The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
|
JENN |
|
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] |
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
***
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
then—unable to wait another
day—they launched forth
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
***
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
He continued with this company for an extended period, part of which
time as Collins, Queen
and
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.
X:1
T:Jenny Baker
M:C|
L:1/8
S:Bruce
Molsky, based on the
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
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 (
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.
***
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.
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.
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."
***
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 (
|
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
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 Hill” tune family. Titon calls it a regional eastern
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
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
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
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.
***
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).
***
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.
***
Jenny Lind (1820-1887).
***
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).
|
See also listings at: |