The Fiddler’s Companion

© 1996-2007 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

KEA - KEM

 

 

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]

 

 

 

KEABOG.  Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 91.

X:1

T:Keabog

M:C

L:1/8

R:Strathspey\

N:”Slowly”

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

c<ff>g ({f/g/}a>)f f2 | {^d}[e2e2] B>e G>B E>e | c<f({a/f/^e/}f>)g | ({f/g/}a>)gf>d | .c/.B/.A .G/.F/.^E F2 FG :|

{G}[A2A2] E>D C<E A>f | e>A f>A G<B({c/B/^A/}B>)g | ({g}a2) e>d (c/d/e) A>G | F>A G/A/B ({G}A2) AG |

{G}[A2A2] E>D C<E A>f | e>A f>A G<B~B>g | a/g/a e/f/g (3aed (3cBA | (3GFE (3dcB ({G}A2)A z ||

                     

KEACH I' THE CREEL, THE. English, Air (2/4 time). England, Northumberland. D Major. Standard. One part. "This old and very humorous ballad has long been a favourite on both sides of the Border, but had never appeared in print till about 1845, when a Northumbrian gentleman printed a few copies for private circulation, from which the above was taken. In former days, in the rural districts of Northumberland, courtship was secretly conducted; and often the only place of meeting was the 'maiden's bower'. A better state of things now generally prevails" (Bruce & Stokoe). The word keach or keech also means ‘excrement’ in Ulster and Scotland, as well as ‘lift’ or ‘hoist’.

***

A fair young May went up the street,

Some white fish for to buy,

And a bonny clerk's fa'n in luve wi' her,

An' he's followed her by and by.

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 82‑84.

X:1

T:Keach I’ the Creel, The

M:2/4

L:1/8

R:Air

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:D

(D/E/)|Fd cd|BA AA|Fd cd|B3 D/E/|F/F/d cd|BB/A/ FD/E/|

F/F/D B,C|D>E F>E|F/F/D B,C|D3||

 

KEADUE POLKA. AKA and see “John Ryan’s Polka,” “Sean Ryan’s Polka.” Irish, Polka. Keadue is in north Co. Roscommon and is called Ce/ideadh in Irish Gaelic. The village lies about a mile from Kilronan cemetery in which is buried the remains of the great Irish harper O Carolan (1670-1738). “Sean Ryan’s Polka” was coined “Keadue Polka” on Josie McDermott’s recording “Darby’s Farewell” and, as Josie had no name for it, the melody was called by the name of the nearby village.

X:1

T:Keadue Polka

M:2/4

L:1/16

R:polka

K:D

|d2d2 BcdB | A2F2 A2F2 | d2d2 BcdB | A2F2 E2D2 |

d2d2 BcdB | A2F2 A2 de | f2d2 e2c2 | d4 d4:|

|f2d2 d2 ef | g2f2 e2 de| f2d2 a2d2 | fedf abag | f2d2 d2 ef |

g2f2 e2 de | f2d2 e2c2 | d4 d4 :|

                               

KEADY PIPER. AKA and see “Bonny Bunch of Ferns.”

                                   


KEAN O'HARA [1]. AKA and see "O'Hara's Cup" (Cupan Ui hEaghra). Irish, Air or Planxty (3/4 time). C Major (Complete Collection...): D Major (Joyce). Standard. One part. Composed by Turlough O'Carolan. "The Irish words of this song, composed by Carolan in honour of his friend Kean O'Hara of Nymphsfield, Co. Sligo, will be found in Hardiman's Irish Minstrelsy, Vol. I., p. 64; and in Edward Walsh's Irish Popular Songs, p. 70" (Joyce). Source for notated version: partly from John Windele, "the distinguished Cork archaeologist (d. 1865), and P. Carey, a piper of the Co. Cork, via Forde (Joyce). Complete Collection of Carolan's Irish Tunes, 1984; No. 130, pg. 93. Joyce (Old Irish Folk Music and Songs), 1909; No. 685, pg. 342. Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993).

X:1

T:Kean O’Hara [1]

T:O’Hara’s Cup

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909), No. 675

Z:AK/Fiddler’s Companion

K:D

F>E | D2F2A2 | BAGFED | D2d2 de | d4 dB | A2B2d2 | e2d2 ef | fedcBA | B4 (3ABc |

d2 c2 dc | B3 cdB | AFDFAF | E4 FA | BcdBAF | BAGFED | E2D2 D>E |

D4 (3ABc | dfedcB | cedcBA | BcdBAF | E4 FA | BceBAF | BAGFED | E2D2 D>E | D4 ||

 

KEAN O'HARA [2]. Irish, Planxty (3/4 time). A Major. Standard. AABB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1984; No.131, pg. 94.

 

KEAN O'HARA [3]. Irish, Planxty (3/4 time). G Major. Standard. One part. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O’Sullivan, in his definitive work on the bard could find no incontrovertable evidence of its origin. Complete Collection of Carolan's Irish Tunes, 1984; No. 132, pg. 94.

                   

KEBBLEWORTH HALL. English, Minuet (6/8 time). D Major. Standard. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 208.

                   

KEEFE'S (SLIDE). Irish, Slide (12/8 time). C Major. Standard. AABB. Taylor (Where’s the Crack?), 1989; pg. 31.

                   

KEEGAN’S. Irish, Double Jig. G Major. Standard. AABB. The title refers perhaps to button accordion player Kevin Keegan, of San Francisco, a sometime playing partner of Joe Cooley’s. The San Francisco CCE branch is named in their honor. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 73, pg. 80.                    

                     

KEEGAN’S WALTZ. Irish, Waltz. The tune is from the playing of San Francisco button accordion player Kevin Keegan, who paired the tune with a jig also bearing his name. Kicking Mule Records, Cathie Whitesides – “Gems of Irish and Cape Breton Scottish Fiddling” (1983).

                   

KEEL CRANKE. AKA and see "Killicrankie."

                   


KEEL ROW, THE. AKA and see "The Boatie Rows," "Drops of Brandy," “Johnny When You Die [2],” "Lake St. Jean Gallope,” "Michael's Reel," "Smiling Polly," "Twin Sisters [4]." English, Irish, Scottish, American; Air, Reel, Highland or (Highland) Schottische, Highland Fling. England, Northumberland. Ireland, Donegal. G Major (Cole, Hall & Stafford, Kennedy, Kidson, Raven, Stokoe, Sweet, Trim, Tubridy, White): A Major (Athole, Kerr, Mulvihill, Roche, Surenne). Standard. AB (Raven, Roche, Surenne, Tubridy): AABB (Cole, Kerr, Kidson, Mulvihill, Sweet, Trim, White): AABB' (Athole): ABC (Stokoe). Stokoe and Bruce (1882) devote a note to the tune claiming Northumbrian authorship for "The Keel Row," an extremely popular tune in its time (in both Scotland and Northumberland) and "the best known and most popular of all Northumbrian lyrics." He refutes assertions that the tune is Scotch (to whom it is often credited), citing the following: 1) the 'keel' is a vessel which is only known on the rivers Tyne and Wear {Kidson points out however that 'keel' is an old Saxon word and has been used in Scotland as well as Newcastle}; 2) In the collection of the Society of Antiquaries of Newcastle is a MS Book of Tunes, dated 1774, in which the tune appeared exactly as it did in Stoke's time; 3) Joseph Ritson, once a celebrated antiquary, included it in his collection of old songs, 'The Northumberland Garland,' published 1793 (a garland is a of eight to sixteen tunes). Stokoe and Bruce point out that these dates are anterior to the appearance of the song in any Scottish collection, having found that Cromek inserted it in his Remains of Nithsdale and Galloway Song, 1810, where it is labelled a "popular bridal tune in Scotland" and set to a Jacobite song called "As I came down the Cannongate." (Stokoe also says that Allan Cunningham, in his 'Songs of Scotland,' 1825, asserts that Cromek's version is imperfect, "and gives another, which is simply a protracted paraphrase of the original song, with the word 'keel' entirely omitted {except in the title}, the word 'shallop' being substituted"--Kidson sees this same song as a copy of the older Jacobite lyric). Though taking no sides in the debate, Kidson (1890) does find the melody under the "Keel Row" title in an early Scottish edition which predates the Northumbrian printings, in Neil Stewart's c. 1770 A Collection of favourite Scots' Tunes, with Variations for the Violoncello or Harpsichord, by the late Charles McLean, and other eminent masters (Edinburgh).

***

As I cam thro' Sandgate, thro' Sandgate, thro' Sandgate;

As I cam thro' Sandgate I heard a lassie sing:

Weel may the keel row, the keel row, the keel row;

Weel may the keel row that my laddie's (truelove's) in.

Weel may the keel row, &c. (Stokoe)

***

Emmerson (1971) believes the tune to have been composed on and for the Northumbrian smallpipes, and Shield's famous variations on "Keel Row," composed for the instrument, are given by Hall & Stafford.

***

Bayard (1981) dates the tune from the 18th century, while Chappell (1859) finds the earliest form of it in Thompson's 200 Country Dances of 1765 where it appears as "Smiling Polly," though Kidson (1890) believes the earliest form of the tune to be "Yorkshire Lad," found in Johnson's Country Dances of 1748. Bayard concludes the identifying musical characteristic centers around one (first) strain which typically occurs in most variants, but the second strain not infrequently differs. Kidson earlier appears to have come to the same conclusion for he gives four settings of the tune from the mid-18th century, all different in the 'B' part (i.e. "Yorkshire Lad," "Smiling Polly," "Dumb Glutton" "Well May the Keel Row"--he also notes other tunes could well have been included in this comparison such as "Shamboy Breeches" and "Charlie is at Edinburgh"). This perhaps goes to explaining Cunningham's insistence that an "imperfect" version had been collected by Cromek‑‑it was probably no less worthy, only a different strain. Bayard collected a version from Pennsylvania fifers, to whom it was well known in the mid‑twentieth century.

***

Chris Bartram (Devon, England) maintains that while the words to “The Keel Row” are from the North‑East of England the tune is actually widespread throughout the whole island of Great Britain, and he suggests the ‘modern’ prevalence of the 'Keel Row' words is largely due to mid-20th century commercial recordings and early media broadcasts. Outside of Northumberland alternate ditties were sung, such as (from southern England, courtesy of Mr. Bartram):

***

The cat caught the measles, the measles, the measles,

The cat caught the measles, the measles caught the cat.

***

In the Norfolk area of southern England, the “Keel Row” was paired with two other schottisches, “Washing Day” and “Old Mrs. Huddledee”; concertina player Scan Tester (1887-1972) and fiddler Walter Bulwer (1888-c. 1972) both independently knew the medley. In addition to morris and English country dancing the tune is often associated with the broomstick dance in southern England, a dance which is still occasionally performed in pubs at Yuletide. The Scots usually play the tune as a schottische, while in Ireland it is found as a barn dance.

***

Anne Lederman, in her article on “Fiddling” in the Encyclopedia of Music in Canada (1992), remarks that the “Keel Row” was the vehicle for the Broom Dance, popular in the 18th and 19th century Canadian fur-trade.

***

Sources for notated versions: Hirman Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) and Frank King (fifer from Westmoreland County, Pa., 1960) [Bayard]; “old highland fling, learned from my mother” [Mulvihill]. Bayard (Dance to the Fiddle), 1981; No. 321A‑B, pgs. 280‑1. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 185. Cole  (1000 Fiddle Tunes), 1940; pg. 23. Ford (Traditional Music in America), 1940; pg. 67 (appears as "Twin Sisters"). Gow (Vocal Melodies of Scotland), 2nd ed., 1822; pg. 20.  Hall & Stafford (Charlton Memorial Tune Book), 1974; pgs. 24‑25. Jarman (Old Time Fiddlin’ Tunes) 1951; No. or pg. 33. Kennedy (Fiddlers Tune Book), Vol. 1, 1951; No. 42, pg. 21. Kerr (Merry Melodies), Vol. 1; No. 3, pg. 19 and Vol. 3, No. 94, pg. 12. Kidson (Old English Country Dances), 1890; pg. 19. Mulvihill (1st Collection), 1986; No. 13, pg. 121. Raven (English Country Dance Tunes), 1984; pg. 174. Roche Collection, 1983, Vol. 1; No. 198, pg. 75. Ryan’s Mammoth Collection, 1883; pg. 47. Saar, 1932; No. 19. Smith (Scottish Minstrel), 1820‑24; Vol. 5, pg. 74. Stewart-Robertson (The Athole Collection), 1884; pg. 11. Stokoe & Bruce (Nortumbrian Minstrelsy), 1882; pgs. 138‑139. Surenne (Dance Music of Scotland), 1852; pg. 144. Sweet (Fifer’s Delight), 1964/1981; pg. 58. Trim (Thomas Hardy), 1990; No. 60 (Schottishe). Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 12. White's Excelsior Collection, 1907; pg. 27. White’s Unique Collection, 1896; No. 53, pg. 10.   Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources  (Keyword Search for “Keel Row”)

Alan Ng’s Irishtune.info

X:1

T:Keel Row

M:C|

L:1/8

S:Reel

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

Z:AK/Fiddler’s Companion

K:A

e/d/|cA A/A/A d2 Bd|c2 A>c BGEe|cA A/A/A d2 B>d|cABG A2A:|

|:ceea f2 (ed|cAAc BGEe|1 ceea f2 (e>d|cABG A2a:|2 ce e(f/g/ aefd|

cABG A2A||

X:2

T:Keel Row, The

L:1/8

M:2/4

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

c|B2 G>B|c2 A>c|B2 G>B|(AF) Dc|B2 G>B|c2 A>c|B>G A>F|G3||

z|(B>d d>g|e2 d>c|B2 G>B|(AF) D2|(B>d) d>g|e2 d>c|(B>G) A>F|G3||

c|B2 G>B|c2 A>c|B2 G>B|(AF) D2|B2 G>B|c2 A>c|(B>G) A>F|G3||

                   

KEELAGHAN’S MANTA. Irish, Reel. F Major. Standard. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 46.

                   

KEELE CRANKE. Scottish. Perhaps "Killiecrankie" or "Kilicrankie." Appears in Henry Playford's 1700 collection of Scottish dance music.

 

KEELMAN, THE. English. England, Northumberland. The timing of the tune is unusual. Keelmen worked the River Tyne, which separates County Durham and County Northumberland for much of its course, loading and unloading larger boats anchored in the center of the river for local business, and formed a distinct community in the Sandgate area of Newcastle. Highly skilled boatman, one of their prime jobs in the 19th century was to move coal from the riverside to ships waiting in the Tyne. With the onset of the Industrial Revolution in the nineteenth century and the development of coal staithes as an alternative method of loading collier ships, the Keel men's trade gradually declined until it became virtually non-existent. Flying Fish FF‑250, The Battlefield Band ‑ "Home is Where the Van Is" (1981).

         

KEELMAN OWER LAND, THE. English, Jig. England, Northumberland. G Major. Standard. AABBCC. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 165.

X:1

T:Keelman Ower Land, The

M:6/8

L:1/8

R:Jig

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

d(3c/B/A/G d2g|d(3c/B/A/G d2g|ecA gcA|ecA efg|dBG GAB|

Bge dBG|A/B/c/B/A B/c/d/c/B|e2d efg:|

|:ddg ddg|ddg dcB|eea eea|eea edc|ddg ddg|Gge dBG|

A/B/c/B/A B/c/d/c/B|e2d efg:|

|:d/B/GG G/B/GG|d/B/GG G/B/GG|e/c/AA A/c/AA|c/A/AA A/c/AA|

dBG GAB|Bge dBG|AcA BdB|e2 d efg:|

         

KEELMAN'S PETITION, THE. English, Reel. England, Northumberland. C Major. Standard. AABB. Seattle (William Vickers), 1987, Part 3; No. 409.

         


KEELUM KALLUM TAA FAIN. AKA and see "Gillie Callum." Scottish. The melody appears earliest in Robert Bremner's 1757 2nd collection (pg. 108), according to John Glen (1891).

         

KEENY. AKA and see "Frank Keeney."

         

KEEP A GOOD TONGUE IN YOUR HEAD. AKA and see "The Merry, Merry Milkmaids," "The Milkmaid's Dumps."

         

KEEP AWAY FROM THE FEDERALS. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. AKA and see "Waiting for the Federals"???, "Run, Boy, Run" and/or "Seneca Squaredance"???

         

KEEP IT UP (As a thoiseach). Scottish, Pipe Reel. E Dorian. Standard. AB (Fraser): AAB (Hardie). The tune is subtitled “Be Off, Mackintosh!” The piece is played un-slurred, with a distinct bow stroke for each note. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 140, pg. 56‑57. Hardie (Caledonian Companion), 1992; pg. 103. Henderson (Flowers of Scottish Melody), 1935. Green Linnet SIF‑1094, Capercaille ‑ "Sidewaulk" (1989). Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977). Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).

X:1

T:Keep it up

T:As a thoiseach

M:C

L:1/8
R:Pipe Reel

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:E Minor

^c|dEBE dEB^c|dEBE FDD^c|dEBE GBeB|^cAdA FDDc|

dEBE dEB^c|dEBE FDD^c|dEBE GBeB|^cAcA FDD||f|

gebe geef|gebe fddf|gebe gefd|^cAdA FDDf|gebe beef|gebe fddf|

ebgb faeg|f^cdA FDD||

 

KEEP OFF THE GRASS. Old‑Time, Breakdown. USA, southwestern Pa. C Major ('A' part) & A Minor ('B' part) {Bayard‑Tustin}: G Major ('A' part) & E Minor ('B' part) {Bayard‑Shape}. Standard tuning. AB. Bayard (1981) believes this tune has a "general, yet noticable" resemblance to the Scottish "Balquhidder Lasses" (which in turn has a resemblance to "Johnny Cope"). Sources for notated versions: John Tustin (Greene County, Pa., 1944) and William Shape (Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 186, pg. 143.

 

KEEP THE ARK/ART A MOVIN'. AKA and see "The Old Ark's A-Movin."

 

KEEP THE COUNTRY BONNIE/BONNY LASSIE/LASS. Scottish; Reel. A Major. Standard tuning. AB (McGlashan): AAB (Athole, Gow, Honeyman, Kerr): AABB (Bremner, Vickers): AABB'(Skye). John Glen (1891) finds the earliest printing of this tune in Robert Bremner's 1757 collection. There is a Scottish country dance of the same title which was once danced in parts of Ettrick (taught by a country dance master named James Laidlaw), though Flett & Flett believe it never attained much popularity under the title (or danced to this this tune).  The same figures were danced to "Duke of Perth" ("Brown's Reel") and "Pease Strae," called by the names of those tunes, and appeared to be much more widespread in the 19th century. Bremner (Scots Reels), c. 1757; pg. 32. Carlin (The Gow Collection), 1986; No. 487. Gow (Complete Repository), Part 2, 1802; pg. 25. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 19. Kerr (Merry Melodies), Vol. 2; No. 12, pg. 4. MacDonald (The Skye Collection), 1887; pg. 25. McGlashan (A Collection of Reels), c. 1786; pg. 41. Stewart-Robertson (The Athole Collection), 1884; pg. 24. Seattle (William Vickers), 1987, Part 3; No. 447.

X:1

T:Keep the Country Bonny Lassie

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

f|eAcA Bcdf|eAcA eAcA|dfce Bcdf|ecac e2e:|

g|aece Bcdf|aece aece|aece Bcdf|ecac e2 eg|aece Bcdf|

aece aece|dfce Bcdf|ecac e2e||

X:2

T:Keep the Country Bonny Lassie

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels c. 1757

Z:AK/Fiddler’s Companion

K:A

e | A/A/A “tr”(cA) B>cdf | A/A/A “tr”(cA) eA”tr”cA | dfce B>cdf | ecaf “tr”e2A :|

|: g | (a/g/f/e/) ce B>cdg | (a/g/f/e/) ce (a/g/f/e/) ce | dfca B>cdf | (e/f/g a)f “tr”e2A :|

X:3

T:Keep the Countrey bonny Lassie

C:R. Petrie

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 12

L:1/8

M:C|

R:Reel

K:A

f|AA/A/ (cA) Bcdf| AA/A/ (cA) eAcA | dfce Bcdf|ecac e2 :|

g|(a/g/f/e/ cA) Bcdf|(a/g/f/e/ c)e (a/g/f/e/ c)e|(a/g/f/e/ cA) Bcdf|ecac e2 (Ag)|

(a/g/f/e/ cA) Bcdf|(a/g/f/e/ c)e (a/g/f/e/ c)e|(a/g/f/e/ c)A Bcdf|ecac e2A |]

                             

KEEP YE WHIGS IN ORDER. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.


                   

KEEP YOUR COUNTRY BONNIE LASSES. AKA and see "Irish Jig" (Shetland), "Niel Gow" (Strathspey). Shetland, Mainland district. The title is virtually the same as "Keep the Country Bonnie Lassie."

                   

KEEP YOUR FEET JOHNNY. Irish, Jig. D Major. Standard tuning. AAB. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 64, pg. 28.

X:1

T:Keep Your Feet Johnny

M:6/8

L:1/8

R:Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

A | AGF (A2D) | DED FED | AGF (A2D) | A3d3 | AGF (A2D) | DED AGF |

EFE (E2F) | G3B3 :| ABc (d2F) | AGF (d2F) | ABc dAF | B3d3 | ABc ded |

cBA (d2A) | Bcd EGE | G3B3 | ABc d2F | AGF (d2F) | ABc dAF | B3d3 |

faf gec | fdB AFD | EFE E2F | G3B3 ||

                   

KEEP YOUR FEET OUT OF THE SAND. Old‑Time, Breakdown. A Dorian. Standard tuning. ABB'. Source for notated version: James Smalley (fiddler and fifer from Westmoreland County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 51, pg. 37.

                   

KEEP YOUR WIFE AT HOME. AKA and see “Bob and Joan,” “Fill the Bumper Fair,” “Love and Whiskey,” “Stoneybatter [1].”

 

KEEPER HILL (Cnoc Ceupeir/Coimeaduide). Irish, Reel. A Major. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). “Keeper Hill,” is the translation of the Irish Slieve Kimalta. Keeper Hill, near Nenagh, is the highest mountain in the Silvermines area of County Tipperary, and the most northerly and most westerly summit in the range. See note for the related “George Booker [1].” O'Neill (Krassen), 1976; pg. 147. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1481, pg. 274. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 709, pg. 125

X:1

T:Keeper Hill

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001  Gems (1907), No. 709

Z:AK/Fiddler’s Companion

K:A

A,2 A,C EDEF|ABAc BABc|A,2 AC EDEF|ABcA BAFA|A,2 A,C EDEF|

ABAc BABc|defd cdec|BABc BAFA||cAae cAae|cAag fedc|dBbf dBbf|

dBbf gfed|cAae cAae|cAag fedc|defg agae|dBcA BAFA||

 

KEEPER HILL MARCH.  AKA and see “Larkin’s Advance.”

 

KEEPSAKE, THE (An Cuimneacan). Irish, Air (6/8 time, "gracefully"). G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 575, pg. 101.

X:1

T:Keepsake, The

M:6/8

L:1/8

R:Air

N:”Gracefully”

S:O’Neill – Music of Ireland (1903), No. 575

Z:AK/Fiddler’s Companion

K:G

B/c/|ded dec|dge dBG|ceg edB|{c}BAA A2 B/c/|ded dec|dge dBG|gBe dBG|{B}AGG G2:|

|:d|g>ag gfg|afd d2 e/f/|g>ab bag|afd d2 e/f/|gag fgf|efe d2 e/f/|gBe dBG|{B}AGG G2:|

 

KEIKING GLASSE, THE. Scottish, Air (4/4 time). F Major. Standard tuning. ABB. Carlin (Master Collection), 1984; No. 130, pg. 81.

 

KEITHMORE. Scottish, Strathspey or Pastoral Air. E Flat Major. Standard tuning. AB. Composed by William Marshall (1748-1833). The Mains of Keithmore, Glen Fiddich, was the name of a farm of Duke of Gordon, which Marshall lived in and ran after he left the Duke’s employ as Steward of the Household in 1792. Moyra Cowie (1999) finds that little remains of the farm at Keithmore today. Keithmore was originally a wadset, or mortgaged land, received by Alexander Duff from the Marquis of Huntly around 1640. “In 1680,” says Cowie,  “Alexander Duff and his wife built the fortified house of Keithmore ‘to with stand cannon’ and it was into this old house that Marshall and his family moved.” The name Keithmore derives from the Gaelic words for ‘wind’ and ‘great’. Henderson (Flowers of Scottish Melody), 1935. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 59.

X:1

T:Keithmore

M:C

L:1/8
R:Strathspey or Pastoral Air
S:
Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:E_

[G,E]>GBG Bc ~G2|E>GBG Be GE|~E>GBG B/c/d/e/ ~G2|C<F F>G A/G/F/E/ E/D/C/B,/|

~E>GBG Bc ~G2|E>GBG BeGE|~E>GBG B/c/d/e/ ~G2|C<F F>G A/G/F/E/ E/D/C/B,/||E/F/G/A/ B/c/d/e/ e/d/c/B/ e2|G/B/c/d/ e/f/g/a/ bgeB|

G/B/c/d/ e/d/c/B/ c/B/A/G/ ~EG|FC ~F>E DB,CD|E/F/G/A? B/c/d/e/ e/d/c/B/ e2|

G/B/c/d/ e/f/g/a/ bgeB|A,c cA, G,B BG,|C<F F>G A/G/F/E/ E/D/C/B,/||

 

KELLER'S WALTZ. AKA and see "Brown Kelly Waltz," "Kelly Waltz," "Kellytown Waltz." Old‑Time, Waltz. USA; Texas, Oklahoma. G Major. Standard. ABCC (Christeson): ABCDD' (Phillips). A popular waltz among western-style fiddle players in the United States. It was apparently originally named after a fiddler named Keller, though the name has come down in oral tradition as Kelly, and the “Kelly Waltz” is the title by which it is perhaps best-known today. Texas fiddler Matt Brown added a part starting on the IV chord, and his variant of the tune is referred to as the “Brown Kelly Waltz.” R.P. Christeson notes: "Uncle Joe Morrow claimed he knew Keller, who for a time was a fiddler for a travelling medicine wagon. According to Mr. Morrow, Keller was in debt to a saloon in Mangum, Oklahoma, and offered to compose a waltz and play it for customers to settle the bill. The saloonkeeper agreed, and this purportedly is the waltz Keller composed." Texas fiddler Bryant Houston, reputedly the composer of "Lime Rock," is also said by some to have composed this melody. The tune was recorded in 1928 by Texas barber and fiddler Oscar Harper (an associate of Prince Albert Hunt) for Okeh Records (Wolfe, 1997). Woody Guthrie played at tune (in the key of ‘D’) called the “Cowboy Waltz,” which was a simplification of the “Kelly Waltz” melody. Source for notated version: Uncle Joe Morrow (Texas) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 197. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pgs. 272-273 (appears as "Kelly Waltz").

 


KELLOGG'S QUICKSTEP. AKA and see "Ed Kellogg's Quickstep." American, March (2/4 time). USA, southwestern Pa. D Major. Standard. AABB. A fifer's march. Sources for notated versions: The Hoge MS. and George Fisher (Somerset County, Pa., 1962; both of whom had it from fifer Charles F. Cook, Somerset County, Pa.) [Bayard]. American Veteran Fifer, No. 26 (appears as "Ed Kellogg's Quickstep"). Bayard (Dance to the Fiddle), 1981; No. 198A‑B, pg. 155.

 

KELLY (HORNPIPE), THE. Irish, Hornpipe. Source for notated version: concertina player Chris Droney [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 66.

 

KELLY SCHOTTISCHE. Old‑Time, Schottische. USA, Nebraska. B‑Flat Major ('A' part) & F Major ('B' part). Standard. AABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory), vol. 1, 1973; pg. 157.

 

KELLY THE BOY FROM KILANE. Irish, Air (4/4 time). D Major. Standard. AABB. John Moulden identifies this song as written by a Dublin City Councillor and Patrick Street publican, Patrick Joseph McCall (1861‑1919), a prolific songwriter of mostly patriotic ballads whose ballad sheet collection is in the National Library of Ireland. Moulden states his style of writing was informed by ballad sheets and therefore is missing from “polite” anthologies. John Kelly was a merchant's son from Kilane, County Wexford, and a man of impressive size, seven feet or more. He participated in the rising of 1798, fighting under the command of Bagnal Harvey, one of the Protestant leaders of the rebellion. Kelly led the men from the Wexford areas of Bargy, Forth, Shelmalier and the Barony of Bantry in Harvey’s attack on the town of New Ross. The United Irishman captured the town, rested, and lost it again and several hundered croppies were lost in the battle. Kelly was badly wounded in the engagement and was captured at his sister’s house where he was recovering. Subsequently he was tried at a court-martial and convicted; a story goes it was on the evidence of a Yeoman sergeant, a neighbor whose life he had saved some days before. He was hanged on Wexford bridge, his trunk thrown into the water and his head spiked over the courthouse to rot after being kicked about. Kelly’s head was eventually recovered by friends who brought it to Killane, where, much later a monument to his memory was erected.

***

What's the news, what's the news, my bold Shelmalier

with your long barrell'd gun of the sea,

Say, what wind from the sun blows his messenger here,

with a hymn of the dawn for the free;

Goodly news, goodly news do I bring your of Forth,

goodly news you shall hear Bargy men,

For the boys march at dawn from the south to the north,