The Fiddler’s Companion

_______________________________

CRA - CRON

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

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

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

[COMMENT4]

CRA CROI AN PHIOBAIRE (The Piper’s Broken Heart). AKA and see “The Piper’s Despair.”

CRAB AND THE CAPSTAN. Shetland, Shetland Reel. Shetland, North Yell and Unst.

CRABBIT SHONA. Scottish. Composed by by Shooglenifty fiddler Angus Grant, son of West Highland left-handed fiddler Angus Grant Sr. Crabbit is an Ulster/Scots variant of ‘crabby’, meaning ill-tempered or grumpy.

CRABS IN THE GREASEPOT (Na Portáin sa Ghréiscphota). Irish, Double Jig. A Dorian. Standard tuning. ABC. Source for notated version: fiddler and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the early 1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 3, pg. 4.

CRABS IN THE SKILLET (Portanide/Portáin Annsa Sgileid). Irish, Double Jig or Air. Ireland, coast of Clare and Limerick. G Dorian (Most versions): E Minor (Kennedy). Standard tuning. AABBCC (O'Neill/Krassen): AA'BB'CC' (Cole, Kennedy, O'Neill/1915, 1001 & 1850, Ryan). Petrie (1855) notes: “This tune belongs to the coast of Clare and Limerick.” Howe directs: “A little slower than jig time,” indicating it was perhaps originally an air. Source for notated version: “From J. Buckley (via) Mr. Joyce” [Stanford/Petrie]; Joyce states he noted the tune in 1854 and that Buckley was “a Limerick piper, who stated his belief that the tune belonged to the county Clare” [Joyce]. Cole (1000 Fiddle Tunes), 1940; pg. 78. Howe (1,000 Jigs and Reels), c. 1867; pg. 22. Joyce (Old Irish Folk Music and Songs), 1890; No. 10, pg. 11. Kennedy (Jigs & Quicksteps, Trips & Humours), 1997; No. 23, pg. 8. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 147, pg. 84. O'Neill (Krassen), 1976; pg. 75. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1112, pg. 210. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 306, pg. 65. Ryan’s Mammoth Collection, 1883; pg. 109. Stanford/Petrie (Complete Collection), 1905; No. 792, pg. 198.

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Crabs in the Skillet

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1903), No. 306

Z:AK/Fiddler’s Companion

K:G Minor

D|:G3 d2^F|G2A B2c|ded cBA|dcB AGF|G3 d2^F|

G2A B2d|dAd f^ed|1 cAF F=EF:|2 cAF G2||

fgf f=ed|cd=e gfe|1 cAF F2:|2 cAF F=EF||

B2z c2z|cAc f=ed|1 cAF F=EF|2 cAF G2||

CRACOVIENNE (QUICKSTEP). AKA ‑ "Krakovienne," "Krakoviak." AKA and see "Jacket Trimmed in Blue," "I Have a Bonnet Trimmed with Blue [1]," "Walk Jawbone [2]," "Alex Dice." British Isles, American; Polka or Schottishe. USA; New England, Pennsylvania. G Major {Miller & Perron}: G Major (‘A’ and ‘B’ parts) & C Major (‘C’ and ‘D’ parts) {Howe}. Standard tuning. AABB. Bayard (1981) identifies this as an international tune which was once widely known; it has been dated by Boehme to 1842‑50. Versions have been published in Germany (Boehme {pg. 166, No. 264}) and the British Isles (Kerr {vol. 1, pg. 46, and vol. 4, No. 419} and Roche {vol. 2, No. 302, an untitled set dance}), and it has been collected in Pennsylvania (Bayard) and several southern states (e.g. Ford); it is perhaps better known in America under the title "Walk Jawbone." Howe (1000 Jigs and Reels), c. 1867; pg. 48. Miller & Perron (101 Polkas), 1978; No. 34.

X:1

T:Cravovienne Quickstep

M:2/4

L:1/8

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:G

G | FAce | dB B2 | B(3d/e/d/ cA | GBBG | FAce | dB B2 | d(3d/e/d/ cA | AG G :|

K:C

G2 Bd | f2 ef | .g.c.B.d | ce/c/A z | G2 Bd | f2 ef | .g(cB).d | c2 z2 :|

|: A2 cf | aag^f | gag^f | g2ez | G2 Bd | f2 ef | .g.c.B.c.d | c2 z2 :|

CRADLE SONG, THE. Scottish, Slow (“Pastoral”) Air (4/4 time). A Major. Standard tuning. One part (Hunter, Neil): AB (S. Johnson, Skinner). Composed by the self-styled “Strathspey King,” James Scott Skinner (1843-1927), and printed in his Logie Collection. Originally written as a song and extremely popular when he was alive, it's inspiration was Skinner's sympathetic observations of a mother caring for her sick child in a hotel room in Forres.

***

Sprites that guard young children enter here tonight,

O'er my fevered darling watch till morning light.

From our home forever went my Love away,

Crossed the darling river, entered endless day.

Sleep my own fair darling, I will cling to thee,

Sure my cup of sorrow cannot fuller be.

***

Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 106, pg. 183. Hunter (Fiddle Music of Scotland), 1988; No. 25. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 14. Martin (Traditional Scottish Fiddling), 2002; pg. 114. Neil (The Scots Fiddle), 1991; No. 90, pg. 122. Skinner (Harp and Claymore), 1904; pg. 1. Skinner (The Scottish Violinist); pg. 36.

X:1

T:Cradle Song, The [1]

M:C

L:1/8

R:Air

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

(AcBA) (e2f2) | (e4c2) z2 | (AcBA) (e2c2) | {c}B6 (c2 |

(A)cBA) (e2f2) | (e4c2)A2 | {F/G/}(FEAB) {A/B/}c2 {A/c/}B2 |

A6 z2 || (fdAd) (f2a2) | (e4c2)z2 | (AcBA) (e2c2) | {c}B6 z2 |

(AcBA) (ef).g.a | (e4c2)A2 | {F/G/}(FEAB) {A/B/}c2{A/c/}B2 | A6 z2 ||

CRADLE SONG [2]. Scottish, Slow March. D Major. Standard tuning. AABB. Scots Guards Standard Settings, vol. 1.

CRADLE WILL ROCK AND THE BABY WILL FALL, THE. Irish, "Nurse Song" (6/8 time). C Major. Standard tuning. One part. Joyce (Old Irish Folk Music and Songs), 1909; No. 601, pg. 311.

CRADLING RYE. American, Quadrille (6/8 time). A Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 94.

X:1

T:Cradling Rye

M:6/8

L:1/8

R:Quadrille

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:A

|:EGA ABc|eee {f}edc|eee {f}edc|eee {f}edc|EGA ABc|

eee {f}edc|Bcd efg|a3 a3:|

CRAFTON BLUES [1]. Old-Time, Country Rag. C Major. Standard. AAB. Related to "I Don't Love Nobody." Source for notated version: Cecil Brower [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 36.

CRAFTON BLUES [2]. Old-Time, Country Rag. F Major. Standard tuning. AB. Source for notated version: Ricky Boen and Rudy Booher [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 36.

CRAIG A’ BHODICH. Scottish, Strathspey. Composed by Donald MacLeod. MacLeod (The Donald MacLeod Pipe Collection, Book 4). RCA Records, Royal Scots Dragoon Guards – “Amazing Grace” (1992. Appears as “Craig-a- Bodaich”).

CRAIG CHATTAN. Scottish, Air (4/4 time). D Major. Standard tuning. AB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 164.

X:1

T:Craig Chattan

M:C
L:1/8

R:Slow Air (“Even Song”)

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

(A2f2) (e2d2) | (A2d2) (c2B2) | (B2g2) {g}(f2e2) | (G2c) {c}(B2A2) | (A2f2) {f}(e2d2) | (A2d2) (c2B2) |

(B2g) f2e2 | ({G}.B2) .c2 d4 || f3e (^d2B2) | b3 a (a2g2) | e3d (c2A2) | a3g (g2f2) | (A2f2) (e2d2) |

(A2d2) (c2B2) | (B2g2) .f2.e2 | .B2 ~c2 d4 ||

CRAIG COYNACH. Scottish, Strathspey. A Minor. Standard tuning (or ADae, a la Allie Bennett). AAB. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 36, pg. 14. Allie Bennett – “Its About Time” (2004).

CRAIG ELACHIE. Scottish. Glen (1891) finds the earliest printing of the tune in Angus Cumming's 1780 collection (pg. 1).

CRAIG FADA, AN. AKA and see "The Long Strand [1]."

CRAIG O'/OF BARN'S, THE. Scottish; Strathspey or Highland Schottische. G Minor (Alburger, Athole, Gow): A Mixolydian (Kerr). Standard tuning. AAB (Alburger, Athole, Gow): AABB (Kerr). Very likely written by John Crerar (1750‑1840), who probably had lessons from Niel Gow at Atholl. Paul Cranford thinks the Cape Breton tune “MacKinnon’s Rant” is related to this melody. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 74, pg. 118. Carlin (The Gow Collection), 1986; No. 448. Gow (Complete Repository), Part 2, 1802; pg. 13. Kerr (Merry Melodies), vol. 1; No. 8, pg. 19. Stewart-Robertson (The Athole Collection), 1884; pg. 192. WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

X:1

T:Craig o’ Barns

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G Minor

d2 c>A G<G G>A|c>F c<A c>F A<c|d2 cA G<G G>A|c>Fc>A G2G2:|

F>Ac>d cA c2|d>=ef>a g>fd>e|f<ad<f F>GA>c|d>fc>A G2G>A|

F>Ac>d c<A c2|d>=ef>a g>fd>e|f<ad<f F>GA>c|d<fc>A G2G2||

CRAIG PARK. See “Craigpark” below.

CRAIGELLACHIE BRIDGE. Scottish, Strathspey. D Major/Mixolydian. Standard tuning. One part (Marshall): AAB (Kerr): ABCD (Hunter, Johnson/2003, Martin): AABCD (Athole, Gow, Johnson). This double‑tonic tune was composed by William Marshall (1748-1833) on the occasion of the opening in 1815 of a new bridge constructed of iron by Thomas Telford over the Spey River at the modern village of Craigellachie, Moray, Scotland‑‑one side is anchored to the abase of one of the two outcroppings of rock known as 'Craigellachie.' His enthusiasm for the structure has been noted by Alburger who cites the mention of the bridge in an 1814 letter from Marshall to one of his sons (Alburger, 1983; pg. 88). Marshall’s stake in the bridge was also personal—his daughter Jane was married to John McInnes of Dandaleith who was involved in the building of it. It was thought by Collinson (1966) and Puser (1992) to be one of Marshall's best compositions ("outstanding" “one of his very best”), and Emmerson (1971) says the tune was among his particularly celebrated tunes. Hunter (1988) also praises the melody, calling it "perhaps the finest in the whole repertoire." James Davie (1850) was the first to note (in his Caledonian Repository, book first, second series) the similarity between Marshall's melody and an older tune entitled "Grey Daylight," which was originally published in Robert Petrie's Second Collection (1796) as "Mr. Anderson's Strathspey" and in a c. 1799 collection by Perth publisher John Anderson as "Grey Daylight." John Glen (1895) says there is no doubt of a resemblance between the tunes in the first part, but opines Marshall's air is "immeasurably the better of the two," and concludes the composer is likely not guilty of musical plagiarism. The tune first appeared in Marshall’s Scottish Airs (1822). Source for notated version: Paul Anderson (Tarland, Aberdeenshire) [Martin]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 59, pgs. 88‑89. Gow (Complete Repository), Part 4, 1817; pg. 28. Hunter (Fiddle Music of Scotland), 1988; No. 95. S. Johnson (The Kitchen Musician No. 10: Airs and Melodies of Scotland’s Past), 1992 (revised 2001); pg. 17. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 32. Kerr (Merry Melodies), vol. 1; Set 18, No. 1, pg. 12. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 30. Matin (Traditional Scottish Fiddling), 2002; pg. 135. Purser (Scotland’s Music), 1992; Ex. 9, pg. 206. Stewart-Robertson (The Athole Collection), 1884; pg. 98.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

X:1

T:Craigellachie Bridge

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

A,|D<D F>A d/c/B/A/ F<D|E<=C =c>E G2 G<B|A>DF>A d/c/B/A/ F<D|

E<e c>A d2d:|

g/f/e/d/ c<e g2 ga/g/|f<a e>f d>fB>d|A<F d>F A2A:|

c|d/c/B/A/ G/F/E/D/ d/c/B/A/ G/F/E/D/|E<=C =c>E G2 G>E|

D/E/F/G/ A/B/c/d/ D/E/F/G/ A/B/c/d/|D>dF>d B>AG>F|D>dE>d F>dE>d|

=C<c c>E G2 G>E|C>dE>d F>dE>d|E<e c>A d2d:|

d<d f.a d>af>a|g/f/e/d/ c<e g2 ga/g/|f<a e>f d>fB>d|a<f d>f A2A||

CRAIGELLACHIE LASSES, THE. Scottish, Jig. D Major. Standard tuning. AB. Composed by Willaim Marshall (1748-1833). Craigellache is Gaelic for 'windy' (craig) rock (aileach), and refers to two rugged outcroppings in Bannfshire. Neil (1991) relates the westernmost (or upper) rock marked the boundary between Strathspey and Badenoch and was the wartime rallying point of the Clan Grant. The lower rock is located at the confluence of the Spey and Fiddich rivers and marks the point where the parishes of Aberlour, Hnockando and Boharin meet. The clan's crest incorporates the image of a mountain in flames to commemorate the old clan practice of lighting fires on the top of both rocks to call the clan to war. Similarly, the clan's armorial motto is "Stand Fast Craigellachie." There is a pipe tune called “Stad Creageilichie!” (Craigellachie, stand firm!) that derives from this connection. Marshall, Fiddlecase Edition, 1978; 1845 Collection, pg. 4. Martin (Traditional Scottish Fiddling), 2002; pg. 15. Neil (The Scots Fiddle), 1991; No. 66, pg. 91.

X:1

T:Craigellachie Lasses, The

M:6/8

L:1/8

S:Marshall – 1845 Collection

Z:AK/Fiddler’s Companion

EC>A, A,>B,C|D3 D2||f/g/|afd def|gec Ace|fdA GBe|ecA FGA|

fdA fdA|ecA ecA|BGB dcB|AFA Bcd|Bgf e>dc|d3 D||

CRAIGENDORAN. Scottish, Strathspey. G Major. Standard tuning. AA’BB’. Craigendoran, according the Gazetteer for Scotland, is “an eastern suburb of Helensburgh in Argyll and Bute” in western Scotland, and “developed following the building of a pier which was served by steamers of the North British Railways from 1882.” Helensburgh is a town on the Firth of Clyde. Kerr (Merry Melodies), vol. 4; No. 119, pg. 15.

X:1

T:Craigendoran

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 119 (c. 1880’s)

Z:AK/Fiddlers’ Companion

K:G

d<d B>d e>dB>d|g>ab>a g3d|e<e c>e d<d B>d|1 c>BA>G F>E D2:|2 c<A d>F G3||

|:d|g<g b>a g>dB>d|G>DB,>D G,3d|e<e a>b c’>ba>g|1 (3fga (3gfe d3:|2 (3fed (3cBA G3||

CRAIGENROAN. Scottish, Reel. C Major. Standard tuning. AABB'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 71, pg. 25.

CRAIGIE DHU. Canadian, Reel. Canada, Cape Breton. Composed by Dougie McLean.

CRAIGIE HALL. Scottish, Strathspey. D Major. Standard tuning. AAB. Craigie Hall is an historic building in Glasgow. Stewart-Robertson (The Athole Collection), 1884; pg. 110.

X:1

T:Craigie Hall

M:C|

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:D

d/B/|A<D B/A/G/F/ G<E E>F|A<D B/A/G/F/ A<d d>A|(3Bcd (3AGF G<E E>c|

f>d f/g/a/f/ g<e e>c|(3def (3edc (3Bcd (3AGF|(3GAB (3AGF G<E E>c| d>BA>F A<dd||

CRAIGIELEA POLKA. Scottish, Polka. D Major. Standard tuning. AABB. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti was a fiddler who contributed many tunes to the Kerr collections but who also published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies for the Piano), pg. 43.

CRAIGLUG BRIG. Scottish, Slow Strathspey. A Major. Standard tuning. AAB. Composed by Peter Milne (1824-1908), the “Tarland Minstrel”. The bridge at Craiglug, a village in Aberdeenshire, dates from 1829. It is properly called the Wellington Suspension Bridge and connects . The bridge still stands in modern times, although is in a state of disrepair and cannot be crossed. Source for notated version: Hector MacAndrew [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 137.

CRAIGLUG REEL. Scottish, Reel. A Major. Standard tuning. AB. Composed by Peter Milne as a companion piece, to be played following his slow strathspey “Craiglug Brig.” Source for notated version: Hector MacAndrew [Martin]. Martin (Traditional Scottish Fiddling), 2002; pg. 137.

CRAIGPARK. Scottish, Hornpipe. D Major. Standard tuning. AA’AA’BB. Stately Craigpark House was built in 1798 in the city of Glasgow by James MacKenzie, a merchant and civic leader of the city in the early 19^th century. Kerr (Merry Melodies), vol. 4; No. 286, pg. 30. F&W Records 2, "F&W String Band 2."
X:1

T:Craigpark

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 286 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

CRAIG'S PIPES. AKA and see "Cobbler's Hornpipe [2]," "Connolly's Reel," "The Fiddler is Drunk," "The Foxhunters (Reel) [1]," “Greg’s Pipe Tune,” “Gregg’s Pipes,” “Gun Do Dhuit Am Bodach Fodar Dhomh” (The Old Man Wouldn’t Give Me Straw), "The Kerry Huntsman," "Kregg's Pipes," “The Manchester Reel [1],” "Píopaí Greig,” "Willie Wink(ie)'s Testament [2]," "Willy Wilky." Irish, Reel. G Major. Standard tuning. ABC (Mallinson): ABBCC (Sullivan). Mallinson (Enduring), 1995; No. 9, pg. 4. Sullivan (Session Tunes), vol. 2; No. 9, pg. 5.

X:1

T:Craig's Pipes

T:Kerry Huntsman, The

R:reel

S:P. Keenan

E:7

M:C|

L:1/8

K:G

B2 BA BAGA|B2GB AGED|~B3A BAGB|~A2 BG AGED|\

B2 BA BAGA|B2GB AGED|(3.B.c.d ed BcdB|AcBG AGEG||*

DG ~G2 DGBG|DGBG AGEG|DGGF~G3 B|dBAc BG~G2::\

d2 Bd efge|dGBG AGEG|d2Bd efge|agbg ageg:|**

X:2

T:Craig's Pipes

M:4/4

L:1/8

Z:Greg Taylor

K:G

B2 B BAGA|B2 DB AGEG|B2 B BAGA|c2 Bc AGEG|

B2 B BAGA|B2 DB AGEG|Bded BcdB|AcBG AGEG ||

CRAIG'S REEL ("Seiso uí Carraig" or "Cor Uí Carraig"). Irish, Reel. D Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). The tune was recorded by Bronx fiddler Martin Mulvihill under the title “Con Mullane’s.” Mulvihill was originally from County Limerick, and Mullane was a musician from the County Limerick/Kerry border area. O'Neill (Krassen), 1976; pg. 98. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1212, pg. 229. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 488, pg. 93. Gael-Linn CEF 176, Jackie Daly - “Many’s the Wild Night.”

X:1

T:Craig's Reel

B:O'Neill's "Dance Music of Ireland ‑ 1001 Gems", #488

D:Jackie Daly, "Many's A Wild Night"

Z:transcribed by Han Speek

R:Reel

M:4/4

L:1/8

K:D

A2 G2||{A}FDFA B2 B/=c/^c|dBc/Bc/A BEEG|

{A}FDFA B2 B/=c/^c|dBAG FDDE|

{A}FDFA B2 B/=c/^c|dBc/B/A BEEF|G3 A B/c/d eg|fdec AddA||

d2 f/e/d Adf/e/d|Adf/e/d eBBA|d2 f/e/d Adf/e/d|faeg fddA|

d2 f/e/d Adf/e/d|Adf/e/d eBBA|g2 fd (3efg fe|dBAG FD D2||

CRAITH NA CLEITÍ/CLEITEACHA. AKA and see "Toss the Feathers."

CRAMP, THE. English, Country Dance Tune and Air (6/4 time). G Minor. Standard tuning. One part. Chappell (1859) finds the only known version of the tune in Pammelia (1609) arranged with two other country dances, "to be sung all three together; it is not very trustworthy." Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 143.

CRAN HILL. Scottish, Reel. D Major. Standard tuning. AA’BB’. Composed by C.F. Sherrit. Sherrit (A Third Collection of Scottish Music). Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 22.

CRANBERRY BOG, THE. Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 33, pg. 147.

X:1

T: Cranberry Bog

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: G

dBge dBBc | dBcA BGGF | ECEG B,DGB |1 cdAF GABc :|2 cdAF G3 ||

dg (3gfg agba | gecA dBGF | ECEG B,DGB |1 cdAF GABc :|2 cdAF G3 ||

CRANBERRY ROCK. Old-Time, Breakdown. USA, West Virginia. C Major. Standard tuning. AABB. An irregular tune with similarities to "Billy in the Lowground." Source for notated version: Burl Hammons (W.Va.) and Mel Marshall [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 59. Reed Island Rounders – “Goin’ Home” (2002).

X:1

T:Cranberry Rock

M:4/4

L:1/8

S:Bruce Molsky, based on the playing of Burl Hammons

Z:AK/Fiddler’s Companion

K:C

(E/F/G) AB AGED|EGEC D C2D

M:2/4

L:1/8

|1 C2G,2:|2 C2 G,A,||

M:4/4

L:1/8

C2 EG EDCE|DCA,C [EA][DA][E2A2]|A2 c2 AcAG|EGEC D C2D|

M:2/4

L:1/8

C2 [B,2D2]|

M:4/4

L:1/8

[C3E3]G EDCE|DCA,C [EA][DA][E2A2]|A2c2 AcAG|EGEC D C2D|

M:2/4

L:1/8

[C4E4]||

CRANDALL ROAD, THE. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Dan R. was a prolific composer born in Judique, Inverness County, Cape Breton, although many of his adult years were spent in the Detroit/Windsor area. There he was part of a large expatriate Cape Breton community, and was a member of the Five MacDonald Fiddlers, before returning to Cape Breton after he retired. He is reputed to have penned some two thousand tunes!. Cranford (Jerry Holland: The Second Collection), 2000; No. 15, pg. 7.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

CRANE SKIN BAG, THE. See “Crane’s Leg .”

CRANE'S LEG, THE. AKA and see “The Crane Skin Bag,” “The Glen of Aherlow [2],” “Lafferty’s,” “The Woman I Never Forgot.” Irish, Reel. E Dorian. Standard tuning. AABB. The tune was named “The Crane’s Leg” in Flaherty’s volume, although it was originally a Sean Ryan composition called “The Glen of Aherlow.” The “Lafferty’s” title comes from Kevin Burke (recorded on “Promenade”), also used by Martin Byrnes on his album “Paddy in the Smoke.” Fiddle player Vincent Campbell, of Meenahalla near Glenties, Donegal, maintained that older fiddlers would place a portion of crane or heron leg inside the fiddle to act as an extra soundpost (!?). Supposedly Campbell’s brother Jimmy (also a fiddler) claims to have a collection of crane legs still in his possession. The veracity of the story may be in doubt, but it’s a good story and a foil to the American custom of inserting rattlesnake rattles inside fiddles! Source for notated version: fiddler Jimmy Murphy (b. 1938, Meelick, near Swinford, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 40.

X:1

T:Crane’s Leg

M:C|

L:1/8

R:Reel

K:Edor
B2AF BFAF | ~E3 F EDB,D | B2AF BFAF | DFAF FE E2 | ...

CRANFORD’S DELIGHT. Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009), for fellow fiddler, composer, editor, publisher and lighthouse keeper Paul Stewart Cranford. Cranford (Jerry Holland: The Second Collection), 2000; No. 182, pg. 68.

CRANKING OUT. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 100, pg. 29. Fiddlesticks cass., Jerry Holland - “Lively Steps” (1987). Green Linnett, Jerry Holland - “The Fiddlesticks Collection” (1995).

CRANN AR AN CHOILL. See "Ta Crann ar an gCoill."

CRANN CARACH, AN. AKA and see "The Oak Tree."

CRANN-TARA [1], AN. AKA and see "The Fiery Cross."

CRANN TARA [2]. Scottish, Strathspey. The crann tara, or ‘fiery cross’, was the signal to clansman to gather, or it signified the gathering itself. Allan MacDonald, Moidart Collection. Green Linnet GLCD 1182, The Tannahill Weavers - “Choice Cuts” (1997).

CRANNCIUIL AN ATAR DOLLARD. AKA and see "Father Dollard's Hornpipe."

CRANNCIUIL AN BARRA-BUAD. AKA and see "The Trumpet Hornpipe."

CRANNCIUIL AN DREOILIN. AKA and see "The Wren Hornpipe."

CRANNCIUIL AN FIAGUIDE. AKA and see "The Hunter's Hornpipe."

CRANNCIUIL AN MAIRNEALAIG. AKA and see "The Sailor's Hornpipe."

CRANNCIUIL AN REALT. AKA and see "The Star Hornpipe."

CRANNCIUIL AN SGUABADORA. AKA and see "The Sweep's Hornpipe."

CRANNCIUIL AN TROIGIN. AKA and see "The Slipper Hornpipe."

CRANNCIUIL BEANTRAIGE. AKA and see "The Bantry Hornpipe."

CRANNCIUIL CAISLEAN-GLAS. AKA and see "The Greencastle (Hornpipe)."

CRANNCIUIL CAIT NI MATGAMNA. AKA and see "Kit O'Mahony's Hornpipe."

CRANNCIUIL CAROLINE NI NIALL. AKA and see "Caroline O'Neill's Hornpipe."

CRANNCIUIL UÍ CLEIRIG. AKA and see "Clark's Hornpipe."

CRANNCIUIL UÍ CUANA. AKA and see "Cooney's Hornpipe."

CRANNCIUIL UÍ DEORAIN. AKA and see "Durang's Hornpipe."

CRANNCIUIL UÍ DOMNAILL. AKA and see "O'Donnell's Hornpipe."

CRANNCIUIL UÍ DONNOBAIN. AKA adn see "O'Donovan's Hornpipe."

CRANNCIUIL UÍ DUBUIDIR. AKA and see "O'Dwyer's Hornpipe."

CRANNCIUIL UÍ DUNCADA. AKA and see "Dunphy's Hornpipe."

CRANNCIUIL UÍ FISUIR. AKA and see "Fisher's Hornpipe."

CRANNCIUIL UÍ h-AENGUSA. AKA and see "Hennessy's Hornpipe."

CRANNCIUIL UÍ h-IOCAIG. AKA and see "Hicks' Hornpipe."

CRANNCIUIL UÍ h-UIGINN. AKA and see "Higgin's Hornpipe."

CRANNCIUIL UÍ MUIREADAIG. AKA and see "Murray's Hornpipe."

CRANNCIUIL UÍ MURCADA. AKA and see "Murphy's Hornpipe."

CRANNCIUIL UÍ SEALBAIG. AKA and see "Hawk's Hornpipe."

CRAOIBHIN'S SALUTE, THE. Irish, March. A Major. Standard tuning. AABB'. Roche Collection, 1982; vol. 2, pg. 56, No. 328.

CRAOIBIN CNO. AKA and see "The Little Cluster of Nuts."

CRAPAUD. Cajun, Two-Step?? USA, Louisiana. G Major. Standard tuning. AABB. There was once a tiny hamlet in Louisiana called Crapaudville, named for storeowner Nook Crapaud. Source for notated version: fiddler Dennis McGee via Ken and Jeanie McLerie Keppeler [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 96.

CRAP SHOOTER’S HOP. Recorded on a 78 RPM by Joe Werner and the Riverside Ramblers, an offshoot of the Cajun band the Hackberry Ramblers. A variant is Teddy Boy Houle’s “White River Stomp.”

CRAPSHOOTER'S RAG. Old‑Time, Ragtime. USA, Texas. F Major (Christeson): D Major (Silberberg). Standard tuning. AB. Sources for notated versions: Junior Daugherty (Texas) [Christeson]; Floyd Engstrom [Silberberg]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 148. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 28.

CRARAE. Scottish, Reel. D Major. Standard tuning. AABB'. Crarae is a village on the banks of Loch Fyne in Argyll and Bute, on the west coast of Scotland. Today it’s the site of magnificent gardens, established in the early 20^th century by Grace, Lady Campbell. Prior to that the site was probably better-known for a megalithic ruin, a good example of a Clyde chambered cairn and the nearby round cairn, known as the ‘Fairy Knowe’. Kerr (Merry Melodies), vol. 3; No. 26, pg. 6. Green Linnet SIF 1047, John Cunningham - "Fair Warning" (1985).

X:1

T:Crarae

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 26 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

FAAB d2 (de)|fdgf edBd|FAAB defb|afef d/d/d d2:|

|:afef d2 (BA)|BdAd BdAb|1 afef defd|BdAF E2 (ea):|2 afef defb|afef d/d/d d2||

CRASHING AT QUINLAN’S. Irish, Reel. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 90.

X:1

T: Crashing at Quinlin's

C: © B. Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: D

E2 AE FD D2 | d2 fd (3Bcd eg | fBBc dBcB | ABAF D3 :|

B2 fB aBfB | dBcA BdAF | EAAc defe | dAFE D3 :|

CRATE OF GRILSE, THE. AKA and see “Cis Ní Liatháin.” Irish, Slide. Realworld (WOMAD) Records, “Music at Matt Molloy’s” (1992. Appears as part of “Westport Set-Dancers”).

CRAW DANG PUSSY, DA. Shetland, Shetland Reel. G Major. Standard tuning. AABB. The late Shetland fiddler, composer, teacher and collector Tom Anderson identified the tune as a traditional reel describing a tame crow and a kitten playing. It was in the repertory of Anderson's Shetland Fiddle Band, and therefore widely known in the islands. Anderson (Ringing Strings), 1983; pg. 47.

CRAWFORD'S REEL [1]. AKA and see "The Barrack St. Boys," "The Bride(s) to Bed," "Brides Away," "The British Naggon," "Cheese It," "Corney is Coming," "I Saw Her," "Kelly's Reel," "Knit the Pocky," "Merry Bits of Timber," "Miss Wilson," "My Love is in America," "My Love is in the House [1]," "Shannon Breeze [2]," "Six Mile Bridge."

CRAWFORD’S REEL [2]. "The Brown Girl's Reel,” "I Wish I had a Kerry Cow," "The Old Kerry Cow," "The Scartaglen Reel," “Sean Maguire’s [2].” Irish, Reel. G Major. Standard tuning. AABB.

X:1

T:Crawford's

M:4/4

L:1/8

S:Siona

K:G

~G3 A ~B3 A | GBdB cAAB | AGFG ~A3 B | cBAG FDEF |

~G3 A ~B3 A | GBdB cABc | dBcA BG ~G2 | FGAc BG G2 :||

dg ~g2 bgaf | defg agfe | dg ~g2 bgag | fdcA BGBc |

dg ~g2 bgaf | defg agfe | dg ~g2 dg ~g2 | ~a3 g fdcA :||

CRAZY CREEK. Bluegrass, Breakdown. USA. A Mixolydian/Minor ('A' part) & C Major ('B' part). Standard tuning. AAB (Brody, Phillips): AA’B (Silberberg). Composed and originally recorded by Tommy Jackson (d. 1979), who was heavily influenced by the playing of his close friend, Texas fiddler Bob Wills. Musicologist Charles Wolfe says Jackson became "the most heard, and the most imitated, fiddler of his generation", largely because of a series of recordings of square dances without calls, given wide distribution among popular commercial square dance circles. Later Jackson became a much-sought-after session man and producer in Nashville, and was connected with the Grand Old Opry. Later, the Dillards with fiddler Byron Berline made an influential recording of the tune. Sources for notated versions: Delaware Water Gap [Brody]; Byron Berline [Phillips, Silberberg]; Ken Kosek [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 77. Phillips (Traditional American Fiddle Tunes), 1994; pgs. 59 & 60 (two versions). Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 28. Biograph RC6006, Bottle Hill‑ "A Rumor in Their Own Time." Elektra EKS 7285, The Dillards with Byron Berline‑ "Pickin' and Fiddlin." Heritage XXXIII, The Backwoods Band ‑ "Visits" (1981). Kicking Mule 205, Delaware Water Gap‑ "From the Rivers of Babylon to the Land of Jazz" (1979. Learned from Byron Berline and the Dillards' recording). Rounder 0067, Jack Tottle‑ "Back Road Mandolin." Rounder 0084, Bill Keith‑ "Something Bluegrass." Rounder 7002, Graham Townsend‑ "Le Violin/ The Fiddle."

CRAZY JIM. Old‑Time, Breakdown. USA, Indiana. Rounder 0194, John W. Summers ‑ "Indiana Fiddler" (1984).

CRAZY WAG'NER. AKA and see "Wag'ner One-Step."

CREACH NA CIADAIUN. AKA and see "Any Privation But This."

CREAM POT, THE. AKA and see “The Kern Staff,” “Miss Grace Hay’s Delight.” Scottish, Engish; Jig. G Major (‘A’ and ‘C’ parts) & D Major (‘B’ part). Standard tuning. AABB’CC. John Glen (1891) finds the earliest printing of the tune in Robert Ross's 1780 collection (pg. 21), although subsequently it has also been found in the earlier London publishers Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (1751), Charles and Samuel Thompson’s Compleat Collection of 200 favourite Country Dances (1757), and David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (1756). It appears in several musician’s manuscripts of the 18^th and 19^th centuries, including the 1770 music manuscript of Northumbrian musician William Vickers, the Thomas Hammersley ms. (London, 1790), and the William Higgot ms. (Cumbria?, c. 1800). The Gows printed the tune under the title “Miss Grace Hay’s Delight.” Country dance directions to the “Cream Pot” appear in H. and E. Phinney’s Select Collection of the Newest and Most Favorite Country Dances (Ostego, New York, 1808), and a small edition called A Choice Collection of New and Approved Country Dances (Northampton, Mass., 1796). Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. 1, 1782; pg. 25. Callaghan (Hardcore English), 2007; pg. 72. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 187. EFDSS CD13, Geckoes – “Hardcore English” (2007. Various artists). Ock Records CK060, Geckoes – “The Red Horse.”

X: 1
T:Cream Pot, The (The Kern Staff)
M:6/8
L:1/8
S:William Vickers c1770
K:G
||:G2 A B2 c | dBd efg | G2 A B2 c | dBG AFD | E2 C CEG | F2 D D2 c| BdB cAF | G3 A3 :||:

K:D
d2 e f2 g | afd ecA | faf ege | fdf ecA | B2 G GBd |! c2 A A2 g | faf gec |1(d3 d2) A :|2 d3 =c3 ||:

K:G
B2 g gdB | B2 g gdB |! A2 A ABc | BAG AFD | E2 C CEG | F2 D D2 c | BdB cAF | (G3 G2) :||

X:2

T:Cream Pot

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

=c2c cec|B2B BdB|AFA Agc|dBG AFD|E2(C C)EG|F2(D D)B,G,|(B/c/d)B cAF|G3 G,3:||

CREAMER’S REEL. AKA – “The Creamery,” “Michael Cramer’s.” AKA and see “The Tinker’s Daughter.” Irish, Reel. D Major. Standard tuning. AABB. “The Creamery” title comes from Cherish the Ladies flute player Joanie Madden. Mulvihill notes: “Played by Jimmy McGreevy.” Michael McNamara, the Leitrim flute player and scion of the famous musical family, says that Michael Creamer was an itinerant labourer who came to the Leitrim area from northern Ireland. Creamer played the whistle and knew about a dozen tunes, but always started the evening with this one, which entered local tradition and was named in his honor. Source for notated version: Tony Smith (County Cavan & Dublin) [Mulvihill]. Miller (Fiddler’s Throne), 2004; No. 140, pg. 92. Mulvihill (1^st Collection), 1986; No. 175, pg. 48.

X:1

X:2
T:Michael Cramer's
T:Tinker's Daughter, The
R:reel
D:Conal O'Grada: The Top of Coom
Z:id:hn-reel-291

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|

L:1/8
K:D
~A3B AF~F2|AFAd f2fg|afef dB~B2|dBAF FEDF|
~A3B AF~F2|AFAd f2fg|afef d2dB|1 Adfe d2dB:|2 Adfe d2de||
|:fded BAFA|dcdf a2af|g2fg eB~B2|dBAF FEDF|
~A3B AF~F2|AFAd f2fg|afef d2dB|1 Adfe d2de:|2 Adfe d2dB||
"Variations:"
ABdB AFDF|~A3d f2fg|afef d2dB|dBAF FEDF|
AFAB AF~F2|AFAd ~f3g|afef dB~B2|1 Adfe d2dB:|2 Adfe d2de||
|:fded BdAB|d2df ~a3f|g2fg edBc|dBAF FEDF|
ABdB AF~F2|AFAd ~f3g|afef d2dB|1 Adfe d2de:|2 Adfe d2dB||

CREEK NATION. Old‑Time, Breakdown. USA, Oklahoma. C Major. Standard tuning. AABB (Thede): AA'BB' (Phillips). Thede: "The Creek Indians formerly owned land and farmed in the States along the Gulf of Mexico before their removal in 1832 to the Indian Territories in what is now the state of Oklahoma. As the Creek Nation they conducted their own government under the protectorate of the United States." Thede reported her source, fiddler Claude Keenan, said it was tradition among Oklahoma fiddlers that this tune was one formed on a Creek song used on the "Trail of Tears" when the Creeks were forcibly removed from their southeastern homelands to territory in Oklahoma. Sources for notated versions: Claude Keenan (Oklahoma County, Oklahoma) [Thede]; Tom Carter & Tom Sauber [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 60. Thede (The Fiddle Book), 1967; pg. 30.

CREEK’S ALL MUDDY AND THE POND’S ALL DRY. Old-Time, Breakdown. USA, West Virginia. The name of a fiddle tune in the repertoire of West Virginia fiddler Burl Hammons. The title comes from a line in the third verse of a folk song called “Bird Song,” which McNeil claims is derived from the Child ballad (No. 26) “The Three Ravens,” first published in 1611. AHR-017, “The Fiddling of Burl Hammons.”

CREEL OF PERCHES, THE. AKA and see “Crib of Perches.” Irish, Reel. Ireland, County Sligo. D Major. Standard tuning. AABB. A creel is a basket fisherman use to store their catch while fishing, and perch, of course, are the catch. Source for notated version: whistle player Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 137.

CREEL OF TURF [1], THE. Irish, Reel. D Major/Mixolydian (‘A’ part) & G Major (‘B’ part). Standard tuning. AAB. According to Joseph Reavy the title is taken from Synge’s verse spoken by Patch Shaneen, who mourns for his wife Maurya Prendergast, with whom he travelled the roads “west in Carnareagh”:

***

She’d pick her bag of carrageen

Or perries throught the surf,

Or loan an ass of Foxy Jim

To fetch her creel of turf.

***

Source for notated version: obtained by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988) from Jimmy McElroy, a County Monaghan flute player [Reavy]. Reavy (The Collected Compositions of Ed Reavy), No. 77, pg. 85.

X: 1

T:The Creel Of Turf [1]

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Ed got the "strains" of this tune many years ago from Jimmy McElroy,

N:a County Monaghan flute player. The title comes from Synge's verse

N:about Patch Shaneen and Maurya Prendergast. Shaneen grieves

N:the passing of Maurya, his wife, who travelled the roads with

N:him "west in Carnareagh"-

N:"She'd pick her bag of carrageen

N:Or perries through the surf,

N:Or loan an ass of Foxy Jim

N:To fetch her creel of turf."

N:The poor couple had little, but they loved

N:much. The poem and tune make a good match for anyone seeking

N:a glimpse of the old Ireland.

K:D

AD (3DDD AGAG | E=CCD EDEG | AGAB cBCA |1 E=CE D2 :|2 GECE D3 F ||

edec dedc | aG (3ABc dedc ||

CREEL OF TURF [2], THE. AKA and see Basket of Turf,” “Bundle and Go [1],” “The Creel of Turf [2],” “Disconsolate Buck,” “The Green Meadow,” “The Lark’s March,” “The Unfortunate Rake [1],” “Up Sligo [1],” “The Wandering Harper,” “Wee, Wee Man.” Irish, Jig. E Minor. Standard tuning. AA’BB’. Miller (Fiddler’s Throne), 2004; No. 25, pg. 27. Green Linnet SIF 3018, “Molloy, Brady and Peoples” (1985).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Creel of Turf, The [2]

M:6/8

L:1/8

R:Jig

K:E Minor

d2B BcB |1 AGF E2D:||2 AGF E2A ||: Bee ede | fdd dBA | Bee ede |!

fdd d2A | Bee ede | fdd dBA | BcB BcB|1 AGF E2A :||2 AGF E3 ||

CREEPING MOUSE, THE. AKA and see "Miss Thornton's {Reel}," Boat Street Lasses (The), Miss Thornton's, Miss Thornton's Reel, House on the Hill (The), Through the Fields, Salamanca (2) (The), Spike Island Lasses (2)Irish, Reel.

CREGGAN CHURCHYARD (Uir-chill a’ Chreagain). AKA – “The Fair Graveyard of Creggan.” Irish, Air (3/4 time). Ireland, Northern Ireland. G Major. Standard. One part. According to Ó Canainn (1978) this is one of the great airs of the Northern tradition (it has been called ‘the National Anthem of South East Ulster by Máire Nic Domhnaill Gairbhí). It is a song of the ‘Aisling’ or ‘vision’ genre in which a maiden appears to the poet and prophsizes a return to Irish glory, and appears in Sean Ó Baoighill’s Cnuasacha de Cheoltai Uladh. Creggan is a large parish that contains portions of two counties in Ireland, Louth and Armagh. The churchyard contains the ancestral burial ground of the O’Neill’s, lords of Ulster.

***

The composer of the song “Uirchill an Chreagain” was Art MacCúmhaigh (1738-1773), bard to the O’Neills of Dunraeva, who was called Art na gCeoltaí. Henry Morris, in his book The Modern Irish Poets of Oriel, Breffni, and Meath (1906, County Louth Archeological Society) wrote that MacCúmhaigh was on the run from the ‘powers that be’ and was being actively hunted. He found refuge for a night in the O’Neill vault in Creggan graveyard, and thus the opening line (that he slept the previous night in Creggan Churchyard) is literally true. When MacCúmhaigh died he was buried at Creggan and the last line of his famous song was carved on his headstone:

***

Gurbh ag Gaeil chúmhra an Chreagáin a leagfar mé i gcré faoi fhod.

(That with the fragrant Gaels of Creggan I will be put in the clay under the sod.)

Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 113, pg. 96.

CREHAN’S. Irish, Hornpipe. A Major. Standard. AA’B.

X:1

T:Crehan's

M:4/4

L:1/8

S:Siobháne Peoples

R:hornpipe

Z:Barney

K:A

A,C EC B,D FD|CE AG AE CE|DF (3Bcd cB Ac|BA GF ED CB,|

A,C EC B,D FD|CE AG AE CE|DF (3Bcd cB Ac|1 BE GB A4:|

2 BE GB A2 (3efg||

ae ce fe ce|ae ce fe ce|da fd ca ec|BA GA Be fg|

ae ce fe ce|ae ce fe ce|da fd ca ec|BA GB A2 (3efg|

ae ce fe ce|ae ce fe ce|da fd ca ec|(3BcB (3AGF (3EFE (3DCB,|

A,C EC B,D FD|CE AG AE CE|DF (3Bcd cB Ac|BE GB A4||

CREHAN’S CHOICE. Irish, Reel. G Major. Standard tuning. AABB. Composed by Clare fiddler Junior Crehan. Source for notated version: L. Donnelly [Mulvihill]. Mulvihill (1^st Collection), 1986; No. 153, pg. 42.

CREHAN’S REEL. Irish, Reel. D Major. Standard tuning. AABB. Miller (Fiddler’s Throne), 2004; No. 141, pg. 93.

CREIGHTON'S HORNPIPE. Old-Time, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: Lotus Dickey (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 187.

CREIGNISH HILLS. Canadian, Reel. Canada, Cape Breton. Composed by Reverend Hugh A. MacDonald. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992). WMR002, Wendy MacIsaac – “The ‘Reel’ Thing” (1994).

CREME DE MINTHY. English, Jig. B Minor. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 122.

CREMONA FIDDLE, THE. English, Jig. A Minor. One part. From Watts Miscellany (1729). Raven (English Country Dance Tunes), 1984; pg. 211.

CREMONIA. Irish, Air (3/4 time). A Minor. Standard tuning. AABB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). The title is somewhat curious. Donal O’Sullivan, considered the authority on O’Carolan, found Gaelic titles for the tune as “Croide Eamha” (Heart of Emania) and “Croide Muna” (Heart of Munster), although he concluded that these were probably not the titles that O’Carolan himself employed or meant. Other titles he found, "Creamonea,” “Craymuna,” and “Cray Muna,” were not explained. Several writers have suggested that O’Carolan meant to reference the village of Cremona, Italy, home of several Italian master violin makers, supporting this theory with the long-recognized influence of Italian Baroque stylings in the harper’s later melodies. “Cremonea” appears in Neal’s Collection of the Most Celebrated Irish Tunes (1724), and in Daniel Wright’s Aria di Camera (1725, 1730). Complete Collection of Carolan's Irish Tunes, 1985; No. 192, pg. 132.

X:1
T:Cremonea
M:3/4
L:1/8
Q:240
K:G
DF|G2 AG [FB,]G|E2 B,2 (3efg |ed cB AG|A2 D2 EF|
G2 FE FG|A2 D2 EF|[G2C4] AG [FB]G|E4 B,2:|
:Bd^|e2 ed^ Bd|e2 e2 AB|de dB AB|d2 [d2D4]GA|
B2 cB AG|[A2D4] BA [GB,]F|[G2C4] AG [FB]G|1E4:|2 E4 z2||

X:2
T:Creamonea
S:A Collection of the Most Celeberated Irish Tunes
S:Neals, Dublin, c 1724
N:Reprinted in facsimile by Folk Music Society of Ireland, 1986
Q:1/4=120
M:3/4
L:1/4
K:Gm
G/A/|Bc/B/A/B/|G2(g/a/)|(g/f/) (e/d/)(c/B/)|cFG/A/|\
BA/G/A/B/|cFG/A/|Bc/B/A/B/|G2||\
gg/f/d/f/|ggc/d/|f/g/f/d/c/d/|ffB/c/|d(e/d/)(c/B/)|\
c(d/c/)(B/G/)|B(c/B/)(A/B/)|G2||]

CREOLE BABY. See "Bebe Creole."

CREOLE STOMP. Cajun, Two-Step. USA, southwestern Louisiana. A Major. Standard tuning. AABBBBBBBAA. Raymond Francois (1990) notes the tune has many variations and is frequently used as a theme song by Cajun bands. Related songs include Reggi Matte's "Lewisburg Two-Step," Elias Badeaux's "Louisiana Ace's Special," Ambrose Thibodeaux's "Church Point Two-Step" and Merlin Fontenot's "Galop Creole" [Francois]. Source for notated version: Aldus Roger (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 97-98. La Louisiane Records LL-LP122, Aldus Roger.

CRESTED HENS, THE (Les Poules Huppées). French, Bourrée à 3 temps (3/8 time). E Minor. Standard tuning. Composed in 1983 by French national and hurdy‑gurdy (vielle a roue) player, Gilles Chabenat, who remarks that some bars of a Debussy composition served as inspiration for the germ of the tune. It is of a type from central France, where it is also a folk dance, and is usually played at a medium tempo though this tune is often heard played slower, a la the Irish group Solas (who popularised the tune and translated the title). Gilles remarks that the title was a kind of nonsense play, from his teenage years. The tune is often mistakenly ascribed Breton origins, of varying degrees of antiquity, however, it is a modern composition by Chabenat. Stevens (Massif Central Tune Book No. 1). Karen Ashbrook - “Knock on the Door” (learned at the Victoria Pub, London). Shanachie 78002, “Solas.”

X:1

T:Les poules huppées

M:3/8

L:1/16

C:Gilles Chabenat

R:Bourrée

A:France

K:d dor

D2DFED|A4 AB|cBAdcB|cBABAG|D2DFED|A4 AB|cBAdcd|1A6 :|2A4 de

|:f2AfAe|_B4 de|fdgfed|^c2d2e2|f2AfAe|_B4 de|fdgfe^c|1d4 de:|2d6 ||

X:2

T:Crested Hens

C:from the playing of Solas

R:Air

Z:Brian Duffy, corrected by Henrik Norbeck

M:3/4

L:1/8

Q:130

K:Edor

CRIB OF PERCHES, THE (An Chruid Péirsí). AKA and see “Creel of Perches.” Irish, Reel. D Mixolydian {Breathnach}: D Mixolydian (‘A’ part) & D Major (‘B’ part) {Cranitch}. Standard tuning. AABB (Cranitch): AA'BB' (Breathnach). Sources for notated versions: accordion player Paddy O'Brien, 1970 (County Offaly/Dublin, Ireland) [Breathnach]; sourced from both accordion player Joe Burke and flute, tin whistle and piccolo player Jack McGuire (County Cavan), father of fiddler Seán McGuire [McGuire & Keegan]. Breathnach (CRÉ II), 1976; No. 180, pg. 94. Cranitch (Irish Fiddle Book), 1996; No. 69, pg. 152. Cranitch (Irish Session Tunes: Red Book), 2000; 69. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 69, pg. 19. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007). Graine Hambly – “Between the Showers” (2002). Matt Molloy – “Shadows on Stone” (1996). Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Crib of Perches, The

M:C|

L:1/8

R:Reel

K:D

A3B AGFD | (3EFG AB =cBcA | G2 E=C G,CEG | =cAGc AG (3EFG |

A3B AGFD | (3EFG AB =cBcA | df (3fgf edBd | cAGE ED D2 :|

df (3fgf af (3fgf | dfdf edcA | (3Bcd ec d2 cB | AFGE FD D2 :|

CRICHTON CASTLE. Scottish. Glen (1891) finds the earliest printing of the tune in Robert Ross's 1780 collection (pg. 25). The castle, which has extensive views over the Tyne valley, was used in the filming of “Rob Roy.” Originally a tower dating from the late 14^th century, it was consolidated and extended to include a keep and gatehouse, as well as improving the tower in the in the early 15^th century by Sir William Crichton, who also built the Collegiate Church nearby. This same Sir William was involved in a gruesome murder. King James II was a child of six when crowned in 1437, and the kingdom required a regent. Archibald, 5^th Earl of Douglas and head of the powerful Black Douglases, was appointed, however, he died but two years later, resulting in a grab for power between the Douglases, Sir Alexander Livingstone and Sir William. The latter two invited the new Earl of Douglas, then only sixteen years old, to dine along with his brother and a friend at Edinburgh Castle. At the end of the meal the head of a black bull was brought to the table, and this was the signal for the three to be murdered.

***

Crichton Castle

CRICHTONS’ GOWNLEA, NEW DEAR. Scottish, Jig. Composed by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972). Henderson (Flowers of Scottish Melody), 1935.

CRICKET ON THE HEARTH. Old Time, Bluegrass; Breakdown. USA, Arkansas. D Major. Standard tuning. AABB. A member of a large tune family that includes “Damon’s Winder,” “The Devil in Georgia [2],” “Drunken Billy Goat,” “Grand Hornpipe [1],” “Marmaduke’s Hornpipe,” “Mud Fence,” “Ride the Goat Over the Mountains,” "Rocky Mountain Goat,” and “Swiss Chalet." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by folklorist/musicologist Vance Randolph, published in 1954. Sources for notated versions: Kenny Baker [Brody]; Floyd Engstrom [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 78. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 29. American Heritage 510, Jay Belt‑ "Fiddlin' Jay Belt." County 719, Kenny Baker‑ "Portrait of a Bluegrass Fiddler." June Appal 014, John McCutcheon‑ "The Wind That Shakes the Barley" (1977. Learned from Byard Ray). Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

(((♫))) Charlie Acuff (b. 1919)

“Cricket on a Hearth”

CRICKET HORNPIPE, THE. Irish, Hornpipe. B Minor. Standard tuning. AA’BB’. Composed by Chicago tin whistle player Johnny Harling. Black (Music’s the Very Best Thing), 1996; No. 276, pg. 148.

X:1

T: Cricket Hornpipe

C: Johnny Harling

Q: 325

R: hornpipe

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: Bm

Bd (3fed B2 FA | B2 dB cBAF | GFED EFGB |1 ^ABcA B3 :|2 ^ABcA Bcde ||

cB^AB c2 ^A/=A/G/F/ | Bf^ef dcBG |1 FBB^A Bcde :||2 FBB^A B4 ||

CRICKET ON THE HEARTH. AKA – “Cricket in the Hearth.” Old‑Time, Breakdown. D Major. Standard tuning. AABB. See note for “Marmaduke’s Hornpipe.” Source for notated version: Kenny Baker [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 60. County 719, Kenny Baker - "Portrait of a Bluegrass Fiddler" (learned from Kentucky fiddler Art Wooten from a late 1940's radio broadcast). County 2705, Kenny Baker - "Master Fiddler." Heritage XXIV, Smokey Valley Boys ‑ "Music of North Carolina" (Brandywine, 1978).

CRICKET’S MARCH OVER THE SALTBOX. AKA and see “Idlewild Jig.” Irish, Jig.

CRIEFF FAIR. Scottish, English; Reel or Strathspey. England, Northumberland. D Minor. Standard. AAB. The town of Crieff is in Perthshire, though Vickers spelled it "Creef" in his MS. Scot, in The Scottish Country Dance Book labelled the tune "from Bremner, 1760." Bayard thought the American tune "Fine Times at Our House [1]" bore some resemblance to this tune. Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection. Bremner (Scots Reels), 1757; pg. 69. Seattle (William Vickers), 1987, Part 3; No. 507 (reel). Stewart-Robertson (The Athole Collection), 1884; pg. 244 (strathspey).

X:1

T:Crieff Fair

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Dmin

A>BA>G A2 F>G|c>dc>A c>dc>A|A>BA>G F>G A2|f>de>^c d/d/d d2:|

d>ef>g a>fg>e|f>dc>A F>GA>c|d>ef>g a>fg>e|f>de>^c d/d/d d>f|

d>ef>g a>fg>e|f>dc>A F>GA>F|A>cF>A A/A/A a>g|f>de>^c d/d/d d2||

X:2

T:Crief Fair

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:Dmin

A>BAG FG A2 | c(d”tr”cA) cd”tr”cB | ABAG FGAc | fde^c d/d/d d2 :|

AcFc A/A/A ag | fde^c d/d/d d2 :|

CRIEFF FAIR [2]. Scottish, Reel. D Major. Standard tuning. One part. Howe includes this tune, not in his section of ‘Scotch Melodies’, but with his contra-dance tunes, although labeling it a “Scotch Reel”. Howe (1000 Jigs and Reels), c. 1867; pg. 89.

X:1

T:Crief (sic) Fair

M:2/4

L:1/8

R:Reel

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D

A | D>F (A/F/)(F/d) | (A/F/).F A/F/F/d/ | D>F A/F/F/A/ | B/d/A/F/ (3.E/.E/.E/E |

d>f (e/c/)(c/e/) | d/B/B/d/ A/F/F/A/ | f/<d/ d/>f/ e/<c/ c/>A/ | B/A/B/c/ d(d/e/) |

f/d/ (3d/d/d/ e/c/ (3c/c/c/ | (d/B/) (3B/B/B/ (A/F/).F/.A/ | d/<f/ c/<e/ B/<d/ A/>c/ | B/d/A/F/ (3E/E/E/E ||

CRIEFF MEETING, THE. Scottish, Reel. A Major. Standard tuning. AABB'. The melody appears in John Bowie's A Collection of Strathspey Reels & Country Dances (Edinburgh, 1789). Lady Nairne wrote a song to this melody called "County Meeting". The town of Crieff lies in the Scottish province of Perth and Kinross. It was a center for industry in the 18^th century, and was the hub of a system of drove roads as well as an important cattle market. Crieff is also home to the Glenturret Distillery, Scotland’s oldest Highland malt whiskey distillery, dating from 1775. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 26. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 40. Kerr (Merry Melodies), vol. 3; No. 116, pg. 14.

X:1

T:Crieff Meeting, The

M:C

L:1/8

R:Reel

S:Glen Collection, vol. 1 (1891)

Z:AK/Fiddler’s Companion

K:A

B=gdg BGGB|cAae faea|ceBe cAA||

CRIMINAL TWO-STEP. See "Two-Step de Criminelle."

CRIMINAL WALTZ. AKA and see "Valse Criminelle."

CRIMLIN CAT, THE (Cat na Crimlinne). Irish, Reel. A Dorian. Standard tuning. AB. Source for notated version: fiddler William Jones (County Fermanagh) via Liam Donnelly (County Tyrone) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 97, pg. 52.

CRIMSON CRUSTACEAN. Canadian, Jig. A Mixolydian. Standard tuning. AA’BB’CCDD. Composed by Nova Scotia piper Jack MacLean, a former member of the Dartmouth and District Pipe Band, later known as Clan Sutherland (Shears). The title references a cooked lobster, the delicacy of the Maritime provinces. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 74.

CRIMSON VELVET, THE. AKA and see "Shepherd, Saw Thou Not," "In the days of old,” “Twas a Youthful Knight, which Loved a Gallant Lady." The title comes from a ballad about a princess who forsakes her rank and marries a commoner. After many years her husband finds out about her former station and reveals all to the king in a novel way: he places his family in the King's way; his wife, the former princess, dresses in crimson velvet clothes suitable to her former rank, he is in common grey, and their children are dressed in costumes the right of which cloth of gold and the left of woollen.

CRÍOCHA NA hALBAN. AKA and see “The Lands of Scotland.”

CRIOGAL CRIDHE (Glenlyon Lament). Scottish, Slow Air (4/4 time). G Mixolydian. Standard tuning. One part (Martin): AB (Neil). After the hanging of Macgregor of Glenstrae by the Campbell of Glenorchy at Taymouth Castle in 1570, his widow composed this lament. Martin (2002) says it is a popular Gaelic song and air. Neil (1991) relates the sad fate of the once strong and honorable Clan MacGregor, the traditional enemies of the Campbells, who went into decline before the beginning of the 17^th century. By the early 1600's the MacGregors were nearly landless and most of their members had scattered to the estates of others, notably their old enemies the Campbells, and the Menzies. Desperate, individuals in the clan formed themselves into marauding, lawless bands and became freebooters, finding haven in hiding places of Lannoch Moor. In 1602 they managed to annihilate the Colquhouns at the battle of Glenfruin (which became known as the 'Slaughter of Lennox') but for the next twenty‑five years they themselves were hounded, repressed and nearly exterminated by the vengeful government and personage of King James VI, who only relented in 1627, when a new chief was able to bring the clansmen under his authority and exercise the peace. Martin (Traditional Scottish Fiddling), 2002; pg. 63. Neil (The Scots Fiddle), 1991; No. 152, pg. 195.

CRIOSCOSA GLASA. AKA and see "Green Garters."

CRIPPLE CREEK. AKA‑ "Going Up/Down Cripple Creek," "Going Up/Down Brushy Fork," "Going Up/Down Shootin' Creek," “Red Creek,” “Shootin’ Creek [3].” Old‑Time, Bluegrass; Breakdown. USA, Widely known. A Major (Beisswenger & McCann, Brody, Phillips): C Major (second of Thede's versions): G Major (Beisswenger & McCann, Ford). Standard, GDgd, AEae, ADae, AEac# tunings. AABB (Beisswenger & McCann, Brody, Phillips, Thede): AABBCC (Ford): AA'BBCC' (Phillips/1994). The tune had and still has wide currency throughout the South, although more popular in the Appalachians than in the Midwest. There have been several suggestions about the origin of the title and tune, with modern speculations that ‘cripple’ refers to a ‘crooked’ or meandering stream. The Oxford English dictionary lists two relevant American meanings of ‘cripple’ current in the 19^th century: a) a dense thicket in swampy or low-lying ground, and b) a lumberman’s term for a rocky shallow in a stream. Folklorist Alan Jabbour, of the Library of Congress found that the oldest Appalachian fiddlers he collected from could recall the first time that they had heard “Cripple Creek,” leading Jabbour to speculate that the title might have something to do with the Cripple Creek, Colorado, labor troubles. Gold had been discovered there in 1891 and the labor disputes date from 1903-1904.

***

Jabbour may be right, although not only was Cripple Creek an important mining town, but it also had a reputation—the town featured several brothels, including Ella Holden’s The Library, Pearl Sevan’s Old Faithful, and Hazel Vernon’s Old Homestead. In 1897 Hazel sold her establishment, intent on a comfortable retirement in California, and Pearl DeVere took it over. Pearl, however, ran into financial problems, and one night, The Cripple Creek Times article of the time reported, “a gay party was in full swing when Pearl excused herself, saying that she felt indisposed. She refused to let anyone go with her to her room. She was in high spirits all evening, a woman said, and never seemed happier or more carefree.” Pearl took an intentional overdose of morphine, and was found the next morning, fully clothed and sprawled across her bed. Her assets did not cover the cost of her burial, and an appeal was made for donations “to give the little girl a real sendoff”, as one Bennett Ave. bartender was heard to remark. Indeed, it was reputed to have been Colorado’s biggest funeral to that date, featuring contingents from the local fire companies, the Elk’s band, and men from Union Hall. Women from the dance halls and brothels decked themselves out and rode behind in rented carriages. All heard the Reverend Franklin in the January cold deliver a short eulogy based on the parable, “let him who is without sin cast the first stone.”

***

Many think the tune and title older than the turn of the 20^th century labor disputes, and point out an equally likely candidate for the title’s origins lie with the Cripple Creek that flows through Grayson and Carroll Counties in Virginia, emptying into the New River. Betty Vornbrock reports that there is a ‘town’ by the name of Cripple Creek south of Wytheville, in Wythe County adjacent to Grayson County, near Elk Creek and Bull Mountain (both in Grayson). The story she heard is that “hunters were on the trail of a large buck elk who led them over Buck Mountain, then along and across Elk Creek and on up north till they shot him, but only crippled him, at Cripple Creek.” Mike Yates (2002) confirms that “most Virginia musicians believe that it relates to a location in Wythe County, Virginia.” Still, the tune probably has no great antiquity. Glen Lyn, Virginia, fiddler Henry Reed (1884-1968), for example, told Alan Jabbour that he was sixteen years old when he first heard “Cripple Creek.” Jabbour explains that Reed said the man who first played it for him was from Texas and was simply passing through the Tug River region (i.e. Tug Fork of Big Sandy River) of the West Virginia/Kentucky border, where Reed and his brother were employed as young men in the coal country region of southern West Virginia doing blacksmith work (which perhaps does argue for western origins for the tune). The English folk-song collector Cecil Sharp picked up a version (called “Gone to Cripple Creek”) during his 1917 collecting trip in the Appalachians.

***

These ditty, or similar rhymes, were collected with the tune from various sources:

***

Cho:

Goin' up Cripple Creek, goin' on the run,

Goin' up Cripple Creek, have some/a little fun.

***

I've got a girl and she loves me, she's as sweet as she can be;
She's got eyes of baby blue, makes my gun shoot straight and true
***
(Cho:)

Goin' up Cripple Creek, goin' on the run
Goin' up Cripple Creek to have a little fun
Goin' up Cripple Creek, goin' in a whirl
Goin' up Cripple Creek to see my girl
***
I got a gal at the head of the creek, goin' up to see her 'bout the middle of the week;
Gals up Cripple Creek are only half grown, jump on a man like a dog on a bone.
***
Cripple Creek's wide and Cripple Creek's deep, I'll wade ol' Cripple Creek before I sleep;
Roll my britches to my knees, I'll wade old Cripple Creek whenever I please.
***
I went down to Cripple Creek, to see what them girls had to eat;
I got drunk and fell against the wall, old corn likker was the cause of it all. (this stanza is shared with the song “Old Corn Liquor”—see the Frank C. Brown Collection, North Carolina )

***
Well I married a wife in the month of June, married her up by the light of the moon.
We live down on Cripple Creek, we've been there about a week.
***
Kiss her on the mouth just as sweet as any wine, wraps herself around me like a sweet potato vine!
Roads are rocky and the hillsides' muddy, I'm so drunk that I can't stand steady. (A floating verse, see also “Sally Goodin.”)

***

Regarding the last two stanzas, Paul Gifford remarks that Bill Bigford (of Portland, Michigan) knew the variant below (sung also to “Pigtown Fling/Stony Point/Old Dad”):
***
The night was dark and the river was muddy,
Got so damn drunk I couldn't keep steady;
I give a little whoop and I give a little yell,
The horse run away, throwed the buggy all to Hell.

***

North Carolina banjo player and singer Charlie Poole recorded the song with the North Carolina Ramblers, adding verses which referred to the Shooting Creek region of Franklin County, southwest Virginia, famous for many years as a center for distilling homemade whiskey (becoming notorious for the commodity during the Prohibition). Poole was a frequent visitor, according to Tom Carter and Blanton Owen (1978).

***

Oh gals, you'd better look sweet,

'Cause there's plenty a more liquor on Shootin' Creek.

Oh gals, you'd better keep still,

'Cause there's plenty a more liquor in them Ivory Hills. (Charlie Poole)

***

See also Alan Lomax’s Folk Songs of North America (1960, pg. 232), Cecil Sharp’s English Folk Songs from the Southern Appalachians (1952, pg. 358), and The Frank C. Brown Collection of North Carolina Folklore, vol. 5 (1952, pg. 79) for more lyrics.

***

In the Mid-west it was recorded from Ozark Mountain fiddlers in the early 1940's by musicologist/folklorist Vance Randolph for the Library of Congress. Early commercial recordings include Sam Jones (1924), Fiddlin’ Powers (1924), Gid Tanner & Riley Puckett (1924), and Fiddlin’ John Carson (1927).

***

Sources for notated (print) versions: J.S. Price (Pottawatomie County, Oklahoma, and Claude Keenan, Oklahoma County, Oklahoma) [Thede]; Benny Thomasson (Texas) [Phillips/1989]; Clark Kessinger & Benny Thomasson [Phillips/1994]; Ralph DePriest (1925-2006, Hardy, Arkansas) [Beisswenger & McCann]; Homer E. Dillard, Sr. (c. 1913-c. 1993, Salem, Missouri) [Beisswenger & McCann].

***

Print versions: Beisswenger & McCann (Ozark Fiddle Music), 2008; pgs. 179 & 180 (two versions). Brody (Fiddler’s Fakebook), 1983; pg. 79. Ford (Traditional Music in America), 1940; pg. 94. Phillips (Fiddlecase Tunebook), 1989; pg. 14. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 61 (two versions). Thede (The Fiddle Book), 1967; pg. 109‑110.

***

Recorded versions: American Heritage 515, Mark O'Conmner‑ "You Be the Judge." Columbia CL 2134l, Flat and Scruggs‑ "Live at Vanderbilt University." County 703, Vernon Solomon‑ "Texas Hoedown." Davis Unlimited 33015, Doc Roberts (Ky.) ‑ "Classic Fiddle Tunes." Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 1” (reissue). Edison 51789 (78 RPM, 1925), and Victor (78 RPM, 1924) Fiddlin Cowan Powers (b. 1877, S.W. Va.). Folkways FA 2426, Doc Watson (N.C.) ‑ "At Folk City." Gennett 5635B (78 RPM), 1925, Tweedy Brothers (W.Va.). Gennett 6336 (78 RPM), Doc Roberts (Ky.). Heritage XXIV, Tommy Jarrell ‑ "Music of North Carolina" (Brandywine, 1978). Missouri State Old Time Fiddlers' Association, Cyril Stinnett - "Plain Old Time Fiddling." Musical Traditions MTCD321-2, Charlie Woods (et al) – “Far on the Mountain, vols. 1&2” (2002). OKeh 40336 (78 RPM), The Hill Billies (1925). Rounder 0058, Albert Hash, Paul Spencer, Jones Baldwin (Va.) ‑ "Old Originals, vol. II" (1978). Rounder CD 1701, Wade Ward. Rounder 1823, Jimmie Strothers – “Deep River of Song: Black Appalachia—String Bands, Songster and Hoedowns.” Tradition Records TLP 1007, Hobart Smith‑ "Instrumental Music of the Southern Appalachians" (1956). Tradition TCD 1061, Hobart Smith. Voyager 309, Benny and Jerry Thomasson (Texas) ‑ "The Weiser Reunion: a Jam Session" (1993). Marie Rhines‑ "Tartan and Sagebrush."

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

X:1

T:Cripple Creek

L:1/8

M:2/4

S:Frank Maloy, Devil’s Box, vol. 22, No. 3, Fall 1988, pg. 52.

K:A

a/g/a/e/ f/e/c/A/|d/e/f/d/ e/f/e/d/|c/B/A/c/ B/A/F/D/|(E/F/)A/B/ A:|

c/B/c/A/ B/A/F/A/|c/A/c/A/ EA/B/|c/B/c/A/ B/A/F/D/|(E/F/)A/B/ A:|

(E/F/)A/B/ AA/B/|(B/c/)e/c/ (B/A/)F/A/|(B/c/)e/c/ EA/B/|(B/c/)e/c/ (B/A/)F/D/| (E/F/)A/B/ A:||

CRIPPLE(D) KITTY. AKA and see "Clever Katie," "Wha'll Dance Wi' Wattie." Shetland, Shetland Reel. Shetland, Whalsay.

CRIPPLE WITH THE CRUTCHES. AKA and see "Connie the Soldier."

CRIPPLED BOY, THE. See “Gille Crùbach.”

CRIPPLED TURKEY. AKA – “Cripple Turkey.” Old‑Time, Breakdown. G Major. Standard tuning. AABB. The melody is similar tune to “Say Old Man (Can You Play the Fiddle).” It has become the basis for swing and contest improvisations in many versions. Recorded by Texas fiddler Bob Wills in 1936, but unreleased. Source for notated version: Absie Morrison (1876-1964, Searcy County, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 102. United Artists UA-LA 216-J2, Bob Wills – “For the Last Time” (1974).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

CRO NAN GOBHAR. AKA and see "The Goat Pen."

CROALL’S. Scottish, Strathspey. D Major. Standard. AA’B. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 79.

X:1

T:Croall’s

M:C

L:1/8

R:Strathspey

C.J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:D

F | B2 d>B f>B({^a}b>g | f>dc<f d<B ~B2 |1 {^G}[A2A2] c>A e>A({^g}a>)f | e>cB<e c<A A :|2

(d>B) e/d/c f>dg>f | e>dc<f d<B B|| c | ({c}d2 A>d F>dD>d | F>dD>d F<DD ^d |

{^d}[e2e2] B>e G>eE>e | ^G>eE>e c<AA>c | ({c}d2) A>d F>dD>d | F>dD>d F<DD>f |

(3gfe (3fed (3edc (3dcB | (3cba (3gfe f<d d ||

CROCK OF GOLD, THE. Irish, Reel. Composed in 1946 by Vincent Broderick, a flute player from Loughrea, and a member of the Kincora Ceili Band from 1952-1957. Often played in a medley with two other Broderick compositions, “The Tinker’s Daughter” and “Midsummer Night.” Broderick (The Turoe Stone). Green Linnet SIF 1139, “Eileen Ivers” (1994). Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999). Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music" (1977). Turlach Boylan – “The Tidy Cottage” (appears under the title “Rose Marie”

X:1

T:Crock of Gold, The

M:4/4

L:1/8

C:Vincent Broderick

R:reel

K:G

~B3B BAGE|G2AG GEDB,|DEGA BAGA|B2dB BAGA|

!~B3B BAGE|G2AG GEDf|g2fg egdA|DEGA BGG2:|

!ea~a2 bagb|a2ba gede|g2fg edBA|DEGA BGG2:|

CROCKETT'S FAVORITE. Old‑Time, Breakdown. USA; Galax, Va. A Major. Standard tuning. AABB. Identified as a Wade Ward tune "reprocessed by Dennis Tang." Crockett Ward was Wade's father, and a member of the Galax, Virginia, area band The Bogtrotters. Spandaro (10 Cents a Dance), 1980; pg. 34.

X:1

T:Crockett’s Favorite

M:C

L:1/8

K:A

CROGHAN HILL [1]. AKA and see “The Castle,” “God Speed the Plow,” “Ireland in New York,” “Speed the Plow.” Irish, Reel. G Major. Standard. AABB. The tune is in Breathnach’s CRÉ II (1985) as “Speed the Plow.” Source for notated version: fiddler Pat Neilly [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, Vol. 4, No. 1. Mallinson (Enduring), 1995; No. 18, pg. 8.

CROGHAN HILL [2]. Irish, Hornpipe. C Major. Standard. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan says the title refers to the place in County Offaly, the site of an outdoor 1946 feis where piper Leo Rowesome awarded her first prize. Keegan (The Keegan Tunes), 2002; pg. 66.

CROGHAN’S REEL. Irish, Reel. Giblin (Collection of Traditional Irish Dance Music), 1928; 42.

CROIDHE MHUMHAN. AKA and see "The Heart of Munster."

CROITH NA CLEITEACHA. AKA and see "Toss the Feathers."

CROITH NA PISEANNA. AKA and see “Rattle the Peas.”

CROMDALE HAUGHS. See “Haughs of Cromdale.” English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes, which he published c. 1800.

CROMDEL HILL. Scottish, Country Dance Tune (4/4 time). The melody appears in the Bodleian Manuscript, in the Bodleian Library, Oxford. It is inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, 1740."

CROMER SCHOTTISCHE. English, Schottische. England, East Anglia. Old Hat Records OH-1, Old Hat Band - "The Old Hat Concert Party."

CROMLET'S LILT. Scottish. Robin Williamson dates the tune from the 1590's but notes that it was first found in print in the Reverand William Geddes' Saints' Recreation, 1683. It later appeared in James Oswald's Curious Collection of Scots Tunes (c. 1739) as the fourth figure of his 'Sonata of Scots Tunes'. Williamson says the tune should more accurately be called "Cromleck's Lilt" after one Chisholm of Cromleck, who courted "a beauty named Helen, one of a family of 31 children, no less. Her youngest brother died at the age of 111, at which age he could still drink a bottle of ale at a draught." For some reason Cromleck had to leave for France, and while there composed a ballad and this tune for his beloved. Unfortunately, a friend had in his absence wooed the same Helen and succeeded in winning her affections to the extent they were married. On their bridal night however, she was visited by at least the voice of Croleck which cried "Oh Helen, Helen, mind me," at which she lept from the bed in horror. Evidently the marriage was never consummated, for Cromleck soon came home, discovered the treachery of his friend, and succeeded in having the marriage annulled, whereupon "Helen became the happy wife of her first intended." Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, Vol. 1."

CRONAN A’ MHATHAIR. Irish. Ireland, County Donegal. In the repertoire of Donegal fiddler Frank Cassidy. Cassidy’s was the version recorded by fiddler Seamus Ennis for Gael Linn.

CRONAN GABHAIR, AN. AKA and see “The Goat’s Song.” The tune appears under this title in Logan’s Scottish Gael and as “The Goat’s Song” in O’Neill’s Irish Minstrels and Musicians.

CRONAN MUILEACH, AN. AKA and see "The Dirge of Mull."

CRÒNAN NA LINNE MHUILICH (The Sound of Mull). Scottish, Reel. A Dorian (Stewart-Robertson): B Minor (Shears). Standard. AAB. Barry Shears says a similar sounding reel can be found in the Edinburgh Collection, Part 5 (c. 1910). His Cape Breton setting is from the music manuscript of piper Captain Angus J. MacNeil, of Gillis Point, Cape Breton, who compiled his work around 1915. According to Shears (1986), MacNeil was an officer-piper with the 94^th Regiment, Victoria Battalion, organized for home defense during World War I. His unit had the distinction of being the only British Empire unit with over 80% of its officers and enlisted being Gaelic speakers! There is also a slow air called "The Sound of Mull [2]" (Laoidh Chaluim Chille). The Sound of Mull is a the name of the waterway that separates the Island of Mull from the west Scottish mainland, and is the location of numerous shipwrecks, making it a favorite site for recreational divers in modern times. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 50 (pipe setting). Stewart-Robertson (The Athole Collection), 1884; pg. 45. Culburnie 113, Alasdair Fraser & Tony McManus – “Return to Kintail.” Dorian DOR-90190, Chris Norman, Alasdiar Fraser (et al) – “Beauty of the North.” Jackie Dunn – “Dunn to a ‘T’.” Glen Graham & Amy Graham – “Step Outside.”

X:1

T:Crònan na Linne Mhuilich

T:Sound of Mull

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A Minor

e(AA)c B>A B2|A2 A>^g ae^fd|e(AA)c BA B2|G2 G>c BddB:|

e2 e>^g ae^fd|e/e/e ed e^fge|dBGB dgdB||

CRONIN OF KERRY. AKA and see “Considine’s Grove{s},” “Dinny Ryan’s,” “The Gneevguilla Reel The Kerryman’s Daughter [2],” “Miss Brady,” “The Pride of Rathmore.” Irish, Reel.

CRONIN'S FANCY HORNPIPE. AKA and see “Charlie Mulvihill’s (Reel) [2],” “The Doon Reel [2],” “The Kilfenora Reel [3],” “O’Keeffe’s Reel [2],” "Speed the Plow [2],” “Tom Billy’s (Reel) [3]." Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: Belfast fiddler Seán McGuire (1927-2005) [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music) 1977; vol. 1, No. 34. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 58.

CRONIN'S FAVORITE [1] (Roga Uí Cronin). AKA and see "The Flowers of Limerick [1]." Irish, Reel. G Major. Standard tuning. ABCD. O’Neill remarked about source Cronin:

***

…he would play on for hours at a time such tunes as

memory presented, his features while so engaged remaining

as set and impassive as the sphinx…it was his open boast

that he never forgot nor forgave an injury.

***

Source for notated version: Chicago fiddler Edward Cronin, originally from County Tipperary [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1555, pg. 287.

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Cronin’s Favorite [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1555

Z:AK/Fiddler’s Companion

K:G

DGGF G2 GA | BAGA Bcde | fefd cAFA BGAF G2 ||
GA | Gggf g2 ga | bgga bgaf | d^cde fefg | abag fdcA | dggf g3d |

BAGA Bcde | fefd cAFA | BGAF G2 || GF | DGGA BAGB |

dcBd cBAG | FGAB cAFA | cBcA BGAF | GFGA BABd |

cBAB cdeg | fefd cAFA | BGAF G2 || df | gddf gbag | fede fgaf |

eccd efge | dcBA GcBA | G2 GA BABd | cBAB cdeg | fefd cAFA | BGAF G2 ||

CRONIN’S FAVORITE [2]. AKA and see “Bly’s Jig,” “Darby the Driver,” “Paddy Cronin’s [6].” Irish, Canadian; Jig. Canada, Cape Breton. A Dorian. Standard tuning. AABB. Sources for notated versions: Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; accordion player Paddy O’Brien (originally from County Offaly and Dublin, now of the Mid-West U.S.) at the Pipers’ Club in Dublin [Breathnach]. Breathnach (CRÉ V), 1999; No. 43, pg. 22. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 19, pg. 5. Miller (Fiddler’s Throne), 2004; No. 26, pg. 28. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 143. BM-91, Buddy MacMaster – “Glencoe Hall.” Nimbus Records NI 5383, Howie MacDonald & John Morris Rankin – “Traditional Music from Cape Breton Island.” Nimbus Records NI 7014, Howie MacDonald & John Morris Rankin – “World Music Sampler, vol. 2.” Rounder 7021, Natalie MacMaster – “A Compilation.”

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:Cronin’s Favorite [2]

M:6/8

L:1/8

R:Jig

K:A Dorian

CRONIN'S FROLICS (Sugacais Uí Cróinín). Irish, Double Jig. D Major. Standard tuning. AABBCCDD. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 338, pg. 70.

X:1

T:Cronin’s Frolics

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 338

Z:AK/Fiddler’s Companion

K:D

CRONIN'S HORNPIPE (Cornphíopa Uí Chróinín). AKA and see "Denis Murphy's Hornpipe." Irish, Hornpipe. G Major. Standard tuning. ABB (Miller & Perron): AABB (Breathnach, Cranitch, Mallinson, Tubridy): AA’BB (Moylan). Cranitch (1996) suggests playing this as the first tune of a medley with “Chief O’Neill’s Favorite.” Sources for notated versions: piper Seamas Ennis, 1959 (Dublin, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded in recital at Na Píobairí Uilleann, November, 1990 [Moylan]; fiddlers Pádraig O’Keefe, Denis Murphy & Julia Clifford [Miller & Perron]. Breathnach (CRÉ II), 1976; No. 303, pg. 155. Bulmer & Sharpley (Music from Ireland), vol. 1; 69. Cranitch (Irish Fiddle Book); 1996; pg. 76. Mallinson (Enduring), 1995; No. 86, pg. 36. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 51 (appears as “Denis Murphy’s Hornpipe”). Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 115. Moylan (Johnny O’Leary), 1994; No. 171, pg. 98. Taylor (Crossroads Dance), 1992; No. 56, pg. 43. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 13. Copely Records 9-113 (78 RPM), Paddy Cronin (195?). Shaskeen ‑ "My Love." Topic 12T309, Pádraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry Fiddles” (1977).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

Alan Ng’s Irishtune.info

X:1

T:Cronin’s Hornpipe

M:4/4

L:1/8

K:G

gage dega|bage dBAB|G2 GF G2:|

GABd dBde|gage dega|bage dBAB|G2 GF G2:|

CRONIN'S RAMBLES (Triallta Uí Cróinín). Irish, Hornpipe. A Major. Standard tuning. AABB. Source for notated version: Chicago fiddler Edward Cronin, originally from County Tipperary [O’Neill]. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O'Neill (1915 ed.), 1987; No. 327, pg. 162. O'Neill (Krassen), 1976; pg. 179. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1622, pg. 301. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 855, pg. 148.

X:1

T:Cronin’s Rambles

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 855

Z:AK/Fiddler’s Companion

K:A

AGAB cABc|dcdf ed (3efg|aecA dBGB|A2A2A2:|

e2 ce Aece|dcde fgaf|eagf edcB|AdcB A2:|

CRONIN’S REEL. See also tunes listed under “Johnny Cronin’s” and “Paddy Cronin’s.”

X:1

K:A

Or loan an ass of Foxy Jim

Gurbh ag Gaeil chúmhra an Chreagáin a leagfar mé i gcré faoi fhod.

M:C|

A>BAG FG A2 | c(d”tr”cA) cd”tr”cB | ABAG FGAc | fde^c d/d/d d2 :|

A | D>F (A/F/)(F/d) | (A/F/).F A/F/F/d/ | D>F A/F/F/A/ | B/d/A/F/ (3.E/.E/.E/E |

T:Sound of Mull

CRONIN OF KERRY. AKA and see “Considine’s Grove{s},” “Dinny Ryan’s,” “The Gneevguilla ReelThe Kerryman’s Daughter [2],” “Miss Brady,” “The Pride of Rathmore.” Irish, Reel.

X:1

CRONIN OF KERRY. AKA and see “Considine’s Grove{s},” “Dinny Ryan’s,” “The Gneevguilla Reel The Kerryman’s Daughter [2],” “Miss Brady,” “The Pride of Rathmore.” Irish, Reel.