The Fiddler’s Companion

© 1996-2010 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],” “Twin Sisters [3].” 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.'" West Virginia fiddler Melvin Wine played it under the title “Twin Sisters.” 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 Hill” tune 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.

***

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), a limited release which featured Norfolk fiddler Walter Bulwer and his wife Daisy (piano), and Billy Cooper (hammered dulcimer). The recording became a collectors item until it was re-released on LP by Topic Records in 1976.

***

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). Topic TSCD752, Walter & Daisy Bulwer, Billy Cooper  – “Stepping Up” (2004. Compilation CD). Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Jenny Lind's Polka

M:2/4

L:1/8

K:D

A/G/|:FA/F/ GB|Af f/e/f|Ae e/d/e|Ad d/c/d/A/|

FA/F/ GB|Af f>f|ge e/c/A/c/|1 ed dA/G/:|2 ed d (3d/e/f/||

K:G

|:gg/f/ e/f/g/e/|dB B/A/G/B/|cA A/F/D/F/|AG G (3d/e/f/|

~g>f e/f/g/e/|dB B/A/G/B/|cA A/F/D/F/|1 AG G (3d/e/f/:|2 AG G||

 

JENNY LIND [2]. AKA and see "Jenny Lynn."

 

JENNY LIND'S FAVORTIE POLKA. AKA and see "Jenny Lind Polka," "Reel du Pont."

 

JENNY LIND'S REEL. AKA and see "My Love is in America," "Dandy Apron."

 

JENNY LYNN. AKA - "Jenny Lind." Bluegrass, Breakdown. USA, Ky. A Major. Standard or AEae tunings. AABB. Composed by mandolin player Bill Monroe, the "Father of Bluegrass." Sources for notated versions: Bill Monroe (Kentucky) [Brody]; Kenny Baker [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 145. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 123. MCA DL7‑5348, Bill Monroe‑ "Uncle Pen." Flying Fish 021, Buddy Spicher‑ "American Sampler."

X:1

T:Jenny Lynn

L:1/8

M:2/4

Z:From a transcription by John Hartford

K:A

EA c>B|A/B/c/A/ BA|EA/c/ ec|E/F/A/c/ BA:|

e>f ee|f/e/c/d/ e/f/e/c/|A/B/c/d/ ee|f/e/c/d/ e/f/e/c/|A/B/c/d/ ee|

f/e/c/d/ e2|c/ef/ e/c/A/F/|E/F/A/c/ BA||

 


JENNIE MAZURKA. American, Mazurka. G Major. Standard tuning. AB. Ford (Traditional Music in America), 1940; pg. 148.

X:1

T:Jennie Mazurka

M:3/8

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

.g d>^d|f/>e/ e2|.c f>f|a/>g/ g2|.b d>^d|f/>e/ e2|.c f>f|a/>g/ g2|

.g d>^d|f/>e/ e2|.c f>f|a/>g/ g2|.b d>^d|f/>e/ e2|.c f>f|a/>g/ g2||

b>(.g.e/^.c/)|.d f>d|^.c e>c|d>.f.g/.a/|b>.g.e/.^c/|.d f>d|^.c e>c|e/>d/ d2||

 

JENNY NETTLES [1]. AKA ‑ "Jenny Nettle," "Johnnie Nittle." AKA and see “Jenny Pawned her Bonnet.” Scottish, English, Shetland; Reel (cut time) and Air. England, Northumberland. A Dorian. Standard tuning. AAB (Kennedy): AABB (Aird, Kerr, Williamson): AABC (Gow, Honeyman): AABBC (Athole): AABBCC (Bremner, Skye). Jenny Nettles was a comely and fetching maiden of the village of Strathmiglo, who fell deeply in love with a Highland Officer attached to the command of the Rob Roy.  The famous outlaw chief had invaded the countryside for a time but was forced to retreat to the mountains for safety, and when the clansmen marched off Jenny was deserted by her lover. In bitterness and pain from her lost love, Jenny hung herself by a roadside tree. As a suicide, Jenny Nettles could not be buried in hallowed ground, nor could a coffin be fashioned for her eternal rest. She was buried in the middle of the night in an unmarked grave. Her final resting place is at a crossroads of two forest paths on the north side of the Lomond Hills in Fife, a few minutes' walk out of Strathmiglo. Local lore has it that Jennie’s ghost wanders the muir on bright moonlit nights, looking for her lost Highland love.

***

The tune appears earliest in the Scottish Skene Manuscript (c. 1615‑20) and later in Robert Bremner's 1757 collection. It was popular in mainland Scotland in the early 18th century.  Allan Ramsay, for example, mentioned the song in his 1725 ballad opera The Gentle Shepherd along with other popular Scottish airs of the day, and, as a dance tune, it appears in James Aird’s Selections of Scotch, English, Irish and Foreign Airs, vol. II, printed in Glasgow in 1785 (an old handwritten note in script appends the title “Coming thro the Market” by the side of my copy). “Jenny Nettles” was imported to the Shetland Islands {where it is sometimes called "Johnnie Nittle"} (Cooke, 1986) and is known in those islands as a "tricky fiddle reel" today. A Shetland version (an example of which is sung and played by Shetland fiddler Andrew Polson on the CD “The Fiddler and his Art”) of the song to the tune goes:

***

O saw du me Johnnie, Johnnie Nittle, Johnnie Nittle,

Saw you me Jaanie, gain til the market,

A peck o meal upon her back, a peck o meal upon her back

A peck o meal upon her back, a baby in her blanket.

[another verse]

Red socks, red sheen and red camel hair

A bunch o ribbons on her back and all the rest was bare.     (Cooke)

***

Jenny Nettles is a nickname for the harmless and familiar "daddy longlegs" spider.

***

In England, the title appears in Henry Robson's list of popular Northumbrian song and dance tune ("The Northern Minstrel's Budget"), which he published c. 1800, and was one of the "missing tunes" of Vickers' 1770 Northumbrian dance tune manuscript. See also the related Irish tune “Old Torn Petticoat [3]." The alternate title “Jenny pawned her bonnet” comes from Peter Kennedy.  The melody bears no relation to the American old-time tunes “Jenny Nettles [2]” or “Jenny Nettles [3].”

***

Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 86, pg. 31. Bremner (Scots Reels), 1757; pg. 80. Carlin (The Gow Collection), 1986; No. 259. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 16 (3rd ed.). Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 18. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 76, pg. 20. Kerr (Merry Melodies), vol. 1; Set 12, No. 6, pg. 9. MacDonald (The Skye Collection), 1887; pg. 115. Stewart-Robertson (The Athole Collection), 1884; pg. 143.  Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 52. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995). Greentrax CDTRAX 9009, Andrew Poleson (Whalsey, Shetland)- “Scottish Tradition 9: The Fiddler and his Art” (1993). Maggie’s Music 109, Maggie Sansone – “Dance Upon the Shore.” Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978).

X:1

T:Jenny Nettles [1]

M:C|

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:A Minor

A/B/|c2B2A2a2|e^fge dBGB|cdBc A2a2|ge^fd e2A:|

|:B|cdeA cdec|BAGd BGdB|cdeA cdea|ge^fd e2A:|

B|cde^f gage|gage dBGB|cde^f gage|aba^g a2 AB|

cde^f gage|gage dBGB|cde^f gagf|ea^gb a2A||

X:2

T:Jenny Nettles [1]

M:C|

L:1/8

R:Reel

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed., pg. 16  (orig. 1792)

Z:AK/Fiddler’s Companion

K:A Minor

A/B/|({A/B/}c2) .B2.A2..a2|(e^f)ge dBGB|({A/B/}.c2).B2.A2.a2|ge^fd e2A:||B|

“tr”c>deA “tr”c>deA|d/c/B/A/ Gd BGdB|c>deA cdea|ge^fd e2 AB|

“tr”c>deA “tr”c>dec|BAGd BGdB|”tr”c>deA c>dec|BcdB {B}e2A||B|

“tr”c>de^f g>age|ga”tr”ge d/c/B/A/ GB|”tr”c>de^f gage|aba^g “tr”a2 AB|

cde^f gage|gage {d}cB/A/ GB|cde^f gagf|ea^gb a2A||

 

JENNY NETTLES [2]. Old‑Time, Breakdown. USA; Oklahoma. A Major. AEac# tuning. AABB. No relation to the Scottish tune “Jenny Nettles [1]" or the Ozarks tune “Jenny Nettles [3].” It is almost identical, however, to Missouri fiddler Bob Holt’s version of “Old Charlie Deckard” (Beisswenger, 2008). Mark Wilson believes there may have been a confusion of the titles at some point, either with Thede or further back. Source for notated version: Willie Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 96.

 

JENNY NETTLES [3]. AKA - "Jinny Nettle," "Johnny Nittle." Old-Time, Breakdown. USA, Missouri. A Major. AEae tuning. AABB’. No relation to the Scottish tune “Jenny Nettles [1]," nor Marion Thede's "Jenny Nettles [2]" (a version of "Old Charlie Deckard"). This is undoubtedly the version whose title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The tune does not appear in either of R.P. Christeson’s books (Old Time Fiddler’s Reprtory, vols. 1 & 2), points out Drew Beisswenger (2008), however, he did include several other tunes by source George Helton, one of many fiddlers from the extended Missouri family. Christeson did include a sound recording of Helton playing “Jinny Nettles” on his 1976 companion album, however. Beisswenger (2008) says the tune has similarities to the popular British Isles tunes “Money Musk” and “Grieg’s Pipes,” and also to the more obscure “The Maid of Argyle’s” and “Kilwinning’s Steeple,” the latter both printed in Ryan’s Mammoth Collection (Boston, 1883). Source for notated version: George Helton (Meta, Maries County, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 188. Missouri State Old Time Fiddlers' Association, George Helton - "Old Time Fiddler's Repertory" (1976. Originally recorded 1956). Rounder CD-0435, Cecil Goforth – “Traditional Fiddle Music of the Ozarks, vol. 1.”

                                   

JENNY NETTLE'S FANCY. AKA and see "Jennie/Jenny Pipin," “Paul Montegue’s Reel,” “Tommy Peoples’ (Reel) [1].” Irish, Reel. D Major. Standard tuning. AB. Barely related to Thede's version of "Jenny Nettles." Other alternate titles include “Frankie Kennedy’s” and “Jackie Daly’s,” for the famous Irish flute and accordion players, respectively. Irish-American fiddler Eileen Ivers recorded it as “Paul Montegue’s Reel” and the Donegal group Altan released it as “Tommy Peoples’”.  Cole (1000 Fiddle Tunes), 1940; pg. 50. Ryan’s Mammoth Collection, 1883; pg. 77. WS 031703, Wendy MacIsaac – “Timeline” (2003).

X:1

T:Jenny Nettle’s Fancy

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

BAAB dAFA | BAAB defd | BAAB dAFA | defd e2d2 | BAAB dAFA |

BAAB defd | BAAB dAFA | defd e2d2 || dfaf bfaf | dfaf gf/e/ | dfaf bfaf |

defd e2d2 | dfaf bfaf | Bfaf g2 fg | afef dBAB | fafd e2d2 ||

                       


JENNY OF THE GREEN. AKA and see "Janey of the Green." English, Country Dance Tune (2/4 time). E Flat Major. Standard tuning. AABB. The melody first appeared in print in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1757), followed by John Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). There was a song called “Jenny on the Green” that appeared in John Sadler’s Muses Delight (London, 1754) and Clio and Euterpe, or British Harmony, vol. 1 (London, 1758), but it employs a different melody. As “Janey on the Green” it appears in the 1770 music manuscript collection of Northumbrian musician William Vickers.  Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 23.

X:23

T:Jenny of the Green

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:Eb

(3E/E/E/ G/E/d/B/ e|(3E/E/E/ G/E/ D/F/D/B,/|(3E/E/E/ G/E/B/G/ e/>g/|(3f/e/d/ (3c/B/=A/ BB,:|

|:(3B/B/B/ d/B/f/B/ _a|(3B/B/B/ e/B/g/B/ b|(3E/E/E/ G/>B/ (3E/E/E/ A/>c/|B/A/G/F/ Ee:||

                                   

JENNY ON THE RAILROAD. AKA and see "Paddy on the Turnpike [1]." Old‑Time, Breakdown. USA; identified in Thede as a "Texas Tune," Oklahoma, Mississippi. A Mixolydian. Standard tuning. AABB: AABBC (Phillips): AA'BB'CC' (Thede). A 'jenny' is a slang term for a female donkey. Related to "Paddy on the Turnpike." Alan Jabbour sees the antecedent of the tune, at least in America, as "Colonel Crocket" which appears in George P. Knauff's Virginia Reels, volume III (Baltimore, 1839). The melody also has strong similarities to a tune called "The Route" (also strongly related to “Colonel Crocket”) and is probably a variant. See also the Irish “Katy Jones Reel.” Sources for notated versions: T.T. Lowe (Love County, Oklahoma) [Thede]; Liz Slade (Yorktown, New York) [Kuntz]; Carter Brothers (Miss.) [Phillips]. Kuntz, Private Collection. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 124. Thede (The Fiddle Book), 1967; pg. 46. County 528, Carter Bros. & Son ‑ "Mississippi Breakdown: Traditional Fiddle Music of Mississippi, Vol. 1." Folkways FA 2492, New Lost City Ramblers ‑ "String Band Instrumentals" (1964). Rounder 0320, Bob Carlin & John Hartford - "The Fun of Open Discussion." Vocalion 5297 (78 RPM), Carter Brothers and Son.

X:1

T:Jenny on the Railroad

M:2/4

L:1/8

Z:AK/Fiddler’s Companion

K:A

c/B/|A/(B/c/)d/ e/(f/=g/)(f/|e/)(d/B/)A/ (=G/<B)e/f/|=g/f/e/(d/ c/A/)B/A/|E/AA/ A:|

|:A/(A/|c/)A/B/(A/ c/A/)B/A/|c/A/E/(E/ =G)A/(B/|B/)A/=G/A/ B/A/G/(D/|(E/AA/ A:|

|:(a|a/)b/a/a/ a/(b/a/)(a/|b/)a/e/(e/ =g(g|b/)=g/a/(g/ b/)g/a/e/|e/aa/ a(a|a/)b/a/a/ a/b/a/a/|

b/a/e/(e/ =g)g|b/=g/a/g/ b/g/a/e/|e/aa/ a:|

 

JENNY PAWNED HER BONNET.  AKA and see “Jenny Nettles [1].”

 

JENNY PICKING COCKLES (Sineidin Ag Togad Brubanide). AKA and see “Heath and Furze,” “Maggie Picking Cockles,” "Take Her Out and Air Her [2]." Irish, Reel. D Major (O'Neill/1850): D Mixolydian (Flaherty, Kennedy, Mitchell, O'Neill/Krassen): D Dorian (Roche): G Major (Tubridy). Standard tuning. AB (O'Neill, Roche, Tubridy): AAB (Kennedy): AABB (Flaherty): AA’BB’CC’DD’ (Mitchell). See also similarly structured tunes "P.J. Conlon's," "Kitty in the Lane [1]," "The Ballinafad Reel [1]," "The Sailor's Jacket," "Come to your Tay." Breathnach (1985) says it is closely related to “Johnny’s Gone to France.” Caoimhin Mac Aoidh points out this tune is a variation of two parts of “Jenny’s Welcome to Charlie” and has relationships to some strains of “College Groves.” The great compiler Francis O’Neill learned this tune from County Mayo piper James O’Brien, who visited Chicago (where O’Neill worked in the police department) in 1876. O’Neill describes him as “a neat, tasty Irish piper of the Connacht school of close players, and though his Union pipes were small, they were sweet and musical...One of his peculiarities—and an unpleasant one, occasionally—was a habit of stopping the music in order to indulge in conversation. He could not be induced to play a tune in full, when under the influence of stimulants, as his loquacity was uncontrollable, and he never hesitated under such conditions to express a passing sentiment. Amiable and harmless at all times, he died at a comparatively early age in Chicago, a victim to conviviality, his only weakness.” Nicholas Carolan (on notes to Frankie Gavin’s “Fierce Traditional”) says the earliest sound recording of the tune seems to be that of the Flanagan Brothers in New York, 1923. Donegal fiddler Neilidh Boyle recorded it in 1937. Carolan believes “Jenny Picking Cockles” to be related to other tunes from northern Ireland. Sources for notated versions: piper and flute player Tommy Hunt (b. 1908, Lissananny, Ballymote, County Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Jimmy O’Brien (County Mayo) [O’Neill]; Chicago Police Sergeant (and flute player) James Early, originally from Carrickavoher, Aughavas, Co. Leitrim [O’Neill/1903]. Flaherty (Trip to Sligo), 1990; pg. 130. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 76, pg. 20. Mitchell (The Dance Music of Willie Clancy), 1993; No. 124, pgs. 100-101. O'Neill (Krassen), 1976; pg. 123. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1347, pg. 252. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 602. Roche Collection, 1983, vol. 1; No. 180, pg. 69. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 16. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, vol. 1” (1980). Gael-Linn CEF 114, Noel Hill & Tony MacMahon - "I gCnoc na Graí." Tara CD 4011, Frankie Gavin – “Fierce Traditional.”

X:1

T:Jenny Picking Cockles

C:Traditional

R:Reel

M:C|

S:Neillidh Boyle

A:Dungloe, Co. Donegal, Ireland

Z:Transcribed by Larry Sanger from a tape of the old 78 rpm record of N.

Boyle.

K:C

~g2||fagf dc~c2|Bcde {a}fe{a}+A2.f2+|~g2fg dc~c2|Acfc AG~G2|+G,G+B~g2

dc~c2|Bcde {a}fe{a}+A2.f2+|~g2fg dc~c2|Acfc AG~G2|+G,G+B~g2 dc~c2|Bcde

{a}fe{a}+A2.f2+|~g2fg dc~c2|Acfc AG~G2|+G,G+B~g2 dc~c2|Bcde

{a}fe{a}+A2.f2+|~g2fg dc~c2|Acfc AG~G2||:\

K:G

|:dg~g2 bgag|fd~d2 +df+d+dg++df+|+d2g2++dg++df+ gbag|fdcd BG~G2|dg~g2

bgag|~f2ga fddg|bg~a2 gfga|fdcA +G,G+B~g2:|

X:2
T:Jenny Picking Cockles
M:4/4
L:1/8
K:D mix
Addc AGEF | GEcE dEcE | Addc AGEF | GEcE EDD2 |

d3c A3G | FGAB c2Bc | dBcA BGAF | EFGE FDD2 :|
K: D
f2ff gfed | cAAA cAAA | f2ff gfed | eaaf edd2|
f2ff gfed | cAAB =c3d | eddc AGEF | GGAG EDD2 :|

 

JENNY PICKING COCKLES [2] (Sinéad ag Bailiú Ruacan).  Irish, Reel. A Dorian/Mixolydian. Standard tuning. AABB’. Breathnach (CRÉ V), 1999; No. 208, pg. 98.
                                                  

JENNY/JENNIE PIPPIN (Sineidin Pippin). AKA and see "Jenny Nettles Fancy." Irish, Reel. D Major. Standard tuning. AA'B. Source for notated version: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]. O'Neill (Krassen), 1976; pg. 118. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1322, pg. 248. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 583, pg. 107.

X:1

T:Jennie Pippin

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 583

Z:AK/Fiddler’s Companion

K:D

B|BADA dAFA|BADA defd|BADA dAFA|1 dcdf e2d:|2 dbaf e2d||

d|dfaf bgaf|dfaf (3gag fe|dfaf bgaf|dBAf e2 dd|dfaf bgaf|bgaf g2 fg|agfe dBAB|dbaf e2d||

           

JENNY PLUCK PEARS. English, Country Dance Tune ('A' part in 6/8 time, 'B' part in 3/4 or 6/4 time). A Minor (Barnes, Karpeles, Raven, Sharp): C Minor (Merryweather). Standard tuning. AAB (Karpeles, Merryweather, Raven, Sharp): AABB (Barnes). The tune was first published by John Playford in 1651 in his English Dancing Master. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 10. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 40. Raven (English Country Dance Tunes), 1984; pg. 26 & 47. Sharp (Country Dance Tunes), 1994; pg. 14. Dorian 90238, The Baltimore Consort – “A Trip to Killburn.”

X:1

T:Jenny Pluck Pears

M:6/8

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:A Minor

A2A (B>cd) | (c>BA) (G2E) | A2A (B>cd) | (c>BA) (G2E) |

e2e (d2B) | (c>BA G2)(E | ^FGA) (G>FG) | A3A3 :|

M:3/4

L:1/8

(A2e2d2 | c4B2) | (A2e2d2 | c4B2) | (A2e2d2 | c3B A2) | (G3^F G2 | A6) ||

           

JENNY PUT THE KETTLE ON [1]. AKA and see "Molly Put the Kettle On [1]," "Polly Put the Kettle On [2]." Old‑Time, Breakdown. USA, Missouri. D Major. Standard tuning. AABB. A version of "Molly Put the Kettle On." A version of the melody under the title “Jeney (sic) set the kettle on” is to be found in the music manuscript copybook of fiddler John Burks, dated 1821. Unfortunately, nothing is known of Burks although he may have been from the north of England. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. That the tune was also in African-American tradition was attested to by Ashe County, North Carolina, musician Hobart Smith (b. 1897), who said: "The first fiddle I ever heard in my life was when I was a kid. There was an old colored man who was raised up in slave times. His name was Jim Spenser. He played 'Jinny, Put the Kettle On' and all those old tunes like that. And he would come up to our house and he'd play..." (quoted in Cecilia Conway's African Banjo Echoes in Appalachia, 1995). See also Bayard's note for "Bonaparte Crossing the Alps." Source for notated version: Frank Reed (Randolph County, Missouri) [Christeson]. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; No. 66, pg. 46.

 

JENNY PUT THE KETTLE ON [2]. Old‑Time, Breakdown. USA, Missouri. G Major. Standard tuning. AB. This version is not related to version #1, but is in fact derived from the Scottish tune known as "The Marquis of Hastings' Strathspey," "Loudon's Bonnie Woods (and Braes)," and "Lord Moira('s Welcome)." Source for notated version: Marr (elderly fiddler from Missouri, 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; Appendix No. 14, pg. 578.

 

JENNY PUT THE KETTLE ON (WE'LL ALL TAKE TEA) [3]. AKA and see "The Squirrel Hunters" (Pa.). A floating title for a Pennsylvania collected tune called "The Squirrel Hunters."

 

JENNY PUT THE KETTLE ON [4]. Old‑Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AABB. A different tune than “Jenny Put the Kettle On” [1] or [2]. Source for notated version: Gusty Wallace (Sulpher Well, Metcalf County, Ky., 1974) [Titon]. Tition (Old-Time Kentucky Fiddle Tunes), 2001; No. 76, pg. 104. Meriweather 1001-2, Gusty Wallace (et al) – “I Kind of Believe it’s a Gift: Field Recordings of Traditional Music from Southcentral Kentucky” (1986).

                       

JENNIE ROCK THE CRADLE (Sineidin Corraig an Luasgan). AKA and see “Jack Latin,” “Jackie Latten,” “Jockey Layton.” Irish, Reel. D Major. Standard tuning. ABC (O’Neill): AABBCDD’EEFF’G (Miller). See O’Neill’s notes for “Jack Latin.” Miller (Fiddler’s Throne), 2004; No. 178, pg. 112. O'Neill (Krassen), 1976; pg. 109. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1269, pg. 238. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 220.  SU 1130, De Dannan – “Song for Ireland.”

X:1

T:Jennie Rock the Cradle

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:D

(3ABc|dAFA DAFA|dAFG A2 (3ABc|dAFA DAFA|GFEF G2 (3ABc|

dAFA DAFA|dAFG A2 (3ABc|dBcA BGAF|GFEF G2||

FE|DFAc BGAF|DFAB A2 AF|DFAc BGAF|GFEF G2 FE|

DFAc BGAF|DFAB A2 (3ABc|dBcA BGAF|GFEF G2||

AG|(3FED AD BDAD|(3FED AB A2 AG|(3FED AD BDAD|

GFEF G2 AG|(3FED AD BDAD|(3FED AB A2 (3ABc|

dBcA BGAF|GFEF G2||

 


JENNY RUN AWAY IN THE MUD. Old-Time, Breakdown. A Major/Mixolydian. Standard tuning. AAAABB. The tune/song is originally from an old recording by North Carolina fiddler Marcus Martin. Words sung to the melody go:

***

Jenny run away in the mud in the night,

Jenny run away in the moonshine bright;

Jenny run away, combing up her hair,

Jenny run away with the barker at the fair.

***

The first line was originally “in the middle of the night,” but a mishearing has produced “mud in the night.” Similarly, the phrase “barker at the fair” was originally “jockey to the fair,” the title of an old British Isles song of the same name. A Gloucester-collected version begins:

***

'Twas on the morn of sweet May-day,
When nature painted all things gay,
Taught birds to sing, and lambs to play,
And gild the meadows fair;
Young Jockey, early in the dawn,
Arose and tripped it o'er the lawn;
His Sunday clothes the youth put on,
|: For Jenny had vowed away to run
With Jockey to the fair. :|

***

Source for notated version: Peter Honig [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 124. 

 

JENNIE SLATER. Shetland, Jig. D Major. Standard tuning. AAB. "Composed (by Tom Anderson) in 1970 for one of the young members of the 40 Fiddlers and the only young female member at that time" (Anderson). Anderson (Ringing Strings), 1983; pg. 25.

 

JENNY SUTTON. Scottish, Reel. A Major (most versions): G Major (Aird). Standard tuning. AAB. “Jenny Sutton” was the title of a bawdy song by Captain Morris set to the air. The words begin:

***

Come, charge your glasses, let us raise

From dull oblivion’s slumber;

A gallant nymph, well worth the praise,

Whose feats no man can number.

Her hand, like Caesar’s, grasp’d it all,

Till envy mark’d her station;

Then like great Caesar, did she fall,

By foul assassination.

***

For every letch alike prepar’d

She valued not a button;

And culls of ev’ry humour shar’d

The charms of Jenny Sutton!

***

Aird (Selection, vol. IV), c. 1794. Gow (The 2nd Collection of Niel Gow’s Reels), 1788; pg. 4. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 21. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2. Stewart-Robertson (The Athole Collection), 1884; pg. 28. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 5), c. 1788. Wilson (Companion for the Ballroom), 1816; pg. 234.

X:1

T:Jenny Sutton

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

E|A/A/A Ac ecec|A/A/A Ac dB=BG|A/A/A Ac ecec|efdB c2A:|

g|aAaA gAgA|fgaf ecBA|aAaA gAgA|fgag f2eg|

acFa gBEg|fADf ecdB|A/A/A Ac ecfd|caBg A2A||

X:2

T:Jenny Sutton.

M:C

L:1/8

B:Complete Tutor Violin (c. 1815)

Z:Dr. Evan Jones [Ed.]

K:A

E | A/A/A (Ac) ecec A/A/A (Ac) dBGB | A/A/A (Ac) ecec | efed c2 A :|| g (aA)(aA) (gA)(gA) | (fg)af e(cTBA) |

(aA)(aA) (gA)(gA) | (fga)g Tf2 (eg) | acFa gdGg | fADf ecdB A/A/A (Ac) ecfd | caBg a2 A |]

 

JENNY TIE YOUR BONNET (Cuir Snaidhm ar do Chaipín, a Shinéad). AKA and see “The Cavan Reel,” "The Cottage in the Grove [2]," "Down with the Mail," "The Faraway Wedding [1]," “The Gravel Walk(s),” “The Gravelled Walks to Granny," "The Highland Man that Kissed his Grannie [1]," "In and Out (of) the Harbour," “The Jolly Seven,” "Lassie(s) tie your Bonnet(s)," "Lizzie's Bonnet," "The Rambler's Rest," “Stenson’s No. 1,” “The Tailor’s Thimble [2],” "Tie the Bonnet," "Upstairs in a Tent [2]." Irish, Reel. A Dorian. Standard tuning. AB (Breathnach): ABCD (Mitchell). O’Neill prints versions of the tune under the titles “Tie the Bonnet,” “Down with the Mail,” and “The Rambler’s Rest.” Brendan Breathnach collected it in County Clare as “In and Out the Harbour” and in Fermanagh as “Jenny Lace your Tight.” Peter Kennedy (1997) finds relatedness with “Jenny Nettles [1].” Apparently it was originally a Scottish tune called “Janet Tyed the Bonnet Tight,” as printed in The Piper’s Assistant (1877). Source for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare, Ireland) [Breathnach, Mitchell]. Breathnach (CRÉ III), 1985; No. 96, pg. 50. Mitchell (Dance Music of Willie Clancy), 1993; No. 20, pgs. 40-41. Claddagh Records CC32, Willie Clancy ‑ "The Pipering of Willie Clancy" (1980). LOCH 1233, Old Blind Dogs – “Legacy.”  Lauren MacColl – “When Leaves Fall.”

                       

JENNY TIED THE BONNET TIGHT. AKA – ‘Jenny Tie the Bonnet Tight.” AKA and see “Jenny Tie Your Bonnet,” “In and Out the Harbour.”

                       

JENNY WARD. Irish, Air (2/4 time). C Major. Standard tuning. AB. Source for notated version: Mr. Flattely of Co. Mayo, via Pigot (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 748, pgs. 369‑370.

                       


JENNY'S BAWBEE. AKA and see "Polly Put the Kettle On [1]." Scottish, English; Reel. England, Northumberland. D Major. Standard tuning. AB (Cole, Honeyman): AAB (Athole, Gow): AABB (Kerr): AABB' (Glen, Skye). The title “Jenny’s Baby,” by which the tune sometimes appears, is an erroneous one.  A ‘bawbee’ is an old Scots term for a ha-penny, a coin, as in the Scots song "Ali bally bee:” "....waiting for a wee bawbee to buy some coulter's candy..."  The antiquarian William Chappell claimed the melody as English in origin, though he accuses his countryman, Stephen Clarke (c. 1797) of making changes in the tune formerly called "Polly Put the Kettle On" and re-titling it to fit the Scottish taste for the Scots Musical Museum (1797). "Polly Put the Kettle On" had three years previously "become very popular with young ladies, by means of Dale's Variations for the Pianoforte." The collector John Glen (1891), however, in espousing Scottish origins for the tune, finds the first Scottish printing in Joshua Campbell's 1778 collection (pg. 79), and subsequently in Scots publications dating 1778 and 1788, which predate the Museum. "Mr. Chappell further had the hardihood to say that 'the words of 'Jenny's Bawbee' were adapted to (Polly Put the Kettle On); although as they begin, 'A' athat e'er my Jenny had, my Jenny had, my Jenny had,' they were evidently intended for the tine of 'Sike a wife as Willy had, as Willy had, as Willy had,'" (Glen, 1891). In a work entitled Introduction to the Ballads and Songs of Ayrshire (1846) "Jenny's Bawbee" is attributed to John Riddell of Ayr (1718-1795), who published one of the first collections of Scottish music around 1766, although as Kidson points out there is no corroborating evidence to sustain the claim. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800, and was one of the "missing tunes" of William Vickers' 1770 Northumbrian dance tune manuscript. Cole (1000 Fiddle Tunes), 1940; pg. 19 (appears as "Jenny's Baby"). Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 5. Gow (Complete Repository), Part 1, 1799; pg. 36. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 34. Kerr (Merry Melodies), vol. 1; Set 2, No. 4, pg. 4. MacDonald (The Skye Collection), 1887; pg. 72. Ryan’s Mammoth Collection, 1883; pg. 43. Stewart-Robertson (The Athole Collection), 1884; pg. 88.

X:1

T:Jenny’s Bawbee

M:C|

L:1/8

R:Reel

B:The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:D

f/g/|abag fddf|gBed cAAf|abag fdfa|B/B/B cA d2d:|

g|fdge fddf|gfed cAAg|fdge fdfa|B/B/B cA d2de|

fdge fddf|gfed cAAe|fdge fdfa|B/B/B cA defg||

N:at end of tune last measure goes: B/B/B cA d3d||

                       

JENNY'S CHICKENS. AKA and see “All the Go,” “Jock and Jill,” “Sleepy Maggy/Maggie.” Irish, Reel. B Minor. Standard tuning. AABBCC (Mallinson): AABB'CC' (Fiddler Mag., Martin & Hughes). Popularized by the great Irish‑American (County Sligo/New York) fiddler Michael Coleman whose setting has become a classic (paired with, and preceded by, “Bonnie Kate [1]”). Daniel Michael Collins (1977) opines the reel has potential for boredom due to the number of repeated phrases; only by use of ornaments does it stay interesting. See also the related “Sleepy Maggy/Maggie,” and an untitled reel in Feldman & O’Doherty’s Northern Fiddler (1979), 172. Bulmer & Sharpley (Music from Ireland), 1974, vol. 2, No. 18. Fiddler Magazine, Spring 1994; pg. 21. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 51. Mallinson (Essential), 1995; No. 13, pg. 5. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 39. BM-91, Buddy MacMaster – “Glencoe Hall.” Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008). Green Linnet SIF‑1110, James Kelly ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Shanachie 29009, "Andy McGann and Paul Brady." Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999). 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). ‘Ón tSean-Am Anall’ (Danny O’Donnell).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1
T:Jenny's Chickens
M:4/4
L:1/8
K:Bdor
f2 fg fece|fefa eAce|f2 fg fece|fgag eAce :|
|: fBBA B2 ce|fB B2 eAce|fBBA B2 ce|1 fgaf eAce :|2fgaf eAcA|
|: B2 bB aBgB|B2 af eAcA|B2 bBaBgB|1 fgaf eAcA :|2 fgaf eAce |>|

                       

JENNY’S COTILLION. A two-part version of “Jenny on the Railroad,” from the 19th century Long Island painter William Sydney Mount’s collection of fiddle tunes.

                       

JENNY’S DREAM. Canadian, Hornpipe. Canada, Cape Breton. G Major. Standard tuning. AA’BB. Dunlay and Greenberg relate that a friend of the family of fiddler Donald MacLellan, one Jenny Davis, dreamt the tune one night and ‘deedled’ it to Donald’s father Ronald, who noted it on the violin; the family named it in her honor. The tune derives, maintain Dunlay & Greenberg, from O’Carolan’s harp air “The Princess Royal [1].” Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 101. Celtic CX 5, Leo Doubley - “Steel City Strings”  (appears as “The Princess Royal”). Rodeo RLP 75, John A. MacDonald - “Marches, Strathspeys, Reels & Jigs of the Cape Breton Scot” (1st tune in unlisted 3rd medley on side B).

                       

JENNY’S FOLLY (Óinsiúlacht Shinéad). Irish, Reel. D Dorian. Standard tuning. AA’BB. Source for notated version: the mid-20th century collection of Jack Wade (County Monaghan), who entered the tune with the note “Late A Kelly {flute}, Ring Commons, Co. Dublin” [Breathnach]. Breathnach (CRE IV), 1996; No. 185, pg. 85. 

                       

JENNY'S GONE TO LINTON. AKA and see “Cuddle in a Boasie,” "The High Road to Linton,” "High Way to Linton," “Highway to Linton,” “Kitty Got a Clinking [2],” "The Leinster Highroad." English (originally), New England; Reel. A Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 16. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 58. Raven (English Country Dance Tunes), 1984; pg. 160. Alcazar Dance Series FR 204, "New England Chestnuts 2" (1981).

X:1

T:Jenny’s Gone to Linton

M:C|

L:1/8

R:Reel

K:A

|:Ac ce a2 ae|fe fg a2a2|Ac ce a2 ae|fa ec B2 A2:|

|:ce ea fd df|ec ce d/c/B B2|ce ea fd df|ea ec B2 A2:|


                       

JENNIE'S GOT A MAN. Scottish?, Reel. G Major. Standard tuning. AABB tuning. Harding’s All Round Collection, 1905; No. 36, pg. 11.

X:1

T:Jennie’s Got a Man

M:C

L:1/8

R:Reel

S:Harding’s All Round Collection (1905), No. 36.

Z:AK/Fiddler’s Companion

K:G

d2e2d3c|BGAB c4|d2e2d3c|BGAF G4::G2 ga g2g2g|fgaf g2g2|G2 ga g2g2|ecAF G4:|

                       

JENNY’S RAMBLES. AKA and see “Sleepy Maggie.”

                       

JENNY’S REEL. Canadian, Reel. Canada, Cape Breton. C Major. Standard tuning. AABB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 66, pg. 20. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

                       

JENNY’S WALTZ [1]. American, Waltz. G Major. Composed by bluegrass guitarist  Dan Crary, appearing on his album “Lady’s Fancy.” Rounder Records, Dan Crary – “Lady’s Fancy” (1994).

 

JENNY’S WALTZ [2]. Old-Time, Waltz. G Major. Standard tuning. AB. A Victorian-era ballroom style waltz in the repertoire of Owen “Snake” Chapman (1919-20). Rounder 0409, Paul Smith – “Devil Eat the Groundhog” (1999). Rounder 0418, Owen Chapman – “Walnut Gap” (1999).

X: 1

T: Jenny's Waltz

C: Owen Chapman

O: Paul Smith's version

D: Paul Smith & Friends "The Devil Eat the Groundhog" (used for this transcription)

D: Owen Chapman's album "Walnut Gap" contains this tune.

R: waltz

Z: 2005 John Chambers <jc@trillian.mit.edu>

M:3/4

L:1/8

F:http://trillian.mit.edu/~jc/music/abc/waltz/JennysWaltz_G.abc    

K: G

(3GFE \

| "G"D2- D>G B>e | d2- d>B G>E | "G"D2 G2 B>e | d4 GA \

| "G"B2 B2- Bc | dB- B2 G2 | "D7"F4- FG | F4 (3EFE |

| "D7"D2- DF Ae | d2- dc AF | "D7"D2 F2 Ae | d4 D2 \

| "D7"d6 | d2 _d2 c2 | "G"B4- Bc | B4 (3GFE |

| "G"D2- DG Be | d2- dB GE | "G"D2 G2 Be | d4 GA \

| "G"B2 B2- Bc | "G7"dB- B2 G2 | "C"E4- EF | E6 |

| "C"e2 ^d2 e2 | "A7"g2 f2 e2 | "G"d2 B2 G2 | "C"E4 F{EF}E \

| "D7"D2 F2 AB | c2 B2 AF | "G"G6- | G4 Bd |]

[|"G"g2- ga (3gfe | d2- de dc | B2- Bc "(D7)"AF | "G"G6 \

| "G"G,B, DG Bd | gd- d2 g2 | "D7"f4- fg | f4 (3fg^g |

| "D"a4- ab | a4 (3gag | "D"f4- fg | f2- fg "(A7)"e^c \

| "D"d2- d^c dc | "D7"ed- d2 c2 | "G"B4- Bd | B4 (3def |

| "G"g2- ga (3gfe | d2- de dc | B2- Bc "(D7)"AF | "G"G6 \

| "G"G,B, DG Bd | gd- d2 ^d2 | "C"e6- | e2- eB cd |

| "C"e2 ^d2 e2 | "A7"g2 f2 e2 | "G"d2 B2 G2 | "C"E4 F{EF}E \

| "D7"D2 F2 AB | c2 B2 AF | "G"G6- | G4 |]

                       

JENNY'S/JENNIE'S WEDDING (Banais Sineidin). Irish (originally), American; Reel. D Mixolydian/Major. Standard tuning. AB (Cole, O’Neill): AABB (Miller, Taylor/Blue). The editor (William Bradbury Ryan?) of Ryan’s Mammoth Collection (1883) improbably credits the tune to one J. Hand, referring to one of two fiddle-playing brothers, Johnny and Jimmy Hand, who apparently were Boston-area stage musicians. O’Neill’s version is quite close to the one printed previously in Ryan’s Mammoth. The melody was popularized by County Clare musicians Paddy Murphy and Peter O’Loughlin, according to Leitrim piper Brian McNamara. A part of this tune shows up in O’Neill’s “Pat Tuohey’s Reel,” “Tuohey’s Favourite Reel,” and “Patsy Tuohey’s Favourite.” Mick Conneely gives “New Christmas Eve” as an alternate title. Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Cole (1000 Fiddle Tunes), 1940; pg. 29. Miller (Fiddler’s Throne), 2004; No. 179, pg. 113. O'Neill (Krassen), 1976; pg. 147. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1479, pg. 274. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 707, pg. 125. Ryan’s Mammoth Collection, 1883. Taylor (Through the Half‑door), 1992; No. 25, pg. 19. Taylor (Music for the Sets: Blue Book), 1995; pg. 30. Cló Iar-Chonnachta Records, CICD 148, Mick Conneely – “Selkie” (2001). Drumlin Records, Brian McNamara – “A Piper’s Dream” (2000). Lochshore CDLDL 1215, Craob Rua - “The More that’s Said the Less the Better” (1992). Shaskeen ‑ "Atlantic Breeze."

X:1

T:Jenny’s Wedding

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No, 707

Z:AK/Fiddler’s Companion

K:D

(3DDD FD ADFD|Adde fded|cAAB =c2 cd|ea{b}ag edcd|(3DDD AF defd|

cAAB cdeg|fdec d2 cA|BdAF EDEA||(3ddd fd adfd|ecAB cdec|(3ddd fd adfd|

cdeg fd d2|(3ddd fd adfd|cdef g2 fg|(3agf ge fdec|dBAG FD D2||

           


JENNY'S WELCOME TO CHARLIE ("Fáilte Sineid Roim Catal" or "Fáilte Shinéad roimh Chathal"). AKA and see "Jennie and the Weazel," "Jennie and the Weaver," “Jenny Picking Cockles,” "The Highway to Holburn." Irish, Reel. Ireland; Counties Donegal, Meath, west Clare, Limerick. D Aeolian (Dm): D Dorian (Cowdery, Miller, Vallely): D Mixolydian (O'Neill/1001): D Mixolydian/Major (Breathnach, Kennedy, Mitchell): D Mixolydian/Dorian (Cranitch): D Major (Mulvihill, O’Neill/1850). Standard tuning. ABC (Breathnach, Kennedy): ABCD (Mitchell, O'Neill): ABB (Williamson): AABBCCDD (Brody, Cowdery, Cranitch): AA’BBCCDD (Vallely): AABB’CCDD’EEFF (Mulvihill). Versions vary widely in tonality, from the major through mixolydian and dorian modes, to minor—also number of parts varies greatly. The title of this Jacobite reel refers to the Scottish pretender Bonnie Prince Charlie, also for a time an Irish hope. Gearoid O hAllmhurain, for one, believes Jenny may refer to Jean Cameron, Prince Charlie’s reputed mistress. There were two Jean or Jenny Camerons involved in the Rising of 45, but it appears to be Whig propaganda that Jenny led the Camerons into battle and that she was romantically involved with Charlie.  There are stories still that Charlie’s supposed dalliance with Jenny distracted him from his Rebellion (similar stories are told of other defeated leaders—Napoleon and Santa Anna, for example). Cowdery (1990) identifies the melody as a "further development" of the identifying phrases of the old ballad "The Boyne Water." Caoimhin Mac Aoidh maintains the tune (in four parts) was associated with County Donegal in the past, though it has been disseminated to most of Ireland in the present. Earle Hitchner and Don Meade, in liner notes to Brian Conway’s “First Through the Gate,” note: “’Jenny’s Welcome’, a demanding four-part tune recorded in the 1930’s by Hughie Gillespie, has often been played by fiddlers vying for the All-Ireland championship at Fleadh Cheoil competitions.” “The Long Note” is a related tune, as is “Jennie and the Weazel.” Randy Miller says his version, most of whose parts are in Dorian mode, is a County Kerry setting based on the playing of fiddler Paddy Cronin, who resided in Boston for many years. Sources for notated versions: Kathleen Collins [Brody]; Nicholas Markey (County Meath, Ireland) via piper Seamus Ennis [Williamson]; piper Seamus Ennis, 1959 (Dublin, Ireland) [Breathnach]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Tommy O’Connor (Ballyhahill, County Limerick) [Mulvihill]; Paddy Cronin (Co. Kerry) [Miller]. Breathnach (CRÉ II), 1976; No. 261, pg. 135. Brody (Fiddler’s Fakebook), 1983; pg. 146. Cowdery, 1990; Ex. 45, pg. 118. Cranitch (Irish Fiddle Book), 1996; No. 81, pg. 156. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 78, pg. 20. Miller (Fiddler’s Throne), 2004; No. 180, pg. 114. Mitchell (Dance Music of Willie Clancy), 1993; No. 144, pg. 114. Mulvihill (1st Collection), 1986; No. 144, pg. 39. O'Neill (Krassen), 1976; pg. 142. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1456, pg. 270. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 687, pg. 122. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 45, pg. 40. Williamson (English, Welsh, Scotch and Irish Fiddle Tunes), 1976; pg. 89. Bellbridge Records, Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded 1959).  Claddagh CC53CD, Robbie Hannan - “Traditional Music played on the Uilleann Pipes.” Claddagh CC39, Willie Clancy - “The Pipering of Willie Clancy, vol. 2” (1983). Cló Iar‑Chonnachta CICD098, Tola Custy and Cyril O'Donoghue - “Setting Free.” Coleman Music Center CHC 009, fiddler Andy Davey (1928-2005) – “The Coleman Archive, vol. 2: The Home Place” (2005). Comhaltas Ceoltoiri CL13, Tommy Peoples. Front Hall 09, How To Change a Flat Tire‑ "A Point of Departure." Gael-Linn, Paul O’Shaughnessy - “Slogadh 78.” “Gael-Linn CEF 022, Sean Keane - "Seoda Ceoil 2" (1969). Green Linnet SIF 1075, Eileen Ivers ‑ "John Whelen & Eileen Ivers: Fresh Takes" (1987). Green Linnet SIF 1101, Eileen Ivers ‑ "Playing with Fire: The Celtic Fiddle Collection" (1989). Outlet 3002, Paddy Cronin‑ "Kerry's Own Paddy Cronin” (1977). Shanachie 29002, "Kathleen Collins". Shanachie 79001, De Danann‑ "Selected Jigs, Reels, and Songs." Shanachie 78012, “The Best of Joe and Antionette McKenna.” Smithsonian Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002). Tara Records, Paddy Glackin - “Doublin’”.

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Jenny's Welcome to Charlie

M:4/4

L:1/8

R:reel

Z:Barney

K:Ddor

D3 B AG E^F|GE cE dE cE|D2 DB AG E^F|GE cE ED DC|

(3DDD DB AG E^F|GE cE d2 cd|ec dB cA GE|1 GE cE ED DC:|2 GE cE ED D2||:

=f2 fd ef ed|cA (3AAA GA EA|=f2 fd ed cd|ea ag (3ege de|

~=f3 d ef ed|cA (3AAA G2 cd|ec dB cA GE|1 GE cE ED DC:||:

(3aaa ab ag e^f|~g3 a ge dg|ea (3aaa ag ed|ea ag (3ege dg|

a2 ab ag e^f|~g3 a ge dB|A2 (3Bcd ed dg|(3AcA GE ED D2:||:

Ad dc de =fz|Ac (3ccc cA Gc|Ad dc d2 cd|ea ag (3ege dc|

d2 de dc AB|~c3 d cA GE|D2 (3E^FG Ad dc|1 (3AcA GE ED D2:|2 (3AcA GE ED DC||

X: 2
T: Jenny's Welcome To Charlie
M: 4/4
L: 1/8
R: reel
K: Ddor
|D2 AB AGE^F|GEcE dEcE|D2 AB AGE^F|GEcE EDCE|
|D2 AB AGE^F|GEcE d2 cd|eddc AGE^F|1 GEcE EDCE:|2 GEcE EDD2|
|:f3 d efed|cA (3AAA cA (3AAA|f2 fd edcd|eaag edde|
|~f3 d efed|cAAB c2 cd|eddc AGE^F|GEcE EDD2:|
|:a2 ab age^f|~g3 a gedg|eaag aged|eaag edde|
|~a3 b age^f|~g3 a gedB|A2 (3Bcd eddc|AcGE EDD2:|
|:Addc defd|AccB cdec|Addc d2 cd|eaag eddc|
|~d3 e dcAB|~c3 d cAGE|D2 (3E^FG Addc|1 AcGE EDD2:|I2 AcGE EDCE|

 

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 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.