The Fiddler’s
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© 1996-2007 Andrew Kuntz
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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 concertina.net’s
incredibly handy “ABC Convert-A-Matic” at |
[COMMENT5][COMMENT6]JIG. Many writers, notably Grove, regard the jig
as only a form borrowed from the Italians in the latter half of the 17th
century. In fact, Flood (1906) states there is “ample evidence of its existence
in
***
Flood believes the Irish Jig a native form named for the “geige,” or fiddle. Pulver points out that many dance forms were named for accompanying instruments, such as the Hornpipe, Musette, Loure, Tambourin and others and so this is a seductive theory; however, he concludes: “very little etymological research will be necessary to prove that the one had very little to do with the other (in the case of the jig); that where the noun ‘Gigue’ or ‘Giga’ was used to mean the instrument, the dance-sense was not applied’ while those dialects that used the verb ‘Giguer’, meaning ‘to dance’, did not have the noun at all.” Today in Québec the term ‘gigue’ is still applied to any tune which is played for step dancing regardless of metre.
***
Medieval
references to the Jig in both
***
If neere unto some Eleusinian Spring,
Som sportfull Jig som wanton shepherd sing,
The ravisht Fountaine falls to daunce and bound.
***
In the ballad context Shakespeare mentions the jig three times; in "Love's Labour's Lost" he says "but to jig off a tune at the tongue's end, Canary to it with your feet..."; and in "Hamlet" it is written twice, "O God! your only jig-maker" and "He's for a Jigg or a tale of bawdry." By these references Pulver makes his case for the modern jig being originally derived from the dance of the mountebank after his ballad.
***
Lady Nevell's Virginal Book (1591) was the first work to contain the word as the name of a dance piece, with a tune named "Galliard Gygge," composed by the famous English musician William Byrd. Soon after, the word appears in other tune collections and in literature, as when Beaumont and Fletcher in Knight of the Burning Pestle (IV,1) make the citizen's wife say: "George, I will have him dance fading; fading is a fine Jig, I'll assure you."
***
The
Jig ever was a triple time dance, whether in 3/8, 3/4, 6/8, 12/8 or 6/4, and,
since it had the same spirit and rhythm as the older Galliard, replaced it
seamlessly though for a while the two were employed together. Barnaby Rich
(1581), for example, wrote: "the dances in vogue were measures, galliards
jigs, etc." Several collections of
music in the first decade of the 17th century contain Jigs, printed sometimes
alongside Galliards--Thomas Robinson's
***
The 17th century, and especially during the reign of the two Stuarts, saw the peak popularity of the form. Playford prints numerous examples of the Jig, which increasingly was played as an instrumental as well as for country dancing. Pulver states: "Before the Stuart regime ended the Jig was so popular as a dance that no entertainment or other occasion when many assembled, closed without a Jig. The form began a decline with the Hanoverian kings, and, by the early decades of the next century it had devolved to the final movement of the classical Suite form.
***
Scotland was the first country, according to Pulver, to embrace the English Jig, though the earliest reference he finds is by Thomas Morley (1597) who says: "And I boldy affirme, that look which he bee who enioyne him to make but a Scottish Iygge, he will grossly erre in the true nature and qualitie of it." Shakespeare mentions the Scotch Jig in Much Ado About Nothing (1599).
***
Pulver
finds no musical examples of an Irish Jig until the second half of the 17th
century (notwithstanding their mention in Henry Sydney's letter to Queen
Elizabeth). The Irish, though, if they had no hand in fashioning the form,
adopted it with a fervor, so much so that the Jig today is known popularly as
the 'Irish Jig'. Indeed, the Irish have composed a large and extremely fine
body of Jig literature (which was first composed and performed on the pipes,
the fiddle being a late usurper of that popular pastoral instrument). An
account of a Jig performed in
***
In the centre of the field...a distaff is
fixed in the earth,
on which is placed a large flat cake; this
cake is the
signal of pleasure and becomes the reward of
talent
...At a little distance from this standard
of revelry is
placed its chief agent, the piper, who is
always seated
on the ground, with a hole dug near him,
into which
the contributions of the assembly are
dropt...At the
end of each Jig the piper is paid by the
young man
who dances it, and who endeavours to enhance
the
value of the gift by first bestowing it on
his fair
partner; and although a penny a Jig is
esteemed very
good pay, yet the gallantry or ostentation
of the
contributor...sometimes trebles the sum which
the
piper usually receives.
***
O’Neill (1922) differentiates the single jig from the double: “The Single Jig, like the Double Jig, is in six eight time, but differs from the latter chiefly in having at most but one triplet in each bar. More ancient that the Double Jig, the dance steps of the Single Jig are more light and graceful.”
***
In North
America the term ‘jig’ has often been used generically, especially by older
fiddlers who would call any dances—reels, jigs, hornpipes etc.—as jig dances.
The term was especially used for a solo-type step-dance. An interesting quote
on dancing appears in Joseph Doddridge’s Notes
on the Settlement and Indian Wars of the Western Parts of Virginia and
Pennsylvania from 1763 tto 1783 (New York: J. Munsels, 1876). The writer,
born in 1769, describes a wedding on the southwestern
***
After dinner the dancing commenced, and
generally lasted till the next morning. The figures of the dances were three
and four handed reels, or square sets, and jigs. The commencement was always a
square four, which was followed by what was called jigging it off; that is, two
of the four would single out for a jig, and were follwed by the remaining
couple. The jigs were often accompanied with what was called cutting out; that
is, when either of the parties became tired of the dance, on intimation, the
place was supplied by some one of the company without any interruption of the
dance. In this way a dance was often continued till the musician was heartily
tired of his situation. Toward the latter part of the night, if any of the
company, through weariness, attempted to conceal themselves for the purpose of
sleeping, they were hunted up, paraded on the floor, and the fiddler ordered to
play ‘Hang on till to-morrow morning.’ (pg. 155)
***
Modern
tempos to play jigs as an accompaniment for Scottish Country Dancing range from
110-126 bpm. On
JIG AN DA THUISTIUN. AKA and see "Mall Rua,"
"Moll Roe (in the Morning)."
JIG AWAY THE DONKEY. Irish, Reel. A Mixolydian. Standard. AABB. The tune was played in a set
with “The Piper on Horseback” by
northern Irish musicians Frankie Kennedy and Mairead Ni Mhaonaigh on tour in
X:1
T:Mick Hoy's
T:Jig away the Donkey
T:Fair Haired Lass, The
R:reel
H:Also in Ador, #669. See also #769
Z:id:hn-reel-558
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:Amix
ea~a2 eg~g2|ea~a2 ABcd|ea~a2 efge|afge d2cd:|
|:eA~A2 efgf|eA~A2 BAGB|ABcd efge|afge d2cd:|
JIG BARBOTTE. French Canadian, Jig. Point Records P‑229,
Sid Plamador ‑ "Canadian Jigs and Reels."
JIG DU
JIG DUTCHMAN’S CORNER. American, Schottische. G Major. Standard. AA’BB. Howe (1000 Jigs and Reels), c. 1867; pg. 53.
X:1
T:Jig Dutchman’s Corner
M:2/4
L:1/8
R:Schottische
S:Howe – 1000 Jigs and Reels (1867)
Z:AK/Fiddler’s Companion
K:A
g/b/g/e/ d/B/A/G/ |: B/d/c/e/ d/f/e/g/ | f/a/g/e/ d/B/A/G/ | B/d/c/e/ d/f/e/g/ |
{a}g/f/g/e/ d/B/A/G/ | A/a/a/g/ e/d/B/G/ | c/B/c/e/ d/B/A/G/ | A/a/a/g/ e/d/B/G/ | B/G/B/e/ d/B/A/G/ :|
JIG FOR WILLIE, A. Irish, Jig. G Major (‘A’ part) & G Minor) ‘B’ part). Standard.
AABB. Composed by
X:1
T: A Jig for Willie
C: © B.Black
Q: 300
R: jig
M: 6/8
L: 1/8
K: G
E/2F/2 | GFG AGA | BAB e2 f | g2 e dBG | AdB GED |
GEE BEE | dBd e2 f | gdB cBA | GEE E2 :|
K: Gdor
A | BGG dGG | AFF cFF | Bcd cAc | BGG G2 A |
dgg
bgg | cff afc | BGB AFA | BGG G2 :|
JIG FROM WEST CLARE. Irish, Jig. G Major. Standard. AABB. Source for notated version: Eugene
O'Donnell (County Derry/Phila.,
JIG NA MIRE (The Mad Jig). Irish, Jig.
X:1
T:Jig na Mire
T:The Mad Jig
M:6/8
L:1/8
C:John Mosey McGinley
S:James Byrne
R:Jig
N:Named by Mickey Golly
D:The Road to Glenlough
Z:Nice to drone D string in the A
section.
K:G
|:B,CD B,CD|B,CD ECE|B,CD B,CD| BAG
ECE|\
B,CD B,CD|B,CD ECE|B,CD B,CD|BAG
EDC::\
Ddd AFD|DBc ECE|Ddd B2B|GFG ECE|\
Ddd AFD|DBc ECE|Ddd B2B|GFG ECE::\
Daa afd|efg ge^c|daa afd|gfg efg|\
agf gfe|fed e/2f/2ed| ^cec BdB|ABA
GEC:|*
JIG OF CLONMORE, THE. Irish, Jig. G Major. Standard. AAB.
X:1
T:The Jig of Clonmore
L:1/8
M:6/8
Z:Transcribed by Juergen Gier
K:G
GED ~D3|GEG c2e|dBG GAB|AGE ~E3|\
GED ~D3|GEG c2e|dBG GAB|AGF G3:|\
gdB GBd|gdB c2e|dBG GAB|AGE ~E3|\
gdB GBd|gdB c2e|dBG GAB|AGF G2d|\
gdd edd|gdB c2e|dBG GAB|AGE ~E3|\
GED ~D3|GEG c2e|dBG GAB|AGF G3|]
JIG OF PORT FLEADH, THE. Irish,
Jig. G Major (originally composed in A Major). Standard. AABB. Composed by
X:1
T:Jig of
Port Fleadh, The
R:Jig
S:Mike
Rafferty from Jack Coen
C:Sean
Ryan
N:Posted to
the woodenflute mailing list April 2003
Z:lesl
M:6/8
L:1/8
K:G
~G2A|:B2G
AGE|DBD GBd|gzd edB|edB AGA|
B2G
AGE|DBD GBd|g{a}gd edB|1 cAF ~GGA:|2 cAF G3||
|:~g2e
fed|edB GBd|gze (3fga f|gfe def|
~g2e
fed|edB GBd|gdB ecA|DEF G3:|
JIG OF SLURS. Scottish (originally), Irish; Jig. Ireland, County Donegal. D Major
('A' and 'B' parts) & G Major ('C' and 'D' parts). Standard. AABBCCDD.
Composed by the great Highland bagpiper Pipe Major G. S. MacLennan (1883-1927),
who knew a good composition when it occurred to him. He wrote in 1910:
***
My
Jig o' Slurs I'm extremely proud of, not of course as a tune with a
fine
melody but for its grand execution. I do not know of a tune which
is
nearly as difficult or requires such a nimble finger to play. The person
who
can play it through two or three times without missing a slur has no
cause to be ashamed of his fingers.
***
The
melody is played on the bagpipes with a series of roles, with the title
"Jig o' Slurs" descriptive of its almost nonstop series of these
rolls separating two melody notes. The tune has
been a staple of Scottish music sessions, and many Irish as well, so much so
that it occasionally has been called, with just a little derision, the “Jar of
Slugs.” It is often paired in sessions with “The Atholl Highlanders.” Words have
been written the tune by Andy Hunter for a song called “Up and Awa’ Wi’ the
Laverock” (the laverock is a skylark), referencing the holiday of an angler.
The refrain, set to the fourth part of the tune, goes:
***
Up and awa' and awa' wi' the laverock
Up and awa' and awa' in the mornin'
Up and awa' and awa' wi' the laverock
Up and awa' tae the hills wi' me.
***
Martin (Ceol na Fidhle), Vol. 1, 1991; pg. 42. Nimbus
NI 5320, Ciaran Tourish et al - “Fiddle Sticks: Irish Traditional Music from
Donegal” (1991). Plant Life Records PLR‑017, "The Tannahill
Weavers" (1979). Wild Asparagus 003, Wild Asparagus - "Tone
Roads" (1990). Janet Russell & Christine Kydd – “Dancin’ Chantin’”
(song, “Up and Awa’ Wi’ the Laverock”).
X:1
T:Jig of Slurs
L:1/8
M:6/8
K:D
Add dcd|Bdd Add|Bdd Add|Bee edB|Add
dcd|Bdd Add|Bdd cde|fdd dcB:|
|:A2f fef|aff fed|Bee ede|~f3
edB|A2f fef|aff fed|Bdd cde|1 fdd dcB:|2 fdd d3||
K:G
|:G2g gfg|agf gdB|G2g gfg|agf
~g3|G2g gfg|agf gdB|Bee efg|fed edB:|
|:GBB Bdd|dee edB|GBB Bdd|dee
e2d|GBB Bdd|dee edB|~e3 efg|fed edB:|
JIG POLTHOGUE. AKA and see "The
Humors of Ballymanus."
JIG RUNRIG. Scottish, Jig. A modern composition by Fergie MacDonald. Fergies Collection (1998). The Nineties Collection. Aly Bain & Phil Cunningham – “The
JIGG. English, Jig.
JIGG ASHLING, A. English, Jig. G Major. Standard. AABB. Raven (English Country Dance Tunes),1984; pg. 128.
JIGG POLTAGUE [1]. English, Slip Jig. A Mixolydian. Standard. AABB. Huntington (William Litten’s), 1977; pg. 32.
JIG POLTHOGUE [2]. English, Slip Jig. C Major. Howe, Musician's
Omnibus, No. 2, pg. 104.
JIGGING FOR ME. English.
JIGGS ON PARADE. AKA and see "Tom
Brown's Burletta." American, Jig.
JIGUE TENFANT. French‑Canadian, Jig. The piece comes from
JILLY NEARY'S
FAVOURITE. AKA and see “Anderson’s Reel [3]," "The Flowers of Redhill [1],"
"Don't be Foolish," "The Hod Carrier,” “Wild Irishman [6]."
JILT, THE. AKA and see “Fair Rosalind.”
JIM AND JUDY'S WEDDING. AKA and see "Judy and
Jim's Wedding."
JIM ANDERSON’S DELIGHT. Scottish, Jig. A Major. Standard. AAB. Composed by the late Shetland
composer, pianist and piano-accordion player Ronnie Cooper (d. 1982), of
Lerwick, a self-taught musician. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 50.
JIM BEE WAGONER. Old‑Time, Fiddle Tune. The title appears in a list of traditional
JIM BOULTON'S FANCY (Roga Seamuis Bouilton/Boultoin). Irish, Hornpipe. A Major. Standard.
AABB. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1756, pg. 327. O'Neill (Dance Music of
X:1
T:Jim Boulton’s Fancy
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A
E2|ABcA BcdB|cdec A2 Bc|defe
dcBA|GABG EFGE|
ABcA BcdB|cdec defg|agae fdBG|A2A2A2:|
|:cd|ecec a2 cd|ecec A2 Bc|defe
dcBA|GABG EFGE|
ABcA BcdB|cdec defg|agae
fdBG|A2A2A2:|
JIM CANN'S BARN DANCE. English, Jig. D Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 19, pg.
24.
JIM CARROLL. Canadian, Jig.
JIM CLARK'S HORNPIPE. AKA and see "Clark's
Hornpipe [1]," "Ivy Leaf
Hornpipe," "Morpeth's
Hornpipe/Rant ." Irish, Hornpipe. D Major. Standard tuning. AABB. The
'A' part is similar to "Harry Cooper"
and "The Land League;" see
Bayard's note for "Harry Cooper." The tune is popular among
***
JIMMY CLARK was one of the best jig dancers in the country, and equally
proficient in the
manipulation of the banjo, and an all-round good general performer. He
was with Kelly and
Leon’s Minstrels in New York, also with the Duprez and Benedict Company.
December, 1872,
Welch, Clark and Hart’s Minstrels began a brief career. Mr. Clark had
not appeared professionally
for some years. Prior to his death he was employed in the manufacturing
of the banjo. Jimmy
***
Cole (1000 Fiddle Tunes), 1940; pg. 91. Ryan’s Mammoth Collection, 1883; pg. MSOTFA
106, Bob Walters – “Drunken Waggoner.”
X:1
T:Jim Clark’s Hornpipe
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | .d(A/G/ F/D/F/A/ | B
/G/B/d/ c/A/c/e/ | f/d/g/e/ a/f/e/d/ | .c.e e/g/f/e/ | .d(A/G/ F/D/F/A/ |
B /G/B/d/ c/A/c/e/ | d/b/a/g/
f/g/e/c/ | dfd :: (3e/f/g/ | .a(f/d/) A/d/f/a/ | .g(e/c/) A/c/e/g/ |
f/a/f/d/ B/g/e/d/ | c/e/d/B/
A/g/f/e/ | .d(A/G/) F/D/F/A/ | B/G/B/d/ c/A/c/e/ | d/b/a/g/ f/e/d/c/ | dfd :|
JIM COLEMAN'S [1]. AKA and see “Dan Backus’
Favorite,” “Liverpool Jack’s,” “Miss Guinness [2],” “Miss McGuiness [3],” “Take Your Choice,” “Terence’s Ramble.” Irish, Reel.
JIM COLEMAN’S (REEL). Irish, Reel. Shanachie 34014, James Kelly, Paddy O’Brien & Daithi
Sproule – “Traditional Music of
JIM CONROY’S JIG. AKA and see “Leg of the Duck [2]. Irish, Jig. G
Major. Standard. AABB. Jim Conroy was a flute player from Woodford, east County
Galway, and a mentor of flutist Jack Coen (Bronx, N.Y.). Source for notated
version: Jim Conroy, via New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 248, pg. 76. Green Linnet SIF 3067, Jack and Charlie Coen – “The Branch
Line” (1992. Reissue of Topic 12TS337). Topic 12TS337, Jack and Charlie Coen –
“The Branch Line” (1977).
JIM CONROY’S REEL. AKA and see “Jack Coen’s Reel,” “John Naughton’s Favorite.”
Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: Jim
Conroy, via New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Harker (300
Tunes from Mike Rafferty), 2005; No. 34, pg. 11.
JIM CONWAY’S FLING. Irish, Fling. G Major. Standard tuning. AABB. Source for notated
version: the late Jim Conway (father of New York fiddlers Brian and Rose), of
County Tyrone and the Bronx [Black]. Black (Music’s
the Very Best Thing), 1996; No. 199, pg. 106.
X:1
T: Jim Conway's Fling
S: B. Conway
Q: 300
R: hornpipe
M: 4/4
L: 1/8
K: G
G2 GD EDGD | GBdB A2 A2 | G2 GD EDGD | EGDB, A,2 G,2 :|
gabg
d2 d2 | gabg e4 | gbeg dgBg | AGAB G2 G2 :|
JIM CROW. Old‑Time, Breakdown and Song Tune. D Major. Standard tuning. ABC. A song popularized on the minstrel stage of the mid-19th century. Dave Evans remarks on the similarity of the title "Jim Crow" to "John Crow," a folk name for a buzzard, and suggests that the "Jim Crow" song and dance is perhaps derived from the slave dance "The Buzzard Lope" (see Parish, Slave Songs of the Georgia Sea Islands, 1942). See also “Jump Jim Crow.”
***
Come, listen all you gals and boys,
I'm just from Tuckyhoe.
I'm goin' to sing a little song,
My name's Jim Crow. (Ford)
***
Turn about and twist about,
And do jes' so
An' every time you turn about
you jump Jim Crow. (Scarborough, On the Trail)
***
Ford
(Traditional Music in America), 1940;
pg. 83 (additional lyrics on pg. 424).
JIM DONAGHUE'S REEL. AKA and see “The Hills of
Clogher.” Irish, Reel. Ireland, County Sligo. D Major. Standard. AA'BB'.
Source for notated version: conical {"Clarke's"} whistle player Jim
Donoghue, 1910-1990 (Drimacoo, Monasteraden, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 179.
X:
1
T:Jim Donoghue'sR:reelM:4/4L:1/8N:Posted to the woodenflute mailing list December 2001Z:Rachel MarshK:D~A3F BF ~F2|BFAF EFDE|AF ~F2 BFAF|EDEF D2 F|AF ~F2 BF ~F2|AF~F2 ABde|fgfe dBAF|EDEF D3z:||:dffe ~f3e|dfed BAFA|Beed e2de|fedf edBA|dffe ~f3e|dfed BAFB|ABde fdAF|1 EDEF DEFA:|2 EDEF ~D3z||
JIM
DONNELLY’S. Irish, Hornpipe. G Major. Standard. AABB’. Treoir.
X: 1
T: Jim Donnelly's
S: Treoir
M: 4/4
L: 1/8
Q: 325
R: hornpipe
Z: Transcribed by Bill Black
K: G
(3DEF | GA (3BcB ABcd | eaaa g2 ed | (3cBA
GA (3BcB ABcd | eaaa g2 ed | (3cBA
z2 |: DGGG BGGB | dBcB d4 | (3Bcd
GA
(3BcB ABcd | eaaa g2 ed | (3cBA
JIM DRONEY’S. Irish, Jig. G Major. Standard. AABB. Source for notated version:
concertina player Chris Droney (
X:1
T: Jim Droney's
S: Chris Droney
Q: 325
R: jig
M: 6/8
L: 1/8
K: G
D | GAB D2 E | GAB AGE | GAB D2 E | GAG GED |
GAB D2 E | GAB d2 e | dBB AGA | BGF G2 :|
e | dBB dBB | dBB A2 e | dBB dBA | GAG GED |
dBB
dBB | dBB A2 e | dBB AGA | BGF G2 :|
JIM ERWIN’S. Irish, Hornpipe. G Major. Standard. AABB. Composed by County
Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Named for Reavy’s
friend Jim Erwin of
X: 1
T:Jim Erwin's
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:To Ed's friend, Jim Erwin, a talented dancer and dance instructor
N:from
K:G
Bc | dBGB dgfg | ecAG FGAB | cBAG BGFG | (3ABA (3GFE ECB,C |
DB,G,B, DGFG | ECA,C EGAB | cAFA DAFA | G2 FA G2 :||
|: Bc | d^cdf gdcd | eA^ce agfe | dgBd ceAc | BdGB ADFA |
d^cdf gdcd | eA^ce agfg | bgdB Afag | fecA G2 :||
JIM KEEFFE'S POLKA [1] (Polca Shéamuis Uí Caoimh). AKA and see “Jimmy Doyle’s (Polka) [3], “Kerry No. 3.” Irish, Polka. D Mixolydian.
Standard. AABB. Source for notated version: fiddler Seamus Creagh &
accordion player Jackie Daly (
X:1
T:Jim Keeffe’s Polka [1]
M:2/4
L:1/8
R:Polka
K:D Mixolydian
|: A | d2 e>d | cA A2 | dAd ef |
g2 fe | d2 e>d | cA A2 | f/g/a ge | d2d :|
|: e | f>e fd | g>f ge |
f>e fa | ge ce | f>e fd | g>b ge | fa ge | d2 d :|
JIM KEEFFE'S (POLKA)
[2]. AKA – “Jim Keefe’s.” AKA and see “Colm Danagher’s,” “Michael Murphy’s Slide,” “Rachael Finch’s Fancy,” “Siobhán Hurl’s.” Irish, Polka. A
Mixolydian. Standard. AABB. Source for notated version: accordion player Johnny
O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Mallinson (100 Polkas), 1997; No. 21, pg. 9. Moylan
(Johnnny O’Leary), 1994; No. 188, pg.
109.
JIM KEEFFE’S (POLKA)
[3]. AKA and see “Tuar Mór Polka [3]." Irish, Polka.
JIM KEEFFE’S (POLKA)
[4]. AKA and
see “Din Tarrant’s [6],” “O’Keeffe’s (Polka) [1],” “Mert Plunkett’s.”
JIM KELLY'S [1]. Irish(‑American?), Jig. D Major. Standard. AA'BB'. Named for the
source. Source for notated version: banjo player Jim Kelly (Newtonville, Mass.)
[Miller & Perron]. Miller and Perron (Irish
Traditional Fiddle Music), 1977; vol.1, No. 60 (with one 'B' part variation).
JIM KELLY’S [2]. AKA and see “The Ashplant [2],"
“Coleman’s (Reel) [2]," “Dennis Murphy’s Favourite,” Dicky Sherlock’s Reel,” “John Brennan’s Reel [2],” “Maguire’s (Reel),” “Matt Molloy’s [2],” “Night in Ennis,” “Packie Duignan’s Reel,” “Tipperary Fancy.” Irish, Reel. D Major.
Standard. AABB. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 78.