[COMMENT3][COMMENT4] The
Fiddler’s Companion
© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc
notation.”
They can easily be converted to standard musical notation via highlighting
with your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it. [AK] |
CT. BROWN’S MARCH. AKA and see “Bodmin
Riding,” “Grand Turk’s
March,” “St. Ives Feast,”
“St. Ives Well Procession.” English, March
(4/4 time).
CÚ UÍ MHURCHÚ. AKA and see "Murphy's Greyhound."
CÚ UÍ RAGALLAIG. AKA and see "O'Reilly's
Greyhound."
CUAICHIN GLEANN NEIFIN. Irish, Slow Air (9/8 time). G
Major. Standard tuning. One part. Ó Canainn’s note states this is the “Glenroe”
theme. Ó Canainn (Traditional Slow Airs),
1995; No. 81, pg. 71.
CUAIN BEANTRAIGE. AKA and see "Bantry Bay."
CUAIN GAILLIM. AKA and see "Galway Bay."
CUAIN PADRAIC. AKA
and see "Portpatrick."
CUAIRT DONNCHAIDH DO'N MHEINN GUAIL (Duncan's Trip to the
Coal Mines). Cape Breton, Strathspey. A Major. Standard. AB. John
Campbell (Dunlay and Reich). The 'coal mines' referred to are probably Cape
Breton's Mabou Coal Mines. The tune resembles "Lady Elizabeth Lindsay," composed by
Nathanial Gow (1763-1831) in the key of B Flat (as printed in MacDonald's Skye Collection). Dunlay and Reich (Traditional Celtic Fiddle Music from Cape
Breton), 1986; pg. 30. Rounder 7009, Doug MacPhee‑
"Cape Breton Piano." Cape Breton's Music Tape CX 35, Donald MacLellan
(Celtic 35); JC 124, John Campbell‑ "Cape Breton Violin" (as
"Traditional Strathspey").
CUAIRT GO h-EIRINN. AKA and see "(A)
Visit to Ireland."
CUAN BHAILE SEOIN (The Harbour of Ballyshone). Irish, Slow Air
(6/8 time). D Dorian/C Major. AAB. "Copied by Forde from a MS. lent to him
by Patrick Carey a piper of the Co. Cork; who, I believe is the same as Patrick
Carew whom Petrie often mentions in his 'Ancient Music of Ireland'"
(Joyce). Joyce (Old Irish Folk Music and
Songs), 1909; No. 452, pg.
CUAN BHEIL INSE. AKA and see “Amhrán na Leabhar”
(Song of the Books). Irish, Slow Air (4/4 time). E Dorian. Standard. AAB. See
note for “Amhran na Leabhar” for more information. Ó Canainn (Traditional Slow Airs), 1995; No. 31,
pg. 31.
CUAN MILIS AN CHALLAIDH. AKA and see "Sweet Portaferry."
CUBA MARCH, THE.
AKA and see "The Mill Mill O." American, March
(6/8 time). E Minor. Standard. AABB. A 6/8 time version of "The Mill Mill
O." See also note for “Blue Eyed
Stranger [1].” The name Cuba is derived from a native word,
Colba, of unknown meaning. Christoper Columbus named the island Juana (in honor
of Prince Juan of Castille), but the native name stuck (Matthews, 1972). The
melody appears in the music manuscript book of Giles Gibbs (b. 1760), of
Ellington, Connecticutt. Gibbs was a fifer in the American Revolution from 1777
to 1780, until he was captured and subsequently killed in Royalton, Vermont, by
a British raiding party. Kate Keller (Giles
Gibbs Jr. His Book for the Fife...1777), 1974; pg. 29. Miller (Fiddler’s Throne), 2004; No. 27, pg;.
28.
X:1
T:Cuba
M:6/8
L:1/8
R:Quickstep March
S:Giles Gibbs manuscript copybook (c.
1777-1780)
K:E Minor
BGE EDE|GAB AGA|BGE EDE|G2A B2A|BGE EDE|
GAB AGA|BGE EDE|GBA G3::d3 d2e|d2B AGA|
e3 e2g|d2B BAB|d3 d2e|d2B AGA|BGE EDE|G3
G2:|
CUBAN, THE. AKA
and see “Bill
the Weaver’s [3],” “The Old One.”
Irish, Polka. D Mixolydian (‘A’ part) & G Major (‘B’ part). Standard
tuning. The tune was played by source Johnny O’Leary at a tempo slower than
usual for a polka, more as a listening piece. The name Cuba is derived from a native word, Colba, of
unknown meaning. Christoper Columbus named the island Juana (in honor of Prince
Juan of Castille), but the native name stuck (Matthews, 1972). Source
for notated version: recorded by Breandan Breathnach from the playing of
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border); it was originally learned from Sliabh Luachra fiddler Padraig O’Keeffe
[Moylan]. Moylan (Johnny O’Leary),
1994; No. 7, pgs. 5-6. Gael Linn CEF 092, Julia and
Billy Clifford - “Ceol as Sliabh Luachra.” Gael Linn CEF 176, Jackie Daly -
“Many’s a Wild Night” (appears as “The Old One,” due to the fact that Daly has
been playing it for years). Topic 12T312, Billy Clifford.
X:1
T:The
Old One
T:The
Cuban
D:Jackie
Daly, "Many's a Wild Night", track 12(b)
M:2/4
N:"The
Old One/Cuban" is one case where the chord sequence
N:might
be misleading. The A chords shown in
the first part
N:are
much better as "A no‑3rds", and the Gs as some G‑chord
N:notes
against an A bass, as described previously.
L:1/8
R:polka
Z:Paul
de Grae
K:Amix
"A"
e>e fe | e/f/g/e/ a2 | "G" BB/B/ d/B/A | BA/B/ d/B/A |
"A"
e>e fe | e/f/g/e/ a2 | "G" BA/B/ dB | "A" A2 A2 :||
||:
"D" fA fA | ff "G" g>f | "A" ed ef/e/ |
"D" d/c/d/f/ "A" a>g |
"D"
fA fA | ff "G" g>f | "A" e/f/e/d/ c/A/B/c/ |
"D" d2 d2 :||
***
A / |
/ / | G / | / / | A / | / / | G / / | A / :||
||: D
/ | / G | A / | D A | D / | / G | A / |
D / :||
CUBAN TWO-STEP (RAG). Old-Time, Two-Step. B Flat Major.
Standard tuning. The tune was recorded by the Dallas based Smith’s Garage Band
in the 1920’s, who also made one of the earliest recordings of “Beaumont Rag”
(Molsky). Document 8038, Smith’s Garage Fiddle Band –
“Texas Fiddle Bands” (reissue). Rounder 0361, Bruce Molsky – “Lost Boy” (1996).
CUBANOLA GLIDE. Old‑Time,
Piece. USA, Nebraska. F Major ('A' part) & B‑Flat Major ('B' part).
Standard tuning. AB. Source for notated version: Bob Walters (Burt County,
Nebraska), who said it was used at dances in the early 1900's at Decatur,
Nebraska [Christeson]. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 2), 1984; pg.130.
CUCANANDY. AKA –
“Cuaichin Aindi.” AKA and see “The Whistling
Thief [2].” Irish, Air and Slip Jig. E Dorian. Standard
tuning. AABB’. The alternate title “The Whistling Thief” comes from a song set
to the air by Samuel Lover. The title "Cucanandy" derives from a lilt
meant for baby-dandling, sung by Elizabeth Cronin of Ballyvourney, County Cork,
on a 1951 Seamus Ennis recording: "Cuc, cucanandy, cucanandy, O."
Mrs. Cronin was bedridden at the time of the recording, explains piper Neil
Mulligan, and sang into a microphone set beside her on her pillow. CCE Néillidh Mulligan - "The Leitrim Thrush.” Cucanandy – “He Didn’t Dance.”
X:1
T:Cucanandy
R:slip
jig
D:Cran:
The Crooked Stair
Z:id:hn-slipjig-44
Z:transcribed by
henrik.norbeck@mailbox.swipnet.se
M:9/8
K:Edor
~B3
B2A G2A|B2d d2c d3|~B3 B2A G2A|B2e e2d e3:|
|:e2f g2f g3|B2d d2c d3|1 e2f g2f
g3|B2e e2d e3:|2 e2B B2A G2A|B2e e2d e3||
CUCKOLD COME OUT OF THE AMREY. AKA and see "Struan Robertson(‘s Rant) [1]."
English, Reel. England, Northumberland. A Dorian. Standard tuning. AABB (Raven,
Stokoe & Bruce): AABBCCDDEEFFGG (Peacock). A Northumbrian retitling of the
Scottish tune "Struan Robertson." The melody is related to the "Oro, Welcome Home" family of tunes,
which includes "Bonaparte
Crossing the Alps" (Bayard version), "The
Diamond," and "Battle
Call of the Fianna." Bruce & Stokoe (Northumbrian Minstrelsy), 1882; p. 183. Peacock (Peacock’s Tunes), c. 1805; No. 27, pg. 10. Raven (English Country Dance Tunes), 1984; pg.
141.
X:1
T:Cuckold Come
Out o’ the Amrey
M:C
L:1/8
R:Reel
S:Bruce &
Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
A/B/c/A/ c>d
e>deg|GG B>c d/B/A/G/ B/c/d/B/| A/B/c/A/ c>d e>deg | dB/A/ gB A2e2
:|
|: g>ecg ec
e/f/g/e/|d/c/B/A/ Gd BG B/c/d/B/| g/f/e/d/ c/d/e/f/ gc e/f/g/e/|dc/B/ gB A2e2:|
CUCKOLDS ALL AWRY. See "Cuckolds All in a Row."
CUCKOLDS ALL (IN) A ROW. AKA and see “Cuckolds
All Awry,” "Hey Boys,
Up Go We [1]." English, Jig (6/4 or 6/8 time). G Major
(Raven): C Major (Chappell): D Major (Johnson). Standard tuning. AAB
(Chappell): AABB (Johnson, Raven). The air appears in Playford's English Dancing Master of 1650. It was
used as a party tune by the Cavaliers, according to Chappell (1859), who states
that they sang the words of "Hey, boys, up go we" and "London's
true character" to the tune. The latter song heaped abuse on the citizens
of that town for siding against the King in the civil wars, and began "You
coward‑hearted citizens..."; it is printed in Rats rhimed to Death; or, The Rump Parliament hanged in the Shambles
(1660) and in both editions of Loyal
Songs written against the Rump Parliament. "Culcolds All a Row"
is mentioned in the older song "O London in a fine town." Samuel
Pepys (a middle-class government official with a long and successful career in
the Navy office) attended a dance at the court of Charles II, misheard the name
of the tune, and made this entry in his diary (which he kept in code) on the
31st of December, 1662:
***
called for; which was, says he, “Cuckolds all awry,”
the old
dance of England. Of the ladies that danced, the Duke
of Monmouth’s
mistress, and my Lady Castlemaine (the
King’s mistress) , and a daughter
of Sir Harry de Vicke’s, were the best. The
manner was, when the King
dances,
all the ladies in the room, and the Queen herself, stand
up; and
indeed he dances rarely, and much better than the Duke
of York. Having
stayed there as long as I thought fit, to my infinate
content, it being
the greatest pleasure I could wish now to see at
Court, I went home,
leaving them dancing.
***
Interestingly,
Pepys was a fiddler, and wrote in his entry for April 24, 1663:
***
After dinner all the afternoon fiddling upon my
viallin (which I have
not done many a day), while Ashwell (his wife’s female
servant)
danced above in my upper best chamber, which is a rare
room for
musique.
***
Barnes
(English Country Dance Tunes), 1986
(appears as “Hey Boys, Up Go We”). Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 306. Johnson (The Kitchen Musician No. 14: Songs, Airs and
Dances of the 18th Century), 1997; pg. 5. Raven (English Country Dance Tunes), 1984; pg.
9 and pg. 44. Familiar FAM 47, Pyewackett ‑
"7 to Midnight" (1985). Island Records AN-700, Kirkpatrick &
Hutchings - "The Compleat Dancing Master" (1974). Maggie’s Music
MMCD216, Hesperus - “Early American Roots” (1997). North Star NS0031,
"Dance Across the Sea: Dances and Airs from the Celtic Highlands"
(1990).
X:1
T:Cuckolds
all a row
M:6/4
L:1/8
R:Jig
K:D
a4 a2
a4 g2|f4 g2 a4 d2|e4 e2 f3e f2|(g6 g6):|
|:B2|c2d2c2
B2A2B2|A4A2 f2e2f2|g4d2 e2d4|
B6
G3AB2|c3d c2 B3AB2|A4A2 f3ef2|g4 d2 e2 d4|B6 G6:|
CUCKOLDS COME DIG. Scottish. A punishment tune when whores were flogged
in Edinburgh (1736). May have been "The Rogues March" (the army's
dismissal tune) original title (Winstock, 1970).
CUCKOLD’S NEST. See “Cuckoo’s Nest [14].”
CUCKOLD’S SONG. AKA and see “Back of
the Change House,” “Hame Cam Oor
Gude Man.”
CUCKOO
[1], THE. AKA‑ "Murray's
Fancy (Hornpipe) [1]," "The Dublin
Hornpipe [2]." Irish, Hornpipe. G Major. Standard
tuning. AABB. This hornpipe is dissimilar to the "Cuckoo Hornpipe" in
Christeson (USA) but is related to the "Cuckoo's Nest" family of
tunes. Sligo fiddler Michael Coleman
recorded the tune in New York in 1921, under the title “Murray’s Fancy.” Allan's Irish Fiddler, No. 92, pg. 23.
Breathnach (CRÉ II), 1976; No. 307
(appears as untitled hornpipe). Jordan (Whistle
and Sing), 1975; 71. O'Neill (Krassen), 1976; pg. 203. Shanachie 34012, Liz Carroll & Tommy Maguire - “Kiss Me
Kate.” Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the
Gate” (2002).
T:The Cuckoo
M:2/4
L:1/8
S:Brian Conway
Z:AK/Fiddler’s Companion
K:G
D/G/|[G/3(B/3]d/
c/)B/c/e/|d (3g/f/e/ d/B/G/F/|E/ (~c/3 A/)G/F/G/|
A/(F/G/)E/
D/G,/B,/D/|[G/3(B/3]d/ c/)B/c/e/|d (3g/f/e/ d/B/G/F/|
E/ (~c/3
A/)G/F/G/|A/D/F/A/ G:|g/a/|:b/~g/3 d/g/B/g/|b/~g/3 d/g/B/g/|
c’/~a/3
e/a/c/a/|c’/~a/3 e/a/c/a/|b/~g/3 d/g/B/g/|b/~g/3 d/g/b/g/|
(3a/b/a/ g/a/
f/a/e/f/|1 d c/d/ B/d/g/a/:|2 d c/d/ B/(d/g/)d/||
CUCKOO
[2], THE. AKA and see "Cuckoo Bird."
CUCKOO [3A], THE. Irish, Air (3/4 time). A Major. Standard tuning. AB.
O’Neill (Waifs and Strays of Gaelic
Melody), 1922.
X:1
T:Cuckoo, The
M:3/4
L:1/8
S:Miss Lucy Ray
Z:Paul Kinder
R:Air
K:A
"Moderato"C2|F2
F2 EC|FF F2 G2|B2 B2 GF|E4 C2|
F2 F2 EC|F2 F2
EC|F2 A2 B2|c4||cB|A2 A2 ec|B2 B2 cB|
A2 A2 GF|E4
C2|F2 F2 EC|F2 F2 c2|cB A2 G2|F2-F2||
CUCKOO
[3], THE. Irish, Air (3/4 time). D Dorian. Standard tuning. AB.
Joyce obtained the melody from the Forde Collection. Joyce (Old Irish Folk Music and Songs), 1909;
No. 614, pg. 316.
X:1
T:Cuckoo,
The [3]
M:3/4
L:1/8
R:Air
B:P.W.
Joyce – Old Irish Folk Music and Songs,
No. 614 (1909)
Z:AK/Fiddler’s Companion
K:D
Dorian
G2|A2f2
ed|eddcAG|Ac d2 dc|A2c2 DE|FEFG (3ABc|
d2A2F2|{E}GE
D2D2|D4||DE|FEFG (3ABc|d2d2 ed|d2 cAGA|
c4
DE|FEFG (3ABc|d2 cA AF|{E}GE D2D2|D4||
CUCKOO
[4], THE (A' Chuthag). Scottish, Slow Air (3/4 time). D
Major. Standard tuning. AA. No relation to "The Cuckoo [3]," in
Joyce. Martin (Ceol na Fidhle), Vol.
2, 1988; pg. 28. Tradition 2118, Jim MacLeod & His
Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).
CUCKOO
[5], THE. AKA and see "Drunken
Hiccups [1]," "Rye Whiskey [1]."
CUCKOO BIRD [6]. AKA ‑ "Coo Coo Bird." Old‑Time,
Song. A Major. Standard tuning. ABB. The air is the same for the song “Farewell
to Tarwaithe.”
***
The Cuckoo's a pretty bird, she sings as she flies.
She brings us glad tidings and tells us no lies. (Ford).
***
Ford (Traditional Music in America), 1940; pg.
44 (appears as "The Cuckoo"). Folk‑Legacy
Records FSA‑17, Hobart Smith ‑ "America's Greatest Folk
Instrumentalist."
X:1
T:Cuckoo
Bird [6]
M:3/8
L:1/8
R:Air
B:Ira
Ford – Traditional Music in America
(1940)
Z:AK/Fiddler’s Companion
K:A
A/B/|cAA|FF/E/E|FAA/B/|c2
A/B/|cAA|F>EE/E/|FA/A/A/B/|A2||
A/B/|cee|cBB|cee|c2
c/B/|AFF|ECE|FA/A/A/B/|A2:|
CUCKOO HORNPIPE [7]. AKA and see “The Dublin Hornpipe [2],” "Murray's Fancy (Hornpipe) [1].” Irish,
Hornpipe. G Major. Standard tuning. AABB (Flaherty, Miller & Perron): AABB’
(Mulvihill). Related to "The Cuckoo [1]." The title appears in a list
of tunes in his repertoire brought by Philip Goodman, the last professional and
traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898
(Breathnach, 1997). Sources for notated versions: flute, tin whistle and drum
player Noel Tansey (b. 1940, Cuilmore, Co. Sligo) [Flaherty]; flute player
Séamus Tansey (County Sligo) [Miller & Perron]; accordion player Joe Burke
[Taylor/Tweed]. Flaherty (Trip to Sligo),
1990; pg. 95. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 3, No. 15. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 115. Mulvihill (1st
Collection), 1986; No. 12, pg. 91 (appears as “The Dublin or Cuckoo
Hornpipe”). Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice),
1994; pg. 40. Columbia IDB 499 (78 RPM), Paddy O’Brien
(1953). Outlet OLP 1007 – “The Best of Séamus Tansey” (1971). James Keane –
“Roll Away the Reel World.”
See also listings at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Cuckoo,
The
M:4/4
L:1/8
S:Billy
McComiskey
Z:Transcribed
by Jeff Myers
R:hornpipe
K:G
dc|BABd
cBcA|d2 (3gfe dBGF|EccB AGFG|(3ABA (3GFE DG,B,D|BABd cBcA|
(3d^cd(3gfe
dBGF|EccB AGFG|1 ADFA G2:|2 ADFA G2 ga|:b ~g3 dgBg|
b
~g3 dgBg|c'~a3ea^ca|c' ~a3 ea^ca|b ~g3
dgBg|b ~g3 dgBg|1
(3aba
(3gc'g (3fgf (3efe|(3ded^cd Bdga:|2 (3aba fa gfed|^cdef g2||
CUCKOO HORNPIPE [8]. AKA and see “Thomond Bridge.” Irish, Hornpipe. G
Major. Standard tuning. AABB. Another variation of the theme. O'Neill (O’Neill’s Irish Music), 1915; No. 362,
pg. 175.
X:1
T:Cuckoo
Hornpipe [8]
M:4/4
L:1/8
R:Hornpipe
S:O’Neill
– O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
(3def
| g>ed>B c>ed>c | B2G2G2 g>a | b>ag>f g>ba>g | (3faf
d2 d3c |
(3Bdf
b2 (3Ace a2 | (3GBd g2 (3FAc f2 | f>ga>b c’>de>f | g2b2g2 :: d>c
|
B>g
(3ggg d>g (3ggg | b>ag>f e>dc>B | c>a (3aaa c>a (3aaa |
c’>ba>g f>ed>c |
B>g
(3ggg d>g (3ggg | b>ag>f e>dc>B | (3cde d>c B>AG>F |
A2G2G2 :|
CUCKOO HORNPIPE [9]. See "Cuckoo's Nest."
Old‑Time, Breakdown. USA, Missouri. G Major. Standard tuning. AABB.
Source for notated version: Bill Driver (Missouri) [Christeson]. R.P.
Christeson (Old Time Fiddlers Repertory,
vol. 2), 1984; No. 108, pg. 69.
CUCKOO HORNPIPE [10]. AKA and see "All
Aboard,” “Jacky
Tar." American, Hornpipe. D Major. Standard tuning.
AABB. Almost "Cuckoo's Nest," and nearly identical with "All
Aboard," also in Cole’s 1000 set
as a reel. See also the related "The
Mower,” Cole (1000
Fiddle Tunes), 1940; pg. 106. Ryan’s
Mammoth Collection, 1883; pg. 143.
X:1
T:Cuckoo
Hornpipe [10]
M:2/4
L:1/8
R:Hornipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A |
A/F/D/F/ A/G/F/G/ | A/G/F/E/ D(E/F/) | G/E/C/E/ G/E/C/E/ | G/F/E/D/ C>A, |
D/E/F/G/
Ad | e/d/c/B/ AG | F/A/G/F/ C/D/E/G/ | FDD :: F/G/ |
Add
e/d/ | c/B/A/^G/ AA/B/ | ccc d/c/ | B/A/G/F/ EA/G/ |
F/E/F/D/
f/e/f/d/ | c/A/G/F/ EA/G/ | F/E/F/D/ C/D/E/G/ | FDD :|
CUCKOO MINUET [1]. Scottish, English; Minuet. This “Cuckoo Minuet”
appears in the Gillespie Manuscript of Perth (1768), Robert Bremner’s Delightful Pocket Companion for the Flute
(London, 1763), and David Rutherford’s Art
of Playing the Violin (London, 1755). In “Micah Hawkin’s Book of Notes”, an
American musician’s copybook of 1794, the melody appears as “The Cuckow by Mr.
Lampe.” The same title appears in the commonplace book of George White (Cherry
Valley, N.Y.), c. 1780-1830, which he called “The Scale of the Gamut for the
Violin.”
CUCKOW MINUET [2]. English,
Minuet (3/4 time). A Major. Standard tuning. AB. The “Cuckow Hornpipe” appears
in the music copybook of violinist George Malecot, of Whitehaven, England,
dated 1776-1779. The melody also appears in the music manuscript copybook of
John Burks, dated 1821, ascribed to “by M.A.” (a photocopy is in the possession
of the ed.). Unfortunately, nothing is known of Burks, although he may have
been from the north of England. No relation to “Cuckoo Minuet [1].”
CUCKOO’S FIRST CALL, THE. Irish, Reel. Composed by County Tipperary
fiddler Seán Ryan (d. 1985). Ryan (Seán
Ryan’s Dream); 11.
CUCKOO'S NEST (OLD) [11], THE. English, Reel
and Morris Dance Tune (4/4 time). G Dorian (Playford version): G Major
(Longborough, Ilmington versions): G Minor/Dorian (Bacon & Raven‑Bledington
version): E Minor (Mallinson‑Bledington). Standard tuning. AABA (Bacon‑Longborough):
AABB (Playford): AAB, x4, AA (Ilmington, Longborough): AABBCC (Raven‑Bledington):
AABB,AABB,AACC,AACC,AA (Bacon & Mallinson‑Bledington). The melody is
said to appear in Playford's The English Dancing Master (1651), but I
have not been able to verify the source. It is also much in currency as a
morris dance tune from many villages of England’s Cotswold region, similar in
the areas of Ilmington, Longborough and Bledington, though with wide variation
in other locals. The cuckoo's nest is a euphemism for female genetilia. John
Kirkpatrick (1976) notes that the Longborough dancers were particularly proud
of their jumps which occur after every bar of stepping, and that the music
should reflect and allow for this practice. Source for notated version:
Benfield (Rollo Woods, England) [Bacon‑Bledington]. Bacon (The Morris Ring), 1974; pgs. 86, 209,
256. Mallinson, 1988, vol. 1; No. 45, pg. 28. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 26, pg. 14. Raven
(English Country Dance Tunes), 1984;
pg. 12 and pg 84 (two morris versions). Carthage CGLP
4406, Hutchings et al - "Morris On" (1983/1972). Topic TSCD458, John
Kirkpatrick - “Plain Capers” (1976/1992).
CUCKOO'S NEST [12]. English, Morris Dance Tune. D
Major. Standard tuning. AABB (x4), AA. A variant of version #7; from the
Ilimington area of England's Cotswolds. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 8, pg. 6.
CUCKOO'S NEST [13]. English, Morris Dance Tune (2/2
time). E Dorian (Mallinson): G Dorian (Bacon). Standard tuning. AABB (x5), AA
(Mallinson): AABA (Bacon). Variation of #7; from the Sherborne area of England's
Cotswolds. Mellor (1935) notes that the tune has a 'Rosalie', in the second
part, which he maintains is unusual in English folk music but common in Welsh.
Bacon (The Morris Ring), 1974; pg.
282. Mallinson (Mally’s Cotswold Morris
Book), 1988, vol. 2; No. 51, pg. 25.
CUCKOO'S NEST [14] (Nead na
Cuaiche" or "Nead an Cuaic"). See "Cuckoo Hornpipe."
AKA and see "All Around," "Captain Moss's," "Come Ashore,"
"Come Ashore, Jolly Tar, with Your Trousers/Trowsers On,"
"Coo Coo's Nest," “Cuckold’s
Nest,” "I do
confess thou(gh) art sae fair," "Jacky
Tar" (Hornpipe), "The Mower,"
"The Mountain Top [3]," "An
Spealadoir" (The Mower), "The Trousers On,"
"The Yellow Heifer [1]." British
Isles, Old-Time, Bluegrass; Hornpipe, Reel, Breakdown. D Major (Barnes, Brody,
Carlin {setting #1}, Kerr, Moylan, Phillips/1995 {setting #1}, Silberberg): D
Dorian (Roche, 1st setting): G Major (Harding, Harker/Rafferty, Merryweather
& Seattle, Mulvihill, O'Neill/Krassen & 1001, Phillips/1995 {setting
#2}, Roche {setting 2}: E Aeolian (O'Neill/Krassen -1st setting): A Dorian
(Phillips): A Major (Carlin/setting #2, O’Malley). Standard tuning. AB (Begin,
Silberberg): AABB (Brody, Harding, Kerr, Moylan, Phillips, Roche, O'Neill,
Phillips and Carlin {1st settings}): AABC (Mulvihill): AABBCC (Barnes, Kennedy,
Merryweather & Seattle, O'Neill/Krassen, 1001 & 1915, Roche, and Carlin
{2nd settings}): AA’BBCC’ (Harker/Rafferty): AA’BB’CC’ (O’Malley).
***
An
extremely popular English melody known throughout the British Isles and British
North America whose title, the 'cuckoo's nest,' commonly referred to female pubic
hair and accompanying anatomy. It dates to at least the early 18th century. James
Aird's printing in his Selection
of Scotch, English, Irish and Foreign Airs, vol. 1 (1782, pg. 66) includes
an interesting fourth strain, not found in other sources. Matt Seattle (1987,
1994) believes the tune to originally have been a Scots Measure in D Minor with
the title "Come Ashore Jolly Tar (with) Your Trousers On," but notes
that many versions of this tune exist, with quite substantial variation between
them, in major and minor keys (he remarks that the Northumbrian William
Vicker's late 18th century setting is evidently minor, despite the key
signature). The title appears in numerous 18th and 19th century dance collections,
and made Henry Robson's list of popular Northumbrian song and dance tunes,
which he published c. 1800. In Jacobite
Relics (1819) James Hogg prints a song to the melody, commenting: "It
must have been a great favourite in the last age, for about the time when I
first began to know one tune from another, all the old people that could sing
at all, could sing "The cuckoo is a bonny bird." He prints the following words to the tune:
***
The cuckoo's a bonny bird when he comes
home,
The cuckoo's a bonny bird when he comes
home;
He'll fley away the wild birds that hank
about the throne,
My bonny cuckoo when he comes home.
***
Poet
John Clare (1793-1864) is highly regarded for his body of work inspired by the
English countryside and rural life of the early 18th century. He was
born in the village of Helpston, Northamptonshire, the son of an agricultural
laborer and singer of local reputation, and became a fiddler and collector of
songs and tunes of southern England. He
recalled, ”Both my parents was illiterate to the last degree. [My father] was
likewise fond of Ballads, & I have heard him make a boast of it over his
horn of ale with his merry companions, that he could sing or recite above a
hundred; he had a tolerable good voice, & was often calld upon to sing at
those convivials of bacchanalian merry makings.” Clare collected:
***
Now some likes a girl that is pretty in the face,
And others likes a girl that is slender in the waist
But give me the girl with a wriggle and twist
That is pleasant and good-tempered with a cuckoo’s nest.
***
The
Cuckoo's Nest is also the name of a Scottish country dance, which, though
increasingly rare, was danced in parts of the country (e.g. West Berwickshire)
through the 19th century.
***
The
18th century Munster poet Eoghan Rua O Suilleabhain used the tune for his poem
"An Spealadoir." Doolin, north County Clare tin whistle player Micho
Russell also associated the tune with a 'spailpin,' or wandering harvest
laborer (he called the tune "The Man that cuts the hay with the Scythe").
Bayard (1944) and Breathnach (1985) both cite the collector Father Henebry (A
Handbook of Irish Music, pgs. 170-1) who was convinced that the third part of
the Irish versions was modern (i.e. in his time, c. 1900), and "was
tastelessly added to the original two parts or the air." Breathnach (1985)
also notes that many songs were written to the air, and gives a verse from Seán
Ó Dálaigh's collection of a rural love ballad popular in Munster:
***
Tá páircín bheag agamsa
de bhán, mhín, réidh;
Gan claí, gan fál, gan falla léi,
ach a haghaidh ar an saol;
Spealodóir do ghlacfainnse,
Ar task na d'réir an acara,
Bé acu sud do b'fhearr leis,
nó páigh in aghaidh an lae.
(Literal
translation by Paul de Grae:)
I have a small little field
white, smooth, ready;
without fence, without hedge, without
wall,
but its face to the world:
I'd take a mower
on a task or by the acre,
whichever he'd prefer,
or paid by the day.
***
Breathnach
thinks the "An Spealdoir" (by which it is commonly known in Ireland)
title stems from this verse.
***
In
America, the melody was included in New Windsor, Connecticut, musician Giles
Gibbs' MS collection of 1777, Henry Beck's flute manuscript of 1785 (pg. 56),
and Clement Weeks' collection of dances made in 1783. It was even preserved in
a chime clock of the period manufactured by New Windsor, Connecticut,
clockmaker Daniel Burnap. The tune remains a popular staple at New England
contra dances to this day. In other American traditions, the title appears in a
list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954. Similarly, in modern
times in the United States the tune has been assumed into Texas fiddling
tradition, probably derived from Canadian or Midwestern sources (Guthrie Meade
& Mark Wilson).
***
Sources for notated versions:
"loosely based on the playing of Dave Swarbrick" (England)
[Phillips/1989]; piper Seamus Ennis (Ireland) [Breathnach]; from "an old
music book of 1723" [Bunting]; from a MS collection by fiddler Lawrence Leadley,
1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; Ruthie Dornfeld
and James Chancellor [Phillips/1995]; the Fallibroome collection [Barnes];
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border), recorded at a recital at Na Píobairí Uilleann, February, 1981
[Moylan]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin];
fiddler Dwight Lamb (Onawa, Iowa) [Silberberg]; the Joseph
Kershaw manuscript—Kershaw was a fiddler who lived in Slackcote, Saddleworth, North
West England, in the 19th century, and his manuscript dates from
around 1820 onwards [Kershaw]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]; accordion player and fiddler John
McGrath, via his student, accordion player Tommy Ryan [O’Malley]. Aird (Scotch,
English, Irish and Foreign Airs), volume I, No. 190 (appears as "Come
ashore Jolly Tar"). Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 25. 1983; pg. 81. Carlin (Master
Collection), 1984; pgs. 163‑164, No.'s 291‑292 (arrangements by
John Kimmel). Harding’s All Round
Collection, 1905; No. 52, pg. 16. Harker (300 Tunes from Mike Rafferty), 2005; No. 261, pg. 80. Jarman, Old Time Fiddlin' Tunes; No. or pg. 23.
Kennedy (Fiddlers Tune Book), vol. 1,
1951; No. 27, pg. 14 [note for note the same as Raven's version]. Kerr (Merry Melodies), vol. 4; No. 282, pg.
30. The Joseph Kershaw Manuscript, 1993; No. 11
(appears as “Cuckold’s Nest”). Merryweather
& Seattle (The Fiddler of Helperby),
1994; No. 28, pg. 35. Mulvihill (1st
Collection), 1986; No. 26, pg. 96 (appears as “Cuckoo’s Nest No. 1,”
identical to O’Neill’s 1850 2nd setting). O’Malley (Luke O’Malley’s Colleciton of Irish Music, vol. 1), 1976; No. 115,
pg. 58. O'Neill (1915 ed.), 1987; No. 321, pg. 158. O'Neill (Krassen), 1976;
pg. 205 (two settings). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; Nos. 1733 & 1734, pg. 322. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 913, pg. 156.
O'Sullivan/Bunting, 1983; No. 110, pgs. 157-158. Phillips (Fiddlecase Tunebook), 1989; pg. 14. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 188. Raven (English Country Dance Tunes), 1984; pg.
177 (appears as "The Cuckoo's Nest {New}" and is the same version as
O'Neill's second setting). Roche
Collection, 1982; vol. II, pg. 19 and vol. 3, pg. 60, No. 170. Russell (The Piper’s Chair), 1989; pg. 26
(appears as “The Man that cuts the Hay with the Scythe”). Sannella, Balance and Swing (CDSS).
Stanford-Petrie (Complete Collection),
1905; No. 1206. Seattle (William Vickers),
1987, Part 2; No. 289. Silberberg (Tunes I Learned at Tractor Tavern),
2002; pg. 30. Folkways FS 3809, Dan White and John
Summers‑ "Fine Times at Our House." Fretless 103, "Clem
Myers: Northeast Regional Old Time Fiddle Champion 1967 & 1970."
Fretless 201, Jerry Robichaud‑ "Maritime Dance Party" (1978).
Front Hall 017, Michael and McCreesh‑ "Dance, Like a Wave of the
Sea" (1978. Learned from the playing of Martin Carthy & Dave
Swarbrick). Kicking Mule 204, Pat Dunford‑ "The Old‑Time Banjo
In America." Rounder 0046, Mark O'Conner‑ "National Junior
Fiddle Champion." Rounder 0060, Brother Oswald and Charlie Collins‑
"Oz and Charlie." Sonet SNTF 764, Dave Swarbrick and Friends‑
"The Ceilidh Album." Tara Records 1009, Seamus Ennis ‑
"The Fox Chase" (1977).
See also listings at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Cuckoo’s Nest, The [14]
L:1/8
M:C|
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 913
Z:AK/Fiddler’s
Companion
K:G
dc|BABA GBdg|fdcB cedc|BABG FGAB|c2A2
A2dc|
BABA GBdg|fdcB cedc|BABG FGAc|B2G2G2:|
|:Bc|dBGB dBGB|dcBA G2 AB|cAFA cAFA|cBAG
F2BA|
GABc d2g2|fdcB cedc|BABG FGAc|B2G2G2:|
|:Bc|dggf gabg|afd^c d2 de|=fede
^fgaf|gfdB cedc|
BABA GBdg|fdcB cedc|BABG FGAc|B2G2G2:|
X:2
T:Cuckoo’s Nest,
The [14]
M:C
L:1/8
R:Hornpipe
B:Luke O’Malley’s Collection of Irish Music,
vol. 1, No. 115 (1976)
Z:AK/Fiddler’s Companion
K:A
ed|:(3ded (3BcB
ABce|aecA d2 ed|(3cdc (3BcB A2 ed|(3cBA ec B2 ed|
(3cdc (3BcB
ABce|aecA d2 ed|(3cdc BA GABd|1 (3cdc AG A2 ed:|2 (3cdc AG A2 cd||
|:ecAc ecAc|(3efe
(3dcB A2 Bc|dB=GB dBGB|(3ded (3=cBA =G2 ^cB|
A/A/A ce abc’a|bgec
d2 ed|(3cdc BA GABd|1 (3cdc AG A2 cd:|2 (3cdc AG A2 ce||
|:a2 {b}ag
abc’a|bge^d e2 ef|gfef gabg|agec d2 cB|
A2 ce abc’a|bgec d2
ed|(3cdc BA GABd|1 (3cdc AG A2 ce:|2 (3cdc AG A2z2||
CUCKOO'S NEST [15], THE. AKA and see
"Good Axe Elve," "All
Aboard," "Forty Pounds of Feathers in a Hornet's Nest."
Old‑Time, Reel. USA; southwestern Pa., West Virginia, northeastern
Kentucky. A Mixolydian. Standard tuning. AB. Bayard (1944) identifies these
Pennsylvania collected versions as derived from the Irish original, some more
true to the original than others, and notes that it enjoyed great popularity in
southwestern Pa. His (A) version (from Emery Martin) represented the prevailing
one in that region and he found published sets which indicated that this
version was also known elsewhere. He gave a children's game rhyme collected in
western Pennsylvania that ran:
***
Wire, briar, limberlock,
Three geese in a flock,
One flew east, and one flew west,
And one flew over the cuckoo's nest.
***
But
said there was no proof that the rhyme was associated locally with this melody.
The Pennsylvania versions differ from most Irish versions in that the latter
often have three parts, of which parts two and three correspond to parts one
and two in the Martin (western Pennsylvania) version. Bayard (1944) says
"it has survived in this country where the first part as given in Irish
sets does not occur, and is sometimes given the position of first part in the
western Pennsylvania sets‑‑as in our version B." Further
differences are the American sets are more strongly mixolydian in character
than many Irish ones, and while the Irish tune was sometimes used as a song air
the American versions were not and it remained a dance tune there. Another version is in The American Veteran Fifer, No. 8. Guthrie Meade and Mark Wilson
(1976) observe that northeastern Kentucky fiddler Ed Hayley's version of the
tune is similar to the one printed in Bayard's Hill Country Tunes and speculate that, since Bayard's version was
collected in the Dunbar region of West Virginia, Hayley (who was born in Logan
County, W.Va., and travelled throughout the state) may have learned his version
there also. Sources for notated versions: Emery Martin, Dunbar, Pennsylvania,
October 14, 1943 (learned from his father) [Bayard, 1944]: 10 southwestern Pa.
fiddlers and fifers [Bayard, 1981]. Bayard (Hill
Country Tunes), 1944; No. 8a. Bayard (Dance
to the Fiddle), 1981; No. 292A‑J, pgs. 245‑248. Rounder 1010, Ed Haley - "Parkersburg Landing"
(1976). Rounder 1133, Ed Haley vol 2 – "Grey Eagle".
X:1
T:Cuckoo’s
Nest, The [15]
M:4/4
L:1/8
R:Reel
or Hornpipe
S:Emery
Martin (Dunbar, Pa.), 1943
B:Samuel
Bayard – Hill Country Tunes, 8a (1944)
Z:AK/Fiddler’s Companion
K:A
Mixolydian
ef/^g/|a6
a2|ba e2 e3f|g2f2g2g2|agaf d3f|
e2 fg
a2a2|a bag/f/ e2 (3fgf|edBA GABd|c2A2A2||
(e2|e2)ccc
AAcA|AcBA G2B2|[DB]dBA [DB]dBA|
[DB]dBA
G2B2|ABcd e2 fg|agaf d2 gf|edBA GABd|c2A2A2||
CUCKOO'S NEST [16], THE. Old‑Time,
Reel. A Mixolydian. Standard tuning. AB. See Bayard's note for version #15.
Source for notated version: Irvin Yaugher Jr., Mt. Independence, Pennsylvania,
October 19, 1943 (learned from his great uncle) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 8B.
X:1
T:Cuckoo’s
Nest, The [16]
M:4/4
L:1/8
R:Reel
or Hornpipe
S:Irvin
Yaugher (Mt. Independence, Pa.), 1943
B:Samuel
Bayard – Hill Country Tunes, 8b (1944)
Z:AK/Fiddler’s Companion
K:A
Mixolydian
e>f|edcd
edcd|ecdB G2 Bc|dBGB dBGB|dBcA G2z2|
ABcd
e2 af|g2 ec d2=c2|BcBA GABd|c2.A2.A2||z2|
e2a2a3f|b2a2
e3f|g2e2g3e|a2g2d3e|
e3c
A2e2|g2 ec d3c|BABA GABd|c2 .A2 .A2||
CUCKOO'S NEST [17]. AKA and see "Shogallie's Reel."
Scottish. Glen (1891) finds the earliest printing of the tune in Robert
Ross's 1780 collection (pg. 6).
CUDDIE CLAUDER. AKA and see “Cuddy Claw’d Her.” Scottish, English; Jig.
England, Northumberland. C Minor. Standard tuning. AB. “Old” remarks Gow, in
the Sixth Collection (1822), and indeed, it appears in James Oswald’s Caledonian
Pocket Companion (London, 1760). It is a popular tune for variation sets by
Northumbrian pipers. Aird (Selection of Scotch, English, Irish and Foreign
Airs, vol. 3), 1788; pg. 193. Bruce & Stokoe (Northumbrian
Minstrelsy), Gow (Sixth
Collection of Strathspey Reels), 1822; pg. 34. Peacock (Favorite
Collection of Tunes with Variations), 1805; pg. 10. Resilient Records RES005, Kathryn Tickell & Peter Tickell – “What We
Do” (2008). Sargasso Sounds EELCD03, Dave Faulkner & Steve Turner –
“English and Border Music for Pipes.”
See also listings at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources |
X:1
T:Cuddy Clawed Her
M:6/8
L:1/8
R:Jig
N:”Slowly”
N:”Old”
B:Gow
– Sixth Collection of Strathspey Reels (1822)
Z:AK/Fiddler’s
Companion
K:Cmin
E>FG
GFE|DB>B, {E}D2B,|E>FG GFE|Dc>C {E}D2C|Cc>C {E}D2B,|cBA GFE|Dc>C
{E}D2C||
c>de
edc|dcB Bgf|edc dG=B|~c>dc cgf|edc cG=A|~B>cB Bgf|(ed).c (dc).=B|~c>dc
c(_.B/._A/.G/.F/)|
EFG
GFE|DB>B, {E}D2B,|”tr”EFG GFE|Dc>C {E}D2C|Cc>C D2C|B,B>B,
{E}D2B,|cBA GFE|Dc>C {E}D2C||
X:2
T:Cuddy Clauder
S:Northumbrian Minstrelsy
M:6/8
L:1/16
K:G
G2| B3cd2 "tr"d2BcdB | d2 "tr"g4 "tr"B4 G2 | B3cd2 "tr"d2BcdB |
A2 "tr"f4 "tr"A4 e2 | B3cd2 "tr"d2BcdB | g2d2e2 g2d2B2 |
cBABcA dcBcdB | A2 "tr"d4 "tr"A4 :: e2 | g2d2e2 g2d2B2 |
d2 "tr"g4 "tr"B4 G2 | g2d2e2 g2d2B2 | A2 "tr"f4 "tr"A4 e2 |g2d2e2 g2d2B2 |
d2efge g2d2B2 | cBABcA dcBcdB | A2 "tr"f4 "tr"A4 :|
CUDDLE IN A BOASIE. AKA and see "The High Road to Linton,” "High Way to Linton," “Highway to Linton,” “Jenny’s Gone to
Linton,” “Kitty Got
a Clinking [2],” "The Leinster
Highroad." Shetland, Whalsay. Cooke collected the
following words to this tune in the Shetland Islands:
***
Rest the fire and come to bed, and cuddle in a boasie
My heid to dy heid and we'll lie cosy. (Whalsay)
***
Lassie get the bed made, the bed made, the bed made,
Lassie get the bed made, and I gang in aside dee.
(Many districts)
CUDDLE ME, CUDDY. AKA and see "The
Peacock Followed/Follows the Hen." English, Jig (9/8
time). England, Northumberland. C Major. Standard tuning. AABB. The tune
(manifesting the “strong influence of the Hypolydian mode”) can be found in
Ireland, England and Scotland in various forms, under such titles as “Brose and Butter” (Scot.), “Mad
Moll” (Eng.), “Up and Down Again”
(Ire.), “Virgin Queen,” “Yellow Stockings.”
“Cummilum,”
“Here We Go Up (Up, Up),” “Mad Moll [1],”
However, Northubrian musicians have laid claim to it and it is a core piece of
the repertoire of the region. The title appears in Henry Robson's list of
popular Northumbrian song and dance tunes, which he published c. 1800. It also
appears in the 1770 music manuscript collection of Northumbrian musician
William Vickers, about whom unfortunately little is known. A lyric called
“Cuddle Me, Cuddy” was collected by John Bell (Rhymes of Northern Bards, 1812, 322).
***
Won’t you come cuddle me cuddy,
O won’t you come cuddle me right?
O won’t you come cuddle me cuddy,
Like we did yesterday night?
***
Stanford
(1902) notes this melody is called “Mad Moll” in the 1721 (17th)
edition of Playford’s Dancing Master,
although it also appears in the 1698 edition.
X:1
T:Cuddle
me cuddy
M:9/8
L:1/8
R:Jig
S:William
Vickers’ music manuscripts, pg. 15
(1770)
Z:AK/Fiddler’s Companion
K:G
cde
cAA cAA|cde cAA B2G|cde cAA cAA|Bcd gdc B2G:|
|:cde
gee gee|cde gee f2d|cde gee gee|fdd gdc B2G:|
CUDDLE THE BUTLER. English. England, Northumberland. Title appears in
Henry Robson's list of popular Northumbrian song and dance tunes, which he
published c. 1800.
CUDDY CLAW'D HER. AKA and see "Cuddie Clauder."
CUDDY HUNK. American, Hornpipe. G Major. Standard tuning. AABB.
The title may refer to Cutty Hunk, located at the southwestern tip of the
Elizabeth Islands, about 14 miles south of New Bedford, Massachusetts. Cutty
Hunk was, in the 19th century, home to many whaling captains. Howe (1000 Jigs and Reels), c. 1867; pg. 57.
X:1
T:Cuddy
Hunk
M:4/4
L:1/8
R:Hornpipe
S:Howe
– 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
Ac |
BGAc BGAc | cdec A2 Ac | BGAc BGAc | BAGF G2 Ac | BGAc BGAc |
cdec
A2 Ac | BGAF GDEF | G2G2G2 :: e/f/ | g2 dg g2 ba | gfed e2 ef |
g2 dg
g2 ba | gedB G2 ef | g2 dg g2 ba | gfed e3e | eaab a2 fa | gecB G2 :|
CUDDY’S FANCY. AKA and see “Lady
Montgomery(’s Reel) [1].”
CUDGEL, THE. AKA and see “Cummilum,” “The Dusty Miller,” “The Honeymoon.” A member of the very large
tune family that includes “Mad Moll,”
“Drops of Brandy,” “Yellow
Stockings” etc. See notes for “Mad Moll” and Cummilum.”
CUFFE ST. AKA and see “Humours
of Cuffe Street,” “Humors
of Tufts Street.” Scottish, Reel. E Minor (‘A’ part) & D
Major (‘B’ part). Standard tuning. AABB’. The tune was recorded as “Old Cuffe Street” by the group Altan. See
also the related “Reel of Bogie.” Kerr (Merry Melodies), vol. 4; No. 97, pg. 13.
X:1
T:Cuffe
St.
M:C|
L:1/8
R:Reel
S:Kerr
– Merry Melodies, vol. 4, No. 97 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Emin
(dc) |
BE (3EEE (BA)FA | dBAF DFAc | BE (3EEE (BA)FA | dBAF E2 :|
|:
(FE) | DFA^c dcdA | (3B^cd (Ad) (3Bcd (Ad) |1
DFA^c
dfec | (3Bcd (AF) E2 :|2 fed^c dcBA | BdAF E2 ||
CUFFY. AKA –
“Cuffey.” Old‑Time, Breakdown. USA; southwestern Va., western North
Carolina. G Major. Standard tuning. AB (Silberberg): AABB (Brody). Known as a
tune and tune-name peculiar to the Franklin/Floyd County area of southwestern
Va., say Tom Carter and Blanton Owen (1976); also known as a Surry County,
North Carolina, regional tune (says Kerry Blech). It was, for example, in the
repertoire of N.H. ‘Nicky’ Mills, of Boobe’s Mill, Virginia, south of Roanoke
(as identified by Joel Shimberg). Mills was apparently the source for the tune
among modern ‘revival’ fidders. A rather taciturn individual, he valued his
privacy and when Armin Barnett visited him he abjured the younger fiddler not
to let anyone know about him: "If anyone asks about me, tell them I'm
dead." Which Armin did, until it was true. Shimberg doubts whether the
tune was current in North Carolina prior to its being disseminated by Barnett.
Armin was the source for the tune for the Highwoods String Band, who recorded
an influential version on their album “No. 3 Special,” after which it was in
the common repertoire of “revival” fiddlers of the 1970’s and 1980’s.
***
The
name ‘Cuffy’ has a long history in America as a slave name, especially on the
minstrel stage where it was regularly employed by blackface dancers and
musicians. “For example,” says Hans Nathan (Dan Emmett and Negro
Minstrelsy, Univ. of
Oklahoma Press, 1962, pg. 44), “{the period actor} Edwin Forrest lent his great
talents to a personification of Cuffee, a Kentucky Negro, opposite the black
Miss Philisy, in the play The
Tailor in Distress; or, A Yankee Trick. Performing in Cincinnati in 1823,
Forrest probably enlivened his act with singing and dancing.” In fact the name
Cuffy (Cuffey, Cuffee) derives from the language of the Ewe tribe from the
Volta region of Ghana, in east Africa, who custom it is to name a child after
the day of the week it is born on. Thus, Cuffey is the English derivation from Kofi, the name given to boys born on a
Friday. Similarly, other slave names were Quack, deviving from Kwaku, or Wednesday, and Quash, from Kwasi, or Sunday.
***
A man
named Cuffee played a role in the Great Negro Plot of 1741, also known as the
New York Slave Insurrection or the Great New York Conspiracy of 1741— names
given to an incident in which black slaves and poor whites, mostly Irish, were
accused of plotting to destroy the city in a conflagration. Tensions ran high
in New York at the time due to economic depression, bad weather, and news of
slave revolts and conspiracies coming from the south. When the last of a series
of mysterious fires was attributed to a black man named Cuffee, he was
arrested, and soon, as hysteria broke out and local conspiracy theories took
hold, it led to mass arrests. At one
point nearly half the city’s male slaves over the age of sixteen were in jail.
Even a few Catholics were included in the purge, on the suspicion that they
were in the employ of the Spanish and sought to burn New England towns.
Eventually 17 blacks were hanged along with four whites, and 13 blacks, like
the unfortunate Cuffee and another slave named Quack, were burned at the stake.
Scores of others were banished from the city and dispersed.
***
Sources
for notated versions: Liz Slade (Yorktown, New York) [Kuntz]; Ray and Randi
Leach [Silberberg]. Brody (Fiddler’s
Fakebook), 1983; pg. 81‑82. Kuntz, Private Collection. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 32. Bobville
BC94, "The Pilot Mountain Bobcats." Front Hall FHR‑024,
Fennig's All‑Star String Band ‑ "Fennigmania" (1981.
Learned from Allan Block). Rounder 0074, Highwoods String Band‑ "No.
3 Special" (1976. Learned from Armin Barnett). Wildgoose Records, Rattle
on the Stovepipe – “8 More Miles” (2005).
See also listing at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources |
X:1
T:Cuffy
L:1/8
M:2/4
S:Liz Slade
Z:Transcribed by
Andrew Kuntz
K:G
e/f/|g/f/e/A/
B/A/B/A/|DA/A/ B/A/B/B/|A/A/B c/B/c|e/d/B/(B/ d)e/f/|
g/f/e/A/
B/A/B/A/|DA/A/ B/A/B|A/A/B c/B/A|[G2B2] [GB]:|
|:B|(B/ d) (B/
d)(d|d/)e/d/A/ (B/A/)d|(e/ e) (e/ e(e|e/)f/e/(d/ B)e/f/|
g/f/g/f/ g/f/e/f/|g/e/e/A/ B/A/B/B/|AB/B/
c/B/A|(G/ B)(G/ B/)A/ [GB]:|
CUIG MILE AS SEO. AKA and see "Five Miles Away."
CUIGIU LASSIES. Irish, Jig. Cuigiu is a place-name in County Sligo. Coleman Center CD CC004, Joe Beirne – “The Mountain Road” (1999. Various
artists. “A Compilation of tunes popular in South Sligo”).
CÚIL AODHA JIG (Coolea Jig). AKA – “Coolea Jig,”
“Cul Aoda Jig.” AKA and see “Happy ‘A’ Jig,”
“Humours of Ballymore,” "The Maid That Cut Off the Chicken's Lips," “Mick Mulcahy’s
[2],” “Out and About,”
“The
Tea Jig." A Major (Alewine, Taylor): G Major. Standard
tuning. AABB. Cúl Aodh (pronounced ‘coolea’) is a place in West Cork. The tune
is heard in both the keys of ‘G’ and ‘A’. Brendan Begley recorded the tune as
“The Humours of Ballymore” for the NPU cassette “Music for the Sets” and it
appears under this title in Sully’s banjo book. A song by the title “Máithrín
mo chéile” (little mother-in-law) goes to this air, sung by West Kerry singer Seosaimhín Ní
Bheaglaíoch (Brendan's sister). Alewine (Maid
that Cut Off the Chicken’s Lips), 1987; pg. 13. Taylor (Traditional Irish Music: Karen Tweed’s Irish
Choice), 1994; pg. 2. Green Linnet SIF-1051,
Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984).
Kells Music 9505, Tommy Keane and Jaqueline McCarthy – “The Wind Among the
Reeds.” Beginish – “Stormy Weather” (appears after the song "Bainne an Ghabair Bhain”
(The White Goat's Milk).
X:1
T:The
Cúl Aodh Jig
T:Máithrín
mo chéile
Z:Transcribed
by Paul de Grae
M:6/8
L:1/8
R:jig
K:A
e|age
dBe|ABA c2 d|edc dBA|GFE dcB|
ABA
AGA|BcB gab|age dBe|ABA Ac:|:d||
e2 a
aga|bee gab|age d2 e|dBA GAB|
eaa
aga|bge gab|age dBe|ABA A2:|
X:2
T:Mick
Mulcahy's Jig
T: The
Cúl Aodh Jig
T:
Máithrín mo chéile
Z:Transcribed
by Paul de Grae
M:6/8
L:1/8
S:Mick
Mulcahy, accordion
K:D
A|:dcA
GEA|DED F2 G|AGF GED|CB,A, GB,C|
DED
DCD|EFE cde|dcA GEA|DED DFA:||
d2 d
dcd|eAB cde|dcA G2 A|GED =CDE|
DFA
dcd|eAB cde|dcA GEA|DED D3:|
"variation
bar 4"
|CDE
A,B,C|
"variation
bar 9"
|Add
def|
X:3
T:Coolea Jig, The
T:Cuil Aodha Jig
T:Tea Song
R:jig
H:Played in A or in G
D:D\'eanta:
D:Tommy Keane and Jacqueline McCarthy: Wind among the Reeds
Z:id:hn-jig-143
Z:transcribed by
henrik.norbeck@mailbox.swipnet.se
M:6/8
L:1/8
K:G
gfd cAd|GAG B2c|dcB cAG|FED cBA|~G3 GFG|~A3 fga|gfd cAd|1
GAG G2g:|2 GAG G2d || d2g gfg|ade fga|gfd
cAd| cAG FGA|
G2g gfg | ade fga|gfd cAd|1 GAG G2d:|2
GAG G2g||
K:A
age dBe|ABA c2d|edc dBA|GFE dcB|~A3 AGA|~B3 gab|age dBe|1
ABA A2a:|2 ABA A2e|| e2a aga|bef gab|age
dBe|dBA GAB|A2a aga |
bef gab | age dBe|1 ABA A2e:|2 ABA A2a ||
CÚIL AODHA (POLKA). AKA and see “The Ballinaderreen Polka,” “The Ballyvournie,” “Lackagh Cross [1].” Irish, Polka. Shanachie 34014, James Kelly, Paddy O’Brien & Daithi
Sproule – “Traditional Music of Ireland” (1995).
CÚIL AODHA SLIDE, THE. AKA and see “Connie
Walsh’s.” Irish, Slide (12/8 time). B Minor. Standard tuning.
AA'BB. ‘Cúil Aodha’ is pronounced ‘cool-lea’. Bulmer & Sharpley give the
tune as “Connie Walsh’s.” Cranitch (Irish
Fiddle Book), 1996; No. 27, pg. 135. Cranitch (Irish Session Tunes: Red Book), 2000; 27. Mulvihill (1st Collection), 1986; No. 8
in slide section, untitled). Vallely (Learn to Play the Fiddle with Armagh
Pipers Club), 197?; No. 28, pg. 28. Columbia
36401, The Chieftains – “Boil the Breakfast Early.” Ossian OSS5, Matt Cranitch
– “Take a Bow.”
X:1
T:Cúil
Aodha Slide, The
R:Slide
M:12/8
L:1/8
K:Bm
Bcd
Bcd c2B A2c|Bcd e2f g3 f2g|agf gfe 2d
A2A|1 Bcd e2c d3 c3:|2 Bcd e2c d3 f2g||
|:agf
gfe f2d A3|Bcd e2f g3 f2g|agf gfe f2d A2A|1 Bcd e2c d3 f2g:|2 Bcd e2c d3 c3||
CUILCAGH MOUNTAINS, THE. Irish, Reel. G
Major. Standard tuning. AA’B. Composed by County Cavan/Philadelphia fiddle
player and composer Ed Reavy (1898-1988). The Cuilcagh Mountains are a small
remote range in County Cavan, the source of the river Shannon. Reavy (The Collected Compositions of Ed Reavy),
No. 39, pg. 41.
X:1
T:The Cuilcagh
Mountains
R:Reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:The origin of
the majestic Shannon is in this small remote mountain
N:range in
Cavan. Ed took pride in this and for that reason called his
N:first book of
tunes: Where the Shannon Rises.
K:G
DF |: G2 AG FDCD
| G2 Ac defg | agfa gfdc | (3ABc AG FGAF |
G2 dG FDCF | G2
Ac defg | agfa gfdc |1 AGFA G3 F :|2 AGFA G3 f ||
g2 ag fdcd |
=fefg ^fdcd | fgag fdcA | GBAF DG G2 |
gfag fdcd | cdfa
g2 fg | agfa gbag | =fefg ^fdcA ||
CUILFHIONN MHUINTE SHEIMH. AKA and see "O
John, My Cousin."
CÚILFIONN, AN. AKA
and see "The Coolun."
CUILIN
HOUSE, THE. Irish, Reel. D Major. Standard tuning. AABB. Composed
by uilleann piper Jerry O’Sullivan (Yonkers, New York) and named after a place
in Dublin he remembers fondly, according to Bill Black. Black (Music’s the Very Best Thing), 1996; No.
56, pg. 29.
X:1
T: Cuilin House,
The
C: J. O'Sullivan
Z: transcribed
by B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
DFAF dBAF | DFAF
BFAF | DFAF dBAF | GBFB E3 F |
DFAF dBAF | DFAF
BFAF | GE (3EDE FD (3DCD | EA, A,2 EFGE :|
af f2 bf f2 |
afef eB B2 | af f2 bf f2 | ebfb e3 b |
af f2 bf f2 | afef eB B2 | dfaf bfaf |
egfe d4 :|
CUILLINN UÍ CHAOIMH. AKA and see “The Cullen
Jig,” “Padriag
O’Keeffe’s (Jig) [1].” Irish, Jig. Cuillinn (or ‘Cullen’, in
English) is the name of a village in Sliabh Luachra, near Knocnagree. Gael-Linn CEF 057, “Jackie Daly & Seamus Creagh.”
CUIMHNÍ AR AN gCEIS. AKA and see “Memories of Kesh.”
CUIR A CHINN DILEAS (Turn round thy faithful head). Scottish, Air (6/8 time). D Major. Standard
tuning. One part. Morison (Highland Airs
and Quicksteps, vol. 1), pg. 1, No. 2.
X:1
T:Cuir
a chin dileas
T:Turn
round thy faithful head
M:6/8
L:1/8
R:”Slowly”
S:Morison
– Highland Airs and Quicksteps, vol. 1
Z:AK/Fiddler’s Companion
K:D
B |
AFA B2c | df e/d/ dcB | ABc d2c | BAB B,2C | D>E F/G/ AFA |
B>c
d/e/ dcB | AF E/D/ B2 F/E/ | DEC B,2z ||
CUIR A CHION DILIS THARAM DO LAMH (or "Cuir, A Ghaiol Dileas, Tharrum Do Lamh"). AKA
and see "Place, True Love, Thine Arm Around Me,"
"The Auld Jew."
CUIR A NALL AM FEILEADH-BEAG. AKA and see "The Highland Dress and Armour."
CUIR AN SLABHRA AR AN bPÓNAÍ.
AKA and see “Put the
Chain on the Pony.”
CUIR ANNS a’CHISTE MHÓIR MI. See
“Cuir Sa’ Chiste
Mhoir Mi.”
CUIR BARR AIR (Top it Off). AKA and see “Top it Off.”
CUIR BARRAD AR AN DORUS. AKA and see "Bolt the Door."
CUIR DO CHUID AIR FIRE FAIRE (The Graceful Move). Scottish, Reel.
A version of “Jackie Layton/Jack Lattin” for the
Highland pipes. Gunn (The Caleonian
repository of music adapted for the Highland bagpipe), 1848; pg. 64.
CUIR EADAIGE DEASA UIRRI. AKA and see "Dress Her Out in Fine Clothes."
CUIR FAOBAR AR AN SGIAN-BEARRTA. AKA and see "Strop the Razor."
CUIR GLAS AR AN DORUS. AKA and see "Lock
the Door."
CUIR SNAIDHM AR DO CHAIPÍN, A SHINÉAD. AKA
and see "Jenny Tie Your Bonnet."
CUIR TART AN CRUISCIN. AKA and see "Hurry the Jug."
CUIR TART AN DEORUM. AKA and see "Push About the Jorum."
CUIR TRI N-A CEILE AGUS GEARR. AKA and see "Shuffle and Cut."
CUIR SA' CHISTE MHOIR MI (Put Me in the Big Chest/Casket). AKA
and see "Old
Time Wedding Reel [3]," “Beaton’s Last,”
"Big Coffin Reel," “Miss Cruikshank’s Reel,” "Put Me in
the Box," and "Put Me in
the Big Chest." Scottish, Reel. B Flat Major
(MacDonald): A Major (Shears). Standard tuning. AAB (MacDonald): AABB (Shears).
Attributed to William Marshall (1748-1833), as “Miss Cruikshank’s Reel.” Gaelic
words to the tune go:
***
cuir sa chiste mhoir mi
's coig bonnaich fo mo cheann
cuir sa chiste mhine mi
is beag is miste mi bhith ann
***
(put
me in the big chest, with five bannocks under my head, put me in
the
meal chest, I will be none the worse for being there)
***
cuir sa chiste mhine mi
cuir sa chiste mhine mi
cuir sa chiste mhine mi
is beag is miste mi bhith ann
***
(put
me in the meal chest, put me in the meal chest, put me in the meal
chest,I
will be none the worse for being there).
***
Shears calls his version a “Cape Breton setting of a
19th century reel.” MacDonald (The
Skye Collection), 1887; pg. 137. Shears (Gathering of the Clans Collection, Vol. 1), 1986; pg. 48 (pipe
setting. Appears as “Cuir Anns a’Chiste Mhóir Mi”).
X:1
T:Cuir
sa chiste mhoir mi
T:Miss Cruikshank’s Reel
T:Put
Me in the Big Chest
M:C|
L:1/8
R:Reel
S:MacDonald
– The Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:B_
FGBd e2 (eg)|fdcB cBGB|FGBd e2
(eg)|fdcd B/B/B B2:|
(gab)a
(gf)ed|cBcd BGGf|(gab)a (gf)ed|cBcd B/B/B B2|gaba gfed|
cBcd
BGGB|FGBc defg|fdcd B/B/B B2||
CUISIN
BAN, AN. AKA and see “(An) Suisin Ban,”
“The White Blanket.”
CUISLE MO CHROIDHE (Cushla Machree). AKA and see
"Pulse of My Heart."
CUL ALUINN MO CHAILIN DONN. AKA and see "Beautiful Head [of Hair] is My Brown‑Haired Girl,"
"Molly,
You Have a Cunning Smile."
CUL
AODH JIG. See “Cuil Aodha Slide.”
CUL DORAS HIGHLAND (The Back Door Highland).
Irish, Highland. Ireland, County Donegal. The story of the title’s origins
comes from Vincent Campbell via Caoimhin Mac Aoidh (1994). It seems that poitin
distilling was at one time kept very secretive in parts of Ireland. A wedding
was held in a house in the Graffey area of Donegal, and the groom and
father-in-law wanted to keep the festivities low-key, and contrived to put the
alcoholic mixture into crockery bottles instead of big kegs, and to store them
in the lime kiln at the rear of the house. He even let on that he was going to
burn the lime kiln and had turf stacked around it to make the story plausible.
Being a fiddler the father-in-law arranged with his sons that when the whiskey
was running short in the kitchen during the wedding festivities he would play a
certain tune and this would be the signal for the sons to go out the back to
fetch another poitin bottle from its hiding place in the kiln. To this day the
tune he played bears the title “An Cul Doras,” the back door.
CUL
NA LUB. AKA and see "Head of Curls."
CULAG
PIER. Scottish, Reel. D Major. Composed by Scottish
musician Addie Harper, Wick. Kerr (The
Thistle Collection), pg. 9.
CULFADDA REEL. AKA and see "Killfadda Reel.”
CULL ME TO THE RUSHES GREEN. English, Air (4/4 time). C Major.
Standard tuning. ABCD. This early ballad air was recorded in Wedderburn's Complaynt of Scotland as being popular
in 1549, when the book was written. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 38‑39.
CULLEN. AKA
and see "Mrs.
Fraser's Reel."
CULLEN HOUSE [1].
Scsottish, Strathspey. A Minor. Standard tuning. AAB. Composed by William
Marshall (1748-1833). Cullen is in Moray, near Banff, a
fishing community for ages. Robert the Bruce established the Old Church there
in the 1320’s, and his wife, Elizabeth, died at Cullen Castle. The area’s
prominent family since ancient times were the Oglivies who lived at Findlater
Castle, east of Cullen. In the year 1600, however, as the castle structure
deteriorated, Cullen House was built close to the church and village and the
castle was abandoned (it is an attractive ruin today). In the 17th
century Cullen’s Laird became Earl of Findlater and when the title became
extinct in 1811 with the death of the 7th Earl, Cullen passed to the
earls of Seafield. Cullen House was remodelled and extended several times and
has at present been converted into luxury homes. Noted architects including William Adam, James Adam, James
Playfair and David Bryce were all at various times involved in creating and
embellishing one of Scotland's finest houses and designed landscapes.
***
Moyra Cowie (The Life and Times of William Marshall,
1999) records that the Duchess of Gordon, Jane Maxwell (the wife of Marshall’s
employer, Alexander, the 4th Duke of Gordon) was involved in
litigation with James Earl of Findlater and Seafield in the late 1800’s. It
seems that the Earl attended a ceremony for the completion of the ship The Duchess of Gordon, sheathed on its
underside in copper. He was reputedly overheard to say to Brodie of Brodie
words to the effect that he ‘knew the Duchess had a brass neck and a brazen
face but never knew she had a copper arse!’
The Duchess, not amused upon hearing of the remark, decided to pursue a
case of slander in the courts. Findlater fled to his estate in Saxony, Germany,
and never returned.
***
Marshall, Fiddlecase
Edition, 1978; 1822 Collection, pg. 58.
X:1
T:Cullen
House [1]
M:C
L:1/8
S:Marshall
– 1822 Collection
Z:AK/Fiddler’s Companion
K:Amin
c|A,>Ac>A
G/G/G B2|A/A/A A>B A/B/c/d/ ec|d>Bc>A G/G/G B>d|
e>cd>B
c<AA:|
f|gg
a/g/^f/e/ d<G ~B2|a>e e<a gba^f|gg a/g/^f/e/ dGBd|e>cd>B
c<Aaf|
gg
a/g/^f/e/ d<G ~B2|a>e e<a gba^f|gbeg dGBd|e<c d>B c<AA||
CULLEN HOUSE [2]. Scottish, Reel. D Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1; Set 28, No. 4,
pg. 17 and vol. 2; No. 162, pg. 19. Stewart-Robertson (The Athole Collection), 1884; pg. 114.
X:1
T:Cullen House
[2]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
B|A2 AF AFdB|A2
AF GEEB|A2 AF AFdA|BGAG FDD:|
f|ddfd adfd|ddfd
eBBe|ddfd adfd|BdAd FDDf|ddfd adfd|
ddfd eBBg|fdec dBAB|dfeg fdd||
CULLEN HOUSE [3]. Scottish, Jig. BM-91, Buddy
MacMaster – “Glencoe Hall.”
CULLEN
JIG, THE. AKA and see “Cuilinn
Uí Chaoimh," “Humors
of Glynn/Glin [1],” “Jackson’s
Hornpipe [1],” “Padraig
O’Keeffe’s (Jig) [1],” “The Sligo Rambler
[2],” “Thomas
Leixlip the Proud.”
Irish, Jig. D Major. Standard tuning. AA’B. The tune is titled after the
small town of Cullen, near Knocknagree, Sliabh Luachra. CEF 057, “Jackie Daly & Seamus Creagh.”
X:1
T:Cullen
Jig, The
T:Padraig
O'Keeffe's
R:jig
S:Fisherstreet
Z:Philippe
Varlet
M:6/8
L:1/8
K:D
~B3
{d}BAF | Add dFA | ~B3 {d}BAF | AFE EFA |
~B3
{d}BAF | Add dFA | GEG FDF |1 EDC DFA :|2 EDC D3 ||
DFA
d2e | fdf ecA | {a}geg fdB | AFA B2A |
Adf
~a3 | baf a2f | {a}geg fdB | AFA B2g |
fdd
d2e | fdf ecA | {a}geg fdB | AFA B2A |
Adf
~a3 | baf a2f | {a}geg fdB | AFA B2A ||
CULLEN SLIDE [1], THE. AKA and see “Mick Mahony’s [2].”
Irish, Slide. Moylan (Johnny O’Leary),
1994; No. 111.
CULLEN SLIDE [2], THE. AKA and see “Michael
Murphy’s Slide.” Irish Slide. Breathnach (CRÉ II), No. 77 (appears as untitled
slide). Bulmer & Sharpley (Music from
Ireland), vol. 4, No. 82 (untitled slide). Cranitch (Irish Fiddle Book), 134. Cranitch (Irish Session Tunes: Red Book), 2000; 24.
CULLER HERREN. AKA and see "Caller Herring."
CULLINAN’S FAVOURITE. AKA and see “Maurice Lennon’s.” Irish, Reel. The tune
is probably named for Doolin, County Clare, fiddler James Cullinan. Green Linnet SIF 1162, Kevin Crawford – “The ‘D’ Flute
Album” (appears as “Maurice Lennon’s”).
CULLODEN DAY [1]. AKA and see "The Inverness
Gathering." Scottish, Pipe Quickstep (march, cut time).
A Mixolydian. Standard tuning. One part (Skinner): AABB (Martin, Kerr). Kerr (Merry Melodies), vol. 3; No. 415, pg.
46. Martin (Ceol na Fidhle), vol. 2,
1988; pg. 29. Skinner (The Scottish
Violinist, with variations); pg. 33. Skinner (Harp and Claymore), 1904; pg. 43. Front
Hall Records FHR-020, Alistair Anderson – “Dookin’ for Apples” (1979).
X:1
T:Culloden
Day [1]
M:2/4
L:1/8
R:Pipe
March
S:Skinner
– Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:Amix
e/c/ |
d/>(c/B/>)(c/ A/>)(B/c/>)(A | a)ee (3d/e/f/ | gB/>A/ G(3BAG |
g(dd) e>(c | d/>)(c/B/>)(c/ A/>)(B/c/>)(A |
a)(ee)(a
| g>)(e/d/>)(B/ G/>)(B/d/>)(B/ | e)(AA) (3e/f/g/ | a/>e/c/>e/
a/>e/c/>A/ | ({e}a)(ee)f |
g/>a/g/>f/
g/>a/g/>e/ | d/>c/B/>A/ G/>A/B/>d/ | (c/4B/4A/) (e/A/)
(c/4B/4a/) (a/A/) | a(ee) (a |
g/>)(e/d/>(B/
G/>)(B/d/>)(B/ | e)(AA) ||
CULLODEN DAY [2] (An cuala sibh mar thachair dhuinn). Scottish,
Strathspey. G Minor. Standard tuning. AAB. This tune "was a song march in
repute with Jacobites, lamenting their fate at {the 1745 Battle of}
Culloden" (Fraser). Fraser (The Airs
and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874;
No. 143, pg. 58.
X:1
T:Culloden Day
[2]
T:An cuala sibh
mar thachair dhuinn
M:C
L:1/8
R:Strathspey
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Eb
G/F/|[G,E]>G
(G>^F/G/) BGG>=B|c>Ge>E [D3F3] A/G/F/|
[G,E]>G
(G>^F/G/) BGG>(^f|g>)(d e>)^F G2 G:|
(e/>f/)|g>f
e>d cGG>c|B>GG>E F2 F (e/f/)|g>f e>d cGG(c/d/)|
e>dc>B ~G2
G(e/f/)|g>fe>d cGG>c|BGGE F2 F(E/F/)|
G>FED C/D/E/F/
G>^f|g>(de>)(^F [=B,2D2G2]) [B,2D2G2]||
CULLODEN FIGHT. English, Jig (6/8 time). G Major. Standard tuning.
AABB. The tune appears several 18th century publications, including
Johnson's Choice Collection of 200
Favourite Country Dances (vol. 4, pg. 62, London, 1748), Charles &
Samuel Thompson’s Compleat Collection of
200 Favourite Country Dances (vol. 3, London, c. 1772-73), R. Bride’s Favourite Collection of 200 Country Dances,
Cotillons and Allemands (vol. III, pg. 58, London, 1776), and Longman,
Lukey, & Co.'s Dances for 1772. It was written soon after the 1745 battle,
for musicologist Frank Kidson (1890) reported that not long afterwards British
military officers called upon musicians at Edinburgh's Canongate Theater to
play it, and a riot ensued when the rest of the audience demanded the Jacobite
melody "You're
Welcome, Charlie Stuart.”
The tune also appears in the music manuscript copybook of fiddler John Burks, dated 1821 (a photocopy in possession of the ed.). Unfortunately, nothing is known of Burks although he may have been from the north of England. In America the tune was included by Abel Shattuck (Colrain, Massachusetts) in his c. 1801-1820 music commonplace book, and by fifer Seth Johnson (Woburn, Massachusetts) in his commonplace book of 1807-1840.
***
Kidson (Old English Country Dances), 1890; pg. 7. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 126.
X:1
Culloden
Fight
M:6/8
L:1/8
S:Frank
Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s
Companion
K:G
GAG
B2G|d2B A2G|BcB c2A|E2 A FED|
GAG
B2G|d2B A2G|g2e d2G|A3 G2:|
|:B2G
B2G|E2A FED|B2G B2G|dcB A3|
B2G
B2G|ABc EFG|ABc dBG|A3 G3:||
X:2
T:Culloden Fight
M:6/8
L:1/8
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed
and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:G
GAG B2G|d2B A3|GAG B2G|F2G AFD|GAG
B2G|d2B A3|gfg edc|BcA G3:|
|:B2G B2G|F2G AFD|B2G B2G|cBc ABc|B2G B2G|F2G AFD|gfg edc|BcA G3:||
CULLODEN HOUSE. Scottish, "Slowish" Strathspey. C Minor. Standard tuning. AB. Composed by unknown composer J. Anderson, first appearing in Morrison's Highland Collection (1812). Hunter (1988) proposes two possibilities: a John Anderson who published a collection of Highland Strathspeys c. 1789 or an Anderson who was involved with preparatory work for Morrison's collection with Johnson, the Edinburgh engraver. Hunter (Fiddle Music of Scotland), 1988; No. 180. Stewart-Robertson (The Athole Collection), 1884; pg. 272.
X:1
T:Culloden House
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Cmin
E/D/|C>c c2
G>cc>d|B>FG>B D>B, G/F/E/D/|C>c c2 Gc/d/ e>c|
B>F G/F/E/D/
C2 E>D|Cc c2 G>c~cd|G<BF<B D>B, G/F/E/D/|
C>DE>F
G>FG>c|~B>F G/F/E/D/ C2C||=B|c>de>f g>ce>g|
f>Bd>f
b>f e/d/c/=B/|c>de>f g>ce>c|B>F G/F/E/D/ C2 C=B|
~c>de>f
g>ce>g|f>Bd>f b/=a/g/f/ e/d/c/B/|g>ef>d
e>cd>B|c>GB>D C2D||
CULLODEN WELL. Scottish (originally), Canadian; Strathspey. Canada,
Cape Breton. C Minor. Standard tuning. AABB. Composed by William Morrison,
appearing in his 1812 collection (Inverness, Scotland), originally in the key
of C minor. The tune was played by Cape Breton fiddler Angus Chisholm in the
mixolydian mode, and it has become a popular strathspey on the island. Little
is known about Morrison, who was born in Culloden, by Inverness, around 1780
and lived beyond the year 1825. Culloden Well, or the Clootie Well of Balloch
as it is also known, is a holy well in which a strip of cloth is dipped into
the water, then tied on a nearby branch while a prayer of supplication is said
to the patron saint. The practice is thought to stem from the pagan practice of
leaving votive offerings to the spirits of natural places. Cranford (Jerry
Holland: The Second Collection), 2000; No. 73, pg. 30.
See also listings at: Alan Snyder’s Cape
Breton Fiddle Recording Index |
CULLODEN’S FANCY. Scottish, Reel. G Major. Standard tuning. AABB.
Martin (Ceol na Fidhle), vol.3, 1988;
pg. 39.
CULTIVATEUR, LE (The Farmer).
French-Canadian, Reel. C Major. Standard tuning. AABB. Source for notated
version: accordion player Sabin Jacques (Québec) [Songer]. Songer (Portland Collection), 1997; pg. 57
(another version, from Québec accordion player Raynald Ouellet, is given in the
Appendix in the key of D Major). “Hommage a Joseph
Allard.”
X:1
T:Cultivateur,
Le
M:2/4
L:1/8
R:Reel
S:Pascal
Gemme
K:D
dd/d/
d/c/d/f/|e/f/e/c/ A/c/e/g/|f/e/d/f/ e/d/c/e/|d/e/d/B/ A/A/F/A/|dd/d/ d/c/d/f/|
e/f/e/c/
A/c/e/g/|f/e/d/f/ e/d/c/e/|1 d/f/e/c/ dF/A/:|2 d/f/e/c/ dA/G/||
|:F/A/d/A/
F/A/d/A/|G/B/d/B/ G/B/c/B/|A/c/e/c/ A/e/c/A/|d/f/e/d/ c/B/A/G/|
F/A/d/A/
F/A/d/A/|G/B/d/B/ G/B/c/B/|A/c/e/c/ A/e/c/A/|1 d/f/e/c/ dA/G/:|2 d/f/e/c/
dF/A/||
CUMA MIC GUIDHIR (Maguire's Lamentation). AKA and see
"Maguire's
Lamentation."
CUMACTA NA DIG. AKA and see "The Powers of
Punch."
CUMAIL AN MALA/MHALIN. AKA and see "Rub
the Bag."
CUMANN NA GAOIDEALGE. AKA and see "The Gaelic Club."
CUMANN NA MAIRNEALAIG. AKA and see "The
Seaman's Club."
CUMAR NA CATHRACH. AKA and see "Caislean Ui
Cheallaigh."
CUMBERLAND, THE. AKA and
see "Miss Gibson [2],” “Miss
Nancy Gibson,” “The New Brig of
Glasgow,” “Una’s Lock.”
X:1
T:The
Cumberland Reel or Una's Lock
S:Longman
and Broderip's Second Selection of the Most Favorite
Country
Dances, Reels, &c. [c 1790/91?]
Q:1/4=80
L=1/4
M:C|
K:Bb
F/|Bb/g/
f/d/c/B/|A/F/c/A/ d/F/c/F/|Bb/g/ f/d/c/B/|\
F/B/A/c/
d/B/B/::d/|B/G/F3/4E/4 D/E/F/D/| E/C/C/B/ B/G/F/A/|\
B3/4G/4F3/4E/4
D/E/F/D/|B,/B/A/B/ d/B/B/:|]
CUMBERLAND BLUES [1]. Old‑Time,
Country Rag. C Major ('A' part) & F Major ('B' part). Standard tuning. AB.
Reconstructed from the 1921 pop hit "Wabash Blues" (a favorite with
early jazz bands) by Madison County, Ky., fiddler Doc Roberts, whose fiddling
(according to Tom Carter) reflected "the movement of new influences into
the Upland South." Musicologist Charles Wolfe thinks the melody "a
splendid combination of ragtime, blues, and old time‑fiddling."
Source for notated version: Doc Roberts (KY) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 37. Counqueror 8240 (78 RPM), Doc Roberts
(Ky.). County 412, "Fiddling Doc Roberts." County 511, Doc Roberts -
"Mountain Blues." Rounder 0213, The Chicken Chokers (Mass.) ‑
"Chokers and Flies" (1985).
CUMBERLAND BLUES [2]. Old-Time, C
Major. Standard tuning. AA'B. No relation to "Cumberland Blues [1]."
Source for notated version: John Hannah [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 37.
CUMBERLAND CREW, THE. AKA and see "Cahirciveen."
CUMBERLAND GAP [1]. AKA ‑
"Tumberland Gap." Old‑Time, Breakdown. USA; Arkansas, southwest
Virginia, West Virginia, Kentucky, western North Carolina, Alabama. G Major: A
Major: D Major (Tommy Jarrell). Standard, DGdg (Harvey Sampson) or ADad (Tommy
Jarrell/Bruce Molsky) tunings. ABCC'DD (Phillips): AABB (Thede): AABBCC (Brody).
The Cumberland Gap is a pass in the Appalachians between upper Tennessee and
Kentucky. It is through this passage in the mountains that Daniel Boone in 1773
led a group of pioneers into Kentucky along his famous Wilderness Road, an
event famous in American history that association with may have helped to
popularize the melody (or, rather, populaize the title for a fiddle tune, as
there are several different tunes that are called “Cumberland Gap”). The tune
is very wide-spread throughout the upland South and many variants exist, along
with some unrelated tunes that bear the same title. Alan Jabbour has written
that it dates “well back” in the 19th century, and, while it bears
melodic resemblance to some Irish reels in part, its derivation is yet to be
determined. Mike Yates (2002) says that Bascom Lamar Lunsford maintained that
“Cumberland Gap” was a speeded-up version of the ballad “Bonny James Campbell” (also rendered as a
southern fiddle tune) while Yates finds the Niel Gow’s “Skye Air” carries a
“faint suggestion” of the Appalachian standard. Still, Yates admits there seems
to be no early printings of the tune.
***
Various verses have been set to the tune. Banjo player
Dent Wimmer of Floyd, Floyd County, Virginia, sang:
***
My and my wife
and seventeen chaps,
Walked all the way
to Cumberland gap.
***
Cumberland Gap’s
an awful dry place,
You can’t get
water to wash your face.
***
Jabbour found 32 recordings of tunes with the title
“Cumberland Gap” in the Library of Congress sound archives, while Bruce Greene
and John Harrod’s field recordings of Kentucky fiddlers alone yielded fifty-two
performances of the title. One of the earliest versions was recorded on an
Edison Bell cylinder by Allen Sisson. The tune was played by Rock Ridge,
Alabama, fiddlers c. 1920 (Devil’s Box, Vol. 17, #2, pg. 20). It was in
the repertoires of Fiddlin' Cowan Powers 1877‑1952? (Russell County,
southwest Va.) who recorded it in 1924 for Victor {though it was unissued}, and
African-American fiddler Cuje Bertram of Kentucky’s Cumberland Plateau region
(Bertram recorded it on a 1970 home recording made for his family, see
“Cumberland Gap [4]"). Also in repertoire of J. Dedrick Harris, from
eastern Tennessee, who fiddled regularly with Bob Taylor in his run for
Governor of the state in the late 1800's. Harris moved to western North
Carolina in the 1920's and influenced a generation of fiddlers including the
Helton brothers, Manco Sneed, Bill Hensley, and Marcus Martin. In the Round Peak
region of western North Carolina the melody was known by the title
"Tumberland Gap" for many years until the isloation of the area broke
down. Near Round Peak, Mt. Airy, North Carolina, fiddler Tommy Jarrell (d.
1986) remembered the tune "came around" the region when he was a
young man, around 1915, and was not known before then. The tune was mentioned
by William Byrne who described a chance encounter with West Virginia fiddler
‘Old Sol’ Nelson during a fishing trip on the Elk River. The year was around
1880, and Sol, whom Byrne said was famous for his playing “throughout the Elk
Valley from Clay Courthouse to Sutton as…the Fiddler of the Wilderness,” had
brought out his fiddle after supper to entertain (Milnes, 1999). The title
appears in a list of traditional Ozark Mountain fiddle tunes compiled by
musicologist/folklorist Vance Randolph, published in 1954. Sources for notated
versions: Luther Strong [Phillips]: Walter Fenell (Latimer County, Oklahoma)
[Thede]. Phillips (Traditional American
Fiddle Tunes), vol. 1, 1994; pg. 62. Thede (The Fiddle Book), 1967; pg. 114. Augusta
Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band –
“Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va. fidder
Harvey Sampson from his father). Broadway 5118‑A (78 RPM) {1924} and
Library of Congress AFS 4804‑B‑3 {1941}, Osey and Ernest Helton
(Asheville N.C.). Cartunes 105, Bruce Molsky and Bob Carlin – “Take Me as I Am”
(2004. Sourced to Tommy Jarrell and Fred Cockerham). Conqueror 8239 (78 RPM),
Doc Roberts. County 723, Cockerham, Jarrell, and Jenkins‑ "Back Home
in the Blue Ridge." County 2702CD, “Tommy and Fred.” Document 8040, “The
Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in
Chronological Order, vol. 2” (reissue). Document DOCD-8040, The Hillbillies
(reissue, originally recorded 1926). Document DOCD-8057, The Skillet Lickers
(reissue). Marimac 9008, The Lazy Aces String Band ‑ "Still Lazy
after All These Years" (1986. Learned from the playing of Arthur Smith). Musical Traditions MTCD 321-2,
Dent Wimmer (et al) – “Far in the Mountains, Vols. 1 & 2” (2002). Rounder 1005, Gid Tanner and His Skillet Lickers‑ "Hear These
New Southern Fiddle and Guitar Records." Rounder 0058, Corbit Stamper and
Thornton Spencer ‑ "Old Originals, vol. 2" (1978). Rounder
0089, Oscar and Eugene Wright (W.Va.) ‑ "Old‑Time
Fiddle." Vocalion 14839 (78 RPM, 1924) Uncle Am Stuart (b. 1856,
Morristown, Tenn). Voyager 340, Jim Herd - "Old Time Ozark Fiddling."
Yodel-Ay-Hee 05, The Wildcats - "On Our Knees" (1992).
See also listing at: Jane
Keefer’s Folk
Music Index: An Index to Recorded Sources |
(((♫))) Charlie Acuff (b. 1919) “Cumberland
Gap” |
CUMBERLAND GAP [2]. Old-Time,
Breakdown. D Major. Standard tuning. AABB. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 63.
CUMBERLAND GAP [3]. Old-Time,
Breakdown. D Major. Standard tuning. ABC (Silberberg): AA'BB'CC' (Phillips).
Source for notated version: Ruthie Dornfeld [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 63. Silberberg (Tunes I Learned at Tractor Tavern), 2002;
pg. 32.
CUMBERLAND
GAP [4]. Old-Time,
Bluegrass; Breakdown. USA, Kentucky. G Major. Standard tuning. AB (Titon): AAB
(Phillips/1994): AA'B (Phillips/1989): AABB' (Krassen): AABBC (Phillips/1994).
Jeff Titon (2001) believes source Leonard Rutherford may have learned this tune
from African-American fiddler Cuje Bertram, who was a friend and sometimes
informal playing partner and stand-in. Rutherford recorded the tune in 1928
with playing partner Dick Burnett. Titon has found the tune among those
included in the 1915 Berea, Kentucky, tune lists and in records of Berea fiddle
contests for 1919, 1920 and 1924. Sources for notated versions: Leonard
Rutherford (Monticello, Wayne County, Ky., 1928) [Phillips/1989, Titon]: Paul
Warren with Flat and Scruggs and the Foggy Mountain Boys [Phillips/1994]: Jeff
Goehring with the Red Mules [Phillips/1994]: Charlie Higgins (Galax, Va) and
Uncle Am Stuart (Tenn.) [Krassen]. Krassen (Appalachian
Fiddle), 1973; pg 58 (includes 2 'A' part variations). Phillips (Fiddlecase Tunebook), 1989; pg. 15.
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pgs. 63 & 64. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 20, pg. 64. County 527, Leonard Rutherford & R.D. Burnett ‑
"Old‑Time Fiddle Classics, vol. 2” (reissue). Document DOCD-5631,
Cuje Bertram et al – “Black Fiddlers” (1999). Document DOCD-8025, Burnett &
Rutherford (reissue). Gennett 6706 (78 RPM), Burnett and Rutherford (1928).
Morning Star 45003, Leonard Rutherford/Dick Burnett ‑ "Wink the
Other Eye: Old Time Fiddle Band Music from Kentucky, vol. 1" (1980.
Originally recorded 1928).
CUMBERLAND
GAP [5]. Old-Time,
Breakdown. G Major. Standard tuning. AABBCC. Source for notated version: Hot
Mud Family [Brody]. Brody (Fiddler’s
Fakebook), 1983; pg. 82. Biograph RC 6008, Hot Mud
Family‑ "Fox Hollow String Band Fest."
CUMBERLAND
GAP [6]. Old-Time,
Breakdown. D Major. Standard tuning. AA’BB’. Source for notated version: the
Freewill Savages (James Leva, Kirk Powell, Dave Grant, Al Tharp), who took 1st
place 1994 Clifftop non-traditional stringband honors [Lamancusa].
X:1
T:Cumberland Gap [6]
M:4/4
L:1/8
R:Reel
S:The Freewill Savages
N:ABC’s from a transcription by John
Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s
Companion
K:D
de |: “D”fefe dcBA | “Bm”B3c Bcde | “D”f2 (3efe dcBA |
“Bm”B3c BABc |
“D”dBAF EDFE |1 “A”DCB,C “D”D2 de :|2 “A”DCB,C “D”D3D
||
|: “D”D D2D EDFE | DFAB AFAB | dBAF EDDE | “A”FEDC
B,A,A,B, |
“D”D2 DF EDFE | DFAB AFAB | dBAF EDFE |1 “A”DCB,C
“D”D3D :|2 “A”DCB,C “D”D4 ||
CUMBERLAND GAP ON A BUCKIN' MULE. Old‑Time,
Breakdown(s). USA, Ga. The Skillet Lickers medley of "Cumberland Gap"
and "Buckin' Mule." Bluebird 5434‑B (78 RPM), Gid Tanner and His Skillet
Lickers {Ga.} (1934). Rounder Records 1023, Gid Tanner and His Skillet Lickers ‑
"The Kickapoo Medecine Show". Rounder Records 1005, "The Skillet
Lickers."
CUMBERLAND HOUSE. AKA and see "Cumbernauld House."
CUMBERLAND LONG EIGHT, THE. AKA and see
"Within a Mile." English, Reel. D
Major. Standard tuning. AABB. The county of Cumberland is first mentioned in
the 10th century and is derived from the name of its inhabitants:
the ancient Celtic people called the Brittons who were driven into the hills of
the West of England by the Anglo-Saxon invaders—they took to calling themselves
the Cymry, or brotherhood, in their
time of desperation. Kennedy (Fiddlers
Tune Book), vol. 1, 1951; No. 15, pg. 8.
CUMBERLAND NELLY. English, Dance Tune (2/4 time). England, North‑West.
E Minor. Standard tuning. AABB. The county of Cumberland is first mentioned in
the 10th century and is derived from the name of its inhabitants:
the ancient Celtic people called the Brittons who were driven into the hills of
the West of England by the Anglo-Saxon invaders—they took to calling themselves
the Cymry, or brotherhood, in their
time of desperation. Knowles (Northern
Frisk), 1988; No. 5.
CUMBERLAND RANT. English, Reel. B Flat Major. Standard tuning. AABB.
The county of Cumberland is first mentioned in the 10th century and
is derived from the name of its inhabitants: the ancient Celtic people called
the Brittons who were driven into the hills of the West of England by the
Anglo-Saxon invaders—they took to calling themselves the Cymry, or brotherhood, in their time of desperation. Source for
notated version: Preston’s 24 Country
Dances for the Year 1806 [Knowles]. Knowles (A Northern Lass), 1995; pg. 17.
CUMBERLAND REEL. AKA
and see "Hilly‑go,
Filly‑go All the Way," "King of the Cannibal Islands," "Nottingham
Swing,” “Vulcan’s Cave." Scottish, Country Dance Tune (6/8 time). D Major. Standard
tuning. AAB. Cumberland Reel is also the name of a favorite Scottish country
dance, and despite the name it is performed to a jig time tune. The
county of Cumberland is first mentioned in the 10th century and is
derived from the name of its inhabitants: the ancient Celtic people called the
Brittons who were driven into the hills of the West of England by the Anglo-Saxon
invaders—they took to calling themselves the Cymry, or brotherhood, in their time of desperation. See note for “King of the Cannibal
Islands” for more. Kerr (Merry Melodies),
vol. 1; No. 1, pg. 27.
X:1
T:Cumberland Reel
M:6/8
L:1/8
R:Jig
B:Kerr – Merry Melodies, vol. 1, pg. 27
(c. 1880’s)
Z:AK/Fiddler’s
Companion
K:D
A|f2e d2c|d2B A2F|GFG EFG|F2G A2A|B2G
d2B|A2F d2d|
cde ABc|d3 d2::e|f2f f2e|f2f f3|f2f
g2f|e2e e3|
d2d d2c|d2d d3|d2B e2d|c2B ABc|d2d
cBA|B2c d2A|
ded cBA|B2c d3|e2e e2e|e2e efg|a2a ABc|d3
d2||
CUMBERLAND WALTZ. English, Waltz. D major. Standard tuning. AB. The
county of Cumberland is first mentioned in the 10th century and is
derived from the name of its inhabitants: the ancient Celtic people called the
Brittons who were driven into the hills of the West of England by the
Anglo-Saxon invaders—they took to calling themselves the Cymry, or brotherhood, in their time of desperation. Callaghan (Hardcore English), 2207; pg. 83. Knowles
(A Northern Lass), 1995; pg. 11. Topic TSCD482, Eliza Carthy – “Heat, Light & Sound”
(1995). Harbourtown HARCD047, The Boat Band – “A Trip to the Lakes” (2007).
CUMBERNAULD HOUSE. AKA ‑ "Cumberland House." Scottish,
Air (4/4 time). G Major. Standard tuning. AABB. Cumbernauld House is a fine
example of neo-classical architecture designed by fashionable architect William
Adam and built for the Fleming family. It was completed in 1731. The last Lord
Fleming, Earl of Wigton, died childless in 1747 and the estates passed to the
Elphinstone family. Charles Elphinstone-Fleming, a retired Admiral, was laird
from 1799-1840, and was for a time MP for Stirlingshire. Huntington (William Linton's), 1977; pg. 26.
Johnson (The Scots Musical Museum);
No. 142, pg. 149. McGibbon (Scots Tunes,
book III), 1762; pg. 70. Napier (A
Selection...Of Scots Songs), vol. II, pg. 48. O’Farrell (Pocket Companion, vol. III), c. 1808;
pg. 13. Ritson (Scottish Songs); vol.
1, pgs. 145‑146.
X:1
M:C
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. III (c. 1808)
Z:AK/Fiddler’s Companion
K:G
|: (BA) | GABc
{B/c/}d3e | dBAG d2 (gf) | e>fga gfed | B2 (ef) e3f | (gf)ed B2 e(f/g/) |
e/d/c/B/ c/B/A/G/ A2 Bd | edeg {e}dc/B/ (c/B/)(A/G/) | E2 GA G2 :|
X:2
T:Cumbernauld
House
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III, pg. 70
(1762)
Z:AK/Fiddler’s Companion
K:G
(G>A)
| (B>A)(Bd) ({c}B2) “tr”(A>G) | (EDE)G A2 (Bd) | (ede)g ({e}d)c/B/
({c}B)A/G/ |
E2 (G>A)G2 :: (B>A) | (GA)(Bc)
({B/c/}d3)e | (dB)”tr”(A>G) ({B/c/}d2) (g>f) |
(e>f)(g>a)
({g}f2) “tr”(ed) | B2(e>f) e3f | (gf)”tr”(ed) B2 (ef/g/) | (e/d/)(c/B/)
(c/B/)(A/G/) A2 Bd |
(ed)(eg) ({e}d)(c/B/) ({c}B)(A/G/) | E2
(G>A) G2 :|
CUMHA AN DE-BHEAN SI (Lament of the Fairy Goddess).
Irish, Air (4/4 time). G Major. Standard tuning. AABC. The piece was composed
by either John or Harry Scott, two brothers born in the County of Westmeath and
both eminent composers and performers on the harp. The brothers, who lived at
the end of the 16th century and beginning of the 17th century, were renowned
particularly for their "Caoinans," or dirge pieces; "In this
line they have produced pathetic movements for Purcell, Baron of Loughmoe, and
O'Hussey, Baron Galtrim" (Bunting, 1840). O'Sullivan (1983) provides
extensive musical analysis of the piece. Source for notated version: the Irish
collector Edward Bunting noted the melody from Dominic O'Donnell, a harper at
Foxford, County Mayo, in 1802. O'Sullivan/Bunting, 1983; No. 122, pgs. 171-174.
CUMHA CAOINE AN ALBANAIGH (Scotts Lamentation). AKA and see
"Scott's Lamentation for the Baron of Loughmore."
CUMHA EASBUIG EARRAGHAIDHEAL (Lament for the Bishop of Argyll).
Scottish, Pibroch. G Major. Standard tuning. AABBAACCDDAA. The first two parts
are in triple time, the second two in duple. Johnson (1983) thinks this tune
may have been composed for harp and dates it on stylistic terms to c. 1720. It
appears in the McFarlane Manuscript and
in the Angus Fraser Manuscript. The
Bishop of Argyll who merited this lament, according to Bruford, was probably
Donald Carsewell who was the 16th century prelate who translated the Book of Common Order into Gaelic. Sanger
& Kinnaird (Tree of Strings, 1992)
suggest the tune may be the “Cumha an Easbuig” mentioned by the poetess Sileas
na Ceapaich (born c. 1660), daughter of Gilleasbuig, chief of the MacDonalds of
Keppoch, and “Cumh Easbuig Earraghall” found in Daniel Dow’s collection.
Johnson (Scottish Fiddle Music in the
18th Century), 1984; No. 54, pg. 131.
CUMHA IARLA WIGTON (Lament for the Earl of Wigton).
Scottish, Pibroch. G Major. Standard tuning. AABBCCDDEE. The first and last
strains are in duple time, the middle three in triple. The tune appeared in Donald
Dow's Ancient Scots
Music (1776), though Johnson (1983) dates it on stylistic terms to c. 1720, and thinks it may have originally
been composed for the harp. The Earl was probably the third Earl of Wigton who
died in 1665, according to Bruford. Johnson, 1983; No. 55, pgs. 132‑133.
CUMHA MAIRI NIGHEAN
ALASDAIR RUADH. Scottish, Pibroch. The “Cumha Mairi”
mentioned by the poetess Sileas na Ceapaich (born c. 1660),
daughter of Gilleasbuig, chief of the MacDonalds of Keppoch, Isle of Skye, may
be a version of this tune, now played as a piobaireachd (Sanger & Kinnaird,
Tree of Strings, 1992). It is said that the melody was composed by
Padruig Og MacCrimmon around 1705 on the occasion of the death of his friend
the Skye poetess.
CUMHA MHIC A h-ARASAIG.
AKA and see “McIntosh’s Lament.”
CUMHA MHIC CRIOMAIN. AKA and see “Cha Till MacCruimein,” "MacCrimmon's Lament."
CUMHA MHIC SHIMIDH. AKA and see "Lord Lovat's Lament."
CUMHA PEATHAR RUAIRI (The Lament for Rorie’s Sister). Scottish, Air. This harp melody appears
in Daniel Dow’s Collection of Ancient Scots Music (1776) attributed to ‘Rorie
Dall’, thought whether he meant by this Ruari (Dall) O Cathain or Rorie Dall
Morison, both famous harpers, is unknown. A shorter version appears in the Straloch Manuscript of 1627-29 simply titled “A Port.” As Sanger
and Kinnaird (Tree of Strings, 1992) point out, the date of the Straloch is
prior to the birth of Morison, and O Cathain did have a sister.
CUMHA
ROTHA. AKA and see "Rotha's Lament."
CUMHADH FHINN (Ossian's Lament for His Father). AKA and see
"Oran an Fheidh." Scottish, Slow Air
(3/4 time). G Major. Standard tuning. AABB. The air, according to Neil (1991),
is thought to be the original melody popular in Lochaber and environs as
"Oran an Fheidh" (Song of the Deer). It commemorates the legendary
warrior Fingal, Ossian's father, a brave and shrewd Highland warrior chieften
who was "a faithful friend but an awesome and unforgiving foe as was
illustrated when he showed no mercy towards his nephew Diarmid, who had eloped
with his beautiful Queen Grainne." Logan, "The Scottish Gael."
Neil (The Scots Fiddle), 1991; No.
144, pg. 183.
CUMHAIN LEATSA AN PICHE UD? AKA and see “Do you remember that night?”
CUMMILUM. AKA – “Cumilum.” AKA and see "Riding a Mile [1]," “Drops of Brandy [1],” "Fairest Put On Awhile," "I
Don't Care," "Is Cuma Liom,"
"Virgin Queen." Irish, Scottish, Jig
(Slip Jig). A Major (Kerr): D Major (O’Farrell). Standard tuning. AABB (Kerr):
AABBCCDDEEFF (O’Farrell). The title is an Englished version of the Gaelic
"Is Cuma Liom." The tune appears in Samuel Lee’s Jackson’s Celebrated Irish Tunes (pg. 1), first published in Dublin
c. 1775, republished in 1790. It is attributed to the renowned 18th
century gentleman composer Walker ‘Piper’ Jackson, of the townland of Lisduan,
parish of Ballingarry, Aughrim, County Limerick. Breathnach (1996) states that,
along with “Mad Moll,” “Drops of
brandy,” "Yellow stockings”
and others it belongs to a cycle of tunes originating in the 17th
century or earlier. R.D. Cannon, in his article “English Bagpipe Music” (Folk
Music Journal, 1972) suggests the progenitor of the very large tune family
is the Scots “Up with Aley.” Other variants include “Drops of Whiskey,” “The
Faraway Wedding,” “Jerry Houlihan,” “Follow Her over the Border,” “The
Honeymoon,” “The Kitten,” “Hey My Nanny/Nancy,” “Brose and Butter,” “The
Cudgel,” and “The Dusty Miller.” Kerr (Merry
Melodies), vol. 3; No. 234, pg. 26.
O’Farrell (National Irish Music for the
Union Pipes), 1804; pg. 42.
X:1
T:Cummilum with
Variations
L:1/8
R:Slip Jig
S:O’Farrell – National Music for the Union Pipes
(1804)
Z:AK/Fiddler’s Companion
K:D Major
FG | A2d FDF FDF
| A2d FDF G2E | A2d FDF FDF | BAB E2F G2E :|
|: D2d AGF AGF |
D2d AGF G2E | D2d AGF AGF | BAB E2F G2E :|
|: d2d fed ecA |
d2g fdf g2e | dfe fdB AGF | BAB E2F G2E :|
|: d2f agf agf |
d2f agf g2e | d2f agf agf | bgf/g/ e2 f2 g2e :|
|: a/b/ag fdf
fdf | a/b/ag fdf gfe | a/b/ag fdf agf | gfg e2f gfe :|
|: df/e/c/ dAF
dAF | dfe/c/ dAF GFE | dfe/c/ dAF dAF | BAB E2F GFE :|
|: DFF dFF AFF | DFF dFF GFE | DFF dFF
AFF | BAB E2F GFE :|
CUMMER GO YE BEFORE. Scottish. The name of the tune or
song of the first recorded mention of a reel. Alburger (1983) and Purser (1992)
remark that in 1591 an extract in Newes
from Scotland told about a group of
witches (some of whom were later strangled and burnt), who sang these
words while dancing at a convocation:
***
Cummer go ye before, Cummer go ye before,
Gif ye will not go before, Cummer, let me.
***
(Cummer=woman).
Emmerson (1972) reports that this incident was apparently centered around
Prestonpans, and that it was alleged that Satan himself addressed a concourse
of sorcerers at North Berwick Kirk, prior to which, at "about eleven hours
at even they dancit alangs the Kirk-yard." The witches took hands and
danced a reel to Geilie Duncan's trump, singing in one voice "Cummer go
ye." The tune has not been discovered. Alburger, 1983; pgs. 14‑15.
CUNLA. AKA and see “The Frieze Britches [1].”
CUNNAMULLA STOCKMAN’S. AKA
and see “The Stocking Jig.”
Australian, Jig.
CUNNING YOUNG GIRL, THE. AKA
and see "An Bhradog Bhreagach."
CUNNINGHAM'S FANCY (Roga Uí Connaigain). AKA and see "The Joy of My Life,"
"Fisherman's Lilt [1],"
"Humors of Donnybrook,"
"Molly What Ails You?,"
“Old John’s Jig” (the
‘B’ part only) "The Pretty Girls of the Village [1],"
"Funny Eye(s)," "You're right my Love," "The Siege of Ennis [1]," "Lady Mary Lindsay” (the ‘B’ part only). Irish, Reel. A Dorian. Standard
tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1290, pg. 242. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 555, pg. 103.
X:1
T:Cunningham’s Fancy
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 555
Z:AK/Fiddler’s
Companion
K:Ador
BA|GE {F}(3EDE cdef|gedB cAAz|GE {F}(3EDE cdef|gedB
c2:|
cd|ef
{a}(3gfg eaaf| gedB cA A2|ef {a}(3gfg eaab|c’bag a2 gf|ef {a}(3gfg eaaf|
gedB cA A2|GE {F}(3EDE cdef|gedB c2 cd|ef {a}(3gfg
eaaf|gedB cA A2|
ef {a}(3gfg eaab|c’bag a2 ab|(3c’ba bg agef|gedB cA
A2|GE {F}(3EDE cdef|gedB c2||
CUNLA. AKA and see "(An) Brístín Mire,”
"Friar's Breeches," "Friar's
Britches," “Frieze
Breeches/Britches [1],” “Gallagher’s [1],”
"I Buried My Wife (and Danced On Top of Her)," “On St. Patrick’s Day I was Gay,” “The
Trumlo.” Irish, Jig. D Major. Standard tuning. AA'BB'CC'DD'.
The Cunla title is the name of a song sung to the tune, about a puckka, or imp.
Spandaro (10 Cents a Dance), 1980;
pg. 26. Shanachie 79010, Planxty ‑ "The
Well Below the Valley." Shanachie 79012, Planxty ‑ "The Planxty
Collection" (1974).
CUP
OF GOLD, THE (An Cupan Oir). Irish, Air (6/8 time). G Major.
Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 460, pg. 80.
X:1
T:Cup
of Gold, The
M:6/8
L:1/8
R:Air
N:”Moderate”
S:O’Neill
– Music of Ireland (1903), No. 460
Z:AK/Fiddler’s Companion
K:G
G2A|B2B
B2G|A2G E2 B/d/|e2d d2B|(G3 G2)G/A/|B2B B2G|
A2G
EGE|D2E G2G|G3||d>ef|g2e f2d|e2d B2B/c/|d2e d2B|
d3
d>ef|g2e f2d|e2d B2A/G/|E2G G2A|B3 A2G|G3 E2D|G3||
CUP OF TEA [1], THE (An Cupán Tae). AKA and see "The Unfortunate Cup of Tea," "The Green Cup of Tea," "Mayobridge."
Irish, Reel. E Dorian ('A' part) & D Major ('B' and 'C' parts). Standard
tuning. ABB (Breathnach, Feldman & O’Doherty): ABC (O'Neill): ABBCC
(Mitchell): AABBCC (Alewine, Mallinson, Miller & Perron): AABB’CC
(Harker/Rafferty). As “The Unfortunate Cup of Tea,” a rather truncated version
of the melody appears in Haverty’s Three Hundred
Irish Airs (1858-1859),
although in modern times the title is usually simply “Cup of Tea” and the tune
is greatly developed over the Haverty version. In northern Ireland parts of the
tune are played AABBC. Sources for notated versions: Belfast fiddler Seán
McGuire (1927-2005) & accordion player Joe Burke [Miller & Perron];
piper Andy Conroy (Co. Roscommon, Ireland) [Breathnach]; accordion player
Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in
recital at Na Píobairí Uilleann, February, 1981 [Moylan]; piper Willie Clancy
(1918-1973, Miltown Malbay, west Clare) [Mitchell]; “from the playing of James
Kennedy, one of the famous fiddlers of the Irish Music Club of Chicago”—Kennedy
learned the tune from his father, a celebrated local fiddler from Ballinamore,
County Leitrim [O’Neill]; fiddler Simon Doherty (County Donegal) [Feldman &
O’Doherty]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Alewine (Maid
that Cut Off the Chicken’s Lips), 1987; pg. 14. Breathnach (CRÉ II), 1976; No. 278, pg. 142. Feldman
& O’Doherty (The Northern Fiddler),
1979; pg. 104 (appears as “Untitled Reel”). Harker (300 Tunes from Mike Rafferty), 2005; No. 137, pg. 41. Mallinson (Essential), 1995; No. 73, pg. 31. Miller
& Perron (Irish Traditional Fiddle
Music), 1977; vol. 1, No. 36. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg.
60. Mitchell (Dance Music of Willie
Clancy), 1993; No. 107, pg. 92. Moylan (Johnny
O’Leary), 1994; No. 68, pg. 38. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 262, pg. 135. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 792, pg. 137. O’Neill (1913), pg. 135. Gennett 5451 (78 RPM), Michael Gallagher (uilleann pipes)
{1924}. Starr 9567 (78 RPM), Michael Gallagher (uilleann pipes) {1924}.
See also listings at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Cup
of Tea, The [1]
S:Tommy
Peoples
D:The
Quiet Glen
Z:Juergen.Gier@post.rwth‑aachen.de
R:Reel
M:4/4
L:1/8
K:D
BAGF
GE~E2|E2zB GEE2|FGBF GBEG|~F2DF ADFA|\
BEBA
GE~E2|EGBE G2zA|~B2BA GABc|d2AG FDD2|\
BAGF
GE~E2|FGBE G2zA|~B2BA GE~E2|D2AG FADG|\
~B2BA
GE~E2|E2BE GBEG|~B2BA GABc|d2AG FDD2|:\
d2zg
fded|Bdeg fBB2|dgge ~f3e|dBAG FDD2|\
d2zg
fd~d2|Adfa g2fg|(3agf (3gfe faed|dBAG FDD2::\
F2dA
FABA|FAdA FE~E2|F2dA FABc|d2AG FDD2|\
~F3E
~F3A|FAde feea|~f3e dBAF|GBAG FDD2:|
X:2
T:Cup
of Tea, The [1]
M:C|
L:1/8
K:D
BAGF
GE~E2|GEBE GEEA|BAGF GE ~E2|(3FED AG FDDA|
BAGF
GE~E2|GEBE GEEA|BAGF GABc| dBAG FD D2:|
|:d2
eg fdec|(3ddd eg fB{c}Bc|d2 eg fdec|dBAG FDDA|
d2eg
fdec|defa g2fg|af (3gfe fdec|dBAG FD D2:|
|:FA
(3AAA FAdA|FAdA FE~E2|FAdA FABc|dBAG FDDG|
FA
(3AAA FAdA|FAdA FEEe|f2 ec dBAF|GBAG FD D2:|
CUP OF TEA/TAY [2], THE. AKA and see
“Lady’s Cup of Tea,” “The Merry
Harriers [1].” Scottish, Reel. A Mixolydian. Standard tuning.
See also the related “Miltown Maid.”
ABB (Cole): AA'BB' (Kerr). Cole (1000
Fiddle Tunes), 1940; pg. 9. Kerr (Merry
Melodies), vol. 2; No. 220, pg. 25. Ryan’s
Mammoth Collection, 1883; pg. 31.
X:1
T:Cup
of Tea/Tay [2]
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
Mixolyidan
.e.A(3AAA
g2 .f.g | eAAc BGG2 | .e.A(3AAA g2 .f.g | afge dgfg | .e.A(3AAA g2 .f.g |
eAAc
BGG2 | .e.A(3AAA g2 .f.g | afge d2 (cd) || eaag efgf | eaag edcd |
eaag
efgb | afge d2 (cd) | eaag efgf | eaag edcd | eaag efgb | afge dgfg ||
CUPÁN
TAE, AN. AKA and see "The Cup of Tea."
CUPÁN TAOSCAC, AN. AKA and see "The Flowing Bowl."
CUPÁN UÍ hEAGHRA. AKA and see "O'Hara's Cup."
CUPID DISARM’D. English, Jig.
A Minor. Standard tuning. AABB. The tune appears in London publisher John
Walsh’s 24 Country Dances for the year
1717, his Second Book of the Compleat
Country Dancing Master (editions of 1719 and 1735) attributed to dancing
master Nathaniel Kynaston (1683-1757). It also appears in John Young’s Dancing Master, vol. II, 4th
ed. (London, 1728). Although very little is known about him, Kynaston appears
to have been active from 1705 to about 1722 in the Shropshire/Wales border
area. Walsh published some 120 of Kynaston’s tunes and dances over several
publications. The Selattyn parish register in Shropshire records that a
“Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry”
married on August 25th, 1719—although whether this was the dancing
master is unknown. Kynaston appears to have been a not uncommon name in
Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th
century highwayman and Robin Hood figure, who preyed on the wool merchants of
Shrewsbury. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 26. Belshazzar’s Feast –
“Mr. Kynaston’s Famous Dance, vol. 1 (2003).
CUPIDO.
American, Hornpipe. F Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 94. Ryan’s Mammoth Collection, 1883; pg. 128.
X:1
T:Cupido
M:2/4
L:1/8
R:Hornipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
(c/B)
| A/F/A/c/ f/c/A/c/ | B/d/g/f/ e/d/c/B/ | A/c/f/e/ d/c/B/A/ | .G.G .G(c/B/) |
A/F/A/c/ f/c/A/c/ |
B/d/g/f/
e/d/c/B/ | A/c/f/a/ g/b/g/e/ | fff :: (e/f/) | g/f/e/d/ c/B/A/G/ | A/F/G/A/
B/c/d/e/ |
f/g/a/f/
b/a/g/f/ | .e.c .c(c/B/) | A/F/A/c/ f/c/A/c/ | B/d/g/f/ e/d/c/B/ | A/c/f/a/
g/b/g/e/ | fff :|
CUPID’S ATTACK ON OLD
MAIDS. English, Jig. F Major. Standard tuning.
AABB. Goulding (Twenty Four Country Dances for the Year 1808), 1808; No.
9.
X:1
T:Cupid’s
Attack on Old Maids
M:6/8
L:1/8
R:Jig
B:Goulding &
Co. – Twenty Four Country Dances for the Year 1808 (London)
N:”With proper
Tune & Directions to each Dance (as they may be
N:performed at
Court, Bath, and all Public Assemblys.”
Z:Transcribed
and edited by Flynn Titford-Mock
Z:abcs’s:AK/Fiddler’s Companion
K:F
cea
gec|def c2A|BBB AAA|FcB B2A|cea gec|def c2A|Bbb Aaf|deg f2:|
|:a|bBb
aAa|gGg f2c|def cBA|AGG G2a|bBb aAa|gGg f2c|def ebg|aff f2:||
CUPID’S BRIDGE. English, Country Dance Tune (3/2 time). B Flat Major.
Standard tuning. AABB. The melody appears in Thomas Bray’s Country Dances, 1699). Bray was a dancer and dancing master at
Drury Land and Dorset Garden theatres in the late 17th century.
Barnes (English Country Dance Tunes, vol.
2), 2005; pg. 2.
CUPID'S COURTESIE. AKA and see "I Am So Deep in Love."
English, Air (3/4 time). G Minor. Standard tuning. AB. Chappell (1859) finds
the song in the Roxburghe Collection,
Pepys Collection, and the Douce Collection, and notes it was
licensed to Coles, Wright, Vere and Gilbertson in March, 1655. The copy in the Roxburge Collection he dates to the
reign of Charles II, when it was referenced as having been sold by booksellers,
but the Roxburge editor, Payne Collier, mentions a MS. copy dated 1595 where it
is called a "most pleasant Northern tune." As was common with most ballad tunes, it was the vehicle for
several other songs.
***
Through the cool shady woods, as I was ranging,
I heard the pretty birds’ notes sweetly changing;
Down by the meadow’s side ther runs a river,
A little boy I spied with bow and quiver.
***
Chappell
(Popular Music of the Olden Time),
vol. 2, 1859; pg. 99.
X:1
T:Cupid’s
Courtesie, or I am so Deep in Love
M:3/4
L:1/8
S:Chappell
– Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:Bb
d2G2A2|
B2c2d2| c2d2 cB| A4 G2| d2G2A2| B2c2d2| c2d2 cB| A4 G2 ||
f2f2f2
| f2 ed cB | f2f2 g2 | ^f2 d4 | d2G2A2 | B2 c2d2 | c2d2 cB | A4G2 ||
CUPID'S FROLIC [1]. American, Hornpipe. A Major.
Standard tuning. AABB. Cole (1000 Fiddle
Tunes), 1940; pg. 108. Ryan’s Mammoth
Collection, 1883; pg. 144.
X:1
T:Cupid’s
Frolic [1]
M:2/4
L:1/8
R:Hornipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
E |
A/c/e/c/ E/G/B/G/ | A/c/e/c/ f2 | a/g/b/g/ a/f/e/d/ | c/B/A/G/ B/G/E | A/c/e/c/
E/G/B/G/ |
A/c/e/c/
f2 | a/g/b/g/ a/f/e/d/ | cAA :: c/d/ | e/c/d/B/ c/A/B/G/ | A/G/F/E/ D/C/.B, |
A,/C/D/E/
B/c/d/B/ | c/e/c/A/ .Bc/d/ | e/c/c/e/ f/d/d/f/ | a/g/a/f/ e/c/c/e/ | d/f/e/d/
c/B/A/G/ | AAA :||
CUPID’S FROLIC [2].
English, “Old” (Triple) Hornpipe (3/2 time). E Major. Standard tuning.
AABB. The melody was first published by Charles and Samuel Thompson in their
Compleat Collection, vol. 3 (London, 1773). As with numerous tunes from the
Thompson’s 1773 collection, it was copied into the 1788 music manuscript
collection of fiddler John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 128.
X:1
T:Cupid’s
Frolic [2]
M:3/2
L:1/8
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed
and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:E
(ge)(bf) (gf)(ed) e4|(ga)(bf) (af)(ed) eg
B2|(ge)(bf) (gf)(ed) e4|(Be)(dc) (BA)(GF) E4:|
|:(GE)(BG) (e=d)(cB) c2A2|(cF) (fg) (ag)(fe) e2d2|(ba)(gf) (ag)(fe)
(gf)(ed)|(Be)(dc) (BA)(GF) E4:||
CUPID’S FROLIC [3].
English, Country Dance Tune (2/4 time). A Major. Standard tuning
(fiddle). AABB. Thompson (Compleat Collection of 200 Favourite Country
Dances, vol. 4), 1780; No. 100.
X:1
T:Cupid’s Frolic (3)
M:2/4
L:1/8
S:Thompson
– Compleat Collection of 200 Favourite Country Dances vol 4
Z:AK/Fiddler’s
Companion
K:A
A|ceBd|ceBd|cAGA|!trill!(B/A/B/c/)
BA|ceBd|ceBd|
CABG|!trill!A/G/A/B/)
A::A|ceae|!trill!f2 ee|dc!trill!BA|
(G/A/B/c/)
BB|ceae|!trill!f2 ed|cB!trill!AG|!trill!(A/G/A/B/) A:||
CUPID'S GARDEN. English, Country Dance Tune (3/2 time). G Major.
Standard tuning. AABB. Barnes (English
Country Dance Tunes), 1986.
CUPID’S REVENGE. AKA and see “I often for my Jenny strove.”
CUPID'S TREPAN. AKA and see "Cupid's Trappan," "Up the
Green Forest," "Bonny, Bonny Bird," "Brave Boys,"
"The Twitcher," "A damsel I'm told," "I have left the
world as the world found me." English, Air (6/8 time). G Minor. Standard
tuning. One part. A trepan was an old surgical proceedure involving boring a
hole (or holes) into the skull to relieve cranial pressure, though (as Michael
Robinson maintains) in this case it more likely means a ‘trap’ or “a kind of
device.” Chappell (1859) asserts this was once a very popular ballad tune and
the vehicle for numerous songs, the earliest of which date to the reign of
Charles II. Alternate titles appear above and appear in the Roxburghe Collection, Musical Companion (1741), St. Cecilia; or, The British Songster
(1782). Another ballad sung to the tune and found in the Douce and Ewing Colletion
is called "Cupid's Trappan, or The Scorner scorned, or The Willow turned
into Carnation: described in The Ranting Resolution of a Forsaken Maid. To a
pleasant new tune now all in fashion."
***
Once I did love a bonny brave bird,
And though he had been all my own;
But he lov’d another far better than me,
And has taken his flight and is flown, Brave Boys,
And has taken his flight and is flown.
***
Chappell's
version is taken from the opera Flora
(1729), The Devil to Pay, "And
many other Ballad Operas." Chappell (Popular
Music of the Olden Time), vol. 2, 1859; pg. 149.
X:1
T:Cupid’s
Trepan
M:6/8
L:1/8
S:Chappell
– Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:Gmin
D|G>AG
^F2F|G>AG D2A|B>cB F>GA|(B3B2)A|B>AB c>Bc|d>cB A>Bc|
B>AG
A>G^F|G3 B3|(D3 D2)G|^F>=ED B>AB|(G3 G2)||
CUPID'S WALTZ. English, Waltz. G Major. Standard tuning. AABC.
Kennedy (Fiddler’s Tune Book), vol.
1, 1951; No. 70, pg. 34. Raven (English
Country Dance Tunes), 1984; pg. 132.
X:1
T:Cupid’s
Waltz
M:3/4
L:1/8
R:Waltz
K:G
D2|GFGABc|d2B2B2|c2A2A2|B2G2D2|GFGABc|d2B2B2|
c2A2F2|G4:||GB|d4
Bd|e4 ge|dedcBA|B2G2 GB|
d4
Bd|e4 ge|dedcBA|G4||g2|fa d2f2|gb d2g2|
fa
d2f2|g4 GB|d4 Bd|e4 ge|dedcBA|G4||
CUR DO CHEANN DILIS (Lay the dear head). See "Black Headed Dearie" (Ceann Dubh
Dilis).
CURDS AND CREAM. English,
Reel. A Mixolydian (?). Standard tuning. AABB. The melody appears in the 1770
music manuscript copybook of Northumbrian musician William Vickers, about whom
little is known. Vickers set the tune in in the key of ‘A’, but this appears to
be a mistake. A Mixolydian or A Dorian seems to be correct.
X:1
T:Cruds
[sic] and Cream
M:6/8
L:1/8
R:Jig
S:William
Vickers’ music manuscripts, pg. 22
(1770)
Z:AK/Fiddler’s Companion
K:Amix
A2a
acA|B2g gBA|A2a acA|dBG A3:|
|c|:def
gee|fdd gee|cde gee|bgf e3|
cde
gee|fdd gee|agf gfe|dBG A3:|
CURE OF ALL GRIEF. English, Country Dance Tune (6/8 time). D Major.
Standard tuning. AABB. “The cure of all grief” is the name of a song by London bass
singer and composer Richard Leveridge (1670-1758), from around 1730. It was
adapted as a country dance utne and printed by John Johnson in his Choice Collection of 200 Favouite Country
Dances (vol. IV, pg. 7, 1748). It was also published in London by I. Walsh
in his Caledonian Country Dances
(vol. II, part 1, pg 78, also printed in 1748). . Kidson (Old English Country Dances), 1890; pg. 7.
X:1
T:Cure
of all Grief
M:6/8
L:1/8
R:Jig
S:Frank
Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:D
d2A
d2e|f2g a3|gfe d2g|fge d3|d2A d2e|
f2g
a3|gfe d2g|fge d3::a2g fga|g2f g3|g2f efg|
f2e
f3|d2A d2e|f2g a3|gfe d2g|fge d3:|
CURL THE WIG. AKA and see “Leather the Wig,” “A Whack
at the Whigs.” Irish, Slip Jig (9/8 time). G Major. Standard
tuning. AABB. Kennedy harmonizes the tune beginning on the subdominant chord
(‘C’ in the key of ‘G’). Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 13, pg. 5.
CURLEW
[1], THE. Scottish, Jig. D Major. Standard tuning. AABBCCDD'.
Composed by Donald Macpherson. Martin (Ceol
na Fidhle), vol. 1, 1991; pg. 41.
CURLEW
[2], THE. See “The Curlew Reel.”
CURLEW
HILLS, THE. Ireland. AKA and see "Bluebell Polka,"
"Little Pet Polka," “Flop-Eared Mule [1].”
CURLEW HILLS (POLKA), THE. AKA and see “Ballybunion Hop,” “Chaffpool
Post [2],” “Glenbeigh
Hornpipe,” “McDermott’s
Barndance,” “Morrison’s Polka.”
Irish, Barn Dance. Recorded by Sligo fiddle master James Morrison
in 1935 in New York. Michael Coleman also
recorded the tune in 1927 under the title “James Gannon’s Barn Dance” (both
Coleman and James Morrison had been students of fiddler James Gannon in south
County Sligo). According to Caoimhin Mac Aoidh, the tune appears in Kerr’s Merry Melodies set as a schottische (“A
German Schottische”, vol. 1, pg. 46, set as the second part of a duet against
“Home, Sweet Home” as the first part). The Curlew Hills are rather modest hills
located in south County Sligo—the name has no connection with the bird but
rather is derived from the Irish corrsléibhte, ‘the rounded hills’. The hills were the site of the Battle of the Curlews in 1599,
when Red Hugh O’Donnell, who had been besieging the castle of Collooney,
ambushed the relief column from Athlone headed by the Sir Conyers Clifford,
Governor of Connacht, and routed them, killing the Englishman. Borders fiddler
Willie Taylor along with Joe Hutton played the tune under the title “Bielbie's Hornpipe.” Some Northumbrian
sources also give the title as “Beilby’s.”
See also the closely related “Military
Schottische” family of tunes and the note for “Linehope
Lope.” The “Chaffpool
Post” title for the tune seems unique to Sligo fiddler Michael Gorman.
X:1
T:Curlew
Hills Polka
T:Glenbeigh
Hornpipe
T:McDermott’s
Barndance
T:Morrison’s
Polka
M:4/4
L:1/8
Z:Lorna
LaVerne
R:Hornpipe
N:This
is really a barn dance.
D:John
& James Kelly
K:G
(3DEF|GABc
dg(3fga|g2B2 d3B|ceAB c2cA|BdGA BcBA|
GABc
dg(3fga|g2B2 d3B|ceAB cAFG|AGGF G2 (3DEF|
GABc dg(3fga|g2B2 d3B|ceAB c2cA|BdGA
BcBA|
GABc dg(3fga|g2B2 d3B|ceAB cAFG|AGGF
GA(3Bc=c|
d2b2 c2a2|Bggf gdBG|FGAB cAFA|GFGA
BA(3Bc=c|
d2b2 c2a2|Bggf gdBG|GFAB cAFG|AGGF
GA(3Bc=c|
d2b2 c2a2|Bggf gdBG|FGAB cAFA|GFGA
BA(3Bc=c|
d2b2 c2a2|Bggf gdBG|FGAB cAFG|AGGF G2||
CURLEW (JIG), THE.
Scottish, Jig. A Mixolydian. Standard tuning. AABBCCDD’. Composed by Donald
MacPherson. Culburnie COL 113D, Aladair Fraser &
Tony McManus – “Return to Kintail” (1999).
X:1
T:Curlew, The [2]
M:6/8
L:1/8
K:Amix
d3 A2-d|B>AA d>BA|d3 A2-d|B>AA
a>ef|d3 A2-d|B>AA d>BA|g2-f e>fd|c>AA a>ef:||!
d3 f2-d|a>ef d>BA|d3 f2-d|a>ca
f>ef|d3 f2-d|a>ef d>BA|g2-f e>fd|c>AA a>ef:||!
d3 G>BA|d>Bd e>cA|d3
G>BB|A>ce a>ef|d3 G>BA|d>Bd e>cA|g2-f e>fd|c>AA
a>ef:||!
d3 a2-f|d>fd e>ca|d3 a2-f|d>fd
a>ef|[1 d3 a2-f|d>fd e>cA|g2-fe>fd|c>AA a>ef:|!
[2
f>ef e>fe|G>Bd ecA|g2-f e<fd|c<AA a>ef||
CURLEW REEL [1], THE. AKA – “The Curlews.” AKA and see “Darach de Brun’s,” “Road to Cashel.” Irish, Reel. B Dorian. Standard
tuning. AABB. Composed by Mullaghbawn, south County Armagh, fiddler Josephine
Keegan (b. 1935). Her composition is originally titled “The Curlews” (plural),
named for the Curlew mountains, a low range in County Roscommon and County
Sligo. Source for notated version: flute player Colm O’Donnell (b. 1962,
outside Aclare, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 18 (appears as “Unknown”). Miller (Fiddler’s Throne), 2004; No. 144, pg.
94. Ceol Camloch Records, Josephine Keegan – “The
Keegan’s Tunes” (2002). Green Linnet SIF 1075, Johnny Whelan & Eileen Ivers
– “Fresh Takes” (1987. Appears as “Darach de Bruns”). Green Linnet GL-1095,
Altan - "Horse with a Heart", 1989 (Learned from Co. Fermanagh
melodeon player Josie McDermott). Green Linnet SIF‑104, John Whelan &
Eileen Ivers ‑ "The Celts Rise Again" (1990). Outlet SOLP 1033,
“Josephine Keegan” (1977). Sun Records SUNCD 23, Folan & Davey, "Skin
and Bow" (1997?).
X:1
T:Curlew Reel, The [1]
L:1/8
M:4/4
K:Bdor
fBBB Bcde|fece agae|(3fga ed cAAA|GAce
agba|\
fBBB Bcde|fece agaf|=~g3 e ~f3 e|dBBA
FBBB::\
(3Bcd cd BFFF|DFFF Bcdf|ecBc AEEE|CEAB
cedc|\
(3Bcd cd BFFF|DFFF Bcdf|ecBA fAeA|dcBA
FBBB:|
X: 2
T: Curlews (The) [1]
C: Josephine Keegan
R: Reel
M: 4/4
L: 1/8
K: Bm
fBB2 Bcde | fece a3e | faed cAA2 | cAce a2ba |
fBB2 Bcde | fece a3f | g3e f3e | dcBA FBB2 :|
Bdcd BFF2 | DFF2 Bcdf | ecBc AEE2 | CEE2 defe |
Bdcd BFF2 | DFF2 Bcdf | d2cd fdec | dcBA
FBB2 :|
CURLEW (REEL) [2], THE. AKA and see “The Noisy Curlew.”
CURLY HAIRED LADDIE. AKA
and see “Bunch of Keys,” “Four-Hand Reel,”
“Parnell’s Reel,” “Yellow-Haired
Laddie [1].” The tune appears under this title in one of
Kerr’s later collections.
CURLY HEADED PLOWBOY, THE. AKA and see
"Ploughboy [1]." English, Country
Dance Tune (2/2 time); New England, Polka. G Major (Miller & Petton,
Raven): D Major (Barnes, Sweet). Standard tuning. AABB. Barnes (English
Country Dance Tunes), 1986. Miller & Perron (101 Polkas), 1978; No. 84. Raven (English Country Dance Tunes), 1984; pg. 155. Sweet (Fifer’s Delight), 1964/1981; pg. 64.
CURLY LOCKS [1] (An Gruag Cuirneanac). Irish, Air (4/4 time). G Major
(O’Neill): F Major (Stanford/Petrie). Standard tuning. AB (O’Neill): ABB
(Stanford/Petrie). O'Neill (Music of
Ireland: 1850 Melodies), 1979; No. 436, pg. 76. Stanford/Petrie (Complete Collection), 1902; No. 424, pg.
107.
X:1
T:Curly
Locks [1]
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill
– Music of Ireland (1903), No. 436
Z:AK/Fiddler’s Companion
K:G
G>E|D>EGA
B>AGA|Bdef g3e|dBAB G2 AB|{d}cBAG E2 GE|D>EGA BAGA|
Bdef
g3e|d>BAG A>cBA|G2G2G2||GA|Bdef g3a|bgfe d3e|dBAG G2 AB|
{d}cBAG
E2 GE|D>EGA BAGA|Bdef g3e|d>BAG A>cBA|G2G2G2||
CURLY LOCKS [2], THE. English, Jig. D Major. Standard tuning. AAB.
Huntington (William Linton's), 1977;
pg. 30.
CURLY
MIKE (Maidhc Catach). AKA and see “Lucky
Number,” "The Piper's
Despair." Irish, Reel. D Dorian. Standard tuning. AABB.
The title “Curly Mike” is from O’Neill’s Waifs
and Strays of Gaelic Melody. Sources for notated versions: fiddler Liz
Carrol (Chicago, USA) [Breathnach]; the Rice-Walsh manyscript, a collection of
music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry,
notated by his student [O’Neill]. Breathnach (CRE III), 1985; No. 109, pg. 54. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 277. Shanachie 29010, Liz Carroll & Tommy Maguire ‑
"Kiss Me Kate" (1976).
X:1
T:Curly Mike
M:4/4
L:1/8
S:Rice-Walsh
manuscript
Z:Paul Kinder
R:Reel
K:D
E2 (3GFE
BEFA|(3Bcd Ad (3Bcd AF|D2 (3FED ADFA|(3Bcd Ad (3Bcd AF|
E2 (3GFE
BEFA|(3Bcd Ad (3Bcd AF|D2 (3FED ADFA|(3Bcd Ad Be e2||
e2 (3gfe
bege|bege bege|defg afdf|afdf afdf|
e2 (3gfe bege|bege bege|g2 gf gbag|fgaf
be e2||
CURLY'S BREAKDOWN. Old‑Time, Breakdown. USA, Ga. Composed by Curly
Fox? Rural Records RRCF 251, Curly Fox (Ga.) {1970}.
CURRAGH OF KILDARE, THE. AKA ‑
"The Winter (it) is Past." Irish, Air (4/4 time). D Mixolydian.
Standard tuning. One part. "I took down the words and air of this song
about 1852 from Kate Cudmore of Glenosheen, Co. Limerick: and I gave both to
Dr. Petrie, who published them in his 'ancient Music of Ireland'. The air re‑appears
in Standford‑Petrie. There is a Scotch version of the words: but the
Scotch air‑‑which appears modern‑‑is different from
ours, as given here. The words originated in Ireland" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 427, pg. 238‑239.
See also listings at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
CURRAGH RACES [1], THE ("Coimleanga'n Curraig," “Rásaí an Churraigh” or
"Reata An Curaig"). AKA and see "An Bearrchaile sa
gCrann Silini," "Coleman's Fancy,"
"The Hare in the Corn [7]," "The Humors of Old Knockaney," "The Maid
in the Cherry Tree [3]," “Mick Flaherty’s.” Irish, Reel. A Dorian (most versions): E
Minor (O’Neill/Waifs and Strays): G
Minor (Breathnach/CRÉ I): G Dorian (CRÉ V). Standard tuning. AB (Mulvivhill,
O’Neill): AABB (Breathnach/CRÉ V):
AA’BB (Mitchell). Curragh, Kildare, is the home of Irish horse racing. The
track is owned and administered by the Turf Club, the Irish racing authority.
The name stems from the Irish Gaelic word cuireach,
meaning ‘place of the running horses’ or ‘race course’, and horse races (in the
form of chariot races) were said to have been held at Curragh since the 3rd
century A.D. Match races were common at
the site in the subsequent centuries. One such event at the Curragh, in 1634,
records that the Earl of Ormond’s horse beat Lord Digby’s horse over a four
mile course. The was even a full-time Ranger appointed for the Curragh, Simon
Allen, from 1687-1688. Modern horse racing at the site dates from 1741 when a
racecourse was laid out. A Society of the Sportsmen of the Curragh, formed in
1750, was the basis for the later Turf Club. Editor Jackie Small (CRÉ V) says the tune is “related to
‘O’Dowd’s Favourtie,’ in Michael Coleman’s version.” See also the related
Scottish tune “Highland Man that Kissed His Grannie [1].”
“Mick Flaherty’s” is a version in the key of E Dorian. Sources for notated
versions: fiddler John McFadden (Chicago) [O’Neill]; piper Willie Clancy
(1918-1973, Miltown Malbay, west Clare) [Mitchell]; Pipers Club Ceile Band
[Mulvihill]; fiddler Tom Barrett (Listowel, County Kerry) [Breathnach, CRÉ V]. Breathnach (CRÉ I), 1963; No. 103. Breathnach (CRÉ V), 1999; No. 154, pg. 76. Mitchell (Dance Music of Willie Clancy), 1993; No. 116, pg. 97. Mulvihill (1st Collection), 1986; No.
15, pg. 4. O'Neill (O’Neill’s Irish Music),
1915/1987; No. 271, pg. 138. O'Neill (Krassen), 1976; pg. 110. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1276, pg. 240. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 544, pg. 101. O’Neill (Waifs and Strays of Gaelic Melody), No.
285.
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Curragh
Races, The [1]
M:C|
L:1/8
R:Reel
S:O’Neill
– Dance Music of Ireland: 1001 Gems (1907), No. 544
Z:AK/Fiddler’s Companion
K:Amin
a|e2
(3cBA eA (3cBA|G2 Bc dBGg|eA (3cBA e^fge|dBGB cAAa|eA (3cBA eA (3cBA|
G2 Bc
dBGB|cBcA B2 ge|dBGB cA A||B|(3cdc ec gcec|(3cdc ge dBGB|(3cdc ec gcec|
dBGB
{d}cAAB|(3cdc ec gcef|(3gag ge dBGB|cBcA B2 ge|dBGB cA A||
X:2
T:Curragh
Races [1]
M:C|
L:1/8
R:Single
Reel
S:Patrick
Ourceau workshop – Catskills 10/03
Z:AK/Fiddler’s Companion
K:Ador
e(A{d}cA)
e(A{d}cA) | G2 B(G d)(GB)d | e(A{d}cA) e(A{d}cA) | dBG(A B)A A2 |
e(A{d}cA)
e(A{d}cA) | G2 B(G d)(GB)d | ~c3A ~B3(c | d)BG(A B)A A || B |
~c2
e(c g)(ce)c | ~c2 ec dBGB | ~c2 ec gcec | dBGA BA A2 |
~c2 ec
gcec | ~c2 ec dBGB | ~c3A ~B3c | dBGA BA A2 ||
CURRAGH RACES [2], THE.
Irish, Reel. E Minor. Standard tuning. ABB’. O’Neill (1922) remarks: “In former O'Neill publications John
McFadden's setting of this reel was given preference, being in the florid style
of that famous traditional fiddle (ed.-originally from County Mayo). The
version here presented memorized from lilting by the editor in schoolboy days,
may not be devoid of interest especially as the arrangement is suited to the
scales of the Highland or Irish warpipes.” O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 268.
X:1
T:Curragh Races,
The [2]
M:4/4
L:1/8
S:Capt. F.
O'Neill
Z:Paul Kinder
R:Reel
K:Emin
BE ~E2 BEFE|D2
(3FED ADFD|1 BE ~E2 BABc|dBAc BE E2:|2
"tr"G2
GE "tr"F2 FG|AFDF "tr"GE E2||:"tr"G2 BG
dGBG|"tr"G2 BG FADF|1
"tr"G2
BG dcBG|FADF "tr"GE E2:|2GABc dcdB|AFDF "tr"GE E2||
CURRAN'S FANCY. Irish, Reel. D Major. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 287,
pg. 145.
X:1
T:Curran’s
Fancy
M:2/4
L:1/8
R:Reel
S:O’Neill
– O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
DF/A/
d/e/f/d/ | Bc/A/ B/F/A/F/ | DF/A/ d/e/f/d/ | A/B/A/F/ A/F/E/F/ | DF/A/ d/e/f/d/
|
Bc/A/
B/F/A/F/ | DF/A/ d/e/f/d/ | A/B/A/F/ A3 || a/ | f/d/c/d/ B/A/F/B/ | A/F/E/F/
ed/e/ |
f/d/c/d/
B/A/F/B/ | A/F/E/F/ d3a/ | f/d/c/d/ B/A/F/B/ | A/F/E/F/ ed/e/ | f/d/c/d/
B/A/F/B/ | A/c/e/c/ d/B/A/F/ ||
CURRANT
BUSH, THE. Scottish, Reel. G Minor. Standard tuning. AA'BB'.
Kerr (Merry Melodies), vol. 3; No.
192, pg. 22.
X:1
T:Currant
Bush, The
M:C
L:1/8
R:Reel
S:Kerr
– Merry Melodies, vol. 3, No.
192 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Gmin
GABc
d2g2 | e2 ge d2 Bd | c2 Ac B2 GB |1 ABAG ^FD=EF :|2 AG^FA G2d2 ||
|:
g^fga bagb | ag^fa g2d2 |1 g^fga bagb | ag^fa g2d2 |1
g^fga
bagb | ag^fa g3d :|2 c2 Ac B2 GB | AG^FA G2 d2 ||
CURRI KOWN DILICH. See "Black Headed Dearie" (Ceann Dubh
Dilis).
CURRIE KOUNDILICH. Irish. The title used by Burke Thumoth (1740) for
"Black Headed Dearie" (Ceann Dubh
Dilis), an Englished version of the Gaelic.
CURRIE'S RAMBLES. Scottish, Slow Strathspey. D Major. Standard tuning.
AA’B. In the Harp and Claymore
(1904), Skinner notes the tune is attributed to James Young (c. 1815-1851) of
Montrose, who led the band of the Theatre Royal, Aberdeen, for many years (see
also his famous melodies “Brig/Bridge
o’ Dee [1]” and “Dunnotar Castle”).
Skinner (The Scottish Violinist); pg.
12. Skinner (Harp and Claymore),
1904; pg. 81.
X:1
T:Currie’s
Rambles
M:C
L:1/8
R:Strathspey
S:Skinner
– Scottish Violinist
Z:AK/Fiddler’s Companion
K:D
A, |:
{C}[D2D2] F>D A>D F<A | B<dc<e d>{e/d/}cd>f | f<dc<d
B<G B>A |1
(GF)
{F}(ED) CECA, :|2 G>E (G/F/).E/.D/ CE [A,D] || G |
FA
G>B (B/A/).G/.F/ (G/F/).E/.D/ | F<A G>B (A2 A>)A | Adfd (cd) BA |
(GF)
(ED) (CD) EG|(F/E/D) AD BD cD|dDeD fD g>b|(3afd (3gec (3fdB (3ecA|(3dBG
(3AFD [C2E2] [A,D]||
CURSE ATTENDS THAT WOMAN'S LOVE, A. AKA and see "Bessy
Bell." Scottish, Air. The air appears under this title
in Gay's Beggar's Opera, 1729. It
also appears in Orpheus Caledonius.
CURSE THE LAWS THAT GAVE ME CAUSE (Mallact Air Dligtib a Tug Dom Fad).
Irish, Air (4/4 time). A Minor. Standard tuning. AB. Source for notated
version: Hartnett [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1979; No. 396, pg. 69.
X:1
T:Curse
the Laws that Gave Me Cause
M:C
L:1/8
R:Air
N:”Moderate
S:O’Neill – Music of Ireland (1903),
No. 396
Z:AK/Fiddler’s Companion
K:Amin
E2|A2
AB cA^GA|cde^f g2 ed|c2 CA GEDE|G4 z2E2|
A2 AB
cA^GA|cde^f g2 e^c|d3=c A2A2|A4||e^f|g2 ed cdef|e2 a^g a2 b=g|
E2 dB
A2 GE|G6 E2|A2 AB cA^GA|cde^f g2 e^c|d3 =c A2A2|A4||
CURT LAWRENCE'S. American, Hornpipe. G Major. Standard tuning. AABB.
Cole (1000 Gems), 1940; pg. 103. Ryan’s Mammoth Collection, 1883; pg.
140.
X:1
T:Curt
Lawrence’s
M:2/4
L:1/8
R:Hornipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D |
.DG/F/ G/A/B/c/ | .d.B .B(e/f/) | g/f/e/d/ e/f/g/a/ | b/a/g/f .e(g/a/) | .bb/g/
.aa/f/ |
g/f/g/e/
d>B | e/g/f/a/ g/f/e/f/ | gGG :: g/a/ | b/a/g/f/ g/a/b/g/ | a/g/f/e/
.d(e/f/) | g/f/e/d/ e/f/g/e/ |
d/c/B/A/
.B(f/g/) | e/c/c/e/ d/B/B/d/ | c/A/A/c/ B/G/G/B/ | g/f/e/d/ e/f/g/a/ | bgg :|
CURTISSIMO’S FROLICK. English, Jig.
D Major. Standard tuning. AABBCC. Country dance directions for “Curtissimo’s
Frolick” were printed in Peter Thompson’s Twenty Four Country Dances for the
Year 1754 (London). The melody was first printed in John Johnson’s 200
Favourite Country Dances, vol. 7 (London, 1756). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 1),
1757; No. 88.
X:1
T:Curtissimo’s
Frolick
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:D
DAG FED|fed
ecA|dAG FED|Adc d3::fed a2d|edc a2c|
def edc|BA^G A3::BAG d2G|AGF d2F|GAB
AGF|EDC D3:||
CURVED HARBOUR, THE (Am Posrt Crom).
AKA and see “Rattling,
Roaring Willie.”
CURVY ROAD TO CORINTH, THE. American,
Listening Piece (at moderate tempo) or Reel. E Minor (‘A’ part) & C Major
(‘B’ part). Standard tuning. AABB. Composed by Larry Unger who told Susan
Songer (Portland Collection) that,
after he wrote the tune on the piano, he took a snowy drive to Corinth,
Vermont. Songer (Portland Collection),
1997; pg. 58.
CUSABUE ORD. AKA
and see “Yellow Legs.” Irish, Slip Jig. D
Mixolydian. Standard tuning. AABBC. The title is a mangled version of the Irish
“Cosa Buidhe Arda” (Long Yellow Legs); O’Sullivan & McCandless (2005) say
this refers to an 18th century children’s game called “The High
Gates.” O’Farrell (Pocket Companion, vol.
1), c. 1805; pg. 52. O’Sullivan – “O’Sullivan
Meets O’Farrell” (2005).
X:1
T:Cusabue Ord
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:D Mix
FDF A2d GEC |
FDF A2d AGF | EGE cBA GEC :| g | fef dfd g2e | fef dfa gec |
faf ged c2A |
BAG FAF GEC | AFF dFF AFF | AFF dFF GEC | AFF dFF AFF | GEE cBA GEC ||
CUSH
LASSO. The title is a
variant of the Irish name "Cois Leasa" (Beside a Rath).
There is some debate over whether this tune is a variant of “Flowers of Edinburgh,” as Bayard and
others maintain, or whether it as not, the opinion of Alfred Moffat.
CUSHION DANCE [1], THE.
Scottish, Jig. A Major. Standard tuning. AABB. The cushion dance is a kissing
game/dance. The dance was mentioned by a lawyer and antiquary named Selden (d.
1654) in his "Table Talk": "...the court of England is much
altered. At a solemn dancing you had the grave measures, then the corantoes and
galliards, and this kept up with ceremony, at length to the Trenchmore and the
Cushion Dance then all the company dances, lord and groom, lady and kitchen
maid, no distinction. So in our court in Queen Elizabeth's time gravity and
state were kept up. In King James' time, things were pretty well, but in King
Charles' time there has been nothing but the Cushion Dance, omnium gatherum,
tolly polly, hoity come toity" (Robin Williamson). Chappell (1859)
describes the dance fully, quoting from Playford's Dancing Master, and quotes references to it from Elizabethan times
to a political parody of 1704 called "The Cushion Dance at Whitehall, by
way of Masquerade. To the tune of 'Joan Sanderson.'" See also the note for "Babbity Bowster." Carlin (The Gow Collection), 1986; No. 417. Gow
(Complete Repository), Part 3, 1806;
pg. 27.
X:1
T:Cushion Dance, The [1]
M:6/8
L:1/8
R:Jig
S:Gow – 3rd Repository
(1806)
Z:AK/Fiddler’s
Companion
K:A
e3 f3 {ef}|edc B2A|~F>GA E2c|{c}d2c
B2A|
e3f3 {ef}|edc B2a|ecA F2E|~F3 A2:|
|:e|(ac’)e (ac’)e|bd’e bd’e|ac’e ac’e|gbe
gbe|
ac’e ac’e|bd’e bc’d’|c’ba f2e|(f3 {ef} a2):|
CUSHION DANCE [2], THE.
Irish, Country Dance (4/4 time). G Major. Standard tuning. AB. "The old
dance or rather game connected with this tune is described in Wilson's, A Companion to the Ballroom, London
1816" (O'Neill). Elsewhere O’Neill (1913) digs, while “any form of levity
at a wake subjected the Irish to obloquy and ridicule,” the Cushion Dance often
concluded a country wake in ‘Merrie’ England. He states:
***
Kissing
appeared to have been an essential part of most English
dances,
a circumstance which probaby contributed not a little to
their
popularity. This custom, according to Mrs. Lily Grove,
author
of Dancing--a reknowned work—still survives in some
parts
of England, and when the fiddler thinks the young people
have
had music enough he makes his instrument squeak out
two
notes which all understand to say ‘Kiss her.’ At the end
of
each strathspey or jig a particular note from the fiddle used
to
summon the rustic to the agreeable duty of saluting his partner
with
a kiss, that being his fee or privalege according to established
usage.
***
See also the note for "Babbity
Bowster" for an account of the dance in Scottish tradition. O'Neill (O’Neill’s Irish Music), 1915; No. 398,
pg. 191.
X:1
T:Cushion Dance [2]
M:C
L:1/8
R:Long Dance
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s
Companion
K:G
GGGG
G2 Bc | dedc B2G2 | DDDD DEFG | ABAG F2D2 | GGGG G2 Bc |
dedc
B2 G2 | DDDD DCB,A, | G,2 G,2 G,2 z2 || dDdD cCcC | BB,BB, A2D2 |
dDdD
cCcC | BB,BB, A2D2 | =FFFF F2 ED | EEGG EECC | DDDD DCB,A, | G,2G,2G,2z2
||
CUSHION DANCE [3], THE. English, Country Dance (6/8 time). C Major/A Minor.
Standard tuning. AABBCCD. From the late 16th century. "The Cushion
Dance" was a Barley Brake ("a blatant, if rather silly, mating
display", says Merryweater {1989. See also the air "Barley‑Break"
for more information}), a dance game in which in which the men chose a partner
by laying a cushion on the floor before the woman, upon which she would kneel
and receive a kiss. She would then arise, take up the cushion, and the couple
would dance while singing:
***
Prinkum‑prnkum is a fine dance,
And shall we go dance again.
Once again and once again,
And shall we go dance again.
***
Merryweather
(Merryweather’s Tunes for the English
Bagpipe), 1989; pg. 30.
CUSHION DANCE (OLD) [4], THE. AKA and see
"John Sanderson." English, Jig (slow
3/4 and fast 6/4 parts). A Minor (Raven): G Dorian (Chappell). Standard tuning.
AABBCC. The air appears in Playford's Dancing
Master of 1686. Chappell (Popular
Music of the Olden Times), vol. 1, 1859; pg. 287. Raven (English Country Dance Tunes), 1984; pg.
9. Island Records AN-700, Kirkpatrick & Hutchings
- "The Compleat Dancing Master" (1974).
CUSHION DANCE (NEW), THE. English, Jig (slow
{3/4 time} ‑fast {6/8 time} ‑slow parts). A Minor. Standard tuning.
AABBCC. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg.
201.
CUSHLA MACHREE (Cuisle Mo Chroidhe). AKA and see "Pulse of My Heart."
CUSTER'S LAST CHARGE. Old‑Time, Piece. USA,
Oklahoma. G Major. Standard. AABBC. Source for notated version: J.S. Price
(Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 79.
CUSTOM
GAP, THE. AKA and see "Bearna 'n Aonaig,"
"Jug of Punch [2]," “Mills are Grinding [1],” “The Porthole of the Kelp,” “Tuttle’s
Reel.” Irish, Slow Reel. D Dorian. Standard. Recorded in 1937
by Paddy Sweeney (1894-1974) who paired it with “The Concert Reel,” although
the “Custom Gap” appeared for some reason on the label as “The Custom Jap.” The
“Tuttl’e Reel” title is from Clare fiddler Bobby Casey, who learned it from his
friend and fiddler John Joe Tuttle (who had learned it from the Sweeney recording).
See also the first section of “The Dunmore Lasses”
for a related strain.
***
Custom
Gap refers to the practice whereby the landlord or gentry took a fee or toll
for beef sold at a fair. It was an almost universally disliked practice and
frequently the cause of some friction, as the following excerpt from the Cavan
newspaper The Anglo-Celt of January,
1850:
***
Patrick Brady, Andrew Farrelly indicted for a riot and
assault at the custom gap of (the fair of)
Killeshanra on the 8th of November last
acquitted. The Barrister asked the jury in this case did
they recollect their oaths, to decide according to the
sworn evidence and not on their own private
opinions, and directed the jury to be discharged and the
sherrif to get another jury.
***
Apparently,
in this instance Brady and Farrelly were attempting to protest or circumvent
the custom gap, and the local populace was sympathetic to them, as the outcome
suggests. However, it was not the last we hear of Brady and the custom gap, for
severaly years later the same paper (Anglo-Celt,
August 31, 1854) printed the following item below. It suggests that the same
Brady was coopted by the landlord and installed to collect the custom gap:
***
HOMICIDE AT A CUSTOM GAP.—On Wednesday week there was
a fair in Killeshanra, to
which a man named Patrick FINNEGAN brought some calves
to see. In passing out of the
green he had some angry words with one of the custom
men named Brady, whom he called a
liar, and had
some scuffle with. About half an hour afterwards he returned with some four
or five others to renew the quarrel with Brady, when
he received from him a blow with a whip,
or stick, which fractured his skull, and caused him to
die twelve hours afterwards. An inquest
was held on the following day before James Berry,
Esq., when the foregoing facts were elicited,
and a verdict of manslaughter in self defence
returned. BRADY was admitted to bail. We could
with to see this last relic of an odious impost
aboloished in this country, for we believe that
through its
length and breadth ther is no other place than Killeshandra in which custom is
exacted. A bad practice, and the cause of much
bloodshed, it has been abolished in every other
place, and it is really necessary that the example
should be followed in Killeshanra.
***
X:1
T:The
Custom Gap
Z:Juergen.Gier@post.rwth‑aachen.de
M:4/4
L:1/8
R:Slow
Reel
K:DDor
D2DE
FEFG|AcGc AddF|ADDE FADA|cAGE (3FED DC|\
D2DE
FEFG|AcGc Adde|fded ddAd|cAGE (3FED DC::\
~d3 A
~c3 A|~d3 A cAGA|~d3 A ~c3 A|GEcE ED D2|dedA ~c3 A|\
~d3 A
cAGA|fded ~d2Ad|1cAGE (3FED DA:|2cAGE (3FED DC|]
CUSTOM
HOUSE, THE. AKA and see “Cashel Jig,”
“Darby Gallagher’s [1],” "East at Glendart," “Humours of
Glendart,” “Julia Clifford’s,” "Shins
Around the Fireside [2]," "Tim the Piper."
Irish, Jig. D Major. Standard. AABB. This is the title (which appears in Ryan’s Mammoth Collection) used by
Sliabh Luachra fiddle player Maurice O’Keeffe, a pupil of Padraig O’Keeffe’s
and a younger contemporary of Julia
Clifford. Paul de Grae remarks it is unusual that he would
use this title, probably obtained from Ryan’s,
rather than identifying it is “Padriag O’Keeffe’s” or by O’Neill’s titles “East
at Glendart” and “Humors of Glendart.” Breathnach (1996) identifies the “Custom
House” as belonging to the “Jackson’s Walk to Limerick” family of tunes (see
note), which includes “The Green Meadow [2]” and “The Geese in the Bog [2].” Gearóid
Ó hAllmhuráin (1999) maintains the tune was composed by East Galway fiddler
Paddy Kelly in the 1930’s. Kelly was a member of the famous Aughrim Slopes
Ceili Band. Cole (1000 Fiddle Tunes),
1940; pg. 78. Ryan’s Mammoth Collection,
1883; pg. 110. Treoir. Celtic Crossings CD0299-02,
Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999).
X: 1
T: Custom House
S: "Treoir"
M: 6/8
L: 1/8
R: jig
Z: Transcribed by Bill Black
K: D
A |: BAF ADD | FDD ADD | BAF ADD | FED EFA |
BAF ADD | FDF d2 e | fed dcB | AGF EFA :|
de/f/e d2 B | AFd AFA | de/f/e d2 f | ede fdB |
de/f/e d2 B | AFA ABd | gfe fdB | AGF EFA
:|
CUSTY’S.
Irish, Jig. G Major. Standard tuning. AABB.
X: 1
T:Custy's
M:6/8
L:1/8
S:Cath Custy,
Ennis, Co. Clare
R:Jig
K:G
|:B2 E EFE|DDD
DB,D|B2 E EFE|c2 c B2 A|! B2 E EFE|D2 D DB,D|EFG AFD| G3 G3:|!
|:G2 G BGG|dGG
BAG|GFG BAG|c3 B2 A|! G2 G BGG|dGG BAG|d^cd ded|=c3 B2 A:|!
CUT AND COME AGAIN. Scottish, Reel. C Major. Standard
tuning. AB. Composed by Joseph Lowe, who published some influential collections
in the 1840's. Cranford (Jerry Holland’s),
1994; No. 76, pg. 23.
CUT AND DRY [1]. Scottish, Strathspey. A Mixolydian. Standard tuning.
AAB. Carlin (The Gow Collection),
1986; No. 488. Gow (Complete Repository),
Part 2, 1802; pg. 26. Stewart-Robertson (The Athole Collection), 1884; pg. 26.
X:1
T:Cut and Dry
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
c>Bae
c<Ae<=g|B>Gd>B =G/G/G B2|c>Bae c<Ae<=g|d>B=g>B A/A/A
e2:|
c>BA>g
a>ba>=g|e>=gd>B =G/G/G B2|c>BA>g a>ba>=g|e>d=g>B
A/A/A e2|
c>Bag a>ba>e|=g<be<g
B>=Gd>B|c<A e>c d>Ba>=g|e>d=g>B A/A/A e2||
CUT AND DRY [2]. AKA and see "Jock's Lodge."
Scottish, Strathspey. G Major. Standard tuning. AABB'. John Glen (1891) finds
the earliest printing of the tune in Neil Stewart's
1761 collection (pg. 68). Kerr (Merry Melodies),
vol. 3; No. 43, pg. 7.
X:1
T:Cut
and Dry [2]
M:C
L:1/8
R:Strathspey
S:Kerr
– Merry Melodies, vol. 3, No. 43
(c. 1880’s)
Z:AK/Fiddler’s
Companion
K:G
c|B>G
(B/c/d/c/) (B<G) B2|g>GB>A G<d d>c|B>G (B/c/d/c/) (B<G)
B2|
(3cdc
(3BcB (A<d) d::f|g<b e>g d>gB>g|d>GB>A G<d d>f|1
g>be>g d>gG>g|
a<A
c>B Aee:|2 (3gbg (3faf (3ege (3dgd|(3cac (3Bgb A<e e||
CUT AND DRY DOLLY. English, Reel. England, Northumberland. G Major.
Standard tuning. AABB (Bruce & Stokoe): AABBCCDDEEFFGGHH (Peacock). The
title appears in Henry Robson's list of popular Northumbrian song and dance
tunes, which he published c. 1800. Peacock (Peacock’s
Tunes), 1980; No. 43, pg. 19. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 156.
X:1
T:Cut and Dry
Dolly
M:2/4
L:1/8
R:Reel
S:Bruce & Stokoe
– Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
g|d/B/A/G/
B2|d/B/A/G/ g/f/e/f/|gG B2|Gddg d/B/A/G/ B2|
d/B/A/G/
g/f/e/f/|gA c2|Aee:|
|:f|g>ef>d|e>cd>B|gG B2|Bd
de/f/|g>ef>d|e>cd>B|gA c2|Aee:|
CUT HIM DOWN SUSIE. Scottish, Strathspey. D Major.
Standard tuning. AABB. Glen (1891) finds the earliest printing of the tune in Neil
Stewart's 1761 collection (pg. 35). Glen (The Glen Collection of Scottish Dance Music),
vol. 1, 1891; pg. 4. Stewart-Robertson (The
Athole Collection), 1884; pg. 92.
X:1
T:Cut Him Down
Susie
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
B|A<F D>F
E>FG>B|A<FE>A F<dd>B|A<F D>F E>FG>B|A<F d>F
Add:|
|:B|A<d d>g f>dc>A|A<d
d>g g<a a>f|g>ef>d e>dc>A|B>c e/d/c/B/ Add:|
CUT
PURSE, THE. AKA and see "Packington's
Pound."
CUTTIE'S WEDDING. AKA and see “Coutie’s Wedding.”
CUTTING AT THE BROOM. English, Jig. A Major. Standard
tuning. AABB. The melody appears in the c. 1842 music manuscript collection of
John Rook, a musician from Cumbria.
X:1
T:Cutting
at the Broom
M:2/4
L:1/8
R:Jig
S:John
Rook ms. (Cumbria, 1842)
K:A
f|ecA
ABc|d2c B2A|ecA AcA|B2c d2f|ecA ABc|
d2c
B2A|BdB cec|A2A A2::f|ece fdf|ecA A2f|
ece
fga|B2c d2f|ecA ABc|d2c B2A|BdB cec|A3 A2:|
CUTTIN' AT THE PINT/POINT. AKA and see "Knock Around the Kitchen 'Til the Cook Comes In."
Old‑Time, Breakdown. USA, Kentucky. G Major. ADae tuning. AB
(Silverberg): AABB (Phillips). The tune is played in Trimble, Henry and Carroll
Counties in central Kentucky as "Knock Around the Kitchen 'Til the Cook
Comes In." Sources for notated versions: Liz Slade (Yorktown, New York)
[Kuntz]; Tom Carter and Ron Kane with the Deseret String Band [Phillips].
Kuntz, Private Collection. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 64. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 32. Gennett
Records (78 RPM), Charlie Wilson and His Hillbillies (1932. The ensemble was
from Montgomery County, Kentucky). Morining Star 45005, Charlie Wilson and His
Hayloft Boys (Ky.) - "Way Down South in Dixie."
X:1
T:Cuttin’ at the
Pint
L:1/8
M:C|
S:Liz Slade
Z:Transcribed by
Andrew Kuntz
N:ADae tuning
K:D
(e|f)(A d)(e
f3)e|fe d(e fe f)f|ee ff gf ed|BA [G2B2] [G3B3]:|
|:(A|B2) [GB]B Bc dB|AG [F2A2] [F3A3]
(D|D)(E F)G A4|dB BA [GB] [G2B2]:|
CUTTING BRACKEN. AKA and see "Cutting Ferns."
CUTTING FERNS (Buain na Rainich). AKA - "Cutting Bracken."
AKA and see “Dulamaon
na Buinne Bui [2].” Scottish, (Slow) Strathspey or Slow Air
(6/8 time). A Minor (Athole, Cranford/Holland, Kerr, Martin): A Dorian
(Perlman). Standard tuning. AAB (Kerr): AABB (Athole, Cranford/Holland,
Perlman): AABBCCDD (Martin). "Very old," notes James
Stewart-Robertson in his Athole
Collection. Under the title “DulamaOn na Buinne Bui” it was a highland in
Donegal fiddler Mickey Doherty’s repertoire, recorded by the Irish Folklore
Commission in January, 1949. Nigel Gatherer finds similarities with the jig “Drummond Castle” and Alan Stivell’s air “Tha
Mi Sgith.” On Cape Breton the tune is rendered as a dance
tune
***
Ferns were employed for a number of uses
in times past. The were used as litter
for cattle and as a makeshift pallet for sleeping, they could be a compound for
manure or for covering corn stacks. In some places ferns were used in thatching
of cottage roofs, and could be burned to render an alkali mixture used in
bleaching. Collecting ferns was traditionally women’s work (as it fell within
the domestic realm), often carried out by young women. It was not an easy task,
for once harvested, great bales would then have to be carried home.
***
The
song that accompanies the tune (which can also be sung to “The Broom of Cowden
Yowes”) tells on one young lass who went out to cut fern or bracken, and fell
in love with one of the Sidhe, or fairy folk. He reciprocated, but when her
family discovered the fact and fearing the danger in such a liason, they kept
her to home. The song is sung by the fairy, who is broken-hearted. The chorus
and first verse were collected by Marjorie Kennedy-Fraser in the early 20th
century, and additional verses were written by her collaborator, Kenneth
MacLeod.
***
|
(Chorus) (Verse)
|
***
Source
for notated version: Eddy Arsenault (b. 1921, St. Chrysostom, East Prince
County, Prince Edward Island) [Perlman]. Cranford (Jerry Holland: The Second
Collection), 2000; No. 39, pg. 17. Kerr (Merry Melodies), vol. 1; Set 29, No. 3, pg. 18. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 26
(appears as "Cutting Bracken"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 196. Stewart-Robertson (The Athole Collection), 1884; pg. 58. Green
Linnet GLCD 1156, Jerry Holland – “The Fiddlesticks Collection.” Jerry Holland
– “Master Cape Breton Fiddler” (1982).
See also listings at: Alan Snyder’s Cape
Breton Fiddle Recording Index Alan Ng’s Irishtune.info |
X:1
T:Cutting Ferns
M:C|
L:1/8
R:Slow
Strathspey
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
B|A>A a2
g<e g2|e>dB>A G>AB>G|A<A a2 g<e g2|e>dB>g B<A A:|
|:g|e>dB>A
G>AB>G|e>dB>A B2 B>g|e>dB>A G>AB>d|e>dg>B
A2A:|
CUTTING OF THE HAY, THE. Irish, Air (2/4
time). F Major. Standard tuning. One part. Source for notated version: “From P.
MacDowell, Esq.” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 394, pg. 100.
X:1
T:Cutting
of the Hay, The
M:2/4
L:1/8
R:Air
S:Stanford/Petrie
(1905), No. 394
Z:AK/Fiddler’s
Companion
K:F
A/G/ |
F/E/D/C/ FF/G/ | A/d/c AF/G/ | AG/A/ FF | F3 A | cd/e/ fe/f/ |
dd/c/
AA/c/ | dd/c/ A/G/A/c/ | d3A | cd/e/ fe/f/ | dd/c/ AG/A/ | dd/c A/G/A/c/ |
d3
A/G/ | F/E/D/C/ FF/G/ | Ad/c/ AF/G/ |
AG/A/ FF | F3 ||
CUTTING OF THE TURF, THE. Irish, Air (4/4
time). E Minor/G Major (A Dorian?). Standard tuning. One part. Collected by
Joyce from the singing of his aunt, Mrs. Mary MacSweeny of Cork, and of
Glenosheen Co. Limerick (1844‑1855) {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 168, pg. 85.
X:1
T:Cutting
of the Turf, The
M:C
L:1/8
R:Air
N:”Moderate”
S:Joyce
– Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
EG|A3B
d2e2|G3A E2 DE|G2AB G2G2|G6Bd|e2e2B2g2|e4 d2 dB|A3Bd2e2|B4 G/B/d|
e2e2B2g2|e4d2dB|A3B
G2F2|E6 FG|A3B d2e2|G3A E2 DE|G2AB G2G2|G6||
CUTTING THE WAVES. Irish, Reel. D Major. Standard tuning. AA’BB’.
Composed by Chicago Irish-American fiddler Liz Carroll.
X:1
T:Cutting the
Waves
M:C|
L:1/8
C:Liz Carroll
R:reel
D:Trian: Trian II
Z:Devin McCabe
K:D
A~d3 fdAd|BABc dAFd|A~d3 fdAF|B,DFB AFEF|
!A~d3 fdAd|BABc ~d3e|faed BAFE|1F2AF EDB,B:|2F2AF EDB,E||
!FBBA ~B2AB|dFFD EDB,D|FBBA ~B2dB|A3B ABFA|
!B3B ~B2AB|dFFD EDB,D|dBBA BedB|AFED B,~E3|
!FBBA ~B2AB|dFFD EDB,D|FBBA ~B2dB|A3B ABde|
!fBBA ~B2dB|AFFD EDB,D|dBBA BedB|AFED B,~E3||
CUTTY.
Shetland, Jig. D Major. Standard tuning. AB. A dance was performed to this tune
(as mentioned by the collector Shuldham‑Shaw) which Unst fiddler John
Stickle maintained was "'a kind of kibby dance,' performed 'entirely in a
sitting‑on‑the‑heels position'" (Cooke, 1986). Source
for notated version: John Stickle (Unst, Shetland) [Cooke]. Cooke (The Fiddle Tradition of the Shetland Isles),
1986; Ex. 22, pg. 74.
CUTTY
CLAY. Scottish, Reel. F Major. Standard. AABB’. “Cutty”, in
Scots dialect means ‘hussy’ or woman. Kerr (Merry
Melodies), vol. 4; No. 152, pg. 18.
X:1
T:Cutty
Clay
M:C|
L:1/8
R:Reel
B:Kerr
– Merry Melodies, vol. 4, No. 152 (c. 1880’s)
Z:AK/Fiddler’s
Companion
K:F
c2 (cd) cBAB|cfef gfed|c2 (cd)
cBAB|G^FGA B=Bdc:||
faga fcAc|faga baga|faga fcAc|BAGA Bcde|
faga
fcAc|faga baga|bgaf gefd|cdef gfed||
CUTTY SARK. Scottish, Reel. G Major. Standard tuning. AB.
Attributed to John Cumming by MacDonald. The Cutty Sark is the name of one of the most famous ‘tea clippers’ (a
type of sleek, fast 19th century sailing ship, officially designated
a ‘composite built extreme clipper ship’) built, and it is the only ship of its
type to survive to the present day. Launched at Dumbarton on the River Clyde,
Scotland, in 1869, over a century and a quarter later she is now in dry dock at
Greenwich, England, near the Gipsy Moth IV. During her hey-day the Cutty Sark sailed on the China Tea Trade
for only a few seasons without distinguishing herself, and when steam-ships
drove out the clippers on the China routes her duties were shifted to the
Australian wool trade. For that trade she proved to be a regularly fast sailer.
In later life she was was sond to new owners, rerigged as a barquentine and
renamed Mario do Ambaro. After World
War I she was purchased by Captain Wilfred Dowman, restored, and saw service as
a stationary training ship through the end of the 1940’s when she became a
museum ship.
***
The name Cutty Sark comes from Robert Burns' poem, Tam
O'Shanter. Tam meets a group of witches, most of whom are ugly except for
Nannie, who is young and beautiful. The dancing that ensues becomes more and
more frenzied with the witches doffing their outergarments; Nannie is described
as wearing only a "cutty sark", i.e., a short chemise or shirt, a
garment like the modern slip. The term has come to mean, in Scottish dialect, a
woman or hussy, and in fact the ship Cutty
Sark’s figurehead is a representation of Burns’ witch. A whiskey of
mediocre reputation now bears the name along with a representation of the
clipper ship on the label. O’Neill (1922) remarks: “Though plainly of Scotch origin both in
name and tone, ‘Cuttie Sark’ is not to be found in any of the old Scotch or
Miscellaneous Collections which have been examined. Translated in English,
‘Cutty Sark’ means Short Shirt, or Chemise, and as far as memory serves me, the
above setting had been obtained from a comparatively modern manuscript obtained
from Sergt. James O'Neill.” Charles Gore notes similarities between the first turn
of this tune and the strathspey “Clach na cudain.” Kerr (Merry Melodies), Set 11, Vol. 1; No. 2, pg. 8. Lowe, Book 1.
MacDonald (The Skye Collection),
1887; pg. 92. O’Neill (Waifs and Strays
of Gaelic Melody), 1922; No. 285.
X:1
T:Cutty
L:1/8
M:C
K:G
D|G2
{c}BA G2 DB|G2 BG (dG)Bg|G2 {c}BA G2 AB|cABG ADFA|
G2
{c}BA G2 DF|GABc dGBg|bagf g2 Bd|(cA)BG ADFA||d<B g2 d<B g2|
G2 Bc
(dB)dg|GABc dB g2|(ed)cB ADFA|d<B g2 d<Bg2|g2 Bc (dB)dg|
Bagf
egdb|cadg ADFA||
X:2
T:Cuttie Sark
M:4/4
L:1/8
S:Sergt. James
O'Neill manuscripts
Z:Paul Kinder
R:Reel
K:G
D2|G2 {c}BA G2
DB|G2 BG dGBg|G2 {c}BA G2 DB|cABG ADFA|
G2 {c}BA G2
DF|GABc dGBg|bagf g2 Bd|cABG ADFA||
sd<cs
"tr"g2 sd<cs "tr"g2|g2 Bc dBdg|GABc sdBs g2|edcB ADFA|
d<B
"tr"g2 d<B "tr"g2|g2 sBcs dBdg|bagf egdb|caBg ADFA||
CUTTYMUN/CUTTYMAN AND TRE(E)LADLE. AKA and see "Bedding of the Bride." Scottish,
Reel. A Mixolydian. Standard tuning. AB (Surenne): AAB (Athole, Gow, Kerr):
AABB (Honeyman). Gow gives in Part Second
of the Complete Repository of Original Scots Tunes (c. 1802, 1810-1820)
that "This is the tune mentioned in the old Poem entitled Christ's Kirk on the Green, Canto 2nd,
line 96.” Carlin (The Gow Collection),
1986; No. 491. Gow (Complete Repository),
Part 2, 1802; pgs. 26-27. Honeyman (Strathspey,
Reel and Hornpipe Tutor), 1898; pg. 20. Kerr (Merry Melodies), vol. 1; Set 30, No. 4, pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 27. Surenne (Dance Music of Scotland), 1852; pg. 153.
See also listings at: Jane Keefer’s Folk Music Index: An Index to Recorded Sources |
X:1
T:Cuttymun and
Treeladle
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
e2ea e2cA|e2e=g
d2B=G|e2ea ceae|=gbeg d2B=G:|
e2cA eAcA|e2cA
d=GBG|e2cA eAcA|=gbeg d2B=G|
e2cA eAcA|e2cA d=GBG|e2cA ceae|=gbeg
d2B=G||
CUTTY'S WEDDING. Scottish, Jig. E Dorian. Standard tuning. AABB'.
Martin (Ceol na Fidhle), Vol. 2,
1988; pg. 8. Green Linnett GLCD 1146, The Tannahill
Weavers - "Capernaum" (1994).
CUZ TEAHAN’S [1]. AKA and see “Ballynahulla No.
1, “ “Ballyhoura
Mountains,” “Lucy Farr’s
(Polka) [1],” “Mike
Buckley’s Favourite,” “Teahan’s Favorite
Polka.” Irish, Polka. Ireland, West Kerry. G Major. Standard
tuning. AABB. Mac Amhlaoibh & Durham (An
Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No.
52, pg. 33.
CUZ TEAHAN’S [2]. AKA and see “Road to Glountane.”
CUZ TEAHAN’S DELIGHT. AKA – “Terry
‘Cuz’ Teahan’s Polka [2].” Irish, Polka. G Major. Standard
tuning. AABB. The story goes that Teahan (originally from County Kerry) earned
the moniker ‘Cuz’ when he worked for the Chicago fire department. When he would
meet a likely Irish musician who was jobless, he would direct him to the
firehouse with instructions to inform the powers that be he was Terry's cousin
and was here for the job. Deloughery (Sliabh Luachra on Parade). Mallinson (100 Polkas), 1997; No. 70, pg. 27 (appears as “Cousins’ Delight”).
X:1
T:Cuz Teahan's Delight
M:2/4
L:1/8
C:Cuz Teahan
B:"Sliabh Luachra on Parade", Paul Deloughery
R:Polka
D:Sliabh Note
K:A
B|:ce/c/ BA | FA AB | ce/c/ BA | (3Bcd e2 |
ce/c/ BA | FA AB | c2 ec |1 BA AB:|2 BA AA
|:af ec | ec BA | af ec | (3Bcd e2 |
af ec | ec BA | c2 ec | BA A2:|
CUZ TEAHAN’S FAVORITE. AKA and see “Knocknagree Slide.” Irish, Slide. Music from Sliabh Luachra.
X:1
T:Cuz
Teahan’s Favorite
T:Knocknagree
Slide
M:12/8
L:1/8
Q:240
R:Slide
K:EDor
efe
B2A GFE B2E|FED A2D d2D A3|
efe
B2A GFE B2E|FED F2A F2E E3:||
B2e
ede f2a afa|baf a2f e2d B2A|
B2e
ede f2a afa|baf a2f e3 e2d|
B2e
ede f2a afa|baf a2f e2d B2A|
fgf
~f2e efe B2A|FED F2A F2E E3|
CUZ TEAHAN’S SLOW REEL. Irish, Reel. G Major. Standard.
AA’BB’.
X: 1
T: Cuz Teahan's Slow Reel
M: 4/4
L: 1/8
C: T. Teahan
D: The Windy Gap - Laurence Nugent
Z: David Dahl
K: G
E | D3 E G3 A | ABdB AGed | e2 dB GABe | d2 BG
(3ABA GE |
DBDE G3 A | ABdB AGed | e2 dB GABe |1 d2 AB G3
:|2 d2 AB g3 ||
e | dBde g2 (3gfe | dBAG EGGA | B2 AD BAAD |
BAAG EGGe |
dBde g2 (3gfe | dBAG EGGA | B2 AD BAAG |1
BdAB g3 :|2 BdAB G4 ||
CUZLE TOGETHER. AKA – “Guzzle Together.” Scottish, Jig (9/8 time). A Mixolydian. Standard
tuning. AABB. John Glen (1891) finds the earliest printing of the
tune in Robert Bremner's 1757 collection,
published in London. Bremner
(Scots Reels), c. 1757; pg. 85.
Carlin (The Gow Collection), 1986;
No. 415. Gow (Complete Repository),
Part 3, 1806; pg. 26. Maggie’s Music MMCD222, Bonnie Rideout –
“Scottish Fire” (2000).
X:1
T:Guzzle Together
S:Gow – 3rd Repository
(1806)
M:9/8
L:1/8
R:Jig
Z:AK/Fiddler’s
Companion
K:A
c2(e e)cf {f}e2A|c2(e e)ce =g2B|c2(e e)ce
ae=g|fdf ece =g2B:|
|:a2a acA a2e|a2a acA =g2B|a2a acA
ae=g|fdf ece =g2B:|
X:2
T:Cuzle
together
M:9/8
L:1/8
R:Jig
S:Bremner
– Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:Amix
“tr”c2(e
e)cf “tr”e2A | “tr”c2(e e)ce g2B | “tr”c2(e e)ce aeg | fdf ece g2B :|
|:
a2(a a)ec a2e | a2(a a)ec g2B | a2(a a)ec aeg | fdf ece g2B :|
CWRW
DA. Welsh, Jig. The melody, composed by John Parry, is
substantially a slip jig, although somewhat irregular.
CYCLONE, THE.
Canadian, Strathspey. Canada, Cape Breton. D Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
22.
CYMBAL, LA. English, Jig.
D Major. Standard tuning. AABBC. The melody is unique to Charles and Samuel
Thompson’s third country dance collection (London, 1773). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 3),
1773; No. 31.
X:1
T:Cymbal, La
M:6/8
L:1/8
N:Drone ‘D’
throughout the first two parts;
N:Drone ‘A’ for
the third part.
B:Thompson’s
Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed
and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:D
(Ad).d dfd|{f}e2d d2A|(Ad).d dfd|ege d3::Aaa a2A|Bec cdA|
Aaa a2A|Bec
(cd)A::faf gbe|faf g2e|faf geb|agf f2e|fad’ d’c’b|{b}a2a a2e|
faf (ag).f|(fe).e e2e|fac’
(d’c’).b|(ba).a a2e|faf agf|fee e2A||
CYNWYD. See “Melody of Cynwyd,” “Dargason,” "Mwynen Cynwyd."
CYPRESS INN SPECIAL. See "Jolie Catin [2]."
CYRIL’S ‘G’ TUNE. Old-Time, Breakdown. USA, Missouri. G Major. Standard
tuning. The title references influential Missouri fiddler Cyril Stinnett. It is
on Charlie Walden’s list of ‘100 essential Missouri fiddle tunes’.
CYWNVAN Y
WRAIG WEDDW (The Widow’s
Lamentations). Welsh,
Air. G Minor. Standard tuning. AB. The melody appears in the second volume of
Blind Parry’s Welsh Harper (1848).
X:1
T:Cywnvan y
Wraid Weddw (The Widow’s Lamentations)
L:1/8
M:2/4
S:The Welsh Harper (vol. ii, 1848)
K:Gmin
D|G>ABG|c2
BA|B2 AG|^F3 D/F/|G>ABG|c2 Bc|d2 z||
(B/c/)|(dc)de|fd
zB|cBAB|cA zA|GBAG|G^F zd|
gddB|cedc|B2 A>G|G2 z||
CZAR OF RUSSIA'S FAVORITE. AKA
and see "West's Hornpipe." American, Hornpipe. F Major. Standard
tuning. AABB. The Czar of Russia just prior to the tunes publication in 1883 by
Boston publisher Elias Howe ('''Ryan's Mammoth Collection''') was Alexander II
(1818–81), who sold Alaska to the United States in 1867. After his
assassination he was succeeded by his son, Alexander III (1845–94). The
hornpipe perhaps commemorates one or the other. However, the melody is printed
in Kerr's '''Merry Melodies''' vol. 1 as "West's Hornpipe," a title
N.Y. musician and researcher Don Meade suggests may refer to the dancing
partner of American variety stage performer Johnnie Queen (who toured Britain
in the 1880's). Charles Gore dates "Wests" to a c. 1790 publication,
so perhaps there is an ancestral tune and title to be found, with both
"Czar of Russia" and "West's" titles becoming attached much
later. ''Source for notated version'': James Bryan (Ala.) [Phillips]. ''Printed
sources:'' Cole ('''1000 Fiddle Tunes'''), 1940; p. 114. Phillips ('''Traditional
American Fiddle Tunes'''), vol. 2, 1995; p. 189. '''Ryan's Mammoth
Collection''', 1883; p. 151. Rounder 0175, James Bryan
‑ "Lookout Blues" (1983).
X:1
T:Czar
of Russian’s Favorite
M:C|
L:1/8
R:Hornipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:F
[A2f2]
AB cAcA | [A2f2]AB cAcA | dcBA G2(ga) | bgaf fedc | [A2f2]AB cAcA |
[A2f2]AB
cAcA | dcBA G2(ga) | bgfe f2z2 :: a2 fa fafa | gee g egeg | a2 fa fafa |
gfed
({d}c2) cd | fdfd ecec | fdfd ecec | fagf edc=B |1 cGEG Cefg :|2 cGEG Cgfe ||
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