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[COMMENT3] [COMMENT4]  The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

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. 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. 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. 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. 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. 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. 1805/1980; 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:

***

Then to country dances; the King leading the first, which he

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 Ma