Cottonwood Reel

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Theme code Index	5H5H5H3H 3H3H3H1H
Also known as	Cottonwood, Moreley's Reel
Composer/Core Source
Region	Canada, United States
Genre/Style	Cape Breton/PEI, Old-Time
Meter/Rhythm	Reel (single/double)
Key/Tonic of	D
Accidental	2 sharps
Mode	Ionian (Major)
Time signature	4/4
History	USA/Central"USA/Central" is not in the list (IRELAND(Munster), IRELAND(Connaught), IRELAND(Leinster), IRELAND(Ulster), SCOTLAND(Argyll and Bute), SCOTLAND(Perth and Kinross), SCOTLAND(Dumfries and Galloway), SCOTLAND(South Ayrshire), SCOTLAND(North East), SCOTLAND(Highland), ...) of allowed values for the "Has historical geographical allegiances" property., Canada/Maritimes (English)"Canada/Maritimes (English)" is not in the list (IRELAND(Munster), IRELAND(Connaught), IRELAND(Leinster), IRELAND(Ulster), SCOTLAND(Argyll and Bute), SCOTLAND(Perth and Kinross), SCOTLAND(Dumfries and Galloway), SCOTLAND(South Ayrshire), SCOTLAND(North East), SCOTLAND(Highland), ...) of allowed values for the "Has historical geographical allegiances" property.
Structure	AABBCC
Editor/Compiler	Biography:Kate Dunlay & David Reich
Book/Manuscript title	Book:Traditional Celtic Fiddle Music from Cape Breton
Tune and/or Page number	p. 56
Year of publication/Date of MS	1986
Artist	Biography:Happy Hayseeds (The)
Title of recording
Record label/Catalogue nr.	Victor 23774 (78 RPM)
Year recorded
Media
Score ()

COTTENWOOD REEL. AKA- "Moreley's Reel." Old-Time, Breakdown; Canadian, Reel. USA, Missouri. Canada, Cape Breton. D Major ('A' & 'B' parts) & G Major ('C' part). Standard or ADae tuning (fiddle). AA'BCC (Dunlay & Greenberg/Laam): AABBCC (Dunley and Reich): AA'BBCC' (Phillips). The melody appears to have originated in American tradition, migrating in the reverse direction via New England to Cape Breton. It was recorded in the 1920's by the Happy Hayseeds, a group whose members came from Oregon and California, and may have possibly been learned by Hayseed's fiddler Ivan Laam from his German-born fiddling father, Abe, according to Dunlay & Greenberg (1996). The tune is associated on Cape Breton with Angus Chisholm, however, Winston Fitzgerald stated to Paul Cranford that he himself taught it to Chisholm. As Dunley and Reich point out, internal key changes in tunes are uncharacteristic of Scottish music, the style most Cape Breton tunes are composed in.

Sources for notated versions: Arthur Muise (Cape Breton) [Dunlay and Reich]; Vivian Williams (Mo.) [Phillips]; Ivan Laam (Oregon/California) [Dunlay & Greenberg]; Angus Chisholm (Cape Breton) [Dunlay & Greenberg].

Printed sources: Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pp. 80-81. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; p. 56. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; p. 57.

Recorded sources: Cape Breton's Magazine Tape, Mike MacDougall- "Mike MacDougall's Tape For Fr. Hector." DMP 6-27-1, Doug MacPhee- "Cape Breton Piano III" (1981). JAD-1, Jackie Dunn - "Dunn to a T" (1995). Rodeo (Banff) RBS 1255, Barbara MacDonald- "Scottish Piano Selections" (as "Moreley's Reel"). Rounder SS-0145, Joe Cormier (Cape Breton) - "Traditional Music on Rounder: A Sampler" (1981). Victor 23774 (78 RPM), The Happy Hayseeds. Voyager VRLP 328-S, "Kenny Hall and the Long Haul String Band" (learned from the Victor 78 RPM recording by The Happy Hayseeds - the Lamb brothers). See also listings at Jane Keefer's Folk Music Index [1], and Alan Snyder's Cape Breton Fiddle Recording Index [2].

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