning. AABB. Sandy MacIntyre (Dunlay and Reich). Appears in Kerr’s Third as "Highlander's Jig" and as a four part pipe march entitled "Cold Winds From Ben Wyviss" in Queen’s Own Highlanders. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 70. SLMC‑1001, Sandy MacIntyre‑ "Cape Breton...My Land in Music." Celtic CX 20, The Five MacDonald Fiddlers‑ "Scottish Reels..." (appears as "Forest and Glen"). IMS‑WRCI‑759, Winnie Chafe‑ "Cape Breton Scottish Memories."


                       

COLD WINTER NIGHT. Old-Time, Breakdown. E Minor. Standard tuning. AA’BB’CC. Source for notated version: Carthy Sisco [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 25.

                       

COLDIER’S HORNPIPE. AKA and see “Lurgan Hornpipe.”

                       

COLD'S THE WIND AND WET'S THE RAIN. AKA and see "The Cobbler's Jig."

                       

COLDSTREAM MARCH, THE. English, March. A British army march of the Revolutionary War period. The Coldstream Guards are the oldest existing regiment in the British army. The sole surviving regiment of Cromwell's army, they are heir to a three hundred year military history. Today detachments of the regiment dress in Victorian costumes and guard the Queen of England. 

                       

COLEBURN, THE. Scottish, Slow Air (4/4 time). B Flat Major. Standard tuning. AA'B. The melody was composed by William Macpherson. The Coleburn or 'hazel'burn is a small stream in Morayshire, states Neil (1991). Neil (The Scots Fiddle), 1991; No. 93, pg. 126.

                       

COLEEN BRIDGE. AKA and see "Cooleen Bridge."

                       

COLEFORD JIG, THE.  English, Hornpipe or reel (4/4 time). D Major. Standard tuning. AABB. Despite the word ‘jig’ in the title (which refers to solo dancing rather than the 6/8 time tune form), the tune (perhaps a hornpipe) is a duple-time vehicle, perhaps used for step dancing in the Forest of Dean, Gloucestershire, mining town of Coleford, not far from the border with Wales. Some similarities to “Honeysuckle Hornpipe.” Source for notated version: fiddler Stephen Baldwin (1873-1955, Forest of Dean, Gloucestershire), recorded in 1954 by Russell Wortley [Callaghan]. Callaghan (Hardcore English), 2007; pg. 32. Burgess & Menteith (The Coleford Jig), 2004. Musical Traditions MTCD334, Stephen Baldwin – “Here’s One You’ll Like, I Think” (2005). 

X:1

T:Coleford Jig, The

M:4/4

L:1/8

R:Hornpipe

K:D

F2 FE DF A2|dAFD E2 E2|DFAc dcdf|edcB AGFE|F2 FF DFAc|

cAFD E2 E2|DFAd cdec|d2d2d2::Acef gfge|defg a2 (3fga|

g2 eg f2df|edcB AGFE|F2 FF DFAc|dAFD E2E2|DFAd cdec|d2d2d2z2:|

 

COLEMAN JIG. Irish, Jig. D major. Standard tuning. ABC. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 43. Ace of Hearts AH 95, "Irish Dance Party."

                       

COLEMAN JIG MEDLEY. Irish, Jig. D Major. Standard tuning. AABBCC. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 40. Ace of Hearts AH 95, "Irish Dance Party."

                       

COLEMAN KILLED HIS WIFE. AKA and see "The Raw Recruit," "The New Rigged Ship [1]," "Old Hickory." Old‑Time, Quadrille (6/8 time). USA, Oklahoma. D Major. Standard or ADae tunings. AABB. Thede: "Coleman Killed His Wife does not show any of the fiddle characteristics of the West; yet I heard a few fiddlers play it. It is played to about metronome marking quarter‑note= 52  in a heavy clog rhythm. Because of its slowness and heaviness it does not fit into dances of the West, and no one remembers the words." Bayard denigrates this variant as a "poor set, monotonous even for this tune," and identifies it as a form of "The Raw Recruit." Source for notated version: Charlie Kennedy (Jackson County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 36.

                       

COLEMAN REEL. See “Coleman’s Reel.”

           

COLEMAN WALTZ.  Old-Time, Waltz. USA, Missouri. F Major. Standard tuning. AB. Source Charlie Pashia named the tune after one Ralph Coleman, a friend who played it (although Pashia had other tunes he called “Coleman Waltzes” as well, presumably from the same source). Source for notated version: Charlie Pashia (1909-1994, Old Mines, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 107.

           

COLEMAN'S CROSS [1] (Crosbhóthar an Cholmánaigh). Irish, Reel. Ireland, County Sligo. E Minor. Standard tuning. AB (Black): ABB (Breathnach, Brody). Coleman’s Crossroads was a favorite spot for a crossroads dance in County Sligo, Ireland. Mary O’Beirne emigrated from Killavil, County Sligo, in 1930 and married the famous New York fiddler James “Lad” O’Beirne, also originally from Killavil. She remembered:

***

We danced a lot in Ireland. There was always house parties and we’d

get up and do the four-hand reel…On a Sunday evening, everybody

knew that there was always music at the Coleman’s Crossroads. So

people would come from Gorteen, Bunninadden, Tubbercurry, all

the townlands. And boys and girls would ride the bicycles and just

stop there and the next thing you know, there’d be music right at

the Crossroads.  (excerpted from Rebecca Miller, “Irish Traditional and Popular Music

in New York City,” The New York Irish, 1996, ed. by Bayor & Meagher).

***

Source for notated versions: fiddler Kathleen Collins (Ireland) [Black, Breathnach, Brody]. Black (Music’s the Very Best Thing), 1996; No. 11, pg. 6. Breathnach (CRÉ III), 1985; No. 205, pg. 91. Brody (Fiddler’s Fakebook), 1983; pg. 70. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007). Folkways FW 8876, Kevin Burke‑ "Sweeney's Dream." Shanachie 29002, "Kathleen Collins" (1976). WS 031703, Wendy MacIsaac – “Timeline” (2003).

X:1

T: Coleman's Cross

S: Kathleen Collins

Z: transcribed by B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Edor

edBA GFGE | DEGB AE E2 | GEDB, DEGA | BABd efgf |

edBA GFGE | DEGB AE E2 | GEDB, DEGA | Bdgf e2 ef ||

g2 gf gfed | Bdef edBd | gbaf gfed | Bdgf e2 ef |

g2 ge f2 fd | eafd edBd | dBAF GFGA | BABd efge ||

 


COLEMAN'S CROSS [2]. AKA and see “Éilís ní Bhrógaín,” “Killavil Fancy,” “The Killavil Reel [2],” “The Ten Pound Float.”  Irish, Reel.

 

COLEMAN'S CROSS [3]. Irish, Polka. D Major. Standard tuning. AABB. Carlin (Master Collection), 1984; pg. 152, No. 268.

 

COLEMAN'S CROSS [4]. AKA and see “Champion [2],” “John Kimmel’s Jig,” “Kimmel’s (Jig) [2],” “Smash.” Irish, Jig. This is a variant of the last two parts of a four-part piece known as “The Champion.” It was recorded by The Flanagan Brothers in 1929 on 78 RPM under the title “The Smash.” Source for notated version: Sligo/New York fiddler Michael Coleman [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, Vol. 3, No. 54. Mulligan LUN 002, The Bothy Band‑ "The Bothy Band '75."

                       

COLEMAN'S FANCY. AKA and see  "An Bearrchaile sa gCrann Silini," "The Curragh Races [1]," "The Hare in the Corn [7]," "The Humors of (Old) Knockaney," "The Maid in the Cherry Tree [3]," “Mick Flaherty’s.” Irish, Reel.

                       

COLEMAN’S FAVOURITE. AKA and see “Buttermilk Mary [3],” "Clancy's Jig," “Fond of the Ladies,” “Frolicksome Dame,” “Health to the Ladies,” "The Irish Miller," “Irishman’s Heart to the Ladies,” “Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road,” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s,” “Over the Callows,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” "Saddle the Pony" (Roche), “Sweet Biddy Daly,” “To the Ladies.”

              

COLEMAN’S JIG [1]. See “Willie Coleman’s Jig.”

              

COLEMAN’S (JIG) [2]. AKA and see “Dennis Murphy’s Slide,” “Padraig O’Keeffe’s Slide,” “The Weaver’s.” Irish, Slide. D Major. Standard tuning. AABB'. Noted as a 6/8 jig by Miller & Perron, although it is a slide in 12/8 time. Source for notated version: Seán Ryan, “Cliffs of Moher” recording (date unk.) [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 40. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 18. Claddagh CC14, The Chieftains – “Chieftains 4” (1973). Outlet SOLP 1012, Seán Ryan.

 

COLEMAN’S (JIG) [3]. AKA – “Coleman’s Favourite.” AKA and see “Buttermilk Mary.” Irish, Jig. D Major. Standard tuning. AABB. The melody was recorded in the early 1920's in America by the Flanagan Brothers. Gael-Linn CEF176, Jackie Daly - “Many’s a Wild Night” (learned from manuscripts of tunes written down by Pádraig O'Keeffe for his pupil, Paddy O'Connell of Cordal, Castleisland).

X:1

T:Coleman's

T:Buttermilk Mary

D:Jackie Daly, "Many's a Wild Night", track 9(a)

M:6/8

L:1/8

R:jig

Z:transcribed by Paul de Grae

K:D

e | "Bm" fdB BAF | "D" def afd | "G" gbg "D" fag | "Em" fed "A" ede |

"Bm" fdB BAF | "D" def afd | "G" gbg "D" fag | "A" fdc "D" d2 :||: B |

"D" Add "G" dcB | "D" AFD DFA | "Em" Bee e2 d | "A" cAA ABc |

"Bm" dfd "A" cec | "G" B/c/dB "D" ABc | "G" dAF "A" EDE | "D" FDD D2 :||

***

Bm / | D / | G D | Em A | Bm / | D / | G D | A D :||

D G (optional) | D / | Em / | A / | Bm (or D) A | G D | G A | D / :||

                       

COLEMAN’S JIG [4]. See “Tar Road to Sligo.”

 


COLEMAN'S MARCH [1]. AKA - "Joe Coleman's March." AKA and see “Coal Creek March.” Old-Time, March (cut time). USA, south-central Kentucky. D Major. DDad tuning. AA'BB. D. K. Wilgus, in his article "The Hanged Fiddler Legend in Anglo-American Tradition," has extensively researched this tune and legend, a variant of the hanged-fiddler legend of "MacPherson's Farewell." Joe Coleman, a shoemaker, was accused of stabbing his wife to death near the town of Slate Fork, Adair County, Kentucky, as recorded in the Burkesville Herald Almanac for 1899. Convicted on circumstantial evidence and the testimony of his sister-in-law who was living with them at the time, Coleman was tried in nearby Cumberland County and sentenced to death. While being driven to the place of execution in a two-wheeled ox cart, Coleman sat on his coffin and played a tune that has come down as "Coleman's March." Coleman protested his innocence to the last, and there several stories exist of a man confessing, or of "an old lady confessing on her death-bed she had killed Coleman's wife." One account (in the Burkesville Almanac) gives that Coleman's relatives quickly recovered the body, somehow managed to revive him and put him on a steamboat down the Cumberland River to Nashville, from which point he disappeared into the West. Also attached to the tune is the legend that before Coleman was hanged he offered his fiddle to anyone who could play the tune as well as he, and at least one source identified a Kentucky fiddler named Franz Prewitt as the recipient. Prewitt's descendants remembered him as having been indeed a fine fiddler, although they did not remember any tales connected with his receiving a fiddle. Bruce Greene introduced the tune to old-time “revival” fiddlers in the 1970’s, according to Seattle old-time music expert Kerry Blech who gives that Greene had the tune from an old Kentucky fiddler by the name of Gene Conner, who was recorded in January 1962 in Bowling Green, KY, probably by Lynwood Montell and Wilgus. Connor and played the tune in standard tuning, although Greene and Vermont fiddler Pete Sutherland play it in cross tuning (DDad). Sutherland’s version has been particularly influential in popularizing the tune in modern times. Greene told Blech the tune was played both ways in western Kentucky. “Coal Creek March” is a related tune. Source for notated version: poularized by Pete Sutherland (Vt.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 32. BGR 1003, Don Pedi – “Mountain Magic: Fiddle Favorites for (Mountain) Dulcimer” (1990). Mary Custy & Eoin O'Neill - "With a lot of help from their friends." Marimac 9031, Pete Sutherland – “Eight Miles from Town.”

X:1

T:Coleman's March

C:Trad (American Old‑Time)

D:Cape Cod Fiddlers, Uncle Gizmo, et. al.

R:March

M:4/4

L:1/4

Q:80

Z:Michael Anthony

K:D

A/B/ A/G/ | F2 F E/2F/2 | G>F E/F/ G | A A/B/ A/G/ F/D/ | E>F E F/G/ |

A d c d | B/c/ B/A/ F/E/ D/F/ | E E/F/ G/F/ E | D2 :|

|:D/F/ (3A/B/c/ | d2 d2 | c>d c/B/ A | B B/c/ d/c/ B| A>B A/G/ F/G/ |

A d c d | B/c/ B/A/ F/E/ D/F/ | E E/F/ G/F/ E | D2 :|

X:2

T:Coleman’s March

M:C

L:1/8

R:March

S:Grey Larson

N:ABC’s from a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:D

DEFA || d4 d4 | (c2 c)d cBAc | (B2 B)c dc B2 | (A4 A)GFG | (AB) d2 (c2 c)A |

BcBA FED | (E2 D)F GF “tr”E2 |1 D2 DE DEFA :|2 D2 DF ABAG ||

|: F4 F4 | G4 G4 | (A2 A)B AFDF | (E4 E2) FG | AB d2 (c2 c)A |

BcBA FE D2 | (E2 E)F GF “tr”E2 |1 D2 DF ABAG :|2 D8 ||

 

COLEMAN'S MARCH [2]. AKA and see "The Bonnie Blue Flag," "The Jaunting Car." Old-Time, March (6/8 time). USA, Kentucky. The melody was played by fiddler Pat Kingery (1912-1976), born in Glasgow, Warren County, Kentucky, a remote region, and was also in the repertoire of Sammy Walker; it was recorded by Red Belcher (on Page Records, c. 1947). D.K. Wilgus and Jim Nelson state it was pretty a common fiddle tune in Warren, Metcalfe, and Monroe Counties in south-central Kentucky. The melody is cognate with the Confederate anthem “The Bonny Blue Flag,” especially as played by Hoyt Ming (see Homestead 103, “New Hot Times”). Wilgus stated that “Bonny Blue Flag” was derived from an Irish song in 6/8 time called “The Jaunting Car,” but many fail to see the connection. The original linking of “Jaunting Car” and “Bonnie Blue Flag” may have come from Sigmund Spaeth’s History of Popular Music in America.

                       

COLEMAN’S REEL [1]. AKA and see “The Drunken Police Car.” Irish, Reel. A Dorian. Standard tuning. AB. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 46 (appears as “Coleman Reel”). Intrepid Records "Heyday of Michael Coleman."

 

COLEMAN’S (REEL) [2]. AKA and see “The Ashplant [2],” “Denis Murphy’s FavouriteJim Kelly’s [2],” “Maguire’s (Reel).” Irish, Reel. D Major. Standard tuning. AA’BB’. Source for notated version: set dance music recorded at Na Píobairí Uilleann, in the 1980’s [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 15.

 

COLEMAN’S REEL [3]. See “Jackie Coleman’s Reel.”

                       

COLEMAN’S (SLIP JIG) [1]. AKA and see “The Promenade.” Irish, Slip Jig. Source for notated version: Sligo/New York fiddler Michael Coleman [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 77.

 

COLEMAN’S (SLIP JIG) [2]. AKA and see “Comb Your Hair and Curl It.” Irish, Slip Jig. Source for notated version: Sligo/New York fiddler Michael Coleman [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 78. “The Chieftains 1.”

                       


COLERAINE. Irish, Double Jig. A Minor (Brody, Kerr, Miller & Perron, Reiner, Spandaro, Sweet, Tolman): B Minor (Sullivan). Standard tuning. AABB. Coleraine is a town in northern Ireland. The tune has long been a staple of New England contra dances, popularized by hammered dulcimer player Bill Spence and his band Fennig’s All Stars. The earliest printing appears to be in Kerr’s Merry Meodies (c. 1886), where it is included in a section of Irish jigs, but this seems to be the only suggestion of an Irish provenance for the melody. In fact, the tune does not appear in Irish printed repertoire prior to Tony Sullivan’s (c. 1970’s?) volume, printed in England. North American sources (Tolman, Sweet) predate this, and it seems likely the melody was picked up in that region from Kerr’s, popularized there, and returned to Britain (Sullivan). It is said that “Coleraine” bears some resemblance to a theme from a Mozart horn concerto, although I have not been able to corroborate nor find more information. The pairing may have stemmed from one of the Chieftains pairings of a small orchestra playing Mozart with Irish trad. Selections (“Planxty Mozart”).  Source for notated version: Fennig’s All Stars (New York) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 70‑71. Jarman (Old Time Fiddlin' Tunes), No. or pg. 19. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 9. Kerr (Merry Melodies), vol. 4, c. 1880’s; No. 234, pg. 26. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 15. Reiner, 1977; pg. 48. Sannella, Balance and Swing (CDSS). Spandaro (10 Cents a Dance), 1980; pg. 45. Sullivan (Session Tunes), vol. 2; No. 25, pg. 10. Sweet (Fifer’s Delight), 1964/1981; pg. 29. Tolman (Nelson Music Collection), 1969; pg. 5. F&W Records 3, "Canterbury Country Dance Orchestra." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Revonah RS‑924, "The West Orrtanna String Band" (1976. Learned from Fennig's All Stars' recording). Smithsonian Folkways SFW CD 40126, Rodney Miller  – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Coleraine

M:6/8

L:1/8

Z:transcribed by Jürgen Gier

R:jig

K:ADor

E|EAA ABc|Bee e2d|cBA ABc|B^GE E2D|\

EAA ABc|Bee e2d|cBA B^GE|ABA A2:|

|:B|~c3 cdc|Bdg g2^g|aed cBA|^GBG EFG|\

~A3 BAB|cde =fed|cBA B^GE|ABA A2:|

 

COLHER’S REEL. Irish, Reel. D Mixolydian. Standard tuning. AAB. Kerr (Merry Melodies), vol. 4; No. 159, pg. 19.

X:1

T:Colher’s Reel

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 159  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(DE)FG A4 | GE=cE GEcE | DEFG ABAG | EG=cE (ED) D2 :|

|| d2 (dA) dfed | =cdef g2 (ge) | dA A/A/A (df)ed | cAGE (E2{F/E/})D2 |

Addc dfed | =cdef g2 (fg) | afge dfed | cAGE (E2{F/E/})D2 ||

 

COLINDA. Cajun, Two‑Step (?). USA, Louisiana. C Major. Standard tuning. AA'. Greenblatt (The Cajun Fiddle Tune Book), 1985; pg. 31.

 

COLIN CAMPBELL. Scottish, Strathspey. G Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 111, pg. 14.

X:1

T:Colin Campbell

M:C|

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 111  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

e | d<B B>e d<B B>e | d<B B>d (e2 e>)g | d<B B>e d>B B>c | d>e d<B (A2 A) :|

|: d | d>eg>a b<g e<g | d>eg>a b2 a>g | d>eg>a b<g e<g |1 d<B B>G (A2 A) :|2 d<B A>B (G2G)||

 

COLIN MACINTOSH. Canadian, Reel. Canada, Cape Breton. C Minor. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 19.

 

COLIN'S CATTLE. AKA and see "Crodh Chailein."

 

COLIN'S COMPLAINT. AKA and see "Grim king of the ghosts."

 

COLISEUM HORNPIPE. AKA and see “Colosseum,” “Once Upon My Cheek,” "The Pet of the House.”

 

COLLAR GREEN. Scottish, Reel. G Mixolydian. Standard tuning. AAB. Composed by William Marshall (1748-1833). Collargreen was a farm near Easter Elchies House in the Spey Valley, finds Moyra Cowie (The Life and Times of William Marshall, 1999). Marshall, Fiddlecase Editon, 1978; 1822 Collection, pg. 42. Stewart-Robertson (The Athole Collection), 1884; pg. 194.

X:1

T:Collar Green

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Gmin

c|BG B/c/d B2 GB|=FcAc =fcfa|gd g/a/b g2 dc|Bdef gdgb:|

B/c/d Gd BdGd|A=FAc =fcfa|B/c/d Gd BdGd|Bdef gdgb|

B/c/d Gd BdGd|A=FAc =fcfa|ba/g/ ag/f/ ~g2 dc|Bdef gdgb||

 

COLLAR REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (1734), in the possession of the Earl of Ancaster, Drummond Castle. The MS is inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."

 

COLLEEN BHEAG MACHREE. AKA and see "Little Girl of My Heart."

 

COLLEEN DHAS. AKA and see "The Pretty Girl." Neither "Colleen Dhas Rue" nor "Colleen Rue."

 


COLLEEN DHAS DHONN/DHOUN. AKA and see "The Pretty Brown Girl" (An Cailin Deas Donn). Irish, Double Jig.

 

COLLEEN DHAS DUN. AKA and see "The Pretty Brown Girl [2]" (An Cailin Deas Donn). Irish, Double Jig.

 

COLLEEN DHAS RUE. AKA and see "The Pretty Red Girl." Appears to be a different air than "Colleen Rue" in O'Neill.

 

COLLEEN I'M COURTING JUST NOW, THE. AKA and see "There's a Hole in My Coat." Irish, Air (6/8 time). G Major. Standard. AB. See note for “The Enniskillen Dragoon(s) [1]” for brief discussion of the structure of this tune and partial list of others in this class. O'Neill (O’Neill’s Irish Music), 1915; No. 2, pg. 11.

X:1

T:Colleen I’m Courting Just Now, The

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

D/E/ | GAB d>ed | Bde A2 G/A/ | Bde dB>A | (G3G2)B/c/ | dga bag | Bde d2 g/f/ |

edc BAG | (E3E2) || G/A/ | Bde deg/a/ | bag d2g/f/ | edB AGB/G/ | (E3E2) D/E/ |

GAB ded | Bde A2 G/A/ | Bde dBA | (G3G2) ||

 

COLLEEN RUE [1]. AKA and see "As I Roved Out on a Summer's Morning," "I'd Roam Through Asia," "Kind Sir, Be 'Aisy,'" "Red‑Haired Maiden," "Sails Were Unfurled." Irish, Air (3/4 time). D Major. Standard. AB. Francis O’Neill remembered the tune from his Bantry, west Cork, boyhood being sung by his parents. O'Neill (O’Neill’s Irish Music), 1915; No. 21, pg. 20.

X:1

T:Colleen Rue [1]

M:3/4

L:1/8

R:Air

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:D

A/G/ FE | D2 FG AB/c/ | d2 ed/c/ AG | F2 DE DB, | =C2 zA/G/ FE | D2 FG AB/c/ |

d2 ed/c/ AG | F2 DE DD | D3 || F/G/ AA | f2 de dc | d2 ed/c/ AG | F2 DE DB, |

=C2 zA/G/ FE | D2 FG AB/c/ | d2 ed/c/ AG | F2 DE DD | D3 ||

 

COLLEEN RUE [2]. Irish, Air (3/4 time). D Mixolydian. Standard tuning. AB. A variant of version #1. "The air of this was published by Dr. Petrie in his Ancient Music of Ireland" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 394, pg. 202 (with lyrics).

 

COLLEEN RUE [3] (An Cailin Ruadh). AKA and see "The Red‑Haired Girl."

 

COLLEGE GREEN. American? Jig. G Major. Standard tuning. AAB. Hardings All Round Collection, 1905; No. 40, pg. 12.

X:1

T:College Green

M:6/8

L:1/8

R:Jig

S:Harding’s All Round Collection (1905)

Z:AK/Fiddler’s Companion

K:G

B/c/|dgd BGB|dgd BGB|gfe dcB|cAA A2 (B/c/)|dgd BGB|

dgd BGB|efg ABc|BGG G2::d|g2g a2a|bag gfe|gfe dcB|

cAA A2d|gfg aga|bag fed|efg ABc|BGG G2||

 

COLLEGE GROVE(S), THE {“Doire An Colaiste” or “Garrán an Choláiste”}. AKA and see “An Cailín Fionn” (The Fairhaired Girl), “The Connacht Reel [1],” “The Green Jacket,” "The Millstone [1]," “The Milestone,” "The New Demense [1],” “The New Domain,” “The Old Locks and Quays of Galway,” “Whiskey in the Jar/Jug." Irish, Reel. D Major (Brody, O'Neill/1001): D Mixolydian (Miller & O'Neill/Krassen). Standard tuning. ABCD (Miller & Perron/2006, O'Neill/1001): AABBCCDD (Brody): AABB'CC'D (Miller & Perron/1977). See also the related “Miss Corbett(‘s Reel)” and “The Green Jacket.” The melody was recorded by County Sligo fiddler James Morrison in New York in the 1930’s. Paul Cranford says the tune is a favorite of Northside (Cape Breton) fiddler Bobby Stubbert. Sources for notated versions: Kevin Burke (Portland, Oregon) [Brody]; Chicago police Patrolman, flute player and piper James Ennis, father of Tom Ennis (Chicago) [O’Neill]; fiddler Patrick Kelly (Cree, County Clare) [Breathnach]; a 1971 recording by the group Na Filí [Miller & Perron]. Breathnach (CRÉ II), 1976; No. 265, pg. 137. Brody (Fiddler’s Fakebook), 1983; pg. 71. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 9. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 56. O'Neill (Krassen), 1976; pg. 97. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 485, pg. 93. Bellbridge Records, Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded 1959). Folkways FW 8876, Kevin Burke‑ "Sweeney's Dream." Green Linnet 1009, Eileen Ivers and Mick Moloney‑ "Irish Music: The Living Tradition." Green Linnet GLCD 3009/Mulligan LUN 021, Kevin Burke‑ "If the Cap Fits" (1978). Andy McGann and Paul Brady‑ "Its a Hard Road to Travel" (appears as "The Millstone"). Outlet SOLP 1010, "Farewell to Connacht." Rounder CD 1161-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:College Grove, The

L:1/8

M:C|

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 485

Z:AK/Fiddler’s Companion

K:D

D2 (3FED AD (3FED|Ec (3cBc edcA|D2 (3FED Eddc|ABGF EDCE|

D2 (3FED AD (3FED|Ec (3cBc edcA|DEFG Addc ABGE ED D2||

fedc Acdf|edcd efge|fedc dcdf|eaag ed d2|(3fgf df (3fgf df|(3efe ce (3efe ce|

dfeg fagb|afge fd d2||faag fddf|efgf eccg|faag fddB|cAGE ED D2|

faag fddf|efgf ecce|dfeg fagb|afge fd d2||(3fgf df (3fgf df|(3efe ce (3efe ce|

(3fgf df (3fgf dB|cAGE ED D2|(3fgf df dfdf|(3efe ce cece|dfeg fagb|afge fd d2||

X:2

T:College Groves, The

R:reel

S:Jack Coen

Z:Tracy Kingsley

M:C|

L:1/8

K:D

D2 FD ADFD|E2 BE dEBF|D2 FA dfed|(3cBA GE EDCE|

D2 FD ADFD|E2 BE dEAF|D2 FA dfed|(3cBA GE ED D2||

fd (3dcd faaf|eA~A2 efge|fddc dfed|(3cBA GE ED D2|

fd (3dcd faaf|eA~A2 efge|d2 eg fagb|a2 ge fd d2||

faag fd (3Bcd|efgf ed (3Bcd|faag fddc|A2 GE ED D2|

faag fd (3Bcd|efgf edcA|d2 eg fagb|a2 ge fd d2||

ffdf f2 df|e2 ce ed (3Bcd|f2 df f2 dc|A2 GE ED D2|

f2 df dfdf|e2 ce ce (3ABc|d2 eg fagb|a2 ge fd d2||

 


COLLEGE HORNPIPE. AKA and see "Duke William’s Hornpipe," "Jack's the Lad [1]," “Lancashire Hornpipe [1],” “Sailor’s Hornpipe [1].”  English, Scottish, Irish, Canadian, American; Hornpipe. D Major (Ashman, Colclough, Huntington, Mattson & Walz): G Major (Johnson, Perlman): C Major (Harding, Howe, Raven): B Flat Major (Athole, Burchenal, Cole, Cranford, Emmerson, Honeyman, Howe, Hunter, Kerr, McGlashan, Skinner, Vickers). Standard tuning. AABB (most versions): AA’BB’ (Cranford). A country dance and tune which was extremely popular both in England and in America. In the latter country it appears, for example, on page 28 of a dance MS of the Pepperell, Massachusetts, maid Nancy Shepley, c. 1766, and in the music manuscript copybook of Henry Livingston, Jr. (as “Colledge Hornpipe,” set for the German flute). Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Carr published in America the tune in Philadelphia publishers Benjamin and Samuel Carr’s Evening Amusement (pg. 15) about August, 1796, and, some one hundred and fifty years later, the tune was still popular for New England dances. Burchenal (1918) printed another contra dance of the same name to the tune, as Howe (c. 1867) did earlier. A variant is familiar to most modern people as the theme to the mid-20th century cartoon “Popeye the Sailor Man.” See also note for “Sailor’s Hornpipe.”

***

In England, Chappell's editor concludes that it cannot date from earlier than the second half of the 18th century, and Chappell himself believes that the tune was an old sailor's song called "Jack’s the Lad." The melody has become associated with the nautical hornpipe type of dance which became popular solo step‑dance on the stage at the end of the 18th century, and, in fact, it is popularly known as "The Sailor's Hornpipe" today. One of the earliest printings of the tune appears in a volume entitled Compleat Tutor for the German Flute, published by Jonathan Fentum, London, c. 1766, the same year as Nancy Shepley's American dance MS. Another early British printing appears (as “Colledge Hornpipe”) in Thompson's Compleat Collection of 120 Favourite Hornpipes (London, Charles and Samuel Thompson c. 1764‑80.) and the title was entered at Stationers' Hall in 1798 by J. Dale, London, as "The College Hornpipe." William Vickers printed the tune in his Great Northern Tune Book under the title “Old Lancashire Hornpipe,” and the tune is contained in the 19th century Joseph Kershaw Manuscript (appears twice, as “Duke William’s Hornpipe” and “Collidge Hornpipe”). Kershaw was a fiddle player who lived in the remote area of Slackcote, Saddleworth, North West England, who compiled his manuscript from 1820 onwards, according to Jamie Knowles. Ken Perlman (1996) dates the tune to the 17th century or earlier and states that it was used by Henry Purcell (c. 1658-1695) in his opera Dido and Aeneas. Perlman does not cite any substantiating data, nor where he obtained this information, and at present his assumption seems unlikely.

***

There is, or was, an English country dance called College Hornpipe. Some years after novelist (and musician) Thomas Hardy’s book Under the Greenwood Tree was published, a man wrote to Hardy about the country dances that Hardy used as a setting for his characters. Hardy replied (c. 1925):

***

I am interested to hear that you have been attracted by the old English dances, which gave me so much pleasure when I was a boy. The dance I was thinking of in Under the Greenwood Tree must have been The College Hornpipe, as that is the only one I remember beginning with six-hands-round. I am sending you the figure as nearly as I can recall it sixty years after I last danced in it. This and other such figures have been revived on the stage here by 'The Hardy Players' (as they call themselves) since they began making plays out of my stories. Only very old country people remember the dances now. I have many such figures in old music books.

***

The figures Hardy sent are as follows, “as formerly danced in Wessex”:

***

(First strain). Top three couples six hands half-round and back again to places.

(First strain repeated). The same three couples, one hand joined of each, promenade full round to places

(Second strain). Two top couples down the middle and up again, to places.

(Second strain repeated). The three couples whole pousette (both hands joined) leaving second couple at the top. (Tune ends).

(Tune begins again). The original top couple being now in the third place, do the same with the original fourth and fifth couple. (Tune ends, the original top couple being in the original fourth couple's place).

(Tune begins again). At the same time that the original top couple starts the figure again with the original fifth and sixth couples, the original second couple, which has been idle at the top, starts the same figure with the original third and fourth couples standing below them, so that the figure is now going on in two places, and later, if the line is a long one, in as many places as there is room for.

The original top couple at last finds itself breathless at the bottom of the dance; but gradually works up to the top as succeeding couples dance down and take places below.

***

“The College Hornpipe” was mentioned in an account of one of the old pipers of County Louth, a man named Cassidy, as recorded by William Carleton in his Tales and Sketches of the Irish Peasantry, published in 1845. Breathnach (1997) believes the first name of this piper was Dan, and that he was blind. Carleton, born in 1794, was a dancing master who taught in the 1820’s, and was engaged to teach the children of the ‘dreadful’ Mrs. Murphy. It seems that Carleton:

***

having spent several nights at piper Cassidy’s house weighing up the local

dancers …was impelled by vanity to show them how good a dancer he was

himself. He asked one of the handsomest girls out on the floor, and, in

accordance with the usual form, faced her towards the piper, asking her to

name the tune she wished to dance to. Receiving the customary reply, ‘Sir,

your will is my pleasure,’ Carleton called for the jig Polthogue. He next

danced Miss McLeod’s Reel with his partner, and then called for a hornpipe,

a single dance, this is, one done without a partner. It was considered

unladylike for girls to do a hornpipe. The College Hornpipe was his choice

for this dance. (pg. 59)

***

Breathnach, however, adds that the tune piper Cassidey played for Carleton may not have been the one we now associate with the title “College Groves.” It may have been the “Cork Hornpipe” (known usually under the title ‘Harvest Home’), which was the name often used for the ‘ubiquitous piece’ in county Longford. He thinks it more likely, though, that the tune was “Jack’s the Lad” which, around Derrylin in Fermanagh was also known as ‘The College Hornpipe’ (pg. 68).  It is an interesting tie-in with Chappell’s assertion that the tune was originally called “Jack’s the Lad” in England.

***

Sources for notated versions: seven southwestern Pa. fiddlers and fifers [Bayard]; a c. 1837-1840 MS. by Shropshire musician John Moore [Ashman]; Peter Chaisson, Jr. (B. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; Winston Fitzgerald (Cape Breton) [Cranford]; Carr, Evening Amusement (Phila., 1796) [Mattson & Walz]. Ashman (The Ironbridge Hornpipe), 1991; No. 75, pg. 31. Bayard (Dance to the Fiddle), 1981; No. 310A‑G, pgs. 261‑264. Burchenal (American Country Dances, Vol. 1), 1918; pg. 45. Cazden (Jigs, Reels, and Squares), vol. 1, pg. 47. Chappell (Popular Music of the Olden Time), pgs. 740‑741. Colclough (Tutor for the Irish Union Pipes), c. 1830; pg. 15. Cole (1000 Fiddle Tunes), 1940; pg. 87. Cranford (Winston Fitzgerald), 1997; No. 22, pg. 8. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 88, pg. 164. Harding's All‑Round Collection, No. 6. Honeyman, 1898; pg. 51. Howe (Complete Preceptor for the Accordeon), 1843; pg. 12.Howe (Musician's Omnibus) Pg. 45. Howe (1000 Jigs and Reels), c. 1867; pg. 80. Hunter (Fiddle Music of Scotland), 1988; No. 336. Huntington (William Litten's), 1977; pg. 19. Jarman (Old Time Fiddlin' Tunes); No. or pg. 29. Johnson & Luken (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 3. The Joseph Kershaw Manuscript, 1993; No. 54 (appears as “Collidge Hornpipe”). Kerr (Merry Melodies), vol. 1; No. 28, pg. 46. Mattson & Walz (Old Fort Snelling), 1974; pg. 56. McGlashan (A Collection of Scots Measures), c. 1780, pg. 33. Old Time Jigs and Reels, pg. 45. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 65. Raven (English Country Dance Tunes), 1984; pg. 163. Ryan’s Mammoth Collection, 1883; pg. 120. Seattle (William Vickers), 1987, Part 3; No. 439.  Skinner (The Scottish Violinist, with variations). Skinner (Harp and Claymore), 1904; pgs. 136-137. Stewart-Robertson (The Athole Collection), 1884; pg. 299. Sweet (Fifer's Delight); pg. 43. White’s Unique Collection, 1986; No. 96, pg. 17.Old Time Fiddler's Favorite Barn Dance Tunes. Edison 51382 (78 RPM), Jasper Bisbee, 1923. Missouri State Old Time Fiddlers' Association, Cyril Stinnett (1912-1986) - "Plain Old Time Fiddling."

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:College

M:C|

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:Bb

BA|B2 B,2 B,2 FE|DF B2 ~B2 dB|c2 C2 C2 cB|Ac f2 ~f2 ga|bagf gfed|

edcB BAGF|GBAc Bdce|d2 B2 ~B2:|

|:FE|DFBF DFBF|G2 E2 E2 GF|=EGcG EGcG|A2 F2 F2 ed|e2 g2 gfed|

edcB BAGF|GBAc Bdce|d2 B2 B2:|

X:2

T:College Hornpipe, The

M:C|

L:1/8

R:Hornpipe

S:Colclough – Tutor for the Irish Union Pipes (c. 1830)

Z:AK/Fiddler’s Companion

K:D

(3gfe | d2D2D2 (AG) | FAdd d2 (3fed | e2E2E2 (AG) | FAdf a2f | gfga bagf |

gfac dcBA | Bdce dfe{f}g | f2d2d2 :: (AG) | FAdA FAdA | B2G2G2 (ed) |

(cd)(ed) cded | c2A2A2 df | gfga bagf | gfac dcBA | Bdce dfeg | f2d2d2 :|

 

COLLEGE SCHOTTISCHE. AKA and see "Flop-Eared Mule [1]." American, Schottische. G Major ('A' part) & D Major ('B' part). Standard tuning. ABB'. Ford maintains the tune was the source for the old‑time standard "Flop Eared Mule." Ford (Traditional Music in America), 1940; pg. 157.

 

COLLEGIANS' MARCH (Marche des Collegiens). AKA and see "Marche des Forges." French-Canadian, March (2/4 time). B Flat Major (Carlin): C Major (Begin). Standard tuning. AABB' (Carlin): AA'BB'A"A"' (Begin). The tune was recorded under the title "Marche des Forges" by the great French-Canadian accordion player and composer Alfred Montmarquette in the 1920's. Source for notated version: French-Canadian button accordion player Philippe Bruneau (Quebec) [Begin]. Begin (Philippe Bruneau), 1993; No. 7, pg. 15. Carlin (Master Collection), 1984; pg. 62, No. 98.

 

COLLEGIANS OF GLASGOW, THE.  Irish, Reel. See also the related “Green-Gowned Lass.” Breathnach (CRÉ V), 1999; No. 187.

 

COLLENDOON. AKA and see "Cailin dhonn."

 

COLLIER LADDIE.  English, Reel. D Major. Standard tuning. AABB. The melody appears in the 1840 music manuscript of Cumbrian musician John Rook.

X:1

T:Collier Laddie

M:C
L:1/8

S:John Rook manuscript (Cumbria, 1840)

K:D

A/B/c AF fddB|A/B/c AF BGGB|A/B/c AF fddf|fgaf fd d2:|

|:e/f/g ec ecce|e/f/g ec fddf|e/f/g ec e/f/g ec|fgag fd d2:|

 

COLLIER'S BON(N)IE LASSIE, THE. AKA and see "O saw ye bonnie Lesley." Scottish, Air. The tune to which the Scots poet Robert Burns set his lyric "O saw ye bonnie Lesley." See also note for “Seventeen Come Sunday.”

 

COLLIER'S DAUGHTER, THE. AKA and see "The Duke of Rutland's Delight," “The Nine Point Coggie [1].” Scottish; Scotch Measure (cut time), Country Dance Tune and Air (2/2 time) or Strathspey. G Dorian/G Mixolydian. Standard tuning. ABB (Sharp): AABB (Barnes, Glen, Johnson, S. Johnson). A tune from c. 1710 whose second strain, like many song airs of the time turned for the fiddle, is basically a reworking of the first strain in a different octave, with incidental parts combined. Johnson's version is taken from the James Gillespie Manuscript (1768, pg. 38), but also appears in major key versions in the Margaret Sinkler (1710) and Patrick Cuming (1723‑4) manuscripts. Glen (1891) finds it earliest published in the Neil Stewart's 1761 collection (pg. 43), however it appears earliest in print in Playford (compare the abc versions below).

***

Female workers, South Wales.

***

The lot of the collier and his family in the British Isles before the 19th century was dire. Lord Henry Cockburn (1779-1854), writing in his Memorials of His Time (published posthumously in 1856), gives an idea of how desperate were their conditions in Scotland, and how slowly did change occur:

***

…there are few people who now know that so recently as 1799 there were slaves in this

country. Twenty-five years before, that is, in 1775, there must have been thousands of

them; for this was then the conditions of all our colliers and salters. They were literally

slaves. They could not be killed nor directly tortured; but they belonged, like the serfs

of an older time, to their respective works, with which they were sold as a part of the

gearing. With a few very rigid exceptions, the condition of the head of the family was

the condition of the whole house. For though a child, if never entered with the work, was

 free, yet entering was its natural and almost certain destination; for its doing so was

valuable to the father, and its getting into any other employment in the neighbourhood

was resisted by the owner. So that wives, daughters and sons went on from generation

to generation under the system which was the family doom. Of course it was the interest

of a wise master to use them well, as it was to use his other cattle well. But, as usual, the

human animal had the worst of it. It had rights, and could provoke by alluding to

them. It could alarm and mutiny. It could not be slain, but it had no protection against fits

of tyranny or anger. We do not now know much of their exact personal of domestic condition.

But we know what their work makes them, even when they are free, and within the jealous

benevolence of a softer age. We know that they formed a separate and avoided tribe, as to

a great extent they still do, with a language and habits of their own. And we know what

slavery even in its best form is, and does. The completeness of their degradation is disclosed

by one public fact. The statue passed in 1701, which has been extolled as the Scotch Habeas

Corpus Act, proceeds on the preamble that “Our Soverign Lord, considering it is the interest

of all his good subjects that the liberty of their persons be duly secured.” Yet, while introducing

regulations against “wrongous imprisonment, and undue delays in trials,” the statute contains

these words—“And sicklike it is hereby provided and declared that this present act is noways

to be extended to colliers or salters.” That is, being slaves, they had no personal liberty to protect.

***

These facts enable us to understand the hereditary blackguardism, which formed the secondary

nature of these fixed underground gipsies, and the mysterious horror with which they were

regarded, and which, in a certain degree, attaches to all subterranean labours.

***

The first link of their chain was broken in 1775, by the 15th act of George III. It sets out on the

 preamble that “many colliers and salters are in a state of slavery and bondage.” It emancipates

future ones entirely, that is, those who after the 1st of July, 1775, “shall begin to work as colliers

and salters.” But the existing ones were only liberated gradually; those under 21 in 7 years; those

between 21 and 35 in 10 years. The liberation of the father was declared to liberate his family.

And the freed were put under the act 1701. But this measure, though effective in checking new

slavery, was made very nearly useless in its application to the existing slaves by one of its

conditions. Instead of becoming free by mere lapse of time, no slave obtained his liberty unless

he instituted a legal proceeding in the Sheriff Court, and incurred all the cost, delay, and

trouble of a lawsuit; his variable system of masters always having their workmen in debt.

The result was that, in general, the existing slave was only liberated by death.

***

But this last link was broken in June 1799 by the 39th George III, which enacted that from

and after its date “all the colliers in Scotland who were bound colliers at the passing of

the 15th George III shall be free of their servitude.” This annihilated the relic.

***

Those two statutes seem to have been neither the effect nor the cause of any public

excitement. I do not see either of them even mentioned in the Scots Magazine. People

cared nothing about colliers on their own account, and the taste for improving the

lower orders had not then begun to dawn.  (pgs. 70-72)

***

Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Barnes (English Country Dance Tunes), 1986. Cranford (Winston Fitzgerald), 1997; No. 160, pg. 63. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 7. D. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 12, pg. 27. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 43. Sharp (Country Dance Tunes), 1909/1994; pg. 47.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Collier’s Daughter

M:C|

L:1/8

S:Glen Collection, Vol. 1 (1891)

Z:AK/Fiddler’s Companion

K:G

c|(BA/G/) GG G2 D>E|=FGFF A c2 d/c/|BA/G/ GG G2 D2|(g/f/e/f/) gG B d2:|

|:e/f/|(g/f/e/d/) (e/d/c/B/) c2 =f>g|(=f/g/a) F>G A(cc)d/c/|BA/G/ AD BA/G/ AD|

(g/f/e/f/) gG B d2:|

X: 2
T:Collier's Daughter (The Duke of Rutland's Delight)
M:4/4
L:1/8

S:Playford
K:Gm
dc|B2 G2 G2 G2|G4 D4|D2 F4 F2|A2 c4 dc|B2 G2 G2 G2|G4 D4|cBAG cBAG |B2 G :\
ef|gf=ed cded| c4 f4| cBAG FGAB| A4 c4|B2 G2 A2 D2| B2 G2 A2 D2 gef=ef g2 G2 |\
B2 d6:|

 

COLLIER'S JIG, THE. AKA and see “Do You Want Anymore?” Irish, Jig. D Mixolydian/Major. Standard tuning. AABB. A jig-time setting of “The Collier’s Reel,” which appears in O’Neill’s as “Do You Want Anymore?” In the repertoire of Clare accordion player Bobby Gardiner. Miller (Fiddler’s Throne), 2004; No. 24, pg. 27. Green Linnet GLCD1150, “Moving Cloud” (Brock/Donnelly/McGuire/Crawford/Hession). Green Linnet, The Irish Tradition – “The Corner House.” Ossian  OSS-31, Paddy Glackin (with Mick Gavin & Michael O’Brien) – “The Flags of Dublin.”  Shanachie 78015, James Keane – “With Friends Like These” (1998). Spin CD1000, Paul McGrattan & Paul O’Shaughnessy – “Within a Mile of Dublin.” TOPIC TSCD605, “Past Masters of Irish Dance Music :A Collection of Fiddle Music Remastered from Rare 78 RPM Records.”

X:1

T:Collier’s Jig

M:6/8

L:1/8

K:D Mix

FDF A2B | c3 cAG | Ad^c d2e | fdf e^cA | F/E/DF A2B|

cAB cAG|Ad^c AGE|FD^C D2::g|fdg fed|Add ^cde|

~f3 ~g3|age dfg|aba g/g/ge|fed ^cAG|Ad^c AGE|F/E/D^C D2:|

 

COLLIER'S LASS, THE. Scottish, Dance Tune. Published in Henry Playford's 1700 collection of Scottish dance tunes.

 


COLLIER'S (REEL), THE ("Seisd An Gualeoir" or "Cor an Gualadoir"). Irish, Reel. D Mixolydian/Major. Standard tuning. AB (Flaherty, Mitchell, O’Neill): AABB (Sullivan, Taylor): AABB’ (Connolly & Martin): AA’BB’ (Harker/Rafferty). A popular session reel. As with many Irish tunes, various versions have more or less naturalized 'c' notes. The melody was also recorded by the great County Clare/Dublin uilleann piper, pipe maker and teacher Leo Rowsome. Séamus Connolly (2002) suggests the tune may have come from “the coal mining and musical area of Arigna in County Leitrim.” An alternate theory, says Connolly, is that it originated in the Tyneside, northern England, region which, in a similar manner, had mining and musical traditions. As a result of the great famine of 1845, many Irish settled in the Tyne region, joined the labor pool, and contributed their own music to the indigenous English tradition. O’Neill (1913) tells the story of 19th century piper John Morris (also known as Morris Sarsfield) of Clida, Headford, County Galway. It seems that Morris, who spent much time in England, chanced to travel to Wales to ply his art, “and got along swimmingly with the miners until asked to play ‘Collier’s Reel.’” Unfortunately, poor Morris could not call the tune to mind, if he knew it, and the miners, incensed that a musician would have the temerity to play before them and not know the melody called after their trade, chased him out of town for the deficiency in his repertoire.

***

The tune is similar to “Farewell to Connacht” and “John Bowe’s [2],” and is often mistaken for “My Love is in America.” See also the melodically similar 6/8 tunes “Collier’s Jig,” “Do You Want Anymore” and even (but more distantly) “Frieze Breeches.” Lesl Harker (2005) says her source, fluter Mike Rafferty, said his version was “the old way” of playing the tune, and revealed that it was one of the first reels he learned, at the age of ten. Sources for notated versions: flute player Sonny McDonagh (b. 1926, Rinnarogue, Bunninadden, County Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Martin Byrne [Sullivan]; set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Connolly & Martin (Forget Me Not), 2002; pgs. 18-19. Flaherty (Trip to Sligo), 1990; pg. 122. Giblin (Collection of Traditional Irish Dance Music), 1928; 13. Harker (300 Tunes from Mike Rafferty), 2005; No. 128, pg. 39. Mitchell (Dance Music of Willie Clancy), 1993; No. 37, pg. 50. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 246, pg. 129. O'Neill (Krassen), 1976; pg. 132. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1404, pg. 261. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 646, pg. 116. Peoples (Play Fifty Reels), 1986; 28. Sullivan (Session Tunes), vol. 3; No. 57, pg. 23. Taylor (Music for the Sets: Yellow Book), 1995; pg. 9. Green Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988). Green Linnet GLCD 1127, “Martin Hayes” (1993). Larraga MOR 1302, Mike Rafferty – “Speed 78” (2004). Leader LEACD 2004, “Martin Byrnes” (1969). Shamrock 1235 (78 RPM), Michael Gallagher (uilleann pipes) {c. 1920’s}.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Collier’s Reel, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 646

Z:AK/Fiddler’s Companion

K:D Mix

G|(3FED FG A2 AB|cAdB cAGc|Addc d2 de|fdec dcAG|FEFG A2 AB|

cAdB cAGc|Addc A2 AG|EFGE FDD||g|fdeg fdec|Addc Addg|fdeg fdec|

ABcd e2 fg|agfa gfeg|fded cAGc|Addc A2 AG|EFGE FDD||

X:2

T:Collier’s Reel
M:C|
L:1/8
R:reel
K:D mix
F3G A3B|c2dB cBAG | AddA d3e| f2eg feAG|
F3G A3B|c2dB cBAG | Addd A3G| EFGE FD3:|
K:D
|: f2eg fdec | Addc Adde | f2eg fdec | A3B =c3d |
eaag efge | dfed =cAAG | Add=c ABAG | EFGE FDD2 :|

 


COLLINS BREAKDOWN. Old‑Time, Breakdown. USA; Oklahoma, Pottawatomie County. D Major. ADae tuning. AABB. Composed by W.S. Collins, Pottawatomie County, Oklahoma. Thede (The Fiddle Book), 1967; pg. 158.

 

COLLIN'S REEL [1]. AKA and see "The Merry Blacksmith," "Emminence Breakdown," "Corkonian Reel," "Peeler's Jacket [1]," "Paddy on the Railroad." The tune was recorded under this title by William Houchens, a fiddler/violinist from Ohio, for the Starr Recording Company in the 1920's.

 

COLLIN'S REEL [2]. AKA and see “Coen’s Memories." Irish, Reel. The name is a miss-hearing of the last name of East Galway fiddler Tommy Coen. It appears under the ‘Collin’s’ title in O’Connor and McNevin’s 50 solos for Irish tenor Banjo, published by Soodlum.

 

COLLOUGH A THUSA. AKA and see “Cailleach a Shúsa,” "Snug in a/the Blanket."

 

COLLOUGH AN TINNIE. Irish, Harp Air. The tune was recorded in the Belfast Northern Star of July 15th, 1792, as having been played in competition by one of ten Irish harp masters at the last great convocation of the ancient Irish harpers, the Belfast Harp Festival, held that week.

 

COLL’S REEL. Irish, Reel. Ireland, County Donegal. Collected by Padraig Mac Aodh O’Neill in 1905 from the playing of John Coll of Derryherrif, parish of Doe, Donegal, published in the Journal of the Irish Folk Song Society (1905).

 

COLLY FLOWER, THE. American, Country Dance Tune. The melody appears in John Carr’s American-published First Book of Cotillions (1801). The tune is perhaps the Irish jig “The Cauliflower Jig.” Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

 

COLLY, MY COW. AKA and see "The Dear Black Cow [2]."

 

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

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.