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
CROOKED HORN EWE, THE. AKA and see “Ew(i)e
wi’ the crooked horn [1].”
CROOKED HORNPIPE.
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,
CROOKED RIVER, THE. Canadian, Jig.
CROOKED ROAD, THE. Irish, Reel. G Major. Standard. AB. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon”
(1995).
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
|
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
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.
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.
CROOKED WAY TO
T:Crooked Way to
M:C
L:1/8
R:Reel
S:Levey – Dance Music
of
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
CROOSTING CAP. AKA and see "The Sod of Turf."
Irish, Jig.
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
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
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,"
"
***
‘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’Neill –
Music of
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").
X:1
T:Croppy Tailor, The
M:3/4
L:1/8
R:Air
N:”Gaily”
S:O’Neill –
Music of
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."
X:1
T:
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.
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
X:1
T:Cross of
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].
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 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.
CROSS WELL OF
CROSSBOW, THE. English, Jig.