The Fiddler’s Companion

© 1996-2008 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]

 

 

 

CROOKE, THE. English, Air (cut time). B Flat Major. Standard tuning. AABBCC. This air, probably a dance tune, appears in the British Museum MSS. Reg. Appendix 58. Its chief interest, states Chappell, is that it is an example of the form "'Air and Variations' at the earliest stage of its existance.

 

CROOKED BAWBEE, THE. English, Waltz. G Major. Standard tuning. One part. A ‘bawbee’ is a term for a halfpence or ha’penny, expecially in Scotland. Raven (English Country Dance Tunes), 1984; pg. 135.

 

CROOKED HORN EWE, THE. AKA and see “Ew(i)e wi’ the crooked horn [1].”

 

CROOKED HORNPIPE. New England, Hornpipe. D Major. Standard. AABB. Composed by Ralph Page. Page (Ralph Page Book of Contras), 1969; pg. 23.

           

CROOKED JOHN. Old-Time. A ‘crooked’ (irregular metre) tune from the playing of the Kentucky String Ticklers.Yazoo 2200-2, Kentucky String Ticklers.

                       

CROOKED REEL (An Ríl Cam). AKA and see "Follow me down to Carlow [2]," "Miss Murphy [2]," "Bonnie Annie [3]." Irish, Reel. A Dorian. Standard. AB. The song “Follow me down to Carlow” is sung to this air. The “Miss Murphy” title is found in the Goodman Manuscripts in the Library of Trinity College, Dublin. In Scotland the tune is known as “Bonnie Annie” and can be found in Aird (No. 548) and the Glen Collection of Scottish Dance Music, pg. 23). There is also a jig version of the melody. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 107, pg. 45.

 

CROOKED RIVER, THE. Canadian, Jig. Canada, Cape Breton. F Major. Standard. AABBCC. Composed by Cape Breton fiddler and composer Dan. R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 59.

 

CROOKED ROAD, THE. Irish, Reel. G Major. Standard. AB. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon” (1995). Tara Records 2002, Christy Moore ‑ "The Iron Behind the Velvet" (1978. Learned from the playing of John Kelly on concertina, John Regan on accordion and Paddy Glackin on fiddle).

X:1

T:Crooked Road

R:reel

M:4/4

L:1/8

K:G

~G2 AG FGAF|~G2 FG AdcA|~G2 AG FGAd|fdcA ~d2 cA|\

~G2 AG FGAF|~G2 FG AdcA|~G2 AG FGAd|fdcA ~d2 Bc||\

d~g3 fgaf|d~g3 agfe|d~g3 fgag|fdcA ~d2 Bc|\

d~g3 fgaf|d~g3 ~a2 ga|bgaf g ~a3|fdcA ~d2 cA||\

 


CROOKED ROAD TO DUBLIN. AKA and see “Duke of Leinster’s Wife,” “Ladies’ Pantalettes,” "Lady's Panteletts,” “The Smiles and Tears of Erin." Irish, Reel. G Major. Standard. AB (Mitchell, Mulvihill): AAB (Harker/Rafferty): AABB (Phillips). Daniel Michael Collins, in liner notes to Shanachie 29009, says this is a fairly common session tune which stresses triplets in the 'A' part and rolls in the 'B' part. It is not either of the "Crooked Way to Dublin" versions in Roche. Breathnach prints the melody as “The Smiles and Tears of Erin” (CRÉ I, no. 101). Alan Ng finds the “Crooked Road” as the first tune in the “Ladies Pantalettes” set on a few recordings, leading some to refer to the tune by the name “Lady’s Pantelette’s/Duke of Leinster’s Wife,” which really refers to another, unrelated tune. Sources for notated versions: fiddler Andy McGann (New York) [Phillips]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; (Jr.) Cronin [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 63, pg. 20. Mitchell (Dance Music of Willie Clancy), 1993; No. 81, pg. 76. Mulvihill (1st  Collection), 1986; No. 27, pg. 7.  Phillips (Fiddlecase Tunebook), 1989; pg. 13. Shanachie 29009, "Andy McGann & Paul Brady" (learned by fiddler McGann from Michael Coleman. Liner notes to the album say McGann "remembers Coleman writing the Crooked Road for him").

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:Crooked Road, The

T:Crooked Road to Dublin, The

R:reel

Z:id:hn-reel-91

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

M:C|

L:1/8

K:G

G2~G2 FGAF|G2FG AdcA|G2AG FGAg|1 fdcA dBcA:|2 fdcA d2Bc||

dg~g2 fgaf|dg~g2 agfe|dg~g2 fgag|fdcA d2Bc|

dg~g2 fgaf|dg~g2 a2ga|bgaf gbag|fdcA dBcA||

“Variations:”

G2BG FGAF|G2Ac BdcA\GBAG FGAg|1 fdcA dBcA:|2 fdcA dBcA||

dg~g2 fgaf|dg~g2 agfe|dg~g2 fgag|fdcA dBcA|

dg~g2 fgaf|dg~g2 faga|b2af gbag|fdcA dBcA||

           

CROOKED STOVEPIPE [1]. American, Canadian; Reel or Polka. USA; New England, Michigan, Missouri. Canada; Ontario, Prince Edward Island. G Major. Standard tuning. AA'B (Miller & Perron/1983): AABB (Johnson): AA'BB' (Begin, Miller & Perron/1978, Miskoe & Paul, Perlman, Phillips). The tune is sometimes attributed to Nova Scotia fiddler Colin J. Boyd, and it is thought that it originated in Canada and spread to New England from Ottawa. “Crooked Stovepipe” was recorded on 78 RPM in 1932 by Hugh “Hughie” A. MacDonald, sometimes known as “The Polka King.” MacDonald was born in Lanark, Antigonish County, Nova Scotia, and was one of the first fiddlers to record Scottish fiddle music. He died in 1976. Crooked Stovepipe is also the name of a dance performed to the tune, popularized in New Hampshire by the late callers Ralph Page and Duke Miller. Sources for notated versions: Vivian Williams [Phillips]; transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who could not recall where he learned the tune, "I've always known that" [Miskoe & Paul]; Reuben Smith (b. 1931, Blooming Point, Queens  County, Prince Edward Island) [Perlman]; Dawson Girdwood (Perth, Ottawa Valley, Ontarion) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 15, pg. 28. Jarman (Old Time Fiddlin' Tunes), No. or pg. 1. Johnson (The Kitchen Musician's No. 7: Michigan Tunes), Vol. 7, 1986‑87; pg. 7. Miller & Perron (101 Polkas), 1978; No. 75. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 106. Miskoe & Paul (Omer Marcoux), 1994; pg. 34 (appears as "Crooking Stovepipe"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 152. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 343. Sannella (Balance and Swing) (CDSS). Condor 977‑1489, "Graham & Eleanor Townsend Live at Barre, Vermont." Folkways 8826, Per's Four‑‑"Jigs and Reels." RCA Victor LCP 1001, Ned Landry and his New Brunswick Lumberjacks ‑ "Bowing the Strings with Ned Landry." Smithsonian Folkways SFW CD 40126, Lester Bradley & Friends – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

X:1

T:Crooked Stovepipe

M:C|

L:1/8

K:G

G2B2 Bc dB|G2B2 Bc dB|G2B2 e3B|d2c2 cd cA|F2A2 AB cA|

F2A2 ABcd|e3d e2f2|1 g2fe dc BA:|2 g2g2a2^a2||

b3c’ b2a2|g4 g2f2|e2e2f2g2|a6b2|c’3d’ c’2a2|

f6e2|d2d2e2f2|g2g2a2^a2|b3c’b2a2|g4g2f2|e2e2f2g2|

a6b2|c’3c’c’2a2|f6e2|d2d2e2f2|g2fe dc BA|]

 

CROOKED STOVEPIPE [2]. AKA and see "Buffalo Nickel [1]," “Cat Ate the Handsaw,” "Chinky Pin," "Darling Child," “Eber Atkins Tune,” "Farmer Had a Dog," "Fourth of July," "Hair in the Butter," "I'm My Momma's Darling (Child)," “Lead Out,” “Liesel,” “Love Somebody [2],” "Midnight Serenade [1]," "My Love is/She's But a Lassie Yet [1],” “Old Mose,” “Raymondville,” "Richmond Blues," "Sweet Sixteen," "Ten Nights in a Bar Room," “Too Young to Marry [1],” "Yellow Eyed Cat." Old‑Time, Breakdown. USA, Missouri. The title for this variant of a large tune family is specific to the Ozarks, according to Howard Marshall.

           

CROOKED WAY TO DUBLIN [1], THE. AKA and see “Holly Bush [3],” “Mountain Top [2].” Irish, Reel. G Major. Standard tuning. AB (Moylan, Roche): AAB (Levey). This piece is known as one of the “Doon reels” (see “Doon Reel” for further information). Source for notated version: west Kerry fiddler Padraig O’Keeffe via accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 29, pg. 12. Moylan (Johnny O’Leary), 1994; No. 334, pgs. 189-190. Roche Collection, 1982; vol. 1, pg. 70, No. 181.

X:1

T:Crooked Way to Dublin The [1]

M:C

L:1/8

R:Reel

S:LeveyDance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:G

c2 | BGAG EGDE | GABd efgd | BGAG EGDE | GEDE G2 :|

|| c2 | Bdef g2 (fg) | afdf edBA | Bdef g2 (fg) | afdf e2e2 |

Bdef g2 (fg) | afdf edBd | bgaf gfed | egfa gfgd ||

 

CROOKED WAY TO DUBLIN [2], THE. Irish, Reel. G Major. Standard tuning. AA'B. A variation of version #1. Roche Collection, 1982; vol. 3, pg. 26, No. 87.

           

CROOSTING CAP. AKA and see "The Sod of Turf." Irish, Jig. Ireland, Munster. G Major. Standard tuning. AB. One meaning of ‘croosting’, a Hibernia-English word, is derived from the Irish word crustial, meaning ‘drub, belabor’. Similarly, used as a verb, to croost means to throw stones or clods from the hand, devived from the Irish crústa, meaning a missile, a clod. There was a custom called the ‘croosting’ in ‘merry wake’ tradition in Ireland, where the dead person is waked with carnivalesque features. Generally an individual would be called upon to be a master of ceremonies of sorts, to be the “organiser and director of the pranks and games of the wake assembly” (Ó Crualaoich, 1998, pg. 191), aided by his ‘hardy boys’ or ‘prime lads.’ These pranks and games had the purpose of keeping the wake attendees awake throughout the night. The games could be mimicry of local institutions or leading citizens, horseplay, lewdness, and ‘croosting’, which apparently consisted of pelting those assembled with hard turf and other objects. Souce for notated version: “A Munster jig from William Sheady. (via the Irish collector) P. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 927, pg. 236.

X:1

T:Croosting Cap, The

M:6/8

L:1/8

R:Jig

B:Stanford/Petrie, Complete Collection, No. 927  (1905)

Z:AK/Fiddler’s Companion

K:G

dcA AGF|cBc AFA|dcA AGF|A2G G3|dcA AFA|

cBc AFA|dcA f2d|g2G G3||dcA f2a|gga f2g|

dcA f2a|g2G GBc|dcA f2a|gga f2g|dcA f2a|g2G G3||

           

CROP THE COPPICE.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. A coppice is a managed woodland area in which trees are cut down and encouraged to grow from the stump. The coppicing produces a number of relatively thin stems that are harvested (‘cropped’) in regular cycles, sometimes in sections from the same stump as to insure some stems each year. Typically some woods are favored for coppicing; ash (ideal for tool handles), oak (the bark was formerly used in the tanning process) and hazel (for brooms, wicker, and brushes), are typical examples. Henry VIII is recorded as having regulated to coppicing of timber for the ironmaking industry, requiring that a small section of woodland be enclosed after cutting and twelve standels to be left in each acre to grow into timber, thus insuring a continued growth of the wood. Gibbon’s set the tune in the key of ‘F’ major in his mss. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 27.

 


CROPPIES, LIE DOWN. Irish (?), Scottish (?); Jig. G Major. Standard tuning. AABB. The tune title is the title of a sectarian Protestant song—'croppy' was a derogatory term for an agricultural labourer, usually Catholic. O’Neill (1913) tells of one Jemmy Byrne the Piper who lived in County Wexford in the early 19th century. Jemmy acquired the nickname ‘Scut’ at some point in his career, although it is not known exactly how. One story is that he “demeaned himself and insulted the sentiment of his people by playing party tunes, such as ‘Croppies Lie Down,’ at the orgies of the yeomen subsequent to the Rebellion of ‘98” (O’Neill generously remarks it would have been hard to refuse such a request, given the atmosphere of intimidation and repression at such events). Another possibility is that the sobriquet was conferred by a particularly abstemious County Carlow priest who was determined to stamp out crossroads dancing in his parish. The outraged cleric is said to have declared to his congregation regarding Jemmy: “How dare this ‘Scut’ come into my parish with his bagpipes to corrupt and demoralize my flock in defiance of my expressed wish?” O’Neill points out he must have gained some fame despite his nickname and the exhortations of the priest, for the piper’s name was remembered while the priest’s was forgotten. Cole (1000 Fiddle Tunes), 1940; pg. 77. Ryan’s Mammoth Collection, 1883; pg. 110.

X:1

T:Croppies, Lie Down

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

g/e/ | dBG GFG | ABA ABd | (g2.e) dBd | gGG Gge | dBG GFG |

ABA ABd | (g2.e) dBD |1 gGG G :|2 gGG G3 |: def gfg | efg agf |

gab efg | dBG (B2A) | G2z e2z | dBd GBd | g2z e2z |1 dBg G3 :|2 dBg G ||

           

CROPPIES’ MARCH. AKA and see “Banks of Inverness,” “Croppy’s Retreat,” “Freedom for Ireland,” “Heather on the Hill [1],” “Ireland Forever,” “Lark’s Nest.” Irish, March (4/4 time). D Major. Standard tuning. AABB. O’Neill (1922) notes: The term ‘Croppy’ grew from the custom of the English and Scotch reformers in 1795, who cut their hair short. The same custom was adopted by the reformers in Ireland; and hence all those who wore their hair short were denominated ‘Croppies’, and were the marked objects of government vengeance. In truth, clipped hair constituted secondary evidence of treason, and was sufficient to cause the arrest and ill treatment of any person daring enough to adopt it.” See also tune as part of “Walls of Limerick,” “Seige of Ennis.” Source for notated version: piper Patsy Touhey [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No’s. 60 & 61.

X:1

T:Croppies' March, The

M:4/4

L:1/8

S:Patsy Touhey

Z:Paul Kinder

R:March

K:D

B|A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d2 B2 BcdB|

A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d4 d3:||

|:e|f2 a2 a3 f|g2 b2 b2 g2|f2 a2 e2 f2|d2 B2 B2 d2|

f2 a2 a3 f|g2 b2 b3 c'|d'2 c'2 c'2 a2|b4 b3 a|

f2 a2 a2 f2|g2 b2 b2 g2|f2 a2 e2 f2|d2 B2 BcdB|

A3 B A2 F2|A2 B2 d3 e|f2 a2 e2 f2|d4 d3:||

X:2

T:Croppies' March

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:March

K:D

B|A>BAF ABde|faef d/2e/2f/2d/2 Bd|A>BAF ABde|faef d2 d2:||

faag/2f/2 gbba/2g/2|faef d/2e/2f/2d/2 "tr"BA|

faag/2f/2 gbbc'|d'c'ba b2 ba|faag/2f/2 gbba/2g/2|

faef d/2e/2f/2d/2 Bd|A>BAF ABde|faef d2 d2||

           

CROPPIE'S STRATHSPEY. AKA and see "Mr. Douglas of Springwood Park." Scottish, Strathspey. G Major. Standard tuning. AB. The tune has been attributed to Peter Milne (1824-1907), a mentor and sometimes playing partner of J. Scott Skinner. However, there is some evidence it was actually composed by Alexander Givan of Kelso. Hunter (Fiddle Music of Scotland), 1988; No. 75. Culburnie CUL110, Abby Newton – “Crossing to Scotland” (1997).

           

CROPPY BOY [1], THE. Irish, Air (6/4 or 3/4 time). G Major (Joyce): F Major (Stanford/Petrie). Standard tuning. One part. This air has "been sent to me during the last seven or eight years by Mr. Patrick  O'Leary of Graignamanagh, Co. Kilkenny, a good amateur musician with a great knowledge of the popular airs of that part of Ireland. Most of these he wrote down from his own memory" (Joyce). Petrie notes he obtained his version of the air from Joyce. Joyce (Old Irish Folk Music and Songs), 1909; No. 300, pg. 141. Stanford/Petrie (Complete Collection), 1905; No. 605, pg. 152.

X:1

T:Croppy Boy, The [1]

M:3/4

L:1/8

S:Stanford/Petire (1905), No. 605

Z:AK/Fiddler’s Companion

K:F

f/>d/ cA | G>B AG FF | F3G AA | f2 ef dd | d3 F/G/ AA |

f2 ef dc | d>e fd cA | G>B AG FF | F3 ||

 


CROPPY BOY [2], THE. AKA and see "The Robber," “Callino Casturame,” "Charlie Reilly," "Newlyn Town." Irish, Air (3/4 time). D Major. Standard tuning. One part. "This song was a great favourite in the southern and south‑eastern counties: and I have known both air and words from my childhood. I published the air and the first verse of the song in my Ancient Irish Music. More than 50 years ago I gave it to Dr. Petrie, and it is included in the Stanford‑Petrie collection. I have a broadsheet with the words rudely and very incorrectly printed. The words, of course, date from 1798: but the air is much older" (Joyce). Tomas Ó Canainn (1978) names this air as “the very first genuinely Irish tune” that appears in early collections, and cites its appearance in both William Ballet’s Lute Book (Trinity College, Dublin) and the Fitzwilliam Virginal Book (Cambridge) where it appears under the title “Callino Casturame” (Cailin o chois tSiuire me). O'Sullivan (1983) notes the melody was popular in England also, and variants appear in many folksong collections from that country, including Kennedy's Folksongs of Britain and Ireland (as "Newlyn Town," No. 326) and Kidson's 1926 A Garland of English Folk Songs (beginning "In Newlyn town I was born and bred).

***

‘Twas early, early, all in the spring,

The pretty small birds began to sing;

They sang so sweet and so gloriously,

And the tune they played was sweet liberty.
***

Joyce (Old Irish Folk Music and Song), 1909; No. 385, pg. 193.

X:1

T:Croppy Boy [2]

M:3/4
L:1/8

R:Air

N:”Slow and expressive”
S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:D

dB | AF E>F A/F/ E/F/ | DD D2 DE | FF e2 cd | BA B2 DE |

FF d2 cd | BA B>c d>B | AF E>F AF E/F/ | DD D2 ||

 

CROPPY BOY [3], THE (An Buacaill Bearta). Irish, Slow Air (4/4 time). G Major. Standard. One part. Source for notated version: Hartnett [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 198, pg. 34.

X:1

T:Croppy Boy, The [3]

M:C

L:1/8

R:Air
N:”Slow”

S:O’NeillMusic of Ireland (1903), No. 198

Z:AK/Fiddler’s Companion

K:G

D2 | G2 A>G AB2G | A2 G>G G2 G/A/B/d/ | g4 fdfe | d4 zD G/A/B/d/ |

g4 fdfe | d3d e/d/B/A/ G>A | B3G A2 G>G | G4 z2 ||

 

CROPPY BOY [4], THE. Irish, Air (3/4 time). F Major/Mixolydian. Standard. One part. Stanford/Petrie (Complete Collection), 1905; No. 606, pg. 152.

X:1

T:Croppy Boy, The [4]

M:3/4

L:1/8

S:Stanford/Petire (1905), No. 606

Z:AK/Fiddler’s Companion

K:F

B Ac | B2 GF EG | F3 _e df | ed cB Ac | B3B cf | _e>d cB AF | E3E FF | A>B cA FF | F3 ||

                          

CROPPY TAILOR (An Tailiur Bearta). Irish, Air (3/4 time, "gaily"). Ireland, west Cork. A Minor (O'Neill/1915): A Major (O'Neill/1850). Standard. One part (O'Neill/1915): AB (O'Neill/1850). The song tells of the humiliating adventures of a tailor whose domestic relations had been invaded by a dragoon. Another version of the air is the Ulster song “White Bread and Butter.” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and O’Neill’s collaborator [O’Neill]. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 11, pg. 15. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 401, pg. 70.

X:1

T:Croppy Tailor, The

M:3/4

L:1/8

R:Air

N:”Gaily”

S:O’NeillMusic of Ireland (1903), No. 401

Z:AK/Fiddler’s Companion

K:A

A2|c2d2e2|e2d2e2|d2c2A2|A4 A2|c2d2e2|e2d2c2|g2e2c2|d4 cd|e2f2g2|a2c’2a2|

g2e2d2|c4 cd|e2d2d2|d2e2f2|g6 a4||e2|d3c A2|A6|B3A G2|G6|c3d e2|d2c2B2|

A2c2e2|a2e2d2|c3 A A2|A6|B3A G2|G6|c3d e2|d2c2V2|A6|A4||

                          

CROPPY'S RETREAT, THE. AKA and see “Banks of Inverness,” “Croppies’ March,” "Farewell to Limerick," “Freedom for Ireland,” “Heather on the Hill [1],” “Ireland Forever,” “Lark’s Nest.” See also tune as part of “Seige of Ennis,” “Walls of Limerick.”

           

CROS AN LOMÁNAIGH. AKA and see "Lománach Cross."

           

CROSAIRE DE BHAILÍS. AKA and see "Wallace's Cross."

           

CROSBEY SQUARE. English, Country Dance Tune (6/8 time). A Major. Standard tuning. ABB (Sharp): AABB (Barnes). The tune dates to 1701. It appears in latter editions of Playford’s English Dancing Master, and in Walsh’s Compleat Country Dancing Master, Third Book, 1735. The ‘B’ part only has six measures. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 73.

X:1

T:Crosbey Square

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:A

(E | A3) Bcd | c3 A2a | gef ecd | (B3 B2) (E |

A3) Bcd | c3 A2a | gef ecd | (B3 B2) ||: c | df2 (c2B) | c e2 (B2c) |

dcB cBA | G/A/BG E2f | efB B2A | (A3 A2) :|

           

CROSBHÓITHAR AN CHOLMÁNAIGH. AKA and see "Coleman's Cross."

           

CROSBHÓITHRE AN EANAIGH. AKA and see "The Crosses of Annagh."

           

CROSS EYED FIDDLER. Bluegrass, Breakdown. USA. E Major. Standard tuning. AABB. Composed by Kenny Baker. Brody (Fiddler’s Fakebook), 1983; pg. 80. County 730, Kenny Baker‑ "Baker's Dozen." County 2705, Kenny Baker - "Master Fiddler." Mag, Hubert and Ted Powers‑ "Two Generations of Old Time Fiddle." Philo 1023, Jay Ungar and Lyn Hardy‑ "Songs, Ballads, and Fiddle Tunes" (1975).

           

CROSS IN THE WOOD, THE. Irish, Reel. E Dorian. Standard. AABB. Composed by the late County Limerick/Bronx, N.Y., fiddler Martin Mulvihill. Black (Music’s the Very Best Thing), 1996; No. 337, pg. 180.

X:1

T: Cross in the Wood

S: M. Mulvihill

Q: 350

R: reel

M: 4/4

L: 1/8

K: Edor

dc | BE E2 B2 AF | DF F2 DFAd | BE E2 BdAF | DFAF E2 dc |

BE E2 B2 AF | DF F2 ADFA | B3 d BAFA | (3Bcd AF E2 :|

(3Bcd | e2 ge e2 ge | df (3fef afdf | e2 ge e2 ge | dBAF E2 (3Bcd |

e2 ge e2 ge | df (3fef afdf | g3 e (3fga fe | dBAF E2 :|

           


CROSS OF INVERNESS, THE (Clach-Na-Cudainn). AKA and see “Clach na Cudain [2].” Scottish, Reel. G Major. Standard. AB (Fraser, Hunter, Kerr): AAB (Alburger). "This air celebrates the foundation‑stone of Inverness, if it may be so termed, which is still religiously preserved near the cross,‑‑it belongs to the armorial bearing of the town,‑‑ is engraven upon its seal,‑‑ and is the universal toast when drinking the health or prosperity of its community. It was formerly the resting place of the servant girls, in bringing their water‑pails from the river,‑‑of course a celebrated rendezvous for obtaining all the news and scandal imaginable" (Fraser). Tune possibly written by Fraser. Source for notated version: Simon Fraser’s collection, originally issued in 1815 [Henderson]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 102, pg. 167. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 83, pg. 31. Henderson (Flowers of Scottish Melody), 1935. Hunter (The Fiddle Music of Scotland), 1988; No. 195. Kerr (Merry Melodies), Vol. 3; No. 44, pg. 7. Stewart-Robertson (The Athole Collection), 1884; pg. 179.

X:1

T:Cross of Inverness, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

G|DB,B,D ECCB|cBAG FDDE|DB,B,D ECCG|FDAF G2GE|DB,B,D ECCB|

cBAG FEDC|B,DGD CEAE|FDAF G2G||

c|g2g2 ecce|^caca fdd=c|BgBg ecc^g|a^ga^c d2d=c|B/c/d gd ecce|

^c/d/e ag fd dg/a/|bdBg ecAc|B/c/d DF G2GE||

           

CROSS REEL(, DA). AKA and see "Cross Rig," "General Howe," "The Lasses/Lassies of Stewarton."  Shetland, Reel. D Major/G Major. Standard. AABCDAA (Brody): AABB (Anderson). According to Cooke (1986) the tune is a counsin to the Scottish tune "The Lasses of Stewarton" (Stewartown, Stewingtown) {also the name of a country dance first published c. 1794}, though the Shetland versions are usually asymmetrical and the Scottish not. "One Shetland version is shown in Ex. 12 and it is likely that it is derived from the Scottish tune but that fiddlers and dancers modified it in early days so that it fitted their preference for asymmetrical structures. The tune was danced in Whalsay (the tune is also known on that island as "General Howe") during this century, where I was told that to perform it they had to do a 'double dancing turn' (i.e. dance for twice as long)" (Cooke, 1986). Source for notated versions: Tom Anderson (Shetland) [Brody], Bobbie Peterson (Tingwall Mainland, Shetland) [Cooke]. Anderson (Ringing Strings), 1983, pg. 61. Brody (Fiddler’s Fakebook), 1983; pg. 80. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 12, pg. 62. Philo 2019, Tom Anderson and Aly Bain‑ "The Silver Bow."

X:1

T:Cross Reel

M:C

L:1/8

K:D

"D"fage f2 f2|"D"ABAF D3 f|"D"gfed "C"=c2 c2|1"C"EDEF "G"G2 e2:|2

"C"EDEF "G"G3 A||

K:G

"G"B2 BG "D"AFAF|"G"B2 BG "D"A3 A|"G"B2 BG "D"AFAD|"D"EDEF "G"G3 D||

K:G

"D"FGAc "G"BGBG|"D"AFAF d4|"D"FGAc "G"BGBG|"D"AFAF "G"G3 A||

K:D

"D"defg afde|"D"fdfg a2 fe|"D"defg afdf|"C"e=cef g2 ge|"D"defg afde|"D"fdfg a2 ag||

           

CROSS RIG. AKA and see "Cross Reel."

           

CROSS ROAD [1]. AKA and see “The Three Merry Sisters.” American (?), Reel. E Mixolydian. Standard. AABB. The melody is the first two parts of the Irish reel “Three Merry Sisters.” Cole (1000 Fiddle Tunes), 1940; pg. 36.

 

CROSS ROADS [2]. Irish, Double Jig. A Major. Standard. AABB. Kerr (Merry Melodies), Vol. 4; No. 221, pg. 25.

           

CROSS THE FENCE. AKA and see “Across the Fence,” “Reilly’s (Hornpipe).” See “Crossing the Fence,” below.

           

CROSS THE WATER. English. England, Northumberland. One of the "missing tunes" from Willian Vickers' 1770 Northumbrian dance tune manuscript.

           

CROSS WELL OF EDINBURGH, THE. Scottish. Glen (1891) finds the earliest printing of the tune in Robert Bremner's 2nd collection, 1768 (pg. 110).

           


CROSSBOW, THE. English, Jig. England, North‑West. B Flat Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 63.