The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

JENN

[COMMENT3] 

 

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] 

JENNIFER A. OSBORN. American, March (6/8 time). A Flat Mixolydian. Standard tuning. AABBCCDD. Composed in Cape Breton Scottish style by piper Heather Cameron, originally from Maryland but now a student at Acadia University in Wolfville, Nova Scotia. Cook (Night in the Kitchen Collection), 1986; pg. 29.

 

JENNINGS' CHAMPION CLOG. American, Clog. D Major. Standard tuning. AABB. It seems likely the title refers to dancer John Jennings, of whom Edward Le Roy Rice says in his book Monarchs of Minstrelsy (New York, 1911):

***

MANCHESTER AND JENNINGS worked harmoniously as a team for eighteen years, during

Which period they were associated with some of the best minstrel organizations travelling. As

a black-face comedy act they were among the leaders. Their first join appearance was in 1870.

About 1874 they joined Washburn’s Last Sensation, remaining two seasons. September 27,

1875, they made their first appearance with Hooley, Haverly and Maguire’s Minstrels in

Chicago. Subsequently they were members of Kelly and Leon’s Company, and then—and

then—unable to wait another day—they launched forth Manchester and Jenning’s Minstrels

in the Spring of 1878. Without going into details, it may be said that the season was a backward

one that year. The Partnership lasted until the death of Johnny Jennings.

***

Bobby Manchester made his debut on the stage in 1865 with Newcomb’s Minstrels. September

24, 1886, he gave the first performance of his “Night Owls” Burlesque Company; since which

date he has been prominently identified with the burlesque world. Bob Manchester (Aaron Mills),

was born in Gloversville, N.Y., July 2, 1853.

***

Johnny Jennings was an exceptionally clever dancer; he made his first appearance in his native

City at old Farrar Hall about 1864. About a year later he joined Morris Brothers, Pell and

Trowbridge’s Minstrels in Erie, and subsequently appeared with them in their Boston theatre.

He continued with this company for an extended period, part of which time as Collins, Queen

and Jennings, they did an act called the “Alabama Triplets.” Mr. Jennings is reputed to have

been the original skate dancer, in which he was marvellously adept. John Jennings was born in

Erie, Pa., about 1857; he died there, November 7, 1888.

***

Cole (1000 Fiddle Tunes), 1940; pg. 120. Ryan’s Mammoth Collection, 1883; pg. 158.

X:1

T:Jenning’s Champion Clog

M:C|

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(F>.G) | {B}(A>.^G)A>F D>FA>d | c>ed>B A>ce>g | f>de>c d>BA>F | B2E2 E>F(G>^G) |

{B}A>^GA>F D>FA>d | c>ed>B A>ce>g | f>de>c d>BA>G | F2{c}d2D2 ::  (c>.d) |

{f}(e>.^d)e>c A>ce>g | g>fa>f d2 e>f | g>ab>a g>fe>d | (3cde (3dcB A2 c>d |

{f}e>^de>c A>ce>g | g>fa>f d2 e>f | g>ab>a (3gec (3ABc | d2f2d2 :|

 

JENNIE AND THE WEAVER. AKA and see "Jennie and the Weazel," "The Highway to Holburn," "Jenny's Welcome to Charlie."

 

JENNIE AND THE WEAZEL (Sinéad agus an Easóg). AKA and see "Jennie and the Weaver," "The Highway to Holburn," "Jenny's Welcome to Charlie." Irish, Reel. D Mixolydian. Standard. AABBCC’. “Jenny’s Welcome to Charlie” is a related tune. Breathnach (CRÉ V), 1999; No. 156, pg. 77.

 

JENNIE BAKER. AKA – “Jenny Baker.” AKA and see "Boys of Bluehill," "Beaux of Oak Hill [1]." Old‑Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AA'BB'. Guthrie Meade identifies this as a Kentucky tune which bears a close relationship to "Fire In the Mountain" and other tunes of the "Sally Goodin" tune family. The basis for the tune appears to be the Irish-style hornpipe “Boys of Bluehill.” See also the related "Old Ark's A-Movin.'" The melody was recorded in the 78 RPM era by Kentucky’s  Jimmy Johnson String Band, featuring Andy Palmer on fiddle. It was also recorded as an untitled tune, part of a medley, by Kentucky-born William B. Houchens (1884-c.1955), who recorded a dozen tunes for the Starr Piano Company of Indiana (including such chestnuts as “Arkansas Traveller” and “Turkey in the Straw”). Houchens spent much of his adult life running a music conservatory in Dayton, Ohio, where he taught a variety of stringed instruments (Charles Wolfe). Source for notated version: Pat Conte [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 123.

X:1

T:Jenny Baker

M:C|

L:1/8

S:Bruce Molsky, based on the Ky. version by Andy Palmer

Z:AK/Fiddler’s Companion

K:D

fg | afdf afdf | gfga b2 a2 | f2 af egfe | dfed B2 fg |

afdf afdf | gfga b2 a2 | f2 af egfe | dfec d2 :|

|: dB | AFDF A2 Ad | BABd e2 d2 | f2 af egfe | dfed B2 dB |

A/[FA][F/A/] [F2A2][F2A2]| BABc e2 d2 | f2 af egfe | dfec d2 :|

 

JENNIE BANG THE WEAVER. AKA and see “Jenny Dang(ed) the Weaver [1].” An Irish title-twist on the Scottish title.

 

JENNY BEGUIL'D THE WEBSTER. AKA and see "Jenny Dang the Weaver." Scottish, Reel. D Major. Standard tuning. AB. This is an early version of "Jenny Dang the Weaver" from William Thompson's Orpheus Caledonius collection of 1733. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 18, pg. 39.

 

JENNY BELL('S) POLKA. English, Polka. G Major. Standard tuning. AABBCC. A 48-bar polka. Alistair Anderson (1976) says it is a popular polka throughout the North East (England). Raven (English Country Dance Tunes), 1984; pg. 143. Front Hall FHR‑08, Alastair Anderson ‑ "Traditional Tunes" (1976).

 

JENNY BOWSER. Scottish, Reel. D Major. Standard tuning. AAB. Composed by James Scott Skinner. MacDonald (The Skye Collection), 1887; pg. 40. CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994). Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton, N.S.) - “In Jig Time!” (1995).

X:1

T:Jenny Bowser

M:C

L:1/8

R:Reel

S:MacDonald – Skye Collection (1887)

Z:AK/Fiddler’s Companion

K:D

G|FG Ac d2 AF|E/E/E BA B(EE)G|(FG) (Ac) d2 (AF)|D/D/D (AF) ADD:|

g|fdec dAGF|E/E/E (BA) BEEg|fdec dBAF|D/D/D (AF) A(DD)g|

fdec dAGF|E/E/E (BA) B(EE)g|fa gb af ge|fdec dBA||

 

JENNY CAMERON'S RANT. AKA and see “Bob O’ Dooly,” "Carlin, Is Your Daughter Ready?," "Port Nan Con," "There's Nae Luck"??? English, Reel. England, Northumberland. A Minor. Standard tuning. AABB. Jenny Cameron is a common enough name, though the title may perhaps refer to Jenny Cameron of Glendessary, who not only raised some 300 men for Bonnie Prince Charlie, but led them to the raising of the Jacobite standard on August 19th, 1745. Despite the fierce pose in the English propaganda picture below, she did not take part in any fighting.

***

Propaganda picture of Jenny Cameron.

***

The melody appears in the 1770 music manuscript collection of Northumberland musician William Vickers (about whom, unfortunately, nothing is known). Seattle (William Vickers), 1987, Part 3; No. 579.

X:1

T:Jenny Cameron’s Rant

M:C|

L:1/8

R:Reel

S:William Vickers’ 1770 music manuscript (Northumberland)

K:A Minor

A|A/A/A ed cAcA|A/A/A ed cGcG|A/A/A ed cAcA|E/E/E EF GABG:|

|:A/A/A a2 caca|B/B/B g2 BgBg|A/A/A a2 caca|E/E/E EF GABG:|

 


JENNY COMB YOUR HAIR. Old‑Time, Breakdown. USA, Missouri. A Minor. Standard tuning. ABB. Source for notated version: Cyril Stinnett (1912-1986, Oregon, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 2), 1984; pg. 90.

 

JENNY COME PAY ME. AKA and see "Jenny Come Tie My Cravat [2]," "The Scotch Currant." English, Country Dance Tune (3/4 or 6/8 time) or Jig. England, Northumberland. D Major. Standard tuning. AABB. Emmerson (1971) finds this tune in Apollo’s Banquet  (5th Ed.). The country dance version given by the Northumbrian compiler William Vickers is listed by editor Seattle as "Jenny Come Pay Me;" he believes it sounds similar to "Mr. James Boswell's Jig." The tune was originally a seventeenth century corrant, states Emmerson (1972), entitled "The Scotch Currant." Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; pg. 146 (appears as “Jenny Come Tie My Cravat”). Emmerson (A Social History of Scottish Dance), 1972; pg. 196. Seattle (William Vickers), 1987, Part 2; No. 375.

           

JENNY, COME TIE MY CRAVAT [1]. AKA and see "The Garter." English, Scottish; Country Dance Tune (2/2 time). C Major. Standard tuning. AB. The melody dates from at least 1690 according to Barnes. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 50.

X:1

T:Jenny, Come Tie My Cravat [1]

T:Garter, The

M:2/2

L:1/8

S:Sharp – Country Dance Tunes   (1909)

Z:AK/Fiddler’s Companion

K:C

(e3 d ef g2 | c2G2c2) (cd | e2) (ef g2) (fe | dcde d2) (g2 |

e3d ef g2 | c2G2c2) (cd | e2) (ef f3 e/f/ | g8 || (g3 f/e/ d2g2 |

e3d c2) (e2 | d2 cB A2d2 | B3A G2) z/(d/e/f/ | g2 f/e/ d2g2 |

e3f g2) (c2 | d2 ef d3c | c6 z2 ||

 

JENNY COME TIE MY CRAVAT [2]. AKA and see “Jenny Come Pay Me.”

           


JENNY DANG(ED) THE WEAVER [1] (Planc Sinead an Fiodoir). AKA and see “Furze Bush,” "Jenny Bang the Weaver," "Jemmy Dang the Weaver," "Jenny Beguil'd the Webster,” “Longford Spinster,” “Longford Tinker." Scottish (originally), Shetland,  Irish, Canadian, American; Air, Reel or "Solo Strathspey." USA, New England. Canada, Cape Breton. D Major. Standard. AB (Athole, Gow, Skye, Surenne): AAB (Honeyman, Hunter, Martin & Hughes, O’Farrell): AA’B (Perlman): ABC (Breathnach): AABB (Cole): AA'BB' (Kerr). Composition of the tune has been credited to the Rev. Alexander Garden (1688‑1778), minister of Birse, Aberdeenshire, Scotland. Hunter (1988) relates that around 1746 "the minister's 'handy‑man,' and ex‑weaver from Mary well called Jock, hotly refused to clean the parson's boots when requested to do so by Mrs. Garden. The enraged minister's wife gave him such a beating with her 'tattie‑beetle' that he soon performed the task." Another explanation for the title stems from the fact that an engine or a machine was often called a “jenny”; thus a “jenny” that replaced a weaver to produce cloth could be said to ‘dang’ (beat) him. It was first published in the 2nd edition of William Thompson's Orpheus Caledonius (1733), where it appeared as "Jenny Beguil'd the Webster." John Glen (1891), though, finds it earliest in print in Robert Bremner's 1757 Collection of Scots Reels or Country Dances, and it was also printed in the Gillespie Manuscript of Perth (1768). It is reported to be in Rutherford's 200 Country Dances of c. 1756. It became a favorite early 19th century song (at least in Lowland centers, says Emmerson {1971}), with lyrics by Sir Alexander Boswell set to the tune. The song tells of a weaver who makes unwanted advances toward Jenny, who turns him down flatly, or ‘dangs’ him:

***

Jenny dang, and Jenny dang, and Jenny dang the weaver,

Soon the fool his folly kent and Jenny dang the weaver.

***

The popular melody was known in the American colonies where it appeared in the MS copybooks of violinist Whittier Perkins (Massachusetts, 1790) as "Jemmy dang the weaver" and Clement Weeks (Greenland, New Hampshire, 1783) as "Jenny Dangs." It has been observed that there is some similarity between this tune and the Irish three-part setting called the “Longford Tinker.” See also the Irish “Furze Bush” and an untitled reel in the Northern Fiddler (1979), No. 189. Sources for notated versions: fiddler Seán Keane (Ireland) [Breathnach]; Peter Chaisson (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 19, pgs. 39‑40 (a reprint of the Skye version). Breathnach (CRÉ III), 1985; No. 139, pg. 65 (appears as “Planc Sinéad an Fíodóir/Jennie Bang the Weaver”. Bremner (Scots Reels), c. 1757; pg. 54. Gow (Complete Repository), Part 1, 1799; pg. 34. Henderson (Flowers of Scottish Melody), 1935. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 13 (reel). Hunter (Fiddle Music of Scotland), 1988; No. 216. Johnson (The Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), vol. 10, 1992 (revised 2001); pg. 7. Kerr (Merry Melodies), vol. 1; Set 6, No. 4, pg. 6. Lowe’s Collection, 1844. MacDonald (The Skye Collection), 1887; pg. 35 (appears as a "Solo Strathspey"). Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 23. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 56. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 77. Stewart-Robertson (The Athole Collection), 1884; pg. 83. Surenne, Dance Music of Scotland, 1852; pg. 27. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Claddagh Records CC17, Sean Keane ‑ "Gusty's Frolics" (1975). Culburnie Records CUL102, Alasdair Fraser & Jody Stecher – "The Driven Bow" (1988). Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Green Linnet GL1108, The Tannahil Weavers ‑ "Cullen Bay." Green Linnet SIF 1077, Capercaillie ‑ "Crosswinds" (1987). Green Linnett GLCD 1119, Cherish the Ladies - "The Back Door" (1992). “The Caledonian Companion” (1975). “Dun Creagan in Paradise.”

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:Jenny Dang the Weaver

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

f/e/ | d>A A/A/A AFAB | d>A A/A/A f2 ef | d>B B/B/B BABd | ABde faef |

d>A A/A/A AFAB | d>A A/A/A f2 ef | dB B/B/B BABd | ABde f2e ||

f | d2fd efge | d2fd e2cA | d2fd efge | aA A/A/A f2ef | d2fd efge |

defd e2cA | defd efge | abag faef ||

X:2

T:Jenny dang the weaver

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels (1757)   pg. 54

Z:AK/Fiddler’s Companion

K:D

g | fA A/A/A ABAB | dA A/A/A “tr”f2ed | fB B/B/B BABd | ABde “tr”f2e :|

|: f | defd efge | defd “tr”e2 dB | defd eBgB | aA A/A/A “tr”f2e :|

 

JENNY DANG THE WEAVER [2]. Irish, Reel. D Major. Standard tuning. AA’B. O’Neill (1922) says: “This old time Scotch reel found in many publications, ancient and modern, first appeared in Bremner's Collections of Scots Reels or Country Dances 1757. The version of it as played by the famous Patsy Touhey on the Irish or Union pipes, much less cranky than the original and later versions, may be found interesting.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 293. Green Linnet Records, Jack & Charlie Coen – “The Branch Line (1992. Originally recorded for Topic Records in 1977. Learned from NY fiddler Larry Redican).

X:1

T:Jenny Dang The Weaver [2]

M:4/4

L:1/8

S:Patsy Touhey manuscript

Z:Paul Kinder

R:Reel

K:D

B2 "tr"BA B2 dB|ABdf gfed|A2 AF A2 dB|1ABdf gfed:|2ABdf gfec||

d2 fd efge|d2 fd "tr"g2 fe|d2 fd efgf|eaaf gfec|

d2 fd efge|d2 fd g2 ga|bgaf gfed|(3Bcd ef gfed||

 

JENNY DANG THE WEAVER [3].  American (?), Reel. D Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 5. Ryan’s Mammoth Collection, 1883; pg. 29. White’s Unique Collection, 1896; No. 50, pg. 9.

X:2

T:Jenny Danged the Weaver [3]

M:C|

L:1/8

S:White’s Unique Collection (1896)

Z:AK/Fiddler’s Companion

K:D

A |: d2 (fd) efge | d2 fd g2fe | d2 (fd) efge | aBBd g2(fe) | d2 (fd) efge |

d2 fd g2 fe | d2 (fd) efge | aBBd g2 (fe) :: gBBc B2 (BA) | GABd g2(fg) |

aAAA A2 (3BAG | ABde f2 (ef) | gBBc B2(BA) | GABd g2(fg) |

aAAA ABAG | ABde f2(ge) :|

                       

JENNY DRINKS NAE WATER. Scottish, Scottish Measure or Country Dance (cut time). D Major. Standard tuning. AABB. The air appears in the Skene Manuscript (c. 1615‑20). Presumably Jenny drinks whiskey instead. McGlashan (Collection of Scots Measures), 177?; pg. 5 (appears as “Janie Drinks nae Water”). Stewart-Robertson (The Athole Collection), 1884; pg. 149.

X:1

T:Jenny Drinks Nae Water

M:C|

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:D

Bc|dcBA d3f|e2E2E2Bc|dBcA d3A|F2D2D2a2|faba fgaf|

gfed e2de|f2ed BdAd|F2D2D2:|

|:Bc|dcBA BcdB|edcB cdec|dcde defg|abag fgaf|gaba fgaf|

gfed e2de|f2ed BdAd|F2D2D2:|

 

JENNY DWYER. Irish, Air (3/8 time). F Major. Standard tuning. One part. The tune is a major-mode variant of the air “Siúbhán Ní Dhuibir.” Source for notated version: "From a MS. book lent to me by Surgeon‑Major‑General King of Dublin (about 1885), who copied them 40 years previously from an old MS. book in Cork" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 370, pg. 169.

X:1

T:Jenny Dwyer

M:3/8

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs   (1909)

Z:AK/Fiddler’s Companion

K:F

f| fcA | Bcd | cAG | F2F | F2A | c>cc | def | egf | d2c | c2A |

ccc | def | e>gf | d2c | f2f | fcA | Bcd | cAG | F2F | F2 ||

 

JENNY GEDDES. Scottish, Reel. B Flat Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 156, pg. 18.

X:1

T:Jenny Geddes

M:C|

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 156  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:B_

B/B/B B2 AcAF | B/B/B B2 cedc | BcdB GBeg | fdce (dB)B2 :|

|: f/f/f f2 dfdB | g/g/g g2 egec |1 f/f/f f2 dfdB | ecdB AcAF :|2 dBec fdge | dBcA B2B,2 ||

 

JENNY GET AROUND. Old-Time, Song and Breakdown. USA, Kentucky. A Major. AEae tuning. AABB. Jeff Titon (2001) says the tune is related to one of the “Liza Jane” melody types, and points out similarities between the ‘A’ part of “Jenny Get Around” and the ‘B’ part of Clyde Davenport’s “Liza Jane.” Mark Wilson points out relationships between “Jenny…” and the “Sugar Hilltune family. Titon calls it a regional eastern Kentucky tunes and finds it listed twice on the Berea, Kentucky, tune lists of 1915. It is often sung, with banjo accompaniment and was collected as a song by John and Alan Lomax, appearing in their book Our Singing Country (1941, pgs. 63-65). Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky., 1941) [Titon]. Titon (Old-Time Kentucky Fiddle Music), 2001; No. 74, pg. 103. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-1942, vol. 2” (1993). Jim Martin Productions JMP201, Gerry Milnes (et al) – “Gandydancer.” June Apal 0051, Lee Sexton – “Whoa Mule” (1988). June Apal 0055, Morgan Sexton – “Rock Dust” (1989). Mudthumper Music MM-0030, Clare Milliner and Walt Koken – “Just Tunes.”

X:1

T:Jenny Get Around

M:C

L:1/8

S:Clare Milliner

N:AEae tuning

N:ABC’s from a transcription by John Lamancusa, by permission. See http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:A

fg |: a2 fa e2c2 | ecBA cABG |

M:2/4

L:1/8

A2 fg |

M:C

L:1/8

A2 fa e2c2 | e2 ef e2 (3efg | a2a2e2f2 | ecBA cABG | A2A2E2 EG |1

FEFG A2 fg :|2 FEFG A2A2 |

M:2/4

L:1/8

[A,2E2]f2 ||

M:C

L:1/8

ecBA cABG | A2A2 [A,2E2]f2 | ecBA cABA | F2F2[A,2E2]f2 |

ecBA cABG | A2A2E2 EG |1 FEFG A2A2 |

M:2/4

L:1/8

[A,2E2]f2 :|2

M:C

L:1/8

FEFG A2fg ||

 

JENNY GOT A CLINKING. AKA and see “The Lovely Lassie Winking.”

 

JENNY HARDIE'S REEL. Scottish, Reel. F Major. Standard tuning. AB. Composed by Bill Hardie, dedicated to his late wife, Mrs. Janet B. Hardie (1912‑78), born in the village of Auckengill, near Wick in Caithness. Hardie (Caledonian Companion), 1992; pg. 77.

 


JENNY IN THE COTTON PATCH. Old‑Time, Breakdown. USA; Tennessee, Ky. A Mixolydian. AEae or GDgd tunings. AABB'. A 'jenny' is a mule. An archaic-style fiddle tune learned by Monticello, Ky., fiddler Clyde Davenport from his father, Will Davenport, who himself had it from one Will Phipps. Phipps was an old timer (born in 1812) from Rock Creek, Tennessee, who was supposed to have been buried with his fiddle in his coffin. Titon (2001) finds the tune in the “Granny Will Your Dog Bite”/”Betty Martin” tune family. See also the closely related Kentucky tune “Huldy in the Sinkhole.” Source for notated version: Clyde Davenport (Monticello, Wayne County, Ky. 1990) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 75, pg. 104. Berea College Appalachian Center AC002, Clyde Davenport – “Puncheon Camps” (1992). Davis Unlimited DU 33014, Clyde Davenport & W.L. Gregory – “Monticello: Tough Mountain Music from Southern Kentucky” (1974). County 786, Clyde Davenport (Monticello, Ky.) ‑ "Clydeoscope: Rare and Beautiful Tunes from the Cumberland Plateau" (1986).

X:1

T:Jenny In The Cotton Patch

C:Traditional

S:Clyde Davenport

N:Transcribed into ABC format by Dan Mozell from

N:Graphic file of standard notation at Jeff Titon's web site.

N:(http://www.stg.brown.edu/projects/davenport/

N:JEFF_TITON.html)

K:A

M:2/2

L:1/8

"Tune AEae" (A2|:A)Bcd e2 d2 | (Bc)dd e2 e2 |

(+eB+ +e2c2+) +ce+ A2 AB | AFEF E A2 B | AFEF E(AA)B |

M:2/4

A4 (A4:|

M:2/2

|:A)BcA d2 ff | edef {f}=g3 f | edef abaf |

[1 eaab a2 A2 :|[2 eaab a2 ||

                                   

JENNIE IN THE GARDEN. Old‑Time, Breakdown. USA, Ky. In the repertoire of Uncle Bunt Stevens. A 'jenny' is a mule. May by the tune "Sally in the Garden (Sifting, Sifting)."

                                   

JENNY IN THE LOWLANDS. AKA and see "Jinny in the Lowlands." AKA ‑ "Billy in the Lowground."

                                      

JENNY JENKINS. Old‑Time, Song and Fiddle Tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

Hi Jenny, Ho Jenny, Hum a Jenny Jenkins.

                       

JENNY JONES.  AKA and see “How Paddy was Fooled,” "Sweet Jenny Jones,” “Widow on the Train." English, Scottish; Waltz. G Major. Standard tuning. AB (Kerr): AAB (Trim). Kerr (Merry Melodies), vol. 3; No. 307, pg. 33. Trim (Thomas Hardy), 1990; No. 31. North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village."

X:1

T:Jenny Jones

M:3/4

L:1/8

R:Waltz

S:Kerr – Merry Melodies, vol. 3, No. 307  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d2 | g2d2B2 | G3AB2 | c2e2a2 | f2d2(ef) | g2d2B2 | c3de2 | d2g2f2 |

g4d2 | g2d2B2 | G3AB2 | c2e2a2 | f2d2(ef) | g2d2B2 | c3de2 | d2g2f2 | g2z2 ||

g2 | b2g2b2 | a2f2a2 | g2e2a2 | f2d2g2 | b2g2b2 | a2f2a2 | g2f2e2 |

d2e2f2 | g2d2B2 | G3AB2 | c2e2a2 | f2d2(ef) | g2d2B2 | c3de2 | d2g2f2 | g2z2 ||

                       

JENNY LACE YOUR TIGHT. AKA and see "Jenny Tie Your Bonnet."

                       

JENNY LATIN. Scottish, Reel. D Major. Standard tuning. AB (McGlashan): AABB’ (Kerr). Alexander "King" McGlashan (c. 1786) was the first to attribute the composition of this tune to the Scottish fiddler and composer William Marshall, however, it does not appear in any of Marshall’s own collections. Later ascription to Marshall appear to be copies of McGlashan’s attribution. The title “Jenny Latin” probably derives from the tune’s vague resemblance to “Jackie Layton/Jack Lattin.” Kerr (Merry Melodies), vol. 4; No. 75, pg. 10. McGlashan (A Collection of Reels), c. 1786; pg. 33.

X:1

T:Jeany Latin

M:C|

L:1/8

R:Reel

S:McGlashan – Reels (c. 1786)

Z:AK/Fiddler’s Companion

K:D

B|D>FAF BGAF|D>FAF (d2 d)f|DFAF BGAF|E=ccE (G2 G)B|D/E/F/G/ AF BGAF|

D/E/F/G/ AF (d2 d)f|D/E/F/G/ AF BGAF|E=ccE (G2 G)||g|fddf Afde|fddf (a2 a)b|

fddf Afde|=cdef g3 b|fddf Afdg|fddf a3 b|afge fdec|E=ccE (G2 G||            

 


JENNY LIND (POLKA) [1]. AKA and see “The Bridal Polka [2],” "Jenny Lind's Favorite Polka," "Da Bonnie Polka," "Heel and Toe Polka [1]," "Hole in Her Stocking," "Reel du Pont," “Sally/Sal with the Run Down Shoes,” "The Tempest [3].” American & Australian, Polka; English, Polka and Morris Dance Tune (2/2 or 4/4 time). USA; New York, Pennsylvania, Alabama, Arkansas, Virginia, West Virginia, North Carolina. England; Dorset, Oxfordshire and North‑West England. F Major (Trim): G Major (Bacon, Brody, Mallinson, Phillips): D Major (Kerr): D Major {'A' part} & G Major {'B' part} (Bacon, S. Johnson, Taylor, Wade): D Major {'A' and 'B' parts}, G Major {'C' and 'E' parts} & C Major {'D' part} (Ford). Standard or AEae (Art Stamper) tunings. AB (Brody): AABA (Trim): AABB (S. Johnson, Taylor, Wade): AA'BB (Kerr): AA'BB' (Phillips): ABCDE (Ford): ABB, x4 (Bacon, Mallinson). A dance tune composed in 1846 as “Jenny Lind’s Lieblings-Polka,” attributed to the composer Anton Wallerstein, commemorating the "Swedish Nightingale," Johanna Maria “Jenny” Lind (1820-1887), an operatic soprano. It was hugely popular and entered a number of English-speaking folk traditions, though in America the melody usually appears in two parts rather than the multiple parts that were originally printed. She toured Europe during 1844-48 to much popular acclaim, and took London, then Dublin by storm in 1847 and 1848. P.T. Barnum promoted an American tour of the by then world-famous singer in 1851-52, and she played a 150 concerts, at $1,000 a performance. She earned enough so that upon her return to Europe she retired from professional performing and became a philanthropist and singing teacher. She eventually settled in Malvern, Worcestershire, England, where she died and is buried. Lind’s fame coincided with the rise in popularity of the polka, although she and the form were not directly related except by this famous piece, dedicated to her.

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The tune is almost universally known among older traditional fiddle and squeezebox players in England and morris dance versions have been collected from the Bampton area of England's Cotswolds (Mallinson), and North‑West England (Wade) where it is used as a tune for a polka step. It was a hit of the late 20th century folk revival in England, its popularity spurred by Bill Leader, Reg Hall and Bob Davenport’s influential recording “English Country Music” (1965), which featured fiddler Walter Bulwer and his wife Daisy (piano), and Billy Cooper (hammered dulcimer).

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Tom Carter and Barry Poss say the tune has "only occasionally" been recorded in Virginia and West Virginia, sometimes under the title "Heel and Toe Polka," however, it appears in the repertory of many North Carolina Piedmont old-time musicians. “Jenny Lind Polka” (Sal with the Run Down Shoes) was in the repertoire of fiddler S.S. Ransdell (Louisburg, Granville, County, N.C.) who competed in 1905 in the Raleigh, N.C., fiddler’s convention, as recorded by the old Raleigh News and Observer. The melody is mentioned in accounts (1926‑31) as having been played at the De Kalb County (Alabama) Annual (Fiddlers') Convention (Cauthen, 1990), and also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Jim Herd, from Seattle but originally from the Ozarks, played an old-time variant he called “Dance All Night with a Gal with a Hole in Her Stocking” (merged with “Buffalo Gals”). An early recording on 78 RPM was by Henry Whitter's Breakdowners, from southwestern Virginia.

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Jenny Lind (1820-1887).

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Sources for notated versions: Hollow Rock String Band (N.C.) [Brody]; Bradley Grimshaw (northern N.Y., 1958), Hogg (Pa., 1948), John Moore (Indiana County, Pa., 1948) [Bayard]; Arnold Woodley (Bampton, England) [Bacon]; Kenny Baker [Phillips]; set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Adam, No. 4 (appears as "Hole in Her Stocking"). Bacon (The Morris Ring), 1974; pg. 35 (two versions). Bayard (Dance to the Fiddle), 1981; No. 420, pgs. 397‑398. Breathnach (CRÉ V), 1999; No. 94. Brody (Fiddler’s Fakebook), 1983; pg. 145. Ford (Traditional Music in America), 1940; pg. 167 (appears as "Jenny Lind's Favorite Polka"). Jarman (Cornhuskers), pg. 79. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 7. Kerr (Merry Melodies), vol. 3; No. 439, pg. 50. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 48, pg. 24. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 350. Roche Collection, vol. 2; No. 308 (appears as "Old Set Dance"). Taylor (Music for the Sets: Yellow Book), 1995; pg. 37. Trim (Thomas Hardy), 1990; No. 67. Wade (Mally’s North West Morris Book), 1988; pg. 26. County 201, Babe Spangler ‑ "The Old Virginia Fiddlers: Rare Recordings." County CO-CD-2729, Art Stamper – “Goodbye Girls I’m Going to Boston” (2000). Rounder 0024, "Hollow Rock."  MCA DL7‑5348, Bill Monroe‑ "Uncle Pen" (appears as "Heel and Toe Polka"). Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer – “English Country Music” (2000. Originally rec. 1962). Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).

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