The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
CRA - CRON |
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] |
CRA CROI AN PHIOBAIRE (The Piper’s Broken Heart). AKA and see “The Piper’s Despair.”
CRAB AND THE CAPSTAN. Shetland, Shetland Reel. Shetland, North Yell and Unst.
CRABBIT SHONA. Scottish. Composed by by Shooglenifty fiddler Angus Grant, son of West Highland
left-handed fiddler Angus Grant Sr. Crabbit is an Ulster/Scots variant of
‘crabby’, meaning ill-tempered or grumpy.
CRABS IN THE GREASEPOT (Na Portáin sa Ghréiscphota). Irish, Double Jig. A Dorian.
Standard tuning. ABC. Source for notated version: fiddler and uilleann piper
Stephen Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the early
1880's [Breathnach]. Breathnach (CRÉ IV),
1996; No. 3, pg. 4.
CRABS
IN THE SKILLET (Portanide/Portáin
Annsa Sgileid).
Irish, Double Jig or Air. Ireland, coast of Clare and Limerick. G Dorian (Most
versions): E Minor (Kennedy). Standard tuning. AABBCC (O'Neill/Krassen):
AA'BB'CC' (Cole, Kennedy, O'Neill/1915, 1001 & 1850, Ryan). Petrie (1855)
notes: “This tune belongs to the coast of Clare and Limerick.” Howe
directs: “A little slower than jig time,” indicating it was perhaps originally
an air. Source for notated
version: “From J. Buckley (via) Mr. Joyce” [Stanford/Petrie]; Joyce states he
noted the tune in 1854 and that Buckley was “a Limerick piper, who stated his
belief that the tune belonged to the county Clare” [Joyce]. Cole (1000 Fiddle Tunes), 1940; pg. 78. Howe
(1,000 Jigs and Reels), c. 1867; pg.
22. Joyce (Old Irish Folk Music and Songs), 1890;
No. 10, pg. 11. Kennedy (Jigs & Quicksteps, Trips & Humours),
1997; No. 23, pg. 8. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
147, pg. 84. O'Neill (Krassen), 1976; pg. 75. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1112, pg. 210. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 306, pg. 65. Ryan’s Mammoth
Collection, 1883; pg. 109. Stanford/Petrie (Complete Collection), 1905; No. 792, pg. 198.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Crabs in the Skillet
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1903), No.
306
Z:AK/Fiddler’s Companion
K:G Minor
D|:G3 d2^F|G2A B2c|ded cBA|dcB
AGF|G3 d2^F|
G2A B2d|dAd f^ed|1 cAF F=EF:|2 cAF
G2||
|:d|gag gf=e|fgf f=ed|cd=e fed|cAF
G2d|gag gf=e|
fgf f=ed|cd=e gfe|1 cAF F2:|2 cAF
F=EF||
|:G2z A2z|B2z c2z|ded cBA|dcB
AG^F|G2z A2z|
B2z c2z|cAc f=ed|1 cAF F=EF|2 cAF
G2||
CRACOVIENNE
(QUICKSTEP). AKA ‑ "Krakovienne," "Krakoviak." AKA and see "Jacket Trimmed in Blue,"
"I Have a Bonnet
Trimmed with Blue [1]," "Walk
Jawbone [2]," "Alex Dice."
British Isles, American; Polka or Schottishe. USA; New England, Pennsylvania. G
Major {Miller & Perron}: G Major (‘A’ and ‘B’ parts) & C Major (‘C’ and
‘D’ parts) {Howe}. Standard tuning. AABB. Bayard (1981) identifies this as an
international tune which was once widely known; it has been dated by Boehme to
1842‑50. Versions have been published in Germany (Boehme {pg. 166, No.
264}) and the British Isles (Kerr {vol. 1, pg. 46, and vol. 4, No. 419} and
Roche {vol. 2, No. 302, an untitled set dance}), and it has been collected in
Pennsylvania (Bayard) and several southern states (e.g. Ford); it is perhaps
better known in America under the title "Walk Jawbone." Howe (1000 Jigs and Reels), c. 1867; pg. 48.
Miller & Perron (101 Polkas),
1978; No. 34.
T:Cravovienne Quickstep
M:2/4
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
G | FAce | dB B2 | B(3d/e/d/ cA | GBBG | FAce | dB B2 | d(3d/e/d/ cA | AG G :|
|: cege | dB B2 | d(3d/e/d/ cA | GBBG | cege | dB B2 | d(3d/e/d/ cA | AG G2 :|
K:C
G2 Bd | f2 ef | .g.c.B.d | ce/c/A z | G2 Bd | f2 ef | .g(cB).d | c2 z2 :|
|: A2 cf | aag^f | gag^f | g2ez | G2 Bd | f2 ef | .g.c.B.c.d
| c2 z2 :|
CRADLE SONG, THE. Scottish, Slow (“Pastoral”) Air (4/4 time). A
Major. Standard tuning. One part (Hunter, Neil): AB (S. Johnson, Skinner). Composed
by the self-styled “Strathspey King,” James Scott Skinner (1843-1927), and printed in his Logie
Collection. Originally written as a song and extremely popular when he was
alive, it's inspiration was Skinner's sympathetic observations of a mother
caring for her sick child in a hotel room in Forres.
***
Sprites that guard young children enter here tonight,
O'er my fevered darling watch till morning light.
From our home forever went my Love away,
Crossed the darling river, entered endless day.
Sleep my own fair darling, I will cling to thee,
Sure my cup of sorrow cannot fuller be.
***
Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 106, pg. 183. Hunter
(Fiddle Music of Scotland), 1988; No.
25. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 14. Martin (Traditional Scottish Fiddling), 2002; pg. 114. Neil (The Scots Fiddle), 1991; No. 90, pg.
122. Skinner (Harp and Claymore),
1904; pg. 1. Skinner (The Scottish
Violinist); pg. 36.
X:1
T:Cradle Song, The [1]
M:C
L:1/8
R:Air
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
(AcBA) (e2f2) | (e4c2) z2 | (AcBA)
(e2c2) | {c}B6 (c2 |
(A)cBA) (e2f2) | (e4c2)A2 |
{F/G/}(FEAB) {A/B/}c2 {A/c/}B2 |
A6 z2 || (fdAd) (f2a2) | (e4c2)z2 |
(AcBA) (e2c2) | {c}B6 z2 |
(AcBA) (ef).g.a | (e4c2)A2 |
{F/G/}(FEAB) {A/B/}c2{A/c/}B2 | A6 z2 ||
CRADLE SONG [2].
Scottish, Slow March. D Major. Standard tuning. AABB. Scots Guards
Standard Settings, vol. 1.
X:1
T:Cradle Song, The [2]
M:6/8
L:1/8
K: D
Ad>e f2g | f3 e3 | Ac>d e2f | ed>B A3 |
Ad>e f2g | f3 e2 a | aAd f2e | d3 d3 :|]
a | agB B2 g | gfA A2 f | feG G2 e | ed>B A2 a |
agB B2 g | gfA A2 f | fe>f gB>c | d>ed d3 :|]
CRADLE
WILL ROCK AND THE BABY WILL FALL,
THE. Irish,
"Nurse Song" (6/8 time). C Major. Standard tuning. One part. Joyce (Old Irish Folk Music and Songs), 1909;
No. 601, pg. 311.
CRADLING RYE. American, Quadrille (6/8 time). A
Major. Standard tuning. AABB. Ford (Traditional
Music in America), 1940; pg. 94.
X:1
T:Cradling Rye
M:6/8
L:1/8
R:Quadrille
S:Ford – Traditional Music in America
(1940)
Z:AK/Fiddler’s Companion
K:A
efe c3|efe c3cd|EGB dcB|fee e3|efe
c3|efe c3|EGB dcB|A3A3:|
|:EGA ABc|eee {f}edc|eee {f}edc|eee
{f}edc|EGA ABc|
eee {f}edc|Bcd efg|a3 a3:|
CRAFTON BLUES [1]. Old-Time, Country Rag. C Major. Standard. AAB. Related to "I Don't Love Nobody." Source for
notated version: Cecil Brower [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 36.
CRAFTON BLUES [2]. Old-Time, Country Rag. F Major. Standard tuning. AB. Source for notated
version: Ricky Boen and Rudy Booher [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 36.
CRAIG A’ BHODICH. Scottish, Strathspey. Composed by Donald
MacLeod. MacLeod (The Donald MacLeod Pipe Collection, Book 4). RCA Records, Royal Scots Dragoon Guards – “Amazing Grace”
(1992. Appears as “Craig-a- Bodaich”).
CRAIG CHATTAN. Scottish, Air (4/4 time). D Major.
Standard tuning. AB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 164.
X:1
T:Craig Chattan
M:C
L:1/8
R:Slow Air (“Even Song”)
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:D
(A2f2) (e2d2) | (A2d2) (c2B2) |
(B2g2) {g}(f2e2) | (G2c) {c}(B2A2) | (A2f2) {f}(e2d2) | (A2d2) (c2B2) |
(B2g) f2e2 | ({G}.B2) .c2 d4 || f3e
(^d2B2) | b3 a (a2g2) | e3d (c2A2) | a3g (g2f2) | (A2f2) (e2d2) |
(A2d2) (c2B2) | (B2g2) .f2.e2 | .B2
~c2 d4 ||
CRAIG COYNACH. Scottish, Strathspey. A Minor. Standard tuning (or ADae, a la Allie
Bennett). AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No.
36, pg. 14. Allie Bennett – “Its About Time” (2004).
CRAIG ELACHIE. Scottish. Glen (1891) finds the earliest printing of the tune in Angus
Cumming's 1780 collection (pg. 1).
CRAIG FADA, AN. AKA and see "The Long Strand
[1]."
CRAIG O'/OF BARN'S, THE. Scottish; Strathspey or Highland Schottische.
G Minor (Alburger, Athole, Gow): A Mixolydian (Kerr). Standard tuning. AAB
(Alburger, Athole, Gow): AABB (Kerr). Very likely written by John Crerar (1750‑1840),
who probably had lessons from Niel Gow at Atholl. Paul Cranford thinks the Cape
Breton tune “MacKinnon’s Rant” is related to this melody. Alburger (Scottish Fiddlers and Their Music),
1983; Ex. 74, pg. 118. Carlin (The Gow
Collection), 1986; No. 448. Gow (Complete
Repository), Part 2, 1802; pg. 13. Kerr (Merry Melodies), vol. 1; No. 8, pg. 19. Stewart-Robertson (The Athole Collection), 1884; pg. 192. WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).
X:1
T:Craig o’ Barns
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G Minor
d2 c>A G<G G>A|c>F c<A c>F A<c|d2 cA G<G G>A|c>Fc>A G2G2:|
F>Ac>d cA c2|d>=ef>a g>fd>e|f<ad<f F>GA>c|d>fc>A G2G>A|
F>Ac>d
c<A c2|d>=ef>a g>fd>e|f<ad<f F>GA>c|d<fc>A
G2G2||
CRAIG PARK. See “Craigpark” below.
CRAIGELLACHIE BRIDGE. Scottish, Strathspey. D Major/Mixolydian. Standard tuning. One part
(Marshall): AAB (Kerr): ABCD (Hunter, Johnson/2003, Martin): AABCD (Athole,
Gow, Johnson). This double‑tonic tune was composed by William Marshall (1748-1833) on the occasion of the
opening in 1815 of a new bridge constructed of iron by Thomas Telford over the
Spey River at the modern village of Craigellachie, Moray, Scotland‑‑one
side is anchored to the abase of one of the two outcroppings of rock known as
'Craigellachie.' His enthusiasm for the structure has been noted by Alburger
who cites the mention of the bridge in an 1814 letter from Marshall to one of
his sons (Alburger, 1983; pg. 88). Marshall’s stake in the bridge was also
personal—his daughter Jane was married to John McInnes of Dandaleith who was
involved in the building of it. It was thought by Collinson (1966) and Puser
(1992) to be one of Marshall's best compositions ("outstanding" “one
of his very best”), and Emmerson (1971) says the tune was among his
particularly celebrated tunes. Hunter (1988) also praises the melody, calling
it "perhaps the finest in the whole repertoire." James Davie (1850)
was the first to note (in his Caledonian
Repository, book first, second series) the similarity between Marshall's
melody and an older tune entitled "Grey
Daylight," which was originally published in Robert Petrie's Second Collection (1796) as "Mr. Anderson's Strathspey" and
in a c. 1799 collection by Perth publisher John Anderson as "Grey
Daylight." John Glen (1895) says there is no doubt of a resemblance
between the tunes in the first part, but opines Marshall's air is
"immeasurably the better of the two," and concludes the composer is
likely not guilty of musical plagiarism. The tune first appeared in Marshall’s Scottish Airs (1822). Source
for notated version: Paul Anderson (Tarland, Aberdeenshire) [Martin]. Alburger
(Scottish Fiddlers and Their Music),
1983; Ex. 59, pgs. 88‑89. Gow (Complete
Repository), Part 4, 1817; pg. 28. Hunter (Fiddle Music of Scotland), 1988; No. 95. S. Johnson (The Kitchen Musician No. 10: Airs and
Melodies of Scotland’s Past), 1992 (revised 2001); pg. 17. S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 32. Kerr (Merry
Melodies), vol. 1; Set 18, No. 1, pg. 12. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 30. Matin (Traditional Scottish Fiddling), 2002;
pg. 135. Purser (Scotland’s Music),
1992; Ex. 9, pg. 206. Stewart-Robertson (The
Athole Collection), 1884; pg. 98.
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:Craigellachie Bridge
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A,|D<D F>A d/c/B/A/ F<D|E<=C =c>E G2 G<B|A>DF>A d/c/B/A/ F<D|
E<e c>A d2d:|
f|d<d f>a d>a f<a|=c>g e<f g2 ga/b/|a>df>d a>df>d fg/a/ g<f|d<d f>a d>a f<a|
g/f/e/d/ c<e g2 ga/g/|f<a e>f d>fB>d|A<F d>F A2A:|
c|d/c/B/A/ G/F/E/D/ d/c/B/A/ G/F/E/D/|E<=C =c>E G2 G>E|
D/E/F/G/ A/B/c/d/ D/E/F/G/ A/B/c/d/|D>dF>d B>AG>F|D>dE>d F>dE>d|
=C<c c>E G2 G>E|C>dE>d F>dE>d|E<e c>A d2d:|
f|d<df<a d>af>a|=c>ge>f g2 ga/b/|a<df<d a>d g<b|a<d f>d fg/a/ g<f|
d<d
f.a d>af>a|g/f/e/d/ c<e g2 ga/g/|f<a e>f d>fB>d|a<f
d>f A2A||
CRAIGELLACHIE LASSES, THE. Scottish, Jig. D Major. Standard tuning. AB.
Composed by Willaim Marshall (1748-1833). Craigellache
is Gaelic for 'windy' (craig) rock (aileach), and refers to two rugged
outcroppings in Bannfshire. Neil (1991) relates the westernmost (or upper) rock
marked the boundary between Strathspey and Badenoch and was the wartime
rallying point of the Clan Grant. The lower rock is located at the confluence
of the Spey and Fiddich rivers and marks the point where the parishes of
Aberlour, Hnockando and Boharin meet. The clan's crest incorporates the image
of a mountain in flames to commemorate the old clan practice of lighting fires
on the top of both rocks to call the clan to war. Similarly, the clan's
armorial motto is "Stand Fast Craigellachie." There is a pipe tune
called “Stad Creageilichie!” (Craigellachie, stand firm!) that derives from
this connection. Marshall, Fiddlecase
Edition, 1978; 1845 Collection, pg. 4. Martin (Traditional Scottish Fiddling), 2002; pg. 15. Neil (The Scots Fiddle), 1991; No. 66, pg. 91.
X:1
T:Craigellachie Lasses, The
M:6/8
L:1/8
S:Marshall – 1845 Collection
Z:AK/Fiddler’s Companion
K:D
A|d2 d dcB|A>BG F>ED|d2d d>cd|e>fd c>BG|d2d d>cB|A>BG
F>ED|
EC>A, A,>B,C|D3 D2||f/g/|afd def|gec Ace|fdA GBe|ecA FGA|
BGE EFG|AFD DFA|ECA, A,B,C|D3D2f/g/|afd afd|gec gec|
fdA fdA|ecA ecA|BGB dcB|AFA Bcd|Bgf e>dc|d3 D||
CRAIGENDORAN. Scottish, Strathspey. G Major. Standard tuning. AA’BB’. Craigendoran,
according the Gazetteer for Scotland,
is “an eastern suburb of Helensburgh in Argyll and Bute” in western Scotland,
and “developed following the building of a pier which was served by steamers of
the North British Railways from 1882.” Helensburgh is a town on the Firth of
Clyde. Kerr (Merry Melodies), vol. 4;
No. 119, pg. 15.
X:1
T:Craigendoran
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 119
(c. 1880’s)
Z:AK/Fiddlers’ Companion
K:G
d<d B>d
e>dB>d|g>ab>a g3d|e<e c>e d<d B>d|1 c>BA>G F>E
D2:|2 c<A d>F G3||
|:d|g<g b>a
g>dB>d|G>DB,>D G,3d|e<e a>b c’>ba>g|1 (3fga (3gfe d3:|2
(3fed (3cBA G3||
CRAIGENROAN. Scottish, Reel. C Major. Standard tuning. AABB'. Composed by Alexander
Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 71, pg. 25.
CRAIGIE DHU. Canadian, Reel. Canada, Cape Breton. Composed by Dougie McLean.
CRAIGIE HALL. Scottish, Strathspey. D Major. Standard tuning. AAB. Craigie Hall is an
historic building in Glasgow. Stewart-Robertson
(The Athole Collection), 1884; pg.
110.
X:1
T:Craigie Hall
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
d/B/|A<D B/A/G/F/ G<E E>F|A<D B/A/G/F/ A<d d>A|(3Bcd (3AGF G<E E>c|
d>B A<F A<dd:| g|f<d f/g/a/f/ g<e e>g|f<d f/g/a/f/ d>af>a|(3bag (3agf g<e e>f|d>B A<F A<d d>g|
f>d f/g/a/f/ g<e e>c|(3def (3edc (3Bcd (3AGF|(3GAB (3AGF G<E E>c| d>BA>F A<dd||
CRAIGIELEA
POLKA. Scottish, Polka. D Major. Standard
tuning. AABB. Composed by Carl Volti,
born Archibald Milligan in Glasgow in 1849. Volti was a fiddler who contributed
many tunes to the Kerr collections but who also published several tutors,
albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies for the Piano), pg. 43.
CRAIGLUG BRIG. Scottish, Slow Strathspey. A
Major. Standard tuning. AAB. Composed by Peter Milne
(1824-1908), the “Tarland Minstrel”. The bridge at Craiglug, a village in
Aberdeenshire, dates from 1829. It is properly called the Wellington Suspension
Bridge and connects . The bridge still
stands in modern times, although is in a state of disrepair and cannot be
crossed. Source for notated version: Hector MacAndrew
[Martin]. Martin (Traditional Scottish
Fiddling), 2002; pg. 137.
CRAIGLUG REEL. Scottish, Reel. A Major.
Standard tuning. AB. Composed by Peter Milne as a companion
piece, to be played following his slow strathspey “Craiglug Brig.” Source for
notated version: Hector MacAndrew
[Martin]. Martin (Traditional Scottish
Fiddling), 2002; pg. 137.
CRAIGPARK. Scottish, Hornpipe. D Major. Standard tuning. AA’AA’BB. Stately
Craigpark House was built in 1798 in the city of Glasgow by James MacKenzie, a
merchant and civic leader of the city in the early 19th century.
Kerr (Merry Melodies), vol. 4; No.
286, pg. 30. F&W Records 2, "F&W String
Band 2."
X:1
T:Craigpark
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 286
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
D2D2 DEFG|A2A2 ABcd|e2e2 edcB|A^GAB
A=GFE|D2D2 DEFG|
A2A2 ABcd|cecA BdB^G|A2c2A2z2::d2d2
dedc|BcBA G2B2|e2e2 efed|
cdcB A2 (Bc)|d2d2 dfed|B2e2g2
(fe)|fafd egec|d2f2d2 z2:|
CRAIG'S PIPES. AKA and see "Cobbler's
Hornpipe [2]," "Connolly's
Reel," "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." Irish, Reel. G Major.
Standard tuning. ABC (Mallinson): ABBCC (Sullivan). Mallinson (Enduring), 1995; No. 9, pg. 4. Sullivan
(Session Tunes), vol. 2; No. 9, pg.
5.
X:1
T:Craig's Pipes
T:Kerry Huntsman, The
R:reel
S:P. Keenan
E:7
M:C|
L:1/8
K:G
B2 BA BAGA|B2GB AGED|~B3A BAGB|~A2
BG AGED|\
B2 BA BAGA|B2GB AGED|(3.B.c.d ed
BcdB|AcBG AGEG||*
DG ~G2 DGBG|DGBG AGEG|DGGF~G3 B|dBAc
BG~G2::\
d2 Bd efge|dGBG AGEG|d2Bd efge|agbg
ageg:|**
X:2
T:Craig's Pipes
M:4/4
L:1/8
Z:Greg Taylor
K:G
B2 B BAGA|B2 DB AGEG|B2 B BAGA|c2 Bc
AGEG|
B2 B BAGA|B2 DB AGEG|Bded BcdB|AcBG
AGEG ||
|: D2 G2 (3GGG DGBG|DGBG AGEG|DG
(3GGG GABc|dBAc BAGE :|
|: dB (3Bcdefge|dB (3BBB AGED|dB
(3Bcd ef (3gfg|1 agbg ageg :|
CRAIG'S REEL ("Seiso uí Carraig" or "Cor Uí Carraig"). Irish, Reel. D Major. Standard
tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). The tune was
recorded by Bronx fiddler Martin Mulvihill under the title “Con Mullane’s.” Mulvihill was originally
from County Limerick, and Mullane was a musician from the County Limerick/Kerry
border area. O'Neill (Krassen), 1976; pg. 98. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1212, pg. 229.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 488, pg. 93. Gael-Linn CEF
176, Jackie Daly - “Many’s the Wild Night.”
X:1
T:Craig's Reel
B:O'Neill's "Dance Music of
Ireland ‑ 1001 Gems", #488
D:Jackie Daly, "Many's A Wild
Night"
Z:transcribed by Han Speek
R:Reel
M:4/4
L:1/8
K:D
A2 G2||{A}FDFA B2 B/=c/^c|dBc/Bc/A
BEEG|
{A}FDFA B2 B/=c/^c|dBAG FDDE|
{A}FDFA B2 B/=c/^c|dBc/B/A BEEF|G3 A
B/c/d eg|fdec AddA||
d2 f/e/d Adf/e/d|Adf/e/d eBBA|d2
f/e/d Adf/e/d|faeg fddA|
d2 f/e/d Adf/e/d|Adf/e/d eBBA|g2 fd
(3efg fe|dBAG FD D2||
CRAITH NA CLEITÍ/CLEITEACHA. AKA and see "Toss the
Feathers."
CRAMP, THE. English, Country Dance Tune and Air (6/4
time). G Minor. Standard tuning. One part. Chappell (1859) finds the only known
version of the tune in Pammelia (1609)
arranged with two other country dances, "to be sung all three together; it
is not very trustworthy." Chappell (Popular
Music of the Olden Times), vol. 1, 1859; pg. 143.
CRAN HILL. Scottish, Reel. D Major. Standard tuning. AA’BB’. Composed by C.F.
Sherrit. Sherrit (A Third Collection of
Scottish Music). Martin & Hughes (Ho-ro-gheallaidh),
1990; pg. 22.
CRANBERRY BOG, THE. Irish, Reel. G Major. Standard tuning. AA’BB’.
Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No.
33, pg. 147.
X:1
T: Cranberry Bog
C: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: G
A | dBge dBBc | dedc BAGF | EBBc BGEG | (3FED AF BDAD |
dBge dBBc | dBcA BGGF | ECEG B,DGB |1 cdAF GABc :|2 cdAF G3 ||
B | dg (3gfg bg (3gfg | afdf gece | d2 Bd cAEA | (3FED AF BDAD |
dg
(3gfg agba | gecA dBGF | ECEG B,DGB |1 cdAF GABc :|2 cdAF G3 ||
CRANBERRY ROCK. Old-Time, Breakdown. USA, West Virginia. C Major. Standard tuning.
AABB. An irregular tune with similarities to "Billy in the Lowground."
Source for notated version: Burl Hammons (W.Va.) and Mel Marshall [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 59. Reed Island Rounders
– “Goin’ Home” (2002).
X:1
T:Cranberry Rock
M:4/4
L:1/8
S:Bruce Molsky, based on the playing
of Burl Hammons
Z:AK/Fiddler’s Companion
K:C
g3 a gedA|c2 cd cAGc|e a2 a abag|ea2b
agef|g2 ga gedA|c2 cd cAGD|
(E/F/G) AB AGED|EGEC D C2D
M:2/4
L:1/8
|1 C2G,2:|2 C2 G,A,||
M:4/4
L:1/8
C2 EG EDCE|DCA,C [EA][DA][E2A2]|A2
c2 AcAG|EGEC D C2D|
M:2/4
L:1/8
C2 [B,2D2]|
M:4/4
L:1/8
[C3E3]G EDCE|DCA,C
[EA][DA][E2A2]|A2c2 AcAG|EGEC D C2D|
M:2/4
L:1/8
[C4E4]||
CRANDALL ROAD, THE.
Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB.
Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Dan R. was a
prolific composer born in Judique, Inverness County, Cape Breton, although many
of his adult years were spent in the Detroit/Windsor area. There he was part of
a large expatriate Cape Breton community, and was a member of the Five
MacDonald Fiddlers, before returning to Cape Breton after he retired. He is
reputed to have penned some two thousand tunes!. Cranford (Jerry Holland:
The Second Collection), 2000; No. 15, pg. 7.
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
CRANE SKIN BAG, THE. See “Crane’s Leg .”
CRANE'S LEG, THE. AKA and see “The
Crane Skin Bag,” “The Glen of
Aherlow [2],” “Lafferty’s,” “The Woman I Never Forgot.” Irish, Reel.
E Dorian. Standard tuning. AABB. The tune was named “The Crane’s Leg” in
Flaherty’s volume, although it was originally a Sean Ryan composition called
“The Glen of Aherlow.” The “Lafferty’s” title comes from Kevin Burke (recorded
on “Promenade”), also used by Martin Byrnes on his album “Paddy in the Smoke.”
Fiddle player Vincent Campbell, of Meenahalla near Glenties, Donegal,
maintained that older fiddlers would place a portion of crane or heron leg
inside the fiddle to act as an extra soundpost (!?). Supposedly Campbell’s
brother Jimmy (also a fiddler) claims to have a collection of crane legs still
in his possession. The veracity of the story may be in doubt, but it’s a good
story and a foil to the American custom of inserting rattlesnake rattles inside
fiddles! Source for notated version: fiddler Jimmy Murphy (b. 1938, Meelick,
near Swinford, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 40.
X:1
T:Crane’s Leg
M:C|
L:1/8
R:Reel
K:Edor
B2AF BFAF | ~E3 F EDB,D | B2AF
BFAF | DFAF FE E2 | ...
CRANFORD’S DELIGHT.
Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland
(1955-2009), for fellow fiddler, composer, editor, publisher and lighthouse
keeper Paul Stewart Cranford. Cranford (Jerry Holland: The Second Collection),
2000; No. 182, pg. 68.
CRANKING OUT. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 100, pg. 29.
Fiddlesticks cass., Jerry Holland - “Lively Steps”
(1987). Green Linnett, Jerry Holland - “The Fiddlesticks Collection” (1995).
CRANN AR AN CHOILL. See "Ta Crann ar an gCoill."
CRANN CARACH, AN. AKA and see "The Oak Tree."
CRANN-TARA [1], AN. AKA and see "The Fiery Cross."
CRANN TARA [2]. Scottish, Strathspey. The crann
tara, or ‘fiery cross’, was the signal to clansman to gather, or it signified
the gathering itself. Allan MacDonald, Moidart
Collection. Green Linnet GLCD 1182, The Tannahill
Weavers - “Choice Cuts” (1997).
CRANNCIUIL AN ATAR
DOLLARD. AKA and see "Father Dollard's Hornpipe."
CRANNCIUIL AN
BARRA-BUAD.
AKA and see "The Trumpet
Hornpipe."
CRANNCIUIL AN DREOILIN. AKA and see "The Wren
Hornpipe."
CRANNCIUIL AN FIAGUIDE. AKA and see "The
Hunter's Hornpipe."
CRANNCIUIL AN
MAIRNEALAIG. AKA and see "The Sailor's Hornpipe."
CRANNCIUIL AN REALT. AKA and see "The Star
Hornpipe."
CRANNCIUIL AN
SGUABADORA. AKA
and see "The Sweep's Hornpipe."
CRANNCIUIL AN TROIGIN. AKA and see "The Slipper Hornpipe."
CRANNCIUIL BEANTRAIGE. AKA and see "The Bantry
Hornpipe."
CRANNCIUIL
CAISLEAN-GLAS. AKA and see "The Greencastle (Hornpipe)."
CRANNCIUIL CAIT NI MATGAMNA. AKA and see "Kit
O'Mahony's Hornpipe."
CRANNCIUIL CAROLINE NI
NIALL. AKA and see "Caroline O'Neill's Hornpipe."
CRANNCIUIL CILL-CAINNIG. AKA and see "The Kilkenny Hornpipe."
CRANNCIUIL
CILL-FIONAIN. AKA and see "The Kilfinane Hornpipe."
CRANNCIUIL CILL MANTAIN. AKA and see "The Wicklow
Hornpipe."
CRANNCIUIL CLUAIN. AKA and see "The Cloone
Hornpipe."
CRANNCIUIL CROTUIR UI
DREADA. AKA and see "Corney Drew's Hornpipe."
CRANNCIUIL
CILL-CAINNIG. AKA and see "The Kilkenny Hornpipe."
CRANNCIUIL DIARMAID UI
DALAIG. AKA and see "Jerry Daly's Hornpipe."
CRANNCIUIL
DOIRE-CALGAIC. AKA and see "The Londonderry Hornpipe."
CRANNCIUIL
GLAISE-AN-GABA. AKA and see "The Glasgow Hornpipe."
CRANNCIUIL GLEANN-GARB. AKA and see "Glengariff
Hornpipe."
CRANNCIUIL LIAM DUIB. AKA and see "Bill
Black's Hornpipe."
CRANNCIUIL LIBERPUIL. AKA and see "The
Liverpool Hornpipe."
CRANNCIUIL MIC CARTAIG. AKA and see "McCarthy's
Hornpipe."
CRANNCIUIL MIC
DIARMAID. AKA and see "McDermott's Hornpipe."
CRANNCIUIL MIC
GILLA-EPSCOIP. AKA and see "Gillespie's Hornpipe."
CRANNCIUIL NA SIDEOG. AKA and see "The Fairies'
Hornpipe."
CRANNCIUIL NA
TOR-COILLTE. AKA and see "The Groves (Hornpipe)."
CRANNCIUIL RISTAIRD
MIC ALLASTAIR. AKA and see "Dick Sands' Hornpipe."
CRANNCIUIL SAULT FEIN. AKA and see "Sault's
Own Hornpipe."
CRANNCIUIL TAITNEAM NA
GREINE. AKA and see "The Sunshine Hornpipe."
CRANNCIUIL UÍ BROIN. AKA and see "Byrne's
Hornpipe."
CRANNCIUIL UÍ CLEIRIG. AKA and see "Clark's
Hornpipe."
CRANNCIUIL UÍ CUANA. AKA and see "Cooney's
Hornpipe."
CRANNCIUIL UÍ DEORAIN. AKA and see "Durang's
Hornpipe."
CRANNCIUIL UÍ DOMNAILL. AKA and see "O'Donnell's
Hornpipe."
CRANNCIUIL UÍ
DONNOBAIN. AKA adn see "O'Donovan's Hornpipe."
CRANNCIUIL UÍ DUBUIDIR. AKA and see "O'Dwyer's
Hornpipe."
CRANNCIUIL UÍ DUNCADA. AKA and see "Dunphy's
Hornpipe."
CRANNCIUIL UÍ FISUIR. AKA and see "Fisher's
Hornpipe."
CRANNCIUIL UÍ
h-AENGUSA. AKA and see "Hennessy's Hornpipe."
CRANNCIUIL UÍ h-IOCAIG. AKA and see "Hicks'
Hornpipe."
CRANNCIUIL UÍ h-UIGINN. AKA and see "Higgin's
Hornpipe."
CRANNCIUIL UÍ
MUIREADAIG. AKA and see "Murray's Hornpipe."
CRANNCIUIL UÍ MURCADA. AKA and see "Murphy's
Hornpipe."
CRANNCIUIL UÍ SEALBAIG. AKA and see "Hawk's Hornpipe."
CRAOIBHIN'S SALUTE, THE. Irish, March. A Major. Standard tuning. AABB'.
Roche Collection, 1982; vol. 2, pg.
56, No. 328.
CRAOIBIN CNO. AKA and see "The
Little Cluster of Nuts."
CRAPAUD. Cajun, Two-Step?? USA, Louisiana. G Major. Standard tuning. AABB. There
was once a tiny hamlet in Louisiana called Crapaudville, named for storeowner
Nook Crapaud. Source for notated version: fiddler Dennis McGee via Ken and
Jeanie McLerie Keppeler [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 96.
CRAP SHOOTER’S HOP. Recorded on a 78 RPM by Joe Werner and the Riverside Ramblers, an
offshoot of the Cajun band the Hackberry Ramblers. A variant is Teddy Boy
Houle’s “White River Stomp.”
CRAPSHOOTER'S RAG. Old‑Time, Ragtime. USA, Texas. F Major (Christeson): D Major
(Silberberg). Standard tuning. AB. Sources for notated versions: Junior
Daugherty (Texas) [Christeson]; Floyd Engstrom [Silberberg]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1),
1973; pg. 148. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
28.
CRARAE. Scottish, Reel. D Major. Standard tuning. AABB'. Crarae is a village on
the banks of Loch Fyne in Argyll and Bute, on the west coast of Scotland. Today
it’s the site of magnificent gardens, established in the early 20th
century by Grace, Lady Campbell. Prior to that the site was probably
better-known for a megalithic ruin, a good example of a Clyde chambered cairn
and the nearby round cairn, known as the ‘Fairy Knowe’. Kerr (Merry Melodies), vol. 3; No. 26, pg. 6. Green Linnet SIF 1047, John Cunningham - "Fair
Warning" (1985).
X:1
T:Crarae
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 26
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
FAAB d2 (de)|fdgf edBd|FAAB
defb|afef d/d/d d2:|
|:afef d2 (BA)|BdAd BdAb|1 afef
defd|BdAF E2 (ea):|2 afef defb|afef d/d/d d2||
CRASHING
AT QUINLAN’S. Irish, Reel. D Major. Standard
tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill
Black. Black (Music’s the Very Best Thing),
1996; No. 90.
X:1
T: Crashing at Quinlin's
C: © B. Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
D | E2 AE FD D2 | d2 fd (3Bcd AF | EFGE FAdB | ABAF E2 GF |
E2 AE FD D2 | d2 fd (3Bcd eg | fBBc dBcB | ABAF D3 :|
A | B2 fB aBfB | dBcA BdAF | B2 fB aBfB | dBAc d3 A |
B2
fB aBfB | dBcA BdAF | EAAc defe | dAFE D3 :|
CRATE OF GRILSE, THE. AKA and see “Cis Ní Liatháin.” Irish, Slide. Realworld (WOMAD) Records,
“Music at Matt Molloy’s” (1992. Appears as part of “Westport Set-Dancers”).
CRAW DANG PUSSY, DA. Shetland, Shetland Reel. G Major. Standard tuning. AABB. The late
Shetland fiddler, composer, teacher and collector Tom Anderson identified the
tune as a traditional reel describing a tame crow and a kitten playing. It was
in the repertory of Anderson's Shetland Fiddle Band, and therefore widely known
in the islands. Anderson (Ringing Strings),
1983; pg. 47.
CRAWFORD'S REEL [1]. AKA and see "The Barrack
St. Boys," "The
Bride(s) to Bed," "Brides
Away," "The British
Naggon," "Cheese It,"
"Corney is Coming,"
"I Saw Her," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House [1],"
"Shannon Breeze [2],"
"Six Mile Bridge."
CRAWFORD’S REEL [2]. "The Brown Girl's Reel,”
"I Wish I had a Kerry Cow,"
"The Old Kerry Cow,"
"The Scartaglen Reel," “Sean Maguire’s [2].” Irish, Reel. G
Major. Standard tuning. AABB.
X:1
T:Crawford's
M:4/4
L:1/8
S:Siona
K:G
~G3 A ~B3 A | GBdB cAAB | AGFG ~A3 B
| cBAG FDEF |
~G3 A ~B3 A | GBdB cABc | dBcA BG
~G2 | FGAc BG G2 :||
dg ~g2 bgaf | defg agfe | dg ~g2
bgag | fdcA BGBc |
dg ~g2 bgaf | defg agfe | dg ~g2 dg
~g2 | ~a3 g fdcA :||
CRAZY CREEK. Bluegrass, Breakdown. USA. A Mixolydian/Minor ('A' part) & C Major
('B' part). Standard tuning. AAB (Brody, Phillips): AA’B (Silberberg). Composed
and originally recorded by Tommy Jackson (d. 1979), who was heavily influenced
by the playing of his close friend, Texas fiddler Bob Wills. Musicologist
Charles Wolfe says Jackson became "the most heard, and the most
imitated, fiddler of his generation", largely because of a series of
recordings of square dances without calls, given wide distribution among
popular commercial square dance circles. Later Jackson became a
much-sought-after session man and producer in Nashville, and was connected with
the Grand Old Opry. Later, the
Dillards with fiddler Byron Berline made an influential recording of the tune.
Sources for notated versions: Delaware Water Gap [Brody]; Byron Berline
[Phillips, Silberberg]; Ken Kosek [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 77. Phillips (Traditional American Fiddle Tunes), 1994; pgs. 59 & 60 (two
versions). Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 28.
Biograph RC6006, Bottle Hill‑ "A Rumor in
Their Own Time." Elektra EKS 7285, The Dillards with Byron Berline‑
"Pickin' and Fiddlin." Heritage XXXIII, The Backwoods Band ‑
"Visits" (1981). Kicking Mule 205, Delaware Water Gap‑
"From the Rivers of Babylon to the Land of Jazz" (1979. Learned from
Byron Berline and the Dillards' recording). Rounder 0067, Jack Tottle‑
"Back Road Mandolin." Rounder 0084, Bill Keith‑ "Something
Bluegrass." Rounder 7002, Graham Townsend‑ "Le Violin/ The
Fiddle."
CRAZY JIM. Old‑Time, Breakdown. USA, Indiana. Rounder
0194, John W. Summers ‑ "Indiana Fiddler" (1984).
CRAZY WAG'NER. AKA and see "Wag'ner One-Step."
CREACH NA CIADAIUN. AKA and see "Any
Privation But This."
CREAM POT, THE. AKA and see “The
Kern Staff,” “Miss
Grace Hay’s Delight.” Scottish, Engish; Jig. G Major (‘A’ and ‘C’ parts)
& D Major (‘B’ part). Standard tuning. AABB’CC. John Glen (1891) finds the
earliest printing of the tune in Robert Ross's 1780
collection (pg. 21), although subsequently it has also been found in the
earlier London publishers Johnson’s Choice
Collection of 200 Favourite Country Dances, vol. 6 (1751), Charles and
Samuel Thompson’s Compleat Collection of
200 favourite Country Dances (1757), and David Rutherford’s Compleat Collection of 200 of the Most
Celebrated Country Dances (1756). It appears in several musician’s
manuscripts of the 18th and 19th centuries, including the
1770 music manuscript of Northumbrian musician William Vickers, the Thomas
Hammersley ms. (London, 1790), and the William Higgot ms. (Cumbria?, c. 1800).
The Gows printed the tune under the title “Miss Grace Hay’s Delight.” Country
dance directions to the “Cream Pot” appear in H. and E. Phinney’s Select Collection of the Newest and Most
Favorite Country Dances (Ostego, New York, 1808), and a small edition
called A Choice Collection of New and
Approved Country Dances (Northampton, Mass., 1796). Aird (Selections of Scotch, English, Irish and
Foreign Airs), vol. 1, 1782; pg. 25. Callaghan (Hardcore English), 2007; pg. 72. Thompson
(Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 187. EFDSS
CD13, Geckoes – “Hardcore English” (2007. Various artists). Ock Records CK060,
Geckoes – “The Red Horse.”
X: 1
T:Cream Pot, The (The Kern Staff)
M:6/8
L:1/8
S:William Vickers c1770
K:G
||:G2 A B2 c | dBd efg | G2 A B2 c | dBG AFD | E2 C CEG | F2 D D2 c| BdB cAF |
G3 A3 :||:
K:D
d2 e f2 g | afd ecA | faf ege | fdf ecA | B2 G GBd |! c2 A A2 g | faf gec |1(d3 d2) A :|2 d3 =c3 ||:
K:G
B2 g gdB | B2 g gdB |! A2 A ABc | BAG AFD | E2 C CEG | F2 D D2 c | BdB cAF |
(G3 G2) :||
X:2
T:Cream Pot
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G2B B2d|dBd (e/f/g)e|G2B B2d|dBG AFD|E2(C C)EG|F2(D D)B,G,|(B/c/d)B cAF|G3 G,3:|
|:d2f f2g|gdB dBG|(c/d/e)c Aag|fed e^cA|a(f/g/a) g2e|f2d e^cA|(B/^c/d)F Edc|d3 D3|
=c2c
cec|B2B BdB|AFA Agc|dBG AFD|E2(C C)EG|F2(D D)B,G,|(B/c/d)B cAF|G3 G,3:||
CREAMER’S REEL. AKA – “The Creamery,” “Michael
Cramer’s.” AKA and see “The Tinker’s
Daughter.” Irish, Reel. D Major. Standard tuning. AABB. “The Creamery”
title comes from Cherish the Ladies flute player Joanie Madden. Mulvihill
notes: “Played by Jimmy McGreevy.” Michael McNamara, the Leitrim flute player
and scion of the famous musical family, says that Michael Creamer was an
itinerant labourer who came to the Leitrim area from northern Ireland. Creamer
played the whistle and knew about a dozen tunes, but always started the evening
with this one, which entered local tradition and was named in his honor. Source
for notated version: Tony Smith (County Cavan & Dublin) [Mulvihill]. Miller
(Fiddler’s Throne), 2004; No. 140,
pg. 92. Mulvihill (1st
Collection), 1986; No. 175, pg. 48.
X:1
T:
Creamer's Reel
S: "First Collection of Traditional Irish Music" (M.Mulvihill)
Z: B.Black
L: 1/8
M: 4/4
R: reel
K: D
e|A2 AB AFDF|AFAd f3 g|afef dBBc|dBAF FEDF|
AFAB AFDF|AFAd f3 g|afef dBAF|Adfe d3 :|
e|fded BAFA|dcdf a2 af|fefd edBc|dBAF FEDF|
A2 AB AFDF|AFAd f3 g|afef dBAF|Adfe d3 :|
X:2
T:Michael Cramer's
T:Tinker's Daughter, The
R:reel
D:Conal O'Grada: The Top of Coom
Z:id:hn-reel-291
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
~A3B AF~F2|AFAd f2fg|afef dB~B2|dBAF FEDF|
~A3B AF~F2|AFAd f2fg|afef d2dB|1 Adfe d2dB:|2 Adfe d2de||
|:fded BAFA|dcdf a2af|g2fg eB~B2|dBAF FEDF|
~A3B AF~F2|AFAd f2fg|afef d2dB|1 Adfe d2de:|2 Adfe d2dB||
"Variations:"
ABdB AFDF|~A3d f2fg|afef d2dB|dBAF FEDF|
AFAB AF~F2|AFAd ~f3g|afef dB~B2|1 Adfe d2dB:|2 Adfe d2de||
|:fded BdAB|d2df ~a3f|g2fg edBc|dBAF FEDF|
ABdB AF~F2|AFAd ~f3g|afef d2dB|1 Adfe d2de:|2 Adfe d2dB||
CREEK NATION. Old‑Time, Breakdown. USA, Oklahoma. C Major. Standard tuning.
AABB (Thede): AA'BB' (Phillips). Thede: "The Creek Indians formerly owned
land and farmed in the States along the Gulf of Mexico before their removal in
1832 to the Indian Territories in what is now the state of Oklahoma. As the
Creek Nation they conducted their own government under the protectorate of the
United States." Thede reported her source, fiddler Claude Keenan, said it
was tradition among Oklahoma fiddlers that this tune was one formed on a Creek
song used on the "Trail of Tears" when the Creeks were forcibly
removed from their southeastern homelands to territory in Oklahoma. Sources for
notated versions: Claude Keenan (Oklahoma County, Oklahoma) [Thede]; Tom Carter
& Tom Sauber [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 60. Thede (The Fiddle Book), 1967; pg. 30.
CREEK’S ALL MUDDY AND THE POND’S ALL DRY.
Old-Time, Breakdown. USA, West Virginia. The name of a fiddle tune in the
repertoire of West Virginia fiddler Burl Hammons. The title comes from a line
in the third verse of a folk song called “Bird Song,” which McNeil claims is
derived from the Child ballad (No. 26) “The Three Ravens,” first published in
1611. AHR-017, “The Fiddling of Burl Hammons.”
CREEL OF PERCHES, THE. AKA and see “Crib
of Perches.” Irish, Reel. Ireland, County Sligo. D Major. Standard tuning.
AABB. A creel is a basket fisherman use to store their catch while fishing, and
perch, of course, are the catch. Source for notated version: whistle player
Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote, Co. Sligo)
[Flaherty]. Flaherty (Trip to Sligo),
1990; pg. 137.
CREEL OF TURF [1], THE. Irish,
Reel. D Major/Mixolydian (‘A’ part) & G Major (‘B’ part). Standard tuning.
AAB. According to Joseph Reavy the title is taken from Synge’s verse spoken by
Patch Shaneen, who mourns for his wife Maurya Prendergast, with whom he
travelled the roads “west in Carnareagh”:
***
She’d pick her bag of carrageen
Or perries throught the surf,
To fetch her creel of turf.
***
Source for notated version: obtained
by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988) from Jimmy McElroy, a
County Monaghan flute player [Reavy]. Reavy (The Collected Compositions of Ed Reavy), No. 77, pg. 85.
X: 1
T:The Creel Of Turf [1]
R:reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:Ed got the "strains" of this tune many years ago from Jimmy McElroy,
N:a County Monaghan flute player. The title comes from Synge's verse
N:about Patch Shaneen and Maurya Prendergast. Shaneen grieves
N:the passing of Maurya, his wife, who travelled the roads with
N:him "west in Carnareagh"-
N:"She'd pick her bag of carrageen
N:Or perries through the surf,
N:Or loan an ass of Foxy Jim
N:To fetch her creel of turf."
N:The poor couple had little, but they loved
N:much. The poem and tune make a good match for anyone seeking
N:a glimpse of the old Ireland.
K:D
dc | AD (3DDD AGAG | E=CCD EDEG | AD (3DDD AGAG | EDCE DcBc |
AD (3DDD AGAG | E=CCD EDEG | AGAB cBCA |1 E=CE D2 :|2 GECE D3 F ||
GAcd efed | cAGA cAAF | GAcd efed | cAGA c2 [E2c2] | GAcd efed | cAGA cBcd |
edec dedc | aG (3ABc dedc ||
CREEL OF TURF [2], THE. AKA and see Basket of Turf,” “Bundle and Go [1],” “The Creel of Turf [2],” “Disconsolate
Buck,” “The Green Meadow,” “The Lark’s
March,” “The Unfortunate Rake [1],” “Up Sligo [1],” “The Wandering Harper,” “Wee, Wee Man.” Irish, Jig. E Minor. Standard tuning. AA’BB’. Miller (Fiddler’s Throne), 2004; No. 25, pg. 27.
Green Linnet SIF 3018, “Molloy, Brady and Peoples”
(1985).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Creel of Turf, The [2]
M:6/8
L:1/8
R:Jig
K:E Minor
EBB BAG | FAA AFD | EBB B^cd | AGF
E2D | EBB BAG | FAA AB^c |!
d2B BcB |1 AGF E2D:||2 AGF E2A ||:
Bee ede | fdd dBA | Bee ede |!
fdd d2A | Bee ede | fdd dBA | BcB
BcB|1 AGF E2A :||2 AGF E3 ||
CREEPING MOUSE, THE. AKA and see "Miss Thornton's {Reel}," Boat Street Lasses
(The), Miss Thornton's, Miss Thornton's
Reel, House on the
Hill (The), Through the
Fields, Salamanca (2) (The), Spike Island
Lasses (2)Irish, Reel.
CREGGAN CHURCHYARD (Uir-chill a’ Chreagain). AKA – “The Fair Graveyard of
Creggan.” Irish, Air (3/4 time). Ireland, Northern Ireland. G Major. Standard. One
part. According to Ó Canainn (1978) this is one of the great airs of the
Northern tradition (it has been called ‘the National Anthem of South East
Ulster by Máire Nic Domhnaill Gairbhí). It is a song of the ‘Aisling’ or
‘vision’ genre in which a maiden appears to the poet and prophsizes a return to
Irish glory, and appears in Sean Ó Baoighill’s Cnuasacha de Cheoltai Uladh. Creggan is a large parish that
contains portions of two counties in Ireland, Louth and Armagh. The churchyard
contains the ancestral burial ground of the O’Neill’s, lords of Ulster.
***
The composer of the song “Uirchill
an Chreagain” was Art MacCúmhaigh (1738-1773), bard to the O’Neills of
Dunraeva, who was called Art na gCeoltaí. Henry Morris, in his book The
Modern Irish Poets of Oriel, Breffni, and Meath (1906, County Louth
Archeological Society) wrote that MacCúmhaigh was on the run from the ‘powers
that be’ and was being actively hunted. He found refuge for a night in the
O’Neill vault in Creggan graveyard, and thus the opening line (that he slept
the previous night in Creggan Churchyard) is literally true. When MacCúmhaigh
died he was buried at Creggan and the last line of his famous song was carved
on his headstone:
***
(That with the fragrant Gaels of Creggan I will be put in the clay under the sod.)
Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 113, pg. 96.
CREHAN’S. Irish, Hornpipe. A Major. Standard. AA’B.
X:1
T:Crehan's
M:4/4
L:1/8
S:Siobháne Peoples
R:hornpipe
Z:Barney
K:A
A,C EC B,D FD|CE AG AE CE|DF (3Bcd
cB Ac|BA GF ED CB,|
A,C EC B,D FD|CE AG AE CE|DF (3Bcd
cB Ac|1 BE GB A4:|
2 BE GB A2 (3efg||
ae ce fe ce|ae ce fe ce|da fd ca
ec|BA GA Be fg|
ae ce fe ce|ae ce fe ce|da fd ca
ec|BA GB A2 (3efg|
ae ce fe ce|ae ce fe ce|da fd ca
ec|(3BcB (3AGF (3EFE (3DCB,|
A,C EC B,D FD|CE AG AE CE|DF (3Bcd
cB Ac|BE GB A4||
CREHAN’S CHOICE. Irish, Reel. G Major. Standard tuning. AABB. Composed by Clare fiddler Junior Crehan. Source
for notated version: L. Donnelly [Mulvihill]. Mulvihill (1st Collection), 1986; No. 153, pg. 42.
CREHAN’S REEL. Irish, Reel. D Major. Standard
tuning. AABB. Miller (Fiddler’s Throne),
2004; No. 141, pg. 93.
CREIGHTON'S HORNPIPE. Old-Time, Hornpipe. D Major. Standard tuning. AABB. Source for notated
version: Lotus Dickey (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 187.
CREIGNISH HILLS. Canadian, Reel. Canada, Cape Breton. Composed by Reverend Hugh A.
MacDonald. A & M Records 79602 2000-2, Ashley
MacIsaac - “Close to the Floor” (1992). WMR002, Wendy MacIsaac – “The ‘Reel’
Thing” (1994).
CREME DE MINTHY. English, Jig. B Minor. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg.
122.
CREMONA FIDDLE, THE. English, Jig. A Minor. One part. From Watts Miscellany (1729). Raven (English Country Dance Tunes), 1984; pg.
211.
CREMONIA. Irish, Air (3/4 time). A Minor. Standard tuning. AABB. Composed by
blind Irish harper Turlough O'Carolan (1670-1738). The title is somewhat
curious. Donal O’Sullivan, considered the authority on O’Carolan, found Gaelic
titles for the tune as “Croide Eamha” (Heart of Emania) and “Croide Muna”
(Heart of Munster), although he concluded that these were probably not the
titles that O’Carolan himself employed or meant. Other titles he found, "Creamonea,” “Craymuna,” and “Cray
Muna,” were not explained. Several writers have suggested that O’Carolan meant
to reference the village of Cremona, Italy, home of several Italian master
violin makers, supporting this theory with the long-recognized influence of
Italian Baroque stylings in the harper’s later melodies. “Cremonea” appears in
Neal’s Collection of the Most Celebrated Irish Tunes (1724), and in
Daniel Wright’s Aria di Camera (1725, 1730). Complete Collection of
Carolan's Irish Tunes,
1985; No. 192, pg. 132.
X:1
T:Cremonea
M:3/4
L:1/8
Q:240
K:G
DF|G2 AG [FB,]G|E2 B,2 (3efg |ed cB AG|A2 D2 EF|
G2 FE FG|A2 D2 EF|[G2C4] AG [FB]G|E4 B,2:|
:Bd^|e2 ed^ Bd|e2 e2 AB|de dB AB|d2 [d2D4]GA|
B2 cB AG|[A2D4] BA [GB,]F|[G2C4] AG [FB]G|1E4:|2 E4 z2||
X:2
T:Creamonea
S:A Collection of the Most Celeberated Irish Tunes
S:Neals, Dublin, c 1724
N:Reprinted in facsimile by Folk Music Society of Ireland, 1986
Q:1/4=120
M:3/4
L:1/4
K:Gm
G/A/|Bc/B/A/B/|G2(g/a/)|(g/f/) (e/d/)(c/B/)|cFG/A/|\
BA/G/A/B/|cFG/A/|Bc/B/A/B/|G2||\
gg/f/d/f/|ggc/d/|f/g/f/d/c/d/|ffB/c/|d(e/d/)(c/B/)|\
c(d/c/)(B/G/)|B(c/B/)(A/B/)|G2||]
CREOLE BABY. See "Bebe Creole."
CREOLE STOMP. Cajun, Two-Step. USA, southwestern Louisiana. A Major. Standard tuning.
AABBBBBBBAA. Raymond Francois (1990) notes the tune has many variations and is
frequently used as a theme song by Cajun bands. Related songs include Reggi
Matte's "Lewisburg Two-Step,"
Elias Badeaux's "Louisiana
Ace's Special," Ambrose Thibodeaux's "Church Point Two-Step" and
Merlin Fontenot's "Galop Creole" [Francois]. Source for notated
version: Aldus Roger (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 97-98. La
Louisiane Records LL-LP122, Aldus Roger.
CRESTED HENS, THE (Les Poules Huppées). French, Bourrée à 3 temps (3/8
time). E Minor. Standard tuning. Composed in 1983 by French national and hurdy‑gurdy
(vielle a roue) player, Gilles Chabenat, who remarks that some bars of a
Debussy composition served as inspiration for the germ of the tune. It is of a
type from central France, where it is also a folk dance, and is usually played
at a medium tempo though this tune is often heard played slower, a la the Irish
group Solas (who popularised the tune and translated the title). Gilles remarks
that the title was a kind of nonsense play, from his teenage years. The tune is
often mistakenly ascribed Breton origins, of varying degrees of antiquity,
however, it is a modern composition by Chabenat. Stevens (Massif Central
Tune Book No. 1). Karen Ashbrook - “Knock on the
Door” (learned at the Victoria Pub, London). Shanachie 78002, “Solas.”
X:1
T:Les poules huppées
M:3/8
L:1/16
C:Gilles Chabenat
R:Bourrée
A:France
K:d dor
D2DFED|A4 AB|cBAdcB|cBABAG|D2DFED|A4
AB|cBAdcd|1A6 :|2A4 de
|:f2AfAe|_B4
de|fdgfed|^c2d2e2|f2AfAe|_B4 de|fdgfe^c|1d4 de:|2d6 ||
X:2
T:Crested Hens
C:from the playing of Solas
R:Air
Z:Brian Duffy, corrected by Henrik
Norbeck
M:3/4
L:1/8
Q:130
K:Edor
E3GFE|B4Bc|dc Be dc|dc BA
GF|E3GFE|B4Bc|dc BA GA|B3G FD|
E3GFE|B4Bc|dc Be dc|dc BA
GF|E3GFE|B4Bc|dc BA GA|B4 ef|
gB Bg gB|=c4ef|gf ag fe|^d2e2f2|gB
Bg gB|=c4ef|gf ag fd|e3e ef|
gB Bg gB|=c4ef|gf ag fe|^d2e2f2|gB
Bg gB|=c4ef|gf ag fd|e3G FA|
CRIB OF
PERCHES, THE (An Chruid
Péirsí). AKA
and see “Creel of Perches.” Irish, Reel. D Mixolydian {Breathnach}: D
Mixolydian (‘A’ part) & D Major (‘B’ part) {Cranitch}. Standard tuning.
AABB (Cranitch): AA'BB' (Breathnach). Sources for notated versions: accordion
player Paddy O'Brien, 1970 (County Offaly/Dublin, Ireland) [Breathnach];
sourced from both accordion player Joe Burke and flute, tin whistle and piccolo
player Jack McGuire (County Cavan), father of fiddler Seán McGuire [McGuire
& Keegan]. Breathnach (CRÉ II),
1976; No. 180, pg. 94. Cranitch (Irish
Fiddle Book), 1996; No. 69, pg. 152. Cranitch (Irish Session Tunes: Red Book), 2000; 69. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975;
No. 69, pg. 19. Cló Iar Chonnachta CICD 165, John
Wynne & John McEvoy – “Pride of the West” (2007). Graine Hambly – “Between
the Showers” (2002). Matt Molloy – “Shadows on Stone” (1996). Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s,
a reissue of “Sean Maguire Plays,” the first recording of McGuire that
Josephine Keegan accompanied on piano).
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Crib of
Perches, The
L:1/8
R:Reel
K:D
A3B AGFD | (3EFG
AB =cBcA | G2 E=C G,CEG | =cAGc AG (3EFG |
A3B AGFD |
(3EFG AB =cBcA | df (3fgf edBd | cAGE ED D2 :|
|: df (3fgf
af (3fgf | bf (3fgf gfed | cdef gece | Acef gfge |
df (3fgf af (3fgf | dfdf edcA |
(3Bcd ec d2 cB | AFGE FD D2 :|
CRICHTON
CASTLE. Scottish. Glen (1891) finds the
earliest printing of the tune in Robert
Ross's 1780 collection (pg. 25). The castle, which has extensive views over
the Tyne valley, was used in the filming of “Rob Roy.” Originally a tower
dating from the late 14th century, it was consolidated and extended
to include a keep and gatehouse, as well as improving the tower in the in the
early 15th century by Sir William Crichton, who also built the
Collegiate Church nearby. This same Sir William was involved in a gruesome
murder. King James II was a child of six when crowned in 1437, and the kingdom
required a regent. Archibald, 5th Earl of Douglas and head of the
powerful Black Douglases, was appointed, however, he died but two years later,
resulting in a grab for power between the Douglases, Sir Alexander Livingstone
and Sir William. The latter two invited the new Earl of Douglas, then only
sixteen years old, to dine along with his brother and a friend at Edinburgh
Castle. At the end of the meal the head of a black bull was brought to the
table, and this was the signal for the three to be murdered.
***
Crichton
Castle
CRICHTONS’
GOWNLEA, NEW DEAR. Scottish, Jig. Composed by Aberdeenshire
fiddler and composer J. Murdoch Henderson (1902-1972). Henderson (Flowers of Scottish Melody), 1935.
CRICKET ON THE HEARTH. Old Time, Bluegrass; Breakdown. USA, Arkansas. D Major. Standard
tuning. AABB. A member of a large tune family that includes “Damon’s Winder,” “The Devil in Georgia [2],” “Drunken Billy Goat,” “Grand Hornpipe [1],” “Marmaduke’s Hornpipe,” “Mud Fence,” “Ride
the Goat Over the Mountains,” "Rocky Mountain Goat,” and “Swiss Chalet." The title appears in a list of traditional Ozark Mountain fiddle
tunes compiled by folklorist/musicologist Vance Randolph, published in 1954.
Sources for notated versions: Kenny Baker [Brody]; Floyd Engstrom [Silberberg].
Brody (Fiddler’s Fakebook), 1983; pg.
78. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 29. American Heritage 510, Jay Belt‑ "Fiddlin' Jay
Belt." County 719, Kenny Baker‑ "Portrait of a Bluegrass
Fiddler." June Appal 014, John McCutcheon‑ "The Wind That
Shakes the Barley" (1977. Learned from Byard Ray). Rounder Select
82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music”
(reissues, orig. released 1977).
See also
listing at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources |
(((♫))) Charlie Acuff (b. 1919) “Cricket
on a Hearth” |
CRICKET HORNPIPE, THE. Irish, Hornpipe. B Minor. Standard tuning. AA’BB’. Composed by Chicago tin
whistle player Johnny Harling. Black (Music’s
the Very Best Thing), 1996; No. 276, pg. 148.
X:1
T: Cricket Hornpipe
C: Johnny Harling
Q: 325
R: hornpipe
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: Bm
F | Bd (3fed B2 FA | B2 dB cBAF | G3 A BA (3GFA | ^AcdB dcB=A |
Bd (3fed B2 FA | B2 dB cBAF | GFED EFGB |1 ^ABcA B3 :|2 ^ABcA Bcde ||
f3 g fede | fedc BAFA | ^ABcA dcBd | cB^AG F3 D | E3 F GABd |
cB^AB c2 ^A/=A/G/F/ | Bf^ef dcBG |1 FBB^A Bcde :||2 FBB^A B4 ||
CRICKET ON THE HEARTH. AKA – “Cricket in the Hearth.” Old‑Time, Breakdown. D Major.
Standard tuning. AABB. See note for “Marmaduke’s Hornpipe.” Source for
notated version: Kenny Baker [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 60. County 719, Kenny Baker - "Portrait of a Bluegrass
Fiddler" (learned from Kentucky fiddler Art Wooten from a late 1940's
radio broadcast). County 2705, Kenny Baker - "Master Fiddler."
Heritage XXIV, Smokey Valley Boys ‑ "Music of North Carolina"
(Brandywine, 1978).
CRICKET’S MARCH OVER
THE SALTBOX. AKA and see “Idlewild Jig.” Irish, Jig.
CRIEFF FAIR. Scottish, English; Reel or Strathspey. England, Northumberland. D Minor. Standard. AAB. The town of Crieff is in Perthshire, though Vickers spelled it "Creef" in his MS. Scot, in The Scottish Country Dance Book labelled the tune "from Bremner, 1760." Bayard thought the American tune "Fine Times at Our House [1]" bore some resemblance to this tune. Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection. Bremner (Scots Reels), 1757; pg. 69. Seattle (William Vickers), 1987, Part 3; No. 507 (reel). Stewart-Robertson (The Athole Collection), 1884; pg. 244 (strathspey).
X:1
T:Crieff Fair
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Dmin
A>BA>G A2 F>G|c>dc>A c>dc>A|A>BA>G F>G A2|f>de>^c d/d/d d2:|
d>ef>g a>fg>e|f>dc>A F>GA>c|d>ef>g a>fg>e|f>de>^c d/d/d d>f|
d>ef>g
a>fg>e|f>dc>A F>GA>F|A>cF>A A/A/A a>g|f>de>^c
d/d/d d2||
X:2
T:Crief Fair
M:C
L:1/8
R:Reel
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:Dmin
|: defg afge | fdcA FGAc | defg afge | fde^c d/d/d d2 | defg afge | fdcA FGAc |
AcFc A/A/A ag | fde^c d/d/d d2 :|
CRIEFF FAIR [2]. Scottish, Reel. D Major. Standard tuning. One part. Howe includes this tune, not in his section of ‘Scotch Melodies’, but with his contra-dance tunes, although labeling it a “Scotch Reel”. Howe (1000 Jigs and Reels), c. 1867; pg. 89.
X:1
T:Crief (sic) Fair
M:2/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
d>f (e/c/)(c/e/) | d/B/B/d/ A/F/F/A/ | f/<d/ d/>f/ e/<c/ c/>A/ | B/A/B/c/ d(d/e/) |
f/d/ (3d/d/d/ e/c/ (3c/c/c/ | (d/B/) (3B/B/B/ (A/F/).F/.A/ | d/<f/ c/<e/ B/<d/ A/>c/ | B/d/A/F/ (3E/E/E/E ||
CRIEFF MEETING, THE. Scottish, Reel. A Major. Standard tuning. AABB'.
The melody appears in John Bowie's A Collection of Strathspey Reels &
Country Dances (Edinburgh, 1789). Lady Nairne wrote a song to this melody
called "County Meeting". The town of Crieff lies in the Scottish
province of Perth and Kinross. It was a center for industry in the 18th
century, and was the hub of a system of drove roads as well as an important
cattle market. Crieff is also home to the Glenturret Distillery, Scotland’s
oldest Highland malt whiskey distillery, dating from 1775. Glen (The Glen Collection of Scottish Dance Music),
vol. 1, 1891; pg. 26. S. Johnson (A Twenty Year Anniversary Collection),
2003; pg. 40. Kerr (Merry Melodies), vol. 3; No. 116, pg.
14.
X:1
T:Crieff Meeting, The
M:C
L:1/8
R:Reel
S:Glen Collection, vol. 1
(1891)
Z:AK/Fiddler’s Companion
K:A
(f|ea)ec A/A/A a2|B=gdg BGGf|eaec
A/A/A a2|faea cAA:|
e|cAeA cAac|B=gdg BGGB|cAeA
cAae|faea cAAB|cAeA cAac|
B=gdg BGGB|cAae faea|ceBe cAA||
CRIMINAL TWO-STEP. See "Two-Step de
Criminelle."
CRIMINAL WALTZ. AKA and see "Valse Criminelle."
CRIMLIN CAT, THE (Cat na Crimlinne). Irish, Reel. A Dorian. Standard
tuning. AB. Source for notated version: fiddler William Jones (County
Fermanagh) via Liam Donnelly (County Tyrone) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 97, pg. 52.
CRIMSON CRUSTACEAN.
Canadian, Jig. A Mixolydian. Standard tuning. AA’BB’CCDD. Composed by Nova
Scotia piper Jack MacLean, a former member of the Dartmouth and District Pipe
Band, later known as Clan Sutherland (Shears). The title references a cooked
lobster, the delicacy of the Maritime provinces. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 74.
CRIMSON VELVET, THE. AKA and see "Shepherd, Saw Thou Not,"
"In the days of old,” “Twas a
Youthful Knight, which Loved a Gallant Lady." The title comes from a
ballad about a princess who forsakes her rank and marries a commoner. After
many years her husband finds out about her former station and reveals all to
the king in a novel way: he places his family in the King's way; his wife, the
former princess, dresses in crimson velvet clothes suitable to her former rank,
he is in common grey, and their children are dressed in costumes the right of
which cloth of gold and the left of woollen.
CRÍOCHA NA hALBAN. AKA and see “The Lands of Scotland.”
CRIOGAL CRIDHE (Glenlyon Lament). Scottish, Slow Air (4/4 time). G Mixolydian.
Standard tuning. One part (Martin): AB (Neil). After the hanging of Macgregor
of Glenstrae by the Campbell of Glenorchy at Taymouth Castle in 1570, his widow
composed this lament. Martin (2002) says it is a popular Gaelic song and air.
Neil (1991) relates the sad fate of the once strong and honorable Clan
MacGregor, the traditional enemies of the Campbells, who went into decline
before the beginning of the 17th century. By the early 1600's the
MacGregors were nearly landless and most of their members had scattered to the
estates of others, notably their old enemies the Campbells, and the Menzies.
Desperate, individuals in the clan formed themselves into marauding, lawless
bands and became freebooters, finding haven in hiding places of Lannoch Moor.
In 1602 they managed to annihilate the Colquhouns at the battle of Glenfruin
(which became known as the 'Slaughter of Lennox') but for the next twenty‑five
years they themselves were hounded, repressed and nearly exterminated by the
vengeful government and personage of King James VI, who only relented in 1627,
when a new chief was able to bring the clansmen under his authority and
exercise the peace. Martin (Traditional
Scottish Fiddling), 2002; pg. 63. Neil (The
Scots Fiddle), 1991; No. 152, pg. 195.
CRIOSCOSA GLASA. AKA and see "Green Garters."
CRIPPLE CREEK. AKA‑ "Going Up/Down Cripple Creek," "Going Up/Down Brushy Fork,"
"Going Up/Down Shootin'
Creek," “Red Creek,” “Shootin’
Creek [3].” Old‑Time, Bluegrass; Breakdown. USA, Widely known. A
Major (Beisswenger & McCann, Brody, Phillips): C Major (second of Thede's
versions): G Major (Beisswenger & McCann, Ford). Standard, GDgd, AEae, ADae,
AEac# tunings. AABB (Beisswenger & McCann, Brody, Phillips, Thede): AABBCC
(Ford): AA'BBCC' (Phillips/1994). The tune had and still has wide currency
throughout the South, although more popular in the Appalachians than in the
Midwest. There have been several suggestions about the origin of the title and
tune, with modern speculations that ‘cripple’ refers to a ‘crooked’ or
meandering stream. The Oxford English dictionary lists two relevant American
meanings of ‘cripple’ current in the 19th century: a) a dense
thicket in swampy or low-lying ground, and b) a lumberman’s term for a rocky
shallow in a stream. Folklorist Alan Jabbour, of the Library of Congress found
that the oldest Appalachian fiddlers he collected from could recall the first
time that they had heard “Cripple Creek,” leading Jabbour to speculate that the
title might have something to do with the Cripple Creek, Colorado, labor
troubles. Gold had been discovered there in 1891 and the labor disputes date
from 1903-1904.
***
Jabbour may be right, although not only was Cripple Creek an important mining town, but it also had a reputation—the town featured several brothels, including Ella Holden’s The Library, Pearl Sevan’s Old Faithful, and Hazel Vernon’s Old Homestead. In 1897 Hazel sold her establishment, intent on a comfortable retirement in California, and Pearl DeVere took it over. Pearl, however, ran into financial problems, and one night, The Cripple Creek Times article of the time reported, “a gay party was in full swing when Pearl excused herself, saying that she felt indisposed. She refused to let anyone go with her to her room. She was in high spirits all evening, a woman said, and never seemed happier or more carefree.” Pearl took an intentional overdose of morphine, and was found the next morning, fully clothed and sprawled across her bed. Her assets did not cover the cost of her burial, and an appeal was made for donations “to give the little girl a real sendoff”, as one Bennett Ave. bartender was heard to remark. Indeed, it was reputed to have been Colorado’s biggest funeral to that date, featuring contingents from the local fire companies, the Elk’s band, and men from Union Hall. Women from the dance halls and brothels decked themselves out and rode behind in rented carriages. All heard the Reverend Franklin in the January cold deliver a short eulogy based on the parable, “let him who is without sin cast the first stone.”
***
Many think the tune and title older
than the turn of the 20th century labor disputes, and point out an
equally likely candidate for the title’s origins lie with the Cripple Creek
that flows through Grayson and Carroll Counties in Virginia, emptying into the
New River. Betty Vornbrock reports that there is a ‘town’ by the name of
Cripple Creek south of Wytheville, in Wythe County adjacent to Grayson County,
near Elk Creek and Bull Mountain (both in Grayson). The story she heard is that
“hunters were on the trail of a large buck elk who led them over Buck Mountain,
then along and across Elk Creek and on up north till they shot him, but only
crippled him, at Cripple Creek.” Mike Yates (2002) confirms that “most Virginia
musicians believe that it relates to a location in Wythe County, Virginia.”
Still, the tune probably has no great antiquity. Glen Lyn, Virginia, fiddler
Henry Reed (1884-1968), for example, told Alan Jabbour that he was sixteen
years old when he first heard “Cripple Creek.” Jabbour explains that Reed said
the man who first played it for him was from Texas and was simply passing
through the Tug River region (i.e. Tug Fork of Big Sandy River) of the West Virginia/Kentucky border, where
Reed and his brother were employed as young men in the coal country region of
southern West Virginia doing blacksmith work (which perhaps does argue for
western origins for the tune). The English folk-song collector Cecil Sharp
picked up a version (called “Gone to Cripple Creek”) during his 1917 collecting
trip in the Appalachians.
***
These ditty, or similar rhymes, were
collected with the tune from various sources:
***
Cho:
Goin' up Cripple Creek, goin' on the run,
Goin' up Cripple Creek, have some/a little fun.
***
I've got a girl and she loves me, she's as
sweet as she can be;
She's got eyes of baby blue, makes my gun shoot straight and true
***
(Cho:)
Goin' up Cripple Creek, goin' on the run
Goin' up Cripple Creek to have a little fun
Goin' up Cripple Creek, goin' in a whirl
Goin' up Cripple Creek to see my girl
***
I got a gal at the head of the creek, goin' up to see her 'bout the middle of
the week;
Gals up Cripple Creek are only half grown, jump on a man like a dog on a bone.
***
Cripple Creek's wide and Cripple Creek's deep, I'll wade ol' Cripple Creek
before I sleep;
Roll my britches to my knees, I'll wade old Cripple Creek whenever I please.
***
I went down to Cripple Creek, to see what them girls had to eat;
I got drunk and fell against the wall, old corn likker was the cause of it all. (this stanza is shared with the song “Old
Corn Liquor”—see the Frank C. Brown Collection, North Carolina )
***
Well I married a wife in the month of June, married her up by the light of
the moon.
We live down on Cripple Creek, we've been there about a week.
***
Kiss her on the mouth just as sweet as any wine, wraps herself around me
like a sweet potato vine!
Roads are rocky and the hillsides' muddy, I'm so drunk that I can't stand
steady. (A floating verse, see also “Sally Goodin.”)
***
Regarding the last two stanzas, Paul
Gifford remarks that Bill
Bigford (of Portland, Michigan) knew the variant below (sung also to “Pigtown
Fling/Stony Point/Old Dad”):
***
The night was dark and the river was muddy,
Got so damn drunk I couldn't keep steady;
I give a little whoop and I give a little yell,
The horse run away, throwed the buggy all to Hell.
***
North Carolina banjo player and
singer Charlie Poole recorded the song with the North Carolina Ramblers, adding
verses which referred to the Shooting Creek region of Franklin County,
southwest Virginia, famous for many years as a center for distilling homemade
whiskey (becoming notorious for the commodity during the Prohibition). Poole
was a frequent visitor, according to Tom Carter and Blanton Owen (1978).
***
Oh gals, you'd better look sweet,
'Cause there's plenty a more liquor on Shootin' Creek.
Oh gals, you'd better keep still,
'Cause there's plenty a more liquor in them Ivory Hills. (Charlie Poole)
***
See also Alan Lomax’s Folk Songs
of North America (1960, pg. 232), Cecil Sharp’s English Folk Songs from
the Southern Appalachians (1952, pg. 358), and The Frank C. Brown
Collection of North Carolina Folklore, vol. 5 (1952, pg. 79) for more
lyrics.
***
In the Mid-west it was recorded from
Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance
Randolph for the Library of Congress. Early commercial recordings include Sam
Jones (1924), Fiddlin’ Powers (1924), Gid Tanner & Riley Puckett (1924),
and Fiddlin’ John Carson (1927).
***
Sources for notated (print) versions: J.S. Price (Pottawatomie County,
Oklahoma, and Claude Keenan, Oklahoma County, Oklahoma) [Thede]; Benny
Thomasson (Texas) [Phillips/1989]; Clark Kessinger & Benny Thomasson
[Phillips/1994]; Ralph DePriest (1925-2006, Hardy, Arkansas) [Beisswenger &
McCann]; Homer E. Dillard, Sr. (c. 1913-c. 1993, Salem, Missouri) [Beisswenger
& McCann].
***
Print versions: Beisswenger & McCann (Ozark
Fiddle Music), 2008; pgs. 179 & 180 (two versions). Brody (Fiddler’s Fakebook), 1983; pg. 79. Ford
(Traditional Music in America), 1940;
pg. 94. Phillips (Fiddlecase Tunebook),
1989; pg. 14. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 61 (two versions). Thede (The Fiddle Book), 1967; pg. 109‑110.
***
Recorded versions: American Heritage 515,
Mark O'Conmner‑ "You Be the Judge." Columbia CL 2134l, Flat and
Scruggs‑ "Live at Vanderbilt University." County 703, Vernon
Solomon‑ "Texas Hoedown." Davis Unlimited 33015, Doc Roberts
(Ky.) ‑ "Classic Fiddle Tunes." Document 8039, “The Hill
Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in
Chronological Order, vol. 1” (reissue). Edison 51789 (78 RPM, 1925), and Victor
(78 RPM, 1924) Fiddlin Cowan Powers (b. 1877, S.W. Va.). Folkways FA 2426, Doc
Watson (N.C.) ‑ "At Folk City." Gennett 5635B (78 RPM), 1925,
Tweedy Brothers (W.Va.). Gennett 6336 (78 RPM), Doc Roberts (Ky.). Heritage
XXIV, Tommy Jarrell ‑ "Music of North Carolina" (Brandywine,
1978). Missouri State Old Time Fiddlers' Association, Cyril Stinnett -
"Plain Old Time Fiddling." Musical Traditions MTCD321-2, Charlie
Woods (et al) – “Far on the Mountain, vols. 1&2” (2002). OKeh 40336 (78
RPM), The Hill Billies (1925). Rounder 0058, Albert Hash, Paul Spencer, Jones
Baldwin (Va.) ‑ "Old Originals, vol. II" (1978). Rounder CD
1701, Wade Ward. Rounder 1823, Jimmie Strothers – “Deep River of Song: Black
Appalachia—String Bands, Songster and Hoedowns.” Tradition Records TLP 1007,
Hobart Smith‑ "Instrumental Music of the Southern Appalachians"
(1956). Tradition TCD 1061, Hobart Smith. Voyager 309, Benny and Jerry
Thomasson (Texas) ‑ "The Weiser Reunion: a Jam Session" (1993).
Marie Rhines‑ "Tartan and Sagebrush."
See also listing at: Jane Keefer’s Folk Music Index: An Index to
Recorded Sources |
X:1
T:Cripple Creek
L:1/8
M:2/4
S:Frank Maloy, Devil’s Box, vol. 22, No. 3, Fall 1988, pg. 52.
K:A
e/f/|a/g/a/e/ f/e/c/A/|d/e/f/d/ ee/f/|a/g/a/e/ f/a/e/d/|c/A/B/c/ Ae/f/|
a/g/a/e/ f/e/c/A/|d/e/f/d/ e/f/e/d/|c/B/A/c/ B/A/F/D/|(E/F/)A/B/ A:|
|:A/B/|c/B/c/A/ B/A/F/A/|c/A/c/A/ EA/B/|c/B/c/A/ B/A/F/D/|(E/F/)A/B/ AA/B/|
c/B/c/A/ B/A/F/A/|c/A/c/A/ EA/B/|c/B/c/A/ B/A/F/D/|(E/F/)A/B/ A:|
|:e/f/|ag/a/ fe|d/e/f/d/ ee/f/|ag/a/ f/a/e/d/|c/A/B/c/ Ae/f/|ag/a/ fe|d/e/f/d/ e/f/e/d/|
c/B/A/c/ B/A/F/D/|(E/F/)A/B/ A :: A/B/|(B/c/)e/c/ (B/A/)F/A/|(B/c/)e/c/ EA/B/|(B/c/)e/c/ (B/A/)F/D/|
(E/F/)A/B/ AA/B/|(B/c/)e/c/ (B/A/)F/A/|(B/c/)e/c/ EA/B/|(B/c/)e/c/ (B/A/)F/D/| (E/F/)A/B/ A:||
CRIPPLE(D) KITTY. AKA and see "Clever Katie," "Wha'll Dance Wi' Wattie."
Shetland, Shetland Reel. Shetland, Whalsay.
CRIPPLE WITH THE
CRUTCHES. AKA and see "Connie the Soldier."
CRIPPLED BOY, THE. See “Gille Crùbach.”
CRIPPLED TURKEY. AKA – “Cripple Turkey.” Old‑Time, Breakdown. G Major. Standard
tuning. AABB. The melody is similar tune to “Say Old Man (Can
You Play the Fiddle).” It has become the basis for swing and contest
improvisations in many versions. Recorded by Texas fiddler Bob Wills in 1936,
but unreleased. Source for notated version: Absie Morrison (1876-1964, Searcy
County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark
Fiddle Music), 2008; pg. 102. United Artists UA-LA
216-J2, Bob Wills – “For the Last Time” (1974).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
CRO NAN GOBHAR. AKA and see "The Goat Pen."
CROALL’S. Scottish, Strathspey. D Major.
Standard. AA’B. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 79.
X:1
T:Croall’s
M:C
L:1/8
R:Strathspey
C.J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:D
F | B2 d>B f>B({^a}b>g |
f>dc<f d<B ~B2 |1 {^G}[A2A2] c>A e>A({^g}a>)f | e>cB<e
c<A A :|2
(d>B) e/d/c f>dg>f |
e>dc<f d<B B|| c | ({c}d2 A>d F>dD>d | F>dD>d F<DD
^d |
{^d}[e2e2] B>e G>eE>e |
^G>eE>e c<AA>c | ({c}d2) A>d F>dD>d | F>dD>d
F<DD>f |
(3gfe (3fed (3edc (3dcB | (3cba
(3gfe f<d d ||
CROCK OF GOLD, THE. Irish, Reel. Composed in 1946 by Vincent
Broderick, a flute player from Loughrea, and a member of the Kincora Ceili Band
from 1952-1957. Often played in a medley with two other Broderick compositions,
“The Tinker’s Daughter” and “Midsummer Night.” Broderick (The Turoe Stone). Green Linnet SIF 1139, “Eileen Ivers” (1994). Green Linnet
GLCD 1200, Lunasa – “Otherworld” (1999). Philo 1051, Boys of the Lough ‑
"Good Friends, Good Music" (1977). Turlach Boylan – “The Tidy
Cottage” (appears under the title “Rose Marie”
X:1
T:Crock of Gold, The
M:4/4
L:1/8
C:Vincent Broderick
R:reel
K:G
~B3B BAGE|G2AG GEDB,|DEGA BAGA|B2dB BAGA|
!~B3B BAGE|G2AG GEDf|g2fg egdA|DEGA BGG2:|
!|:ea~a2 bagb|a2ba gede|gedB GABd|egdB BAA2|
!ea~a2 bagb|a2ba gede|g2fg edBA|DEGA BGG2:|
CROCKETT'S FAVORITE. Old‑Time, Breakdown. USA; Galax, Va. A Major. Standard tuning.
AABB. Identified as a Wade Ward tune "reprocessed by Dennis Tang."
Crockett Ward was Wade's father, and a member of the Galax, Virginia, area band
The Bogtrotters. Spandaro (10 Cents a
Dance), 1980; pg. 34.
X:1
T:Crockett’s Favorite
M:C
L:1/8
K:A
ea|c’2 a2 aeea|c’2 a2 e4|c’2 a2 ae
e2|dc c2A2:|
|:ce|aeec dccA|ae ^d2 e2 ce|aeec
dccA|ec A2 A2:|
CROCKETT'S HONEYMOON.
AKA – “George Ainley’s Tune.” AKA
and see “The Honeymoon (Reel) [1],”
“The Maid Who Left the Mountains.”
Old‑Time, Breakdown. G Major. Standard tuning. AABB (Songer): AA'BB'
(Phillips). The name “Crockett’s Honeymoon” (or, sometimes, “Crockett’s
Wedding”) appears to have originated in the 1970’s, attached (perhaps by George
Ainley) to an untitled tune contained in a medley on a 1920’s recording by
Crockett’s Kentucky Mountaineers. The alternate title “George Ainley’s Tune”
comes from the recording by the Fat Meat Boys. A similar, and perhaps
originally titled, American tune is “The Maid Who Left the Mountains.” Under
the title “The Honeymoon” it appears in the c. 1883 Ryan’s Mammoth Collection. Sources for notated versions: Ruthie
Dornfeld (Seattle, Washington) [Phillips]; Ron Andrico (Portland, Oregon)
[Songer]. Phillips (Traditional American
Fiddle Tunes), vol 1, 1994; pg. 62. Songer (Portland Collection), 1997; pg. 56. Brunswick
291 (78 RPM), Crockett’s Kentucky Mountaineers – “Medley of Old Time Dance Tunes.”
Rounder CD 0397, Scott Nygaard - "Dreamer's Waltz" (1996). Varrick VR‑038,
Yankee Ingenuity ‑ "Heatin' Up the Hall" (1989).
CROCKFORD'S JIG. Old‑Time, Reel. USA, New York. D Major. DDae tuning. AABBCCDD.
The tune shares second and fourth measures with "(Fred) Wilson's Clog," and may be a
variant; at any rate there was a sharing of strain fragments. Source for
notated version: Milo Kouf (central New York State, 1977; Kouf learned the tune
from old Tompkins County, N.Y. fiddler Robert Crockford) [Bronner]. Bronner (Old-Time Music Makers of New York State),
1987; No. 45, pg. 166.
CRODH CHAILEIN (Colin's Cattle). Scottish, Slow Air (3/4 time). D Major
(Martin): E Major (Neil). Standard tuning. One part. The melody is though to
have been composed by Isabel Cameron of Mull. One of the Gaelic fairy songs
(Orain Shidhe), it tells the story of the beautiful bride of Colin who was
enchanted by fairies on her wedding day. Her fate was for one year's time to be
allowed home each day to milk the cows, and though Colin could hear her
singing, she was forced to remain invisible to him. After the specified period
the spell was broken and she was restored. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 14. Neil (The Scots Fiddle), 1991; No. 172, pg. 223.
CRODH LAOIGH NAM
BODACH (The Old Man’s Calf). AKA and see "Plundering the Lowlands."
Scottish, Air (3/4 time). D Dorian. Standard. One part (Martin): AB (Heymann).
The air is found in a music manuscript of the early 19th century by the
Maclean-Clephane sisters at Torloisk on the Isle of Mull, Scotland. It was
taken from the “playing of {Echlin?} O’Kain by Mr. {Patrick} Macdonald.”
Heymann (1988) states that the travelling Irish harper Echlin O’Cathain was
known to have spent time in Scotland. O’Cathain was born in 1729 and became a
student of Cornelius Lyons, a famous harper. Besides Denis Hempson, he was the
only surviving harper by the end of the 18th century to cultivate long
fingernails in the ancient manner. Captain Simon Fraser prints a version of the
melody in his Airs and Melodies
(1816), and noted that the tune may have come from just south of Loch Ness, and
was said to have commemorated a Highland cattle raid into the Lowlands. Heymann
(Secrets of the Gaelic Harp), 1988;
pg. 91. Martin (Traditional Scottish
Fiddling), 2002; pg. 64.
CROFTER’S WIFE, DA. Shetland. Composed by fiddler/composer Gideon Stove. Great Meadow Music GMM 2003, “Rodney Miller’s Airdance”
(2000).
CROGHAN HILL [1]. AKA and see “The Castle,” “God
Speed the Plow,” “Ireland in New
York,” “Speed the Plow.”
Irish, Reel. G Major. Standard. AABB. The tune is in Breathnach’s CRÉ II (1985) as “Speed the Plow.”
Source for notated version: fiddler Pat Neilly [Bulmer & Sharpley]. Bulmer
& Sharpley (Music from Ireland),
1976, Vol. 4, No. 1. Mallinson (Enduring),
1995; No. 18, pg. 8.
CROGHAN HILL [2]. Irish, Hornpipe. C Major.
Standard. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south County Armagh. Keegan says the title refers to the place in
County Offaly, the site of an outdoor 1946 feis where piper Leo Rowesome
awarded her first prize. Keegan (The
Keegan Tunes), 2002; pg. 66.
CROGHAN’S REEL. Irish, Reel. Giblin (Collection of Traditional Irish Dance Music),
1928; 42.
CROIDHE MHUMHAN. AKA and see "The Heart of
Munster."
CROITH NA CLEITEACHA. AKA and see "Toss the
Feathers."
CROITH NA PISEANNA. AKA and see “Rattle the Peas.”
CROMDALE HAUGHS. See “Haughs of Cromdale.”
English. England, Northumberland. Title appears in Henry Robson's list of
popular Northumbrian song and dance tunes, which he published c. 1800.
CROMDEL HILL. Scottish, Country Dance Tune (4/4 time). The melody appears in the Bodleian Manuscript, in the Bodleian
Library, Oxford. It is inscribed "A Collection of the Newest Country
Dances Performed in Scotland written at Edinburgh by D.A. Young, 1740."
CROMER SCHOTTISCHE. English, Schottische. England, East Anglia. Old
Hat Records OH-1, Old Hat Band - "The Old Hat Concert Party."
CROMLET'S LILT. Scottish. Robin Williamson dates the tune from the 1590's but notes
that it was first found in print in the Reverand William Geddes' Saints' Recreation, 1683. It later
appeared in James Oswald's Curious
Collection of Scots Tunes (c. 1739) as the fourth figure of his 'Sonata of
Scots Tunes'. Williamson says the tune should more accurately be called
"Cromleck's Lilt" after one Chisholm of Cromleck, who courted "a
beauty named Helen, one of a family of 31 children, no less. Her youngest
brother died at the age of 111, at which age he could still drink a bottle of
ale at a draught." For some reason
Cromleck had to leave for France, and while there composed a ballad and this
tune for his beloved. Unfortunately, a friend had in his absence wooed the same
Helen and succeeded in winning her affections to the extent they were married.
On their bridal night however, she was visited by at least the voice of Croleck
which cried "Oh Helen, Helen, mind me," at which she lept from the
bed in horror. Evidently the marriage was never consummated, for Cromleck soon
came home, discovered the treachery of his friend, and succeeded in having the
marriage annulled, whereupon "Helen became the happy wife of her first
intended." Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish
Harpers, Vol. 1."
CRONAN A’ MHATHAIR. Irish. Ireland, County Donegal. In the repertoire of Donegal fiddler
Frank Cassidy. Cassidy’s was the version recorded by fiddler Seamus Ennis for
Gael Linn.
CRONAN GABHAIR, AN. AKA and see “The Goat’s Song.”
The tune appears under this title in Logan’s Scottish Gael and as “The Goat’s Song” in O’Neill’s Irish Minstrels and Musicians.
CRONAN MUILEACH, AN. AKA and see "The Dirge of Mull."
CRÒNAN
NA LINNE MHUILICH (The Sound of Mull). Scottish, Reel. A Dorian
(Stewart-Robertson): B Minor (Shears). Standard. AAB. Barry Shears says a
similar sounding reel can be found in the Edinburgh
Collection, Part 5 (c. 1910). His Cape Breton setting is from the music
manuscript of piper Captain Angus J. MacNeil, of Gillis Point, Cape Breton, who
compiled his work around 1915. According to Shears (1986), MacNeil was an
officer-piper with the 94th Regiment, Victoria Battalion, organized
for home defense during World War I. His unit had the distinction of being the
only British Empire unit with over 80% of its officers and enlisted being
Gaelic speakers! There is also a slow air called "The Sound of Mull
[2]" (Laoidh Chaluim Chille). The Sound of Mull is a the name of the
waterway that separates the Island of Mull from the west Scottish mainland, and
is the location of numerous shipwrecks, making it a favorite site for
recreational divers in modern times. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 50 (pipe
setting). Stewart-Robertson (The Athole
Collection), 1884; pg. 45. Culburnie 113, Alasdair
Fraser & Tony McManus – “Return to Kintail.” Dorian DOR-90190, Chris
Norman, Alasdiar Fraser (et al) – “Beauty of the North.” Jackie Dunn – “Dunn to
a ‘T’.” Glen Graham & Amy Graham – “Step Outside.”
X:1
T:Crònan na Linne Mhuilich
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A Minor
e(AA)c B>A B2|A2 A>^g ae^fd|e(AA)c BA B2|G2 G>c BddB:|
B(ee)d e^f g2| e2 d>^g ae^fd|e/e/e ede^f g2|G2 Gc BddB|B(ee)d e^fg2|
e2
e>^g ae^fd|e/e/e ed e^fge|dBGB dgdB||
CRONIN'S FANCY
HORNPIPE. AKA and see “Charlie Mulvihill’s (Reel)
[2],” “The Doon Reel [2],” “The Kilfenora Reel [3],” “O’Keeffe’s Reel [2],” "Speed the Plow [2],” “Tom Billy’s (Reel) [3]."
Irish, Reel. D Major. Standard tuning. AABB. Source for notated version:
Belfast fiddler Seán McGuire (1927-2005) [Miller & Perron]. Miller &
Perron (Irish Traditional Fiddle Music)
1977; vol. 1, No. 34. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 58.
CRONIN'S FAVORITE [1] (Roga Uí Cronin). AKA and see "The Flowers of Limerick [1]."
Irish, Reel. G Major. Standard tuning. ABCD. O’Neill remarked about source
Cronin:
***
…he would play on for hours at a time such tunes as
memory presented, his features while so engaged remaining
as set and impassive as the sphinx…it was his open boast
that he never forgot nor forgave an injury.
***
Source for notated version: Chicago
fiddler Edward Cronin, originally from County Tipperary [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1555, pg. 287.
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Cronin’s Favorite [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1555
Z:AK/Fiddler’s Companion
K:G
GF | DGGF G2 GA | BgcA BGAF | DFFE
F2 FG | AGAc BGFD |
DGGF G2 GA | BAGA Bcde | fefd cAFA
BGAF G2 ||
GA | Gggf g2 ga | bgga bgaf | d^cde fefg | abag fdcA | dggf g3d |
BAGA Bcde | fefd cAFA | BGAF G2 ||
GF | DGGA BAGB |
dcBd cBAG | FGAB cAFA | cBcA BGAF |
GFGA BABd |
cBAB cdeg | fefd cAFA | BGAF G2 ||
df | gddf gbag | fede fgaf |
eccd efge | dcBA GcBA | G2 GA BABd |
cBAB cdeg | fefd cAFA | BGAF G2 ||
CRONIN’S
FAVORITE [2]. AKA and see “Bly’s Jig,” “Darby the Driver,” “Paddy Cronin’s [6].” Irish, Canadian;
Jig. Canada, Cape Breton. A Dorian. Standard tuning. AABB. Sources for notated
versions: Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince
Edward Island) [Perlman]; accordion player Paddy O’Brien (originally from
County Offaly and Dublin, now of the Mid-West U.S.) at the Pipers’ Club in
Dublin [Breathnach]. Breathnach (CRÉ V),
1999; No. 43, pg. 22. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 19, pg. 5. Miller (Fiddler’s Throne), 2004; No. 26, pg. 28.
Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 143. BM-91, Buddy MacMaster – “Glencoe Hall.” Nimbus Records NI
5383, Howie MacDonald & John Morris Rankin – “Traditional Music from Cape
Breton Island.” Nimbus Records NI 7014, Howie MacDonald & John Morris
Rankin – “World Music Sampler, vol. 2.” Rounder 7021, Natalie MacMaster – “A
Compilation.”
See also listing at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
T:Cronin’s Favorite [2]
M:6/8
L:1/8
R:Jig
K:A Dorian
EAA ABd|ege dBA|GEF GAB|dBA GED|EAA ABd|
ege def|(3gag d ege|dBG A2::eag e2d|eaa bag|efg d2g|
eaf ged|eag e2d|eaa bag|efg edB |BAG A2:|
CRONIN'S FROLICS (Sugacais Uí Cróinín). Irish, Double Jig. D Major.
Standard tuning. AABBCCDD. O'Neill (Dance
Music of Ireland: 1001 Gems), 1986; No. 338, pg. 70.
X:1
T:Cronin’s Frolics
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 338
Z:AK/Fiddler’s Companion
K:D
G|FEF AFD|dcd ecA|fed gec|dcd
ecA|FEF AFA|dfa ece|fed gec|Add d2:|
|:c|ecA efg|afd bge|afd gec|d/e/fd
ecA|FEF AFA|d/e/fa ecA|faf gec|edd d2:|
|:g|afd dgf|ecA Afg|afd Bgf|efd
cBA|afd dcd |gfg ece|fed gec|edd d2:|
|:B|AFD DFA|dcd AFD|AFD DEF|G/A/BG
EFG|ABA DFA|d/e/fa ece|faf gec|edd d2:|
CRONIN'S HORNPIPE (Cornphíopa Uí Chróinín). AKA and see "Denis Murphy's Hornpipe."
Irish, Hornpipe. G Major. Standard tuning. ABB (Miller & Perron): AABB
(Breathnach, Cranitch, Mallinson, Tubridy): AA’BB (Moylan). Cranitch (1996)
suggests playing this as the first tune of a medley with “Chief O’Neill’s
Favorite.” Sources for notated versions: piper Seamas Ennis, 1959 (Dublin,
Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region
of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann,
November, 1990 [Moylan]; fiddlers Pádraig O’Keefe, Denis Murphy & Julia
Clifford [Miller & Perron]. Breathnach (CRÉ
II), 1976; No. 303, pg. 155. Bulmer & Sharpley (Music from Ireland), vol. 1; 69. Cranitch (Irish Fiddle Book); 1996; pg. 76. Mallinson (Enduring), 1995; No. 86, pg. 36. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 1, No. 51 (appears as “Denis Murphy’s Hornpipe”). Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 115. Moylan (Johnny
O’Leary), 1994; No. 171, pg. 98. Taylor (Crossroads Dance), 1992; No. 56, pg. 43. Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 13. Copely Records 9-113 (78 RPM), Paddy Cronin
(195?). Shaskeen ‑ "My Love." Topic 12T309, Pádraig O’Keeffe,
Denis Murphy & Julia Clifford - “Kerry Fiddles” (1977).
See also listings at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Cronin’s Hornpipe
M:4/4
L:1/8
K:G
BA|GABd dBde|gage dega|bage
dBGA|BAAG A2 BA|GABd dBde|
gage dega|bage dBAB|G2 GF G2:|
|:fg|afdB dega|beed e2 ga|bgaf
gedB|BAAG AcBA|
GABd dBde|gage dega|bage dBAB|G2 GF
G2:|
CRONIN'S RAMBLES (Triallta Uí Cróinín). Irish, Hornpipe. A Major. Standard
tuning. AABB. Source for notated version:
X:1
T:Cronin’s Rambles
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A
E2|AGAB cABc|dcdf ed (3efg|aecA
dfed|cABG EFGE|
AGAB cABc|dcdf ed (3efg|aecA
dBGB|A2A2A2:|
|:cd|e2 ce Aece|f2 df Bfdf|e2 ce
Aece|dcBA GABc|
e2 ce Aece|dcde fgaf|eagf edcB|AdcB
A2:|
CRONIN’S REEL.
See also tunes listed under “Johnny Cronin’s” and “Paddy Cronin’s.”
CRONIN’S REEL [1]. AKA and see “Johnny
Cronin’s Reel,” “Kitty O’Neill [4].”
Irish, Reel. G Major. Standard tuning. AABC. Source for notated version:
Brendan Mulvhihill (
X:1
T:Cronin’s [1]
L:1/8
L:1/8
R:Reel
S:Tommy Peoples – Workshop
Z:AK/Fiddler’s Companion
K:G
G2 FG EFDF | ~G3A Bcdg | e ~B3 dBAF | GBAG EG D2 |
G2 FG EFDF | ~G3A Bcdg | e ~B3 dBAF | GBAF G2 z2 :|
|: B {d/e/}dc ~d3c | B ~d3 ef g2 | B ~d3 {e}dBGB | cBAG FG A2 |
B {d/e/}dc ~d3c | B ~d3 efga | bgaf gedB | cBAG FG A2 :|
|: c | B {G/A/}GF ~G3A | ~B3A Bd g2 | B ~G3 DGBd | cBAG FGAc |
B
{G/A/} ~G3A | ~B3A Bdga | bgaf gedB | cBAG FG A2 :|
CRONIN’S (REEL) [2]. AKA and see “The Bangor Reel,” “Bridie Morley’s,” “The Knotted Chord [1],” “Junior Crehan’s (Favorite).”
CRONIN’S REEL [3]. AKA and see “The Street Player.”
Irish, Reel. D Major. Standard tuning. AABB. Ed Reavy’s tune “The Street
Player” is called “Cronin’s Reel” in the Armagh Piper’s Club’s book Play 50 Reels. Miller (Fiddler’s Throne), 2004; No. 142, pg.
93.
CRONIN’S REEL [4]. See “Gerry Cronin’s Reel.”
CRONIN’S (SLIDE). See “O’Keeffe’s (Slide)
[2],” “Paddy Cronin’s [3].”
CRONSTOUNE. Scottish, Dance Tune. Published in Henry Playford's 1700 collection of
Scottish dance tunes.
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
© 1996-2010 Andrew Kuntz
Please help
maintain the viability of the Fiddler’s Companion on the Web by respecting the
copyright.
For further information see Copyright and Permissions Policy or contact the author.
[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.