The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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KEN - KEY

 

 

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]

 

 

 

KEN FAHEY’S. AKA and see “The Humours of Listowell [2].” Irish, Jig. Source for notated version: flute player Ken Fahey [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 55.

 

KEN VESEY’S HORNPIPE. Irish, Hornpipe. C Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black for fiddle player Vesey (New Jersey). Black (Music’s the Very Best Thing), 1996; No. 142, pg. 74.

X:1

T: Ken Vesey's

C: © B. Black

Q: 300

R: hornpipe

M: 4/4

L: 1/8

K: C

AB | cGEG AGEG | cAGE (3DED C2 | DEFE DE^FE | DGG^F G2 AB |

cGEG AGEG | cAGE (3DED C2 | gdec dBcA | GEDE C2 :|

AB | c2 gc acgc | fagf edcB | c2 Bc ABcB | AGEG A2 AB |

c2 gc acgc | fagf edcB | c2 Gc EcGE | FDB,D C2 :|

 

KEN YOU NOT LITTLE JACK ROB?  English, Jig. England, Northumberland. A Dorian. Standard. AABB. Seattle (William Vickers), 1987, Part 3; No. 523.

 

KENDAL GHYLL. See “Candle Gill.”

                       

KENDAL WALTZ. English, Waltz. G Major. Standard. AABB. Knowles (A Northern Lass), 1995; pg. 1.

 

KENDAL HORNPIPE [1]. English, Hornpipe. F Major. Standard. AABB. Knowles (A Northern Lass), 1995; pg. 17.

 

KENDALL'S HORNPIPE [2]. American, Hornpipe. D Major. Standard. AABB. No relation to “Kendal Hornpipe [1].” See also “Ned Kendall’s Hornpipe [1].” Ford (Traditional American Fiddle Tunes), 1940; pg. 80.

                       

KENDERBECK’S. American, Quickstep March (2/4 time). D Major. Standard. AABB. In 1862 Bruce and Emmett’s Drummers’ and Fifers’ Guide was published to help codify and train the hordes of new musicians in Union Army service early in the American Civil War. George Bruce was a drum major in the New York National Guard, 7th Regiment, and had served in the United States Army as principal drum instructor at the installation at Governor’s Island in New York harbor. Emmett was none-other than Daniel Decatur Emmett, a principal figure in the mid-19th century minstrel craze and composer of “Dixie” (ironically turned into a Confederate anthem during the war) and “Old Dan Tucker,” among other favorites. Emmett had been a fifer for the 6th U.S. Infantry in the mid-1850’s. Bruce & Emmett’s Drummers’ and Fifers’ Guide, 1862; pg. 58.

X:1

T:Kenderbeck’s

M:2/4

L:1/8

R:Quickstep March

S:Bruce & Emmett’s Drummers’ & Fifers’ Guide  (1862)

Z:AK/Fiddler’s Companion

K:D

(a/g/) | (f/a/).g/.f/ (e/g/).f/.e/ | ddd e/d/ | (c/e/).d/.c/ (B/d/).c/.B/ | AAA(B/A/) |

(G/B/).A/.G/ (F/A/).G/.F/ | .E/.F/.G/.A/ .B/.c/.d/.e/ | (f/a/).g/.f/ (e/g/).f/.e/ |

ddd :: A/G/ | F/A/d/A/ f/d/A/F/ | E/A/c/A/ e/c/A/G/ | F/A/d/f/ ab/a/ | g/f/e/d/ d/c/B/A/ |

F/A/d/A/ f/d/A/F/ | E/A/c/A/ e/c/A/G/ | F/A/d/f/ (a/g/).e/.c/ | ddd :|

                       


KENION CLOG. American, Clog. USA, Ohio. Paul Gifford finds this tune to be a version of Ed Hayley’s (eastern Kentucky/W.Va.) tune “Parkersburg Landing” which is in the “Rustic Dance” family of tunes (see note for “Rustic Dance--Scottische [3]” for range of titles). Baltzell apparently named the tune after nearby Kenyon College, Gambier, Ohio, near his home town. Edison 52281 (78 RPM), 1928, John Baltzell {Baltzell was from Mt. Vernon, Ohio, the same home town as minstrel Dan Emmett (d. 1904). Emmett returned there in 1888, poor, but later taught Baltzell to play the fiddle}.

 

KENLOCH JIG. AKA and see “The Rose of Tennessee.” Canadian, Jig. “Kenloch Jig” is a Cape Breton title for the tune.

 

KENMARE POLKA, THE. AKA and see “The Gneevgullia Polka [2].” Irish, Polka. G Major. Standard tuning. AA’BB. Named together by editor Moylan and source O’Leary after the latter played this untitled tune at a concert in Kenmare (County Kerry) one night in December, 1993. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 297, pg. 172.

 

KENMORE LADS. AKA and see "Hexham Races," "I Will If I Can [1]," "The Boys From the West," “Jude’s Farewell,” “Kenmure’s on and awa’.” Scottish, Jig and Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. MacDonald (The Skye Collection), 1887; pg. 168. Stewart-Robertson (The Athole Collection), 1884; pg. 145.

X:1

T:Kenmore Lads

M:6/8

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:G

B/A/ | G>Bd gdB | d2d d2B | G>Bd gdB | A2A A2B | G>Bd gdB | def gfe |

d>cB c>BA | G2G G2 :|

|: b/a/ | g2d edB | d2d dba | g2d edB | A2A Aba| g2d edB | def gfe | dec BcA | G2G G2 :|

 

KENMURE'S/KENMUIR'S ON/UP AND AWA' (WILLIE). AKA and see "The Boys from the West," “Clogher Cross,” “Graham’s Brook Jig,” "Hexham Races,” "I Will If I Can [1]," “Jude’s Farewell,” "Kenmore Lads,” “Kinnegad Slashers." Scottish (orig.), Canadian, Irish, American; Jig. Canada, Prince Edward Island. USA, New England. G Major (Cole, Kerr): A Major (Miller & Perron, Sweet): E Flat Major (Gow). Standard tuning. AABB. The melody appears under a variety of titles throughout England, Scotland and Ireland. John Glen (pg. 174) cannot find this once-popular tune published earlier than 1792, although it is supposed to have been taken from the Jacobite song “The Fairhaired Lad.” The Scots national poet Robert Burns wrote the lyrics to the air from which the song takes its name here (“Kenmure’s up and awa’, Willie”), while on a visit to Kenmure Castle, New Galloway (Dumfries and Galloway). His song was published in John Johnson’s Scots Musical Museum (vol. 4, 1787‑1803; No. 359). The 1st Battalion of the Cameronians (the Scottish Rifles), even after the British army reorganization of 1881, continued to play this tune for their parades-in-review. In Ireland the tune is usually known under the title “The Kinnegad Slashers,” and O’Neill prints it as “I Will if I Can.” Northumbrian musicians generally know it as “Hexham Races.” The tune appeasr in the music manuscript copybook of fiddler John Burks, dated 1821. Nothing is known of Burks, but he may have been from the north of England. Source for notated version: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Cole (1000 Fiddle Tunes), 1940; pg. 73. Gow (Vocal Melodies of Scotland), 1822, 2nd ed.; pg. 25. Gow (Complete Repository),vol. 4, 1817; pg. 4. JEFDSS, vol. 1; pg 103 (collected in Vermont). Johnson (Scots Musical Museum), vol. 4, 1787‑1803; No. 359. Kerr (Merry Melodies), vol. 1; No. 22, pg. 32. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 39. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 128. Ryan’s Mammoth Collection, 1883; pg. 105. Smith (Scottish Minstrel), vol. 3, 1820‑24; pg. 81. Sweet (Fifer’s Delight), 1964/1981; pg. 23. White's Excelsior Collection, 1907; pg. 9. “The Caledonian Companion” (1975).

X:1

T:Kenmure’s Up and Awa’

T:Kenmure’s On an’ Awa’ Willie

M:6/8

L:1/8

K:A

Ace aec|efe e2c|Ace aec|BcB B2c|Ace aec|efg agf|edc dcB|ABA A3:|

|:a2e fec|efe e2g|a2e fec|BcB B2e|A2e fec|efg agf|edc dcB|ABA A3:|

X:2

T:Kenmure’s on an’ awa’ Willie

M:6/8

L:1/8

N:”Slow”

S:Gow – 4th Repository   (1817)

Z:AK/Fiddler’s Companion

K:E_

G/F/|~E>FA (eB)G|B2B B2c|~E>FG (eB)G|{G}(F3 F2)G|E>FG (eB)G|

Bcd {G}e2 d/c/|{c}B>AG {B}A>GF E3 z2:|

d|e2B (cB)G|B2B B2~d|e2B (cB)G|(F3 F2)d|e2B (cB)G|Bcd e2 d/c/|

{c}B>AG {B}A>GF|E3 E2 ~d|e2B (cB)G|B2B (Bcd)|e2B (cB)G|

(F3 F2)~d|e2B (cB)G|Bcd e2 d/c/|{c}BA>G {B}A>GF|(E3 E2)||

 


KENNAW'S REEL (Ríl Mhic Chionnaith). AKA and see "Farewell to Leitrim,” "Fiddler's Frolic [1]," "Hawthorne's Reel," "Lawson's Favorite," “Maude Miller [1],” "Molloy's Favourite," “Reidy Johnson’s [1],” "Roll Her in the Haystack," "Take Her Out and Air Her." Irish, Reel. D Mixolydian. Standard tuning. AA'B. Usually heard under the “Farewell to Leitrim” title. “Lawson’s Favourite” and “Fiddler’s Frolic” are the titles O’Neill uses. Source for notated version: fiddler Paddy Cronin (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 126, pg. 60. Outlet Records OAS 3002, Paddy Cronin ‑ "Kerry's Own Paddy Cronin" (1977).

 

KENNAW'S REEL [2]. Irish, Reel. See also the related “My Love and I in the Garden.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 326. 

 

KENNEBECK RIVER. New England, Air (4/4 time). G Major. Standard tuning. ABB. Composed by Lenny Broiles, c. 1980. The Kennebeck is in the state of Maine. Spandaro (10 Cents a Dance), 1980; pg. 40.

 

KENNEDY. Irish, Double Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 214, pg. 24.

X:1

T:Kennedy

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 4, No. 214

Z:AK/Fiddler’s Companion

K:G

d|g2d dcd|B2G GFG|ABc DEF|GAB Bcd|g2d dcd|

B2G GFG|ABc DEF|(G3 G2)::d|d2f gfg|b3 bag|

Bag gfe|ede B3|ede gfg|b3 bag|gfg egf|(e3 e2):|

 

KENNEDY RAG. Old‑Time, Country Rag. USA, Alabama. F Major. Standard tuning. AA'BB. Composed by fiddler Charlie Stripling, and named for Kennedy, his Pickens County, Alabama, hometown. Source for notated version: Charlie Stripling (Alabama) [Phillips]; Lee Stripling (Seattle), learned from his father Charlie [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 71. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 82. County 401, "The Stripling Brothers." Vocalion 5382 (78 RPM), Stripling Brothers (Alabama) {1929}.

                       

KENNEDY STREET MARCH. Scottish, Canadian; March (cut time). Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AABB’. Composed by Cape Breton musician Dan Hughie MacEachern (appearing in MacEachern’s Collection, Vol. II), the melody is a condensed fiddle setting of a pipe march. Source for notated version: Dennis Pitre (b. 1941, St. Felix, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 182.

                       

KENNEDY’S BRIDAL JIG. AKA and see “Bridal Jig [1].” Irish, Jig. G Major. Standard. AAB. Source for notated version: contributed by Chicago Police Officer James Kennedy [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 131.

X:1

T:Kennedy's Bridal Jig

M:6/8

L:1/8

S:Officer James Kennedy, Chicago

Z:Paul Kinder

K:G

D|G3 BGB|def gfe|dBG GFG|AFD DFA|

G3 BGB|def gfe|dBG FGA|BGG G2:|

|A|Bee edB|def g2 a|bag agf|gfg edB|

Bee edB|def g2 a|bag agf|gfg e3|

Bee edB|def g2 a|bag agf|gfg edB|

G3 BGB|def gfe|dBGF GA|BGG G2||

                       

KENNEDY’S FAVOURITE. AKA and see “Jim Kennedy’s Favorite.” Irish, Reel. Ireland, Sliabh Luachra region of the Cork-Kerry border. E Minor. Standard. AB. This reel strongly resembles “The Hare’s Paw [1].” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region), recorded at Na Píobairí Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 149, pg. 87. Globestyle Irish CDORBD 085, Denis Murphy - “The Rushy Mountain” (1994. A reissue CD of Topic recordings from Sliabh Luachra musicians). Topic 12T309, Padraig O’Keefe, Denis Murphy & Julia Clifford - “Kerry Fiddles.”

                       

KENNEDY'S JIG. AKA and see "Apples in Winter [1]," "General White's Jig," "Joe Kennedy's," "The Misfortunate Rake," "(Next) Sunday is/was My Wedding Day," "Rattle the Quilt (to Pieces)," "The Shamrock (Reel) [1]," "The Squint‑eyed Piper," "The Unfortunate Rake [2]." Irish, Double Jig. E Dorian. Standard. AABB. See also Bayard's note on "Hillside [2]" for further information on its origin. Source for notated version: notated in 1847 from the whistling of William Sheedy, Fanningstown, county Limerick [Joyce]. Joyce (Ancient Irish Music), 1873/1890; No. 19, pgs. White’s Unique Collection, 1896; No. 8, pg. 2.

X:1

T:Kennedy’s Jig

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 8

Z:AK/Fiddler’s Companion

K:E Minor

B | BEE BEE | BAG FEF | DED FDF | AB^c dfd | BEE def | gfe fdB |

AFA AdF | FEE E2 :: e | (e/f/g).e fed | (e/f/g).e fed | (d/e/f).e (dA).F |

DFA def | edB def | gbg edB | AFA AdF | FEE E2 :|


 

KENNEDY’S REEL (Ril an Chinnedigh). AKA and see “The Chaisson Reel,” “The Northside Reel [2].” Irish, Reel. Gael-Linn Records CEF 075, Denis Murphy – “Na Ceirnini 78” (1978).

 

KENNETH HARBISON. Canadian, Strathspey. Canada, Cape Breton. B Flat Major. Standard tuning. Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 7.

 

KENNETH JOSEPH MACDONALD. Canadian, March (cut-time). Canada, Cape Breton. G Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert), 1994; No. 74, pg. 27.

                       

KENNETH MACLEAN. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 36.

                       

KENNETH MURPHY. Canadian, Reel. E Dorian. Standard tuning. AA’BB’. An Irish-sounding composition from fiddler Éric Favreau of Québec city.

 

KENNET'S DREAM. Scottish, Air (3/4 time). AEac# tuning. AABB. The melody appears in James Oswald’s (1710-1796) Caledonian Pocket Companion (vol. 10, c. 1750's), printed as a slow air with variations (including a jig-time setting). Oswald was a composer and publisher of music, and a dancing master, much influenced by Continental music. A variant of the air is called "The Old Head of Denis," printed in O'Neill’s Music of Ireland. Martin (Traditional Scottish Fiddling), 2002; pg. 29.

                       

KENNINGTON WELLS. AKA and see "The Irish Round," "The Auld Jew," "Black Headed Dearie" (Ceann Dub Oilir). English. This title was used by Playford in his 1713 edition of the Dancing Master (pg. 146) for the Irish tune "Black‑Haired Dearie," written in the first decade of the 17th century or earlier (Flood, 1906).

                       

KENNY GILLES OF PORTNALONG. Scottish, Jig. A Major. Standard tuning. AABB’CCDD’. Composed by P. MacFarquhar. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 50.

                       

KENO THE RENT MAN. Old-Time. A ‘crooked’ (irregular metre) tune from the playing of the Coffer Brothers.

 

KENT COUNTY JIG. AKA and see “West Point Jig.”

           

KENT RANGERS, THE. English, Air (2/4 time). D Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 110.

X:1

T:Kent Rangers, The

M:2/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. IV (1810)

Z:AK/Fiddler’s Companion

K:D

f>e dd | ee a2 | fe/d/ c/d/e/c/ | df A2 | f>e dd | ee a2 | {g}fe/d/ c/d/e/c/ | dd d2 :|

|: AG FF | GB e2 | cB/A/ A/B/c/ | df A2 | AG FF | GB e2 | cB/A/ AB/c/ | dd d2 :|

                                   

KENTISH CRICKETEERS. English, Country Dance Tune (2/4 time); New England, Polka. D Major. Standard tuning. AABB. Kent is the oldest county name in England, probably derived from the Celtic root word canto, meaning an edge or rim. The name Kantion was first recorded by seamen referring to the south-east corner of the island, bordered by the sea. Kent became one of the first Anglo-Saxon kingdoms of England (Matthews, 1972). The English game of cricket is said to have originated in the sheep-raising country of the South East, the animals having nubbed the pastures into functional gaming grounds. The first recorded cricket match took place in Kent either in 1646 or in 1709 (when a Kent team played Surrey at Dartford). Cricket in Kent was further developed under the patronage of MP Sir Horace Mann (1744-1814) a member of the Hambledon club and several Kentish organizations. James Pycroft, in his 1854 book The Cricket Field: or, The History and the Science of Cricket, remarks:

***

In the last century, when the wagon and the packhorse supplied the place of

the penny train, there was little opportunity for those frequent meetings of men

from distant counties that now puzzle us to remember who is North and who is

South, who is Surrey or who is Kent. The matches then were truly county matches,

and had more of the spirit of hostile tribes and rival clans. “There was no mistaking

the Kent boys,” said Beldham, “when they came staring in the Green Man. A few

of us had grown used to London, but Kent and Hampshire men had but to speak,

or even show themselves, and you need not ask them which side they were on.” 

***

The melody appears in numerous printed country dance collections and musicians’ manuscripts from the mid-to-late 18th century. Printed versions (usually under the spelling “Kentish Cricketters” include those in London publishers John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 3 (1744 pg. 100), Walsh’s Compleat Country Dancing Master (vol’s 3 & 4, 1747, pg. 106), Walsh’s Fourth Book of the Compleat Country Dancing Master (1747), David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (1756, pg. 100), and Longman and Broderip’s Compleat Collection of 200 Favorite Country Dances (1781, pg. 102). “Kentish Cricketters” appears in Bride’s Twenty Four Country Dances for the Year 1769, “With proper Tunes & Directions to each Dance, as they are Performed at Court, at Almack’s, and all other Publick Assemblies.” This volume was also printed in London “for R. Bride, Successor to Mr. Waylett at ye Exeter’Change in ye Strand…” Manuscript versions appear in William Vicker’s 1770 Northumbrian copybook, the Thomas Hammersely manuscript (London, 1790), and Joseph Barnes music manuscript (Carlisle, Cumbria, 1762, appearin as “The Honley Cricketers”). In America it appears in Jeremiah Brown’s commonplace book of melodies and country dances (Seabrook, New Hampshire, c.1782). Barnes (English Country Dance Tunes), 1986. Callaghan (Hardcore English), 2007; pg. 40 (appears as “Kentish Krickiters”). Miller & Perron (101 Polkas), 1978; No. 103.

X:1

T:Kentish Cricketers

M:2/4

L:1/8

R:Reel

K:D

B|AF dF|AF DB|AF de|c2EF/G/|AF dF|AF Df|ed ef|d3:|

|:c|df/g/ af|bg af|fe df|e3f|df/g/ af|bg af|ed ef|d3:|

 

KENTUCKY LIMIT. Old-Time. Recorded by the Tommy Whitmer band in Sept., 1930, although the take was never issued. Whitmer, a fiddler, was a member of Ted Gossett’s band, from western Kentucky, a band which had records released as well under Gossett’s name and as Buddy Young’s Kentuckians, the Country String Band, and Marvin’s String Band.

 

KENTUCKY QUADRILLE. American, Quadrille. USA, Ohio. The name Kentucky is derived from the Iroquois phrase kenta ke, meaning ‘grass land’ (Matthews, 1972). Musicologist Paul Tyler has found an 1842 manuscript collection that was used in northern Ohio that includes a tune in 6/8 with the title "Kentucky Reel."  John Baltzell, from the same region, recorded his “Kentucky Quadrille” that Tyler finds is recognizably a cognate in one strain. Edison 51548 (78 RPM), 1923, John Baltzell (appears as last tune of "Farmer's Medley Quadrille") {Baltzell was from Mt. Vernon, Ohio, the home town of Dan Emmett (d. 1904). Emmett returned to the town in 1883, poor, but later taught Baltzell to play the fiddle}.

 

KENTUCKY WAGONER. AKA and see "Wagoner" and variations. The tune was mentioned under this title in a newspaper account at the time of the 1931 LaFollette, N.E. Tenn. fiddlers' contest. The name Kentucky is derived from the Iroquois phrase kenta ke, meaning ‘grass land’ (Matthews, 1972).

 

KENTUCKY WHISKEY. Old‑Time, Breakdown. A Major. AEae tuning. AABB. The name Kentucky is derived from the Iroquois phrase kenta ke, meaning ‘grass land’ (Matthews, 1972). Kuntz, Private Collection. Front Hall Records FHR‑037, Mark Graham ‑ "Natural Selections" (1987). Rounder CD0403, The Freight Hoppers - “Where’d You Come From, Where’d You Go?”

X:1

T:Kentucky Whiskey

M:2/4

L:1/8

N:AEae tuning

N:Notated as fingered, not as sounded

Z:Andrew Kuntz

K:A

(e/|f/)e/f/(f/4g/4 a/)(f/a/)(e/|f/)e/c/c/ e>(e|f/)(e/f/)e/ f/(f/g/)e/|f/e/c  e z/e/|f/e/f/f/4g/4 a/f/a/e/|

f/e/c/c/ e>(e|f>)(e f/e/)f/e/|f/e/c e z/:|

|:(A,/|D/)(D/E/)(E/ [G/A/])(A/B)|(B/c)(B/ c)(A/B/|c/)B/c/A/ BA|B/cB/ cA/B/|ce/f/ e/c/B/A/|

E/D/E/(E/ [GA]>)(B|c/)B/c/(A/ B)A|(B<c) c>(A|c)e/f/ e/(d/B/)A/|E/D/E/(E/ [GA]||

 


KENTUCKY WINDER. Old-Time, Breakdown. USA, Kentucky. G Major. Standard. ABB’. A ‘winder’ is a type of dance step. A variant of “Big Sciota” and “We’ll All Go to Heaven When the Devil Goes Blind” from John Salyer (1882-1952). Jeff Titon (2001) says that he knows of no other Kentucky musician to record this particular variant, which is ‘crooked’ or irregular (the ‘A’ part has 23 measures, the ‘B’ part 30 when repeated). Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky., 1942) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 77, pg. 105. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings, Vol. 2, 1941-1942” (1993).

 

KEPHART'S CLOG. AKA and see "Fred Wilson's Clog," "Wilson's Clog," "Snyder's Jig" (Pa.), "Harvest Home [1]," "Cincinnati Hornpipe [1]," "Kildare Fancy," "Standard Hornpipe," "Cork Hornpipe [1]," "Zig‑Zag Hornpipe/Clog," "Higgins' Hornpipe," "Cliff Hornpipe," "Ruby Lip ," "Dundee Hornpipe." American, Clog or Hornpipe. USA, southwestern Pa. D Major. Standard tuning. AB. A local Pennsylvania title for this early 19th century hornpipe. Source for notated version: Joseph Pardee (elderly fiddler from Indiana County, Pa., 1952) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 410D, pg. 390.

 

KEPPEL'S DELIGHT. AKA and see “Bath Carnival.” English, Jig. A Major. Standard tuning. AABB. The tune appears under this title in Pride’s Favourite Collection of 200 Select Country Dances, Cotillons (published by Longman, Lukey & Broderip, London, 1776) and Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 4 (London, 1780). “Keppel’s Delight” has been sometimes appeared as “Bath Carnival, to the tune of Keppel’s Delight,” indicating the latter may have been the older title, which perhaps refers to Augustus Keppel, 1st Viscount Keppel (1725-1786). Keppel, a younger son of the Earl of Albemarle, went to sea at age 10, becoming a Post Captain by his 20th birthday. He rose to the rank of admiral soon after the Seven Years War and commanded a fleet during the American Revolutionary War.  He was also a Member of Parliament from 1766 to 1782, with Whig leanings, and was thus often in opposition to King George III’s policies. Joshua Reynolds painted his portrait no less than six times. Raven (English Country Dance Tunes), 1984; pg. 30.

X:1

T:Keppel’s Delight

M:6/8

L:1/8

R:Jig

K:A

c2d edc|fga ega|fed cBA|GBA GFE|c2d edc|

fga ega|fed cdB|A3A3::BEE cEE|dEE cEE|

BEE cEE|B2E EEE|BEE cEE|dEE cEE|Bdc BAG|(A3A3):|

 

KEPPOCH DESOLATE (A' Cheapach na fasach). AKA and see "Ceapach Na Fasach." Scottish, Slow Air (9/8 time). F Sharp Minor. Standard tuning. AABB'. "Very Old...(This tune) commemorates a horrid massacre of three brothers of the family of Macdonald of Keppoch, at the instigation of the next in succession, some generations back. The air seems to be the original on which the ‘Muckin’ o’ Geordie's Byre’ is built, and by no means inferior to it, as sung by the editor's progenitor" (Fraser). See Neil's (1991) note under the title "Ceapach Na Fasach" for more information. Fraser  (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 31, pg. 11. Neil (The Scots Fiddle), 1991; No. 159, pg. 205.

X:1

T:Keppoch Desolate

T:A’ Cheapach na fasach

L:1/8

M:9/8

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:A

C|F2F F>^EF A2 z/ A/4B/4|c2 B/A/ A2 F/E/ E2 z/ A/4G/4|F2F F>^EF A2 z/ B/4c/4|

f2 c/B/ A2 F/^E/ F3::f2f f>ec c>B z/A/|c2 B/A/ A2 F/E/ E2 c/B/|1 A2 G F>^EF ABc|

f2 c/B/ A2 F/>^E F2:|2 a/g/|fcB A2 G/F/ ABc|f2 c/B/ A2 F/^E/ F2||

           

KERFUNTEN. AKA - “The Kerfunken Jig.” AKA and see “Hamilton’s Jig [2]." Irish, Jig. G Major. Standard tuning. AABB. The tune was composed by Hammy Hamilton. Kerfunten/Kerfunken is a town in Brittany, France. Source for notated version: Deirdre Havlin, flute player for the Northern Irish group Deanta, who had it from flute player and craftsman Hammy Hamilton [Black]. Black (Music’s the Very Best Thing), 1996; No. 228, pg. 122. Flaherty (Trip to Sligo), 1990; No. 32. Green Linnet SIF 1147, Deanta - “Ready for the Storm.” Green Linnett GLCD 1181, Martin Hayes & Dennis Cahill - “The Lonesome Touch” (1997. Appears as “The Kerfunken Jig”).

X:1

T: Kerfunten

C: Hammy Hamilton

Q: 325

R: jig

Z:Transcribed by Bill Black

M: 6/8

L: 1/8

K: G

A | B3 BAG | dBd efg | dBd edB | ABA AGA |

B3 BAG | dBd efg | dBd gdB | AGA G2 :|

d | gfg gab | ege edB | gfg gab | bag a2 d |

gfg gab | ege edB | dBd gdB | AGA G2 :|

           

KERN STAFF, THE. AKA and see “The Cream Pot,” “Miss Grace Hay’s Delight.”  

                       

KERRIGAN'S JIG. AKA and see "Castle Jig [1]," “Kesh Jig [1],” "The Kincora Jig," “The Mountaineers’ March,” “Tear the Callies.” Irish, Jig. G Major. Standard tuning. AABB. The title of this tune, now known almost universally as the “Kesh Jig,” is named after piper Tom Kerrigan of New York (though originally from County Longford), who had been host to the Taylor brothers, famous uilleann pipe makers from Ireland, when they first emigrated (they later moved to Philadelphia). The Taylors built a set of pipes for Kerrigan in his basement, a set which later became the property of piper Tom Busby. A picture of Kerrigan with a pipe set, presumably the Tayors’, is on page 262 of Francis O’Neill’s Irish Minstrels and Musicians (1913), with a sketch of the piper on the preceding page. Sweet (Fifer’s Delight), 1964/1981; pg. 39.

X:1

T:Kerrigan’s Jig

M:6/8

L:1/8

R:Jig

Z:AK/Fiddler’s Companion

K:G

D | GFG GAB | AGA ABd | edd gdd | edB dBA | GFG GAB |

AGA ABd | edd gdB | AGF G2A :: BAB dBd | ege dBA |

BAB dBG | ABA AGA | BAB dBd | ege dBd | gfg aga | bgf g2 :|

           

KERR'S HORNPIPE. Scottish, Hornpipe. A Major. Standard tuning. AABB'CCDD'. Composed by Alexander Walker. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No. 29, pg. 11.

           

KERR’S IRISH QUICKSTEP. Irish, Jig. G Major. Standard tuning. AA’BB’. Recorded by source Fitzgerald as part of a traditional jig medley. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 208, pg. 80. Kerr (Merry Melodies), Vol. IV (c. 1880's); No. 193 (appears as “Quickstep”).


           

KERRY BOYS, THE. Irish, Air (4/4 time). F Major. Standard tuning. One part. “From P. Carew’s MS” (Stanford/Petrie). Stanford/Petrie (Complete Collection), 1905; No. 308, pg. 77.

           

KERRY COBBLER, THE (An Asac Ua Ciarraig). Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 73. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 732, pg. 137.

X:1

T:Kerry Cobbler, The

L:1/8

M:6/8

S:O’Neill – Music of Ireland (1903), No. 732

Z:AK/Fiddler’s Companion

K:D

A|d>ed fga|g>af ecA|d>ed fga|c>AA A2A|d>ed fga|g>af ecA|dfa gec|A>dd d2:|

|:d/e/|f>ed cAG|A>dd cAG|f>ed cAG|Ade f2 f/g/|agf gfe|dfe dcA|fed cAG|A>dd d2:|

           

KERRY COW, THE (An Bhó Chiarraíoch). AKA and see “All the Way to Galway [3],” "I wish I had a Kerry cow,” “Slash Away the Pressing Gang.” “Yankee Doodle." Irish, Polka. D Major. Standard tuning. AABB. The parts in Breathnach’s and Moylan’s volumes are reversed from each other. “All the Ways to Galway” is a single reel setting of the tune. The title is from the song “I wish I had a Kerry cow,” but the tune Breathnach prints is meant to accompany the polka dance. See the related family of tunes including “All the Way to Galway” and both “Road to Lisdoonvarna” tunes. In northern Ireland the tune is sometimes heard as a Highland (see the Northern Fiddler, 109, where it appears as an untitled Highland). Scots variants include “Big Kirsty” and “Miss Stewart Bun Rannoch.” Sources for notated versions: fiddler Laurence McDonagh, 1972 (Ballinafad, Co. Sligo, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Breathnach (CRÉ II), 1976; No. 116, pg. 63. Moylan (Johnny O’Leary), 1994; No. 342, pg. 193. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 7.

X:1

T:Kerry Cow, The

L:1/8

M:2/4

K:D

d>e fd|cA A2|BG G/F/G/A/|BA A2|d>e fd|cA A>B|cA GE|D2D2:|

|:A>B AG|FA d2|G>A GF|EF GE|A>B AG|FA d2|cA GE|D2D2:|

           

KERRY DANCE, THE. AKA and see "St. Patrick's Day (in the Morning)," "Barbary Bell," "The Old Woman Tossed Up (in a Basket/Blanket) [1]." Irish, Long Dance (6/8 time). A Major. Standard tuning. AAB. According to Fuld (1971), "The Kerry Dance" was composed as a song, published in 1879 and usually attributed to James L. Molloy (b. County Offaly, Ireland, 1837-1909). The opening eight bars are virtually identical to "The Cuckoo," written and composed by Miss Margaret Casson and published in London about 1790; Molloy added the music of the middle part and new words. The melody was cited as having commonly been played for country dances in Orange County, New York in the 1930's (Lettie Osborn, New York Folklore Quarterly). Roche Collection, 1983, vol. 2; No. 293, pg. 38.

           

KERRY FLING. Irish, Fling. A Major. Standard tuning. AABB. RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Mick O’Brien - “May Morning Dew.”

X:1

T:Kerry Fling

M:4/4

L:1/8

S:Mick O'Brien

D:May Morning Dew

Z:Juergen.Gier@post.rwth‑aachen.de

K:A

~E3F ~A3B|c2ec BAF2|f2ec ABcA|ecBA FAAF|~E3F  ~A3B|\

c2ec BAF2|f2ec ABcA|1ecBc ABAF:|2ecBc A3 f|:\

ecef a2af|ecBA FAAA|cBBB cBBA|ceBA FAAf|\

ecef a2af|ecBA FAAA|cBBB cBBA|1ceBc A3 f:|ceBc ABAF|

           

KERRY FOR ME. AKA and see "Cahirciveen." Irish, Air (6/8 time). G Major. Standard tuning. AB. Cazden (et al, 1982) collected a minor-key variant of this tune in New York's Catskill Mountains as the song "The Cumberland Crew." Source for notated version: "...copied from a Munster MS. lent me by the late John O'Daly, the Irish publisher of Anglesea St., Dublin" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 191, pgs. 94‑95.

X:1

T:Kerry for me

M:6/8

L:1/8

R:Air

N:”Moderate: time well marked”

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

Z:AK/Fiddler’s Companion

K:G

D|G>AG FGA|B>AG ADE|=FDB, CB,C|DGA B>cB/A/|G>AG FGA|B>AG ADE|

=FDB, CB,C|DGG G2||B/c/|ded cBA|GAG F<D B/c/|ded cBA|GFG A>cB/A/|

G>AG FGA|B>AG ADE|=FDB, CB,C|DGG G2||

 

KERRY FULTON'S SCHOTTISHE. American, Schottishe. USA, southwestern Pennsylvania. C Major. Standard tuning. AB. A schottische version of "Billy/Billie in the Low Ground [1]." Source for notated version: William Shape (fiddler from Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 435, pg. 409.