The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

[COMMENT1] [COMMENT2] 

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 tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 523.

 

KENDAL GHYLL. See “Candle Gill.”

 

KENDAL HOUSE.  English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. AABB. The melody, like many in Charles and Samuel Thompson’s 1757 collection, first appeared in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (London, 1751). The tune also appears in the 1788 music manuscript copybook shared by John and William Pitt Turner, of Norwich, Conn. Kendal House, Isleworth, Middlesex, was the residence of the rather notorious Ermengarde de Schulenburg (1667-1743), Dutchess of Kendal, and mistress of King George I, with whom she had three illegitimate children. She had been maid of honor to Sophia, Electress of Hanover, and began her affair with George while they were still in Germany (where he was the Elector of Hanover). Sophia and George divorced in 1694, and she was kept imprisoned for the rest of her life, while the mistress accompanied him to England. Ermengarde arranged an introduction with a youthful Horace Walpole and the monarch, and was uncharitably described by the former as “a very tall, lean, ill-favoured old lady.” In Germany she was called “The Scarecrow” and in England, “The Maypole.” Upon her death, Kendal House became a public park or place of amusement, where one could fish on the grounds, stroll among tree-lined rural paths and formal gardens, and enjoy entertainment in the house itself, which boasted a well-lit longroom of some sixty feet for dancing. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 15.

X:1

T:Kendal House

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

f|d>c BA|{A}B3f|ga ba|g2 f2|ga bg|fa be|df ed|

c3:||f|d>c =B_a|_a2 gf|ed c=B|c3e|A>G Fg|g2 fB|

A/B/c/d/ ed|c3f|d>c Bb|ag fe|dc/B/ FA|B3:||

                       

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

 

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

 

KENDALL'S HORNPIPE [2]. American, Hornpipe. D Major. Standard tuning. 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 tuning. 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 “Grand Mira (The),” “Mist Over Tennessee,” “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:Eb

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 (c. 1880’s), 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 tuning. 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 tuning. 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," “Toper’s Double (The),” "The Unfortunate Rake [2]." Irish, Double Jig. E Dorian. Standard tuning. 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; No. 19, pp. White’s Unique Collection, 1896; No. 8, p. 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:Emin

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 (fiddle). 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 (fiddle). 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 (fiddle). 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.

                       

KENNY MACDONALD.  Scottish, Jig. Composed by Norman MacDonald. Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008

 

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

 

KENSINGTON COURT.  English, Country Dance Tune (cut time). D Minor. Standard tuning. AABB. "Kensington Court" first appears in Henry Playford’s Dancing Master, 9th edition (London, 1695), and in all subsequent editions through the 18th, published by John Young in 1728. It also appears in Johnson’s publication of Wright’s Compleat Collection of Celebrated Country Dances, vol. 2 (London, 1742), and John Walsh’s Compleat Country Dancing Master (London, 1718, and editions of 1731 and 1754). Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 327, pg. 79. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 69.

X:1

T:Kensington Court

M:C|

L:1/8

S:Playford – Dancing Master, 9th edition (1695)

K:Dmin

d2a2a2g2|f3e d2e2|f2A2A2^c2|d4 d2e2|f3g e3d/e/|

f2c2c2d2|B3A G3F|F4 F4::d2a2a2g2|f4 f4|

f2b2b2 ag|a4 a4|A2d2d2 dc|=B2g2g2 ag|f3d e3^c|d4 d4:|

 

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. Pukka Records, The Oysterband – “20 Golden Tie Slackeners” (1984). Topic TSCD 752, The Oysterband – “Stepping Up” (2004. Compilation CD).

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 MANDOLIN. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AB. Composed by the late John Morris Rankin (d. 2000), on the occasion of a gift of a Kentucky Mandolin. Cranford (Jerry Holland: The Second Collection), 2000; No. 22a & b, pg. 10 (two versions). Jerry Holland – “Crystal Clear” (2000).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

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.

 

KERRY HORNPIPE [1], THE/A. AKA and see "Delahanty's Hornpipe," “Delahunty’s Hornpipe,” "The Home Brew," “The Iron Gate,” “John Quinn’s [1],” "The Road to Boyle,” "Sonny Murray's," "Wicklow Hornpipe.” Irish, Hornpipe. D Mixolydian/Major. Standard tuning. AABB. Source for notated version: Dawn M. Mulvihill [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Mulvihill (1st Collection), 1986; No. 37, pg. 100.

See also listings at:

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

Alan Ng’s Irishtune.info

 

KERRY HORNPIPE [2], THE. AKA and see “The Dingle Hornpipe,” “Murphy’s Fancy,” “Murphy’s Hornpipe [2].”

 

KERRY HUNTSMAN, THE (An Seilgaire Ua Ciarraige). Irish, Reel. A Major. Standard tuning. ABC (O'Neill/1850): AA'BB'C (O'Neill/Krassen). See also "Cobbler's Hornpipe [2]," "Connolly's Reel," “Craig’s Pipes,” "The Fiddler is Drunk," "The Foxhunters (Reel) [1]," “Greg’s Pipe Tune,” “Gregg’s Pipes,” “Greig’s Pipes,” “Gun Do Dhuit Am Bodach Fodar Dhomh” (The Old Man Wouldn’t Give Me Straw), "Kregg's Pipes," "Limber Elbow,” “The Manchester Reel [1],” "Píopaí Greig,” "Willie Wink(ie)'s Testament [2]," "Willy Wilky." O'Neill (Krassen), 1976; pg. 140. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1447, pg. 268. Flying Fish 217, Barde ‑ "Images" (1978).

X:1

T:Kerry Huntsman, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1447

Z:AK/Fiddler’s Companion

K:A

A2 cA BAcB|A2 cA BAFE|A2 cA BABc|efed cBAG|A2 cA BAcB|

A2 cA BAFE|(3ded cA (3BcB AF|EFAc B2 Ae||feae feae|feae dcBA|

feae feae|efed cAAe|feae feae|feae dcBA|Ac (3efg abaf|efed ce a2||

e3f e3f|e2 cA BAFE|e3f e2 cA|(3Bcd cA Bc (3efg|agfa gfeg|fedf ecAc|

(3ded fd (3cdc ec|(3Bcd cA BAFE||

 


KERRY JIG [1], THE (An Port Ciarraíoch/Cairraige).  AKA and see “An Gearraltach Buidhe.” Irish, Jig (6/8) or Slide (12/8 time). A Minor (Joyce, Levey, O'Neill): A Dorian (Breathnach, O’Farrell, Sullivan). Standard tuning. AB (Joyce): AABB (Levey, O’Farrell, O'Neill, Sullivan): AA'BB' (Breathnach). A member of the “Behind the Bush in the Garden” family of tunes. See note for “Behind the Bush in the Garden [1]” for more. "I learned this jig in early days from hearing pipers and fiddlers play it; and it has remained in my memory ever since" (Joyce). The earliest appearance of the tune in print is in Church of Ireland cleric James Goodman’s mid-19th century music manuscripts, where it appears as “An Gearraltach Buidhe,” with “The Kerry Jig” and “Yellow Fitzgerald” as supplemental titles. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed collections. Source for notated version: piper Leo Rowsome (Ireland) [Breathnach]; Bothy Band, Leo Rowesome [Sullivan]. Breathnach (CRÉ III), 1985; No. 36, pg. 19. Joyce (Old Irish Folk Music and Songs), 1909; No. 32, pgs. 18‑19. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 12, pg. 5. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 41 (appears as “The Kerry Jigg”). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 991, pg. 171. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 70, pg. 32 (appears as “An Gearraltach Buidhe”). Sullivan (Session Tunes), vol. 3; No. 14, pg. 6. Claddagh Records CC1, Leo Rowsome ‑ "Ri na bPiobairi" (1969).

X:1

T:Kerry Jig, The [1]

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:A Minor

B|A3 AGE|c2A AGE|G3 cGE|G3E2G|ABA A2c|BdB G2B|A2c BdB|c3 c2||

d|efe edB|e2^f g2e|dcB cBA|G3 E2G|A2B c2A|Bdc BAG|A2c BdB|c3c2||

X:2

T:Gearraltach Buidhe, An

T:Kerry Jig, The [1]

T:Yellow Fitzgerald

M:6/8

L:1/8

R:Jig

S:James Goodman manscripts (mid-19th century)

B:Hugh Shields – Tunes of the Munster Pipers, No. 70  (1998)

K:A Minor

c|A2A AGE|A2A AGE|GAB cBA|G3 E2G|A2B c2A|

d2c BAG|ABc dcB|c3 c2::d|e2e edc|e2f g3|GAG GcA|

G3 E2G|A2B c2A|d2B G2B|ABc BdB|c3 c2:|

 

KERRY JIG [2], THE. AKA and see “John Fleming’s Jig.” Green Linnet SIF 3005, The Bothy Band - “Old Hag You Have Killed Me” (1981. A reissue of the 1976 Mulligan LP).

 

KERRY JIG [3], THE. AKA and see “Charlie Mulvihill’s (Jig) [2] ,” “The Whistling Postman [2].” Irish, Jig. Bulmer and Sharpley, Music from Ireland, vol. 2; No. 41.

 

KERRY LASSES [1], THE. AKA and see "Bob with the one Horn [2]," "The Ewe Reel," "The Ew(i)e Wi' the Crooked Horn [1]," "The Foe," "Go see the Fun," "The Merry Lasses," "The Ram with the Crooked Horn," "Miss Huntley's," "My Love is Far Away," "The Lowlands of Scotland," "Peter Street [2]," "The Pretty Girl in Danger," "Sweet Roslea and the Sky over it."

 

KERRY LASSES [2], THE. AKA and see "Within A Mile of Dublin [1]," "A Mile from Dublin," "The Road to Dublin," "The Maid of Ballintra," "An Giobarach," "The Meadow in Bloom," "Through the Fields [3]," "The Club Reel," "Sarah's Reel," "You're a long time a courting."

 

KERRY LASSES [3], THE. AKA and see "The Wind that Shakes/Shook the Barley [1]," "I sat within the Valley Green," "Rolling Down the Hill [2]."

 

KERRY LASSES [4], THE. AKA and see “Free and Easy [2],” “Mulqueen's,” “Spindleshanks,” “Spinkle Shanks [1],” “Tinker’s Reel [1].”

 

KERRY LASSES [5], THE. Irish, Reel. Ireland, Sliabh Luachra region of Cork/Kerry. G Major. Standard tuning. AB.

X:1

T:The Kerry Lasses

S:Paddy O'Sullivan (fiddle), north Kerry

R:reel

M:4/4

L:1/8

Z:Transcribed by Paul de Grae

K:G

~B2 BG AEGE|D2 GA BE ~E2|~B3 A G3 B|dBGc BGGD|

G2 BG DGBG|DGBG AE ~E2|DGBG DGBc|dBAc BG G2||

dggf g2 dg|(3efg dg (3efg dc|dggf g2 dg|ea ~a2 agef|

g2 ~g2 ag d2|(3efg dg (3efg d2|g2 ~g2 a2 ga|(3bag ae ge d2||

 

KERRY MILLS BARN DANCE [1]. Canadian, American; Country Rag. D Major (‘A’ part) & G Major (‘B’ part). Standard tuning. AB. Composed by Kerry Mills (1869-1948) in 1908. Mills was a prolific American composer of popular music, including ragtime, marches, cakewalks etc., including the famous tunes “Redwing” (1907) and “Whistling Rufus (1899). The melody was recorded on a wax cylinder in 1908 by the Edison Symphony Orchestra (Ed2 9909). Source for notated version: Glenn Berry [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 83. Point Records P‑229, Don Messer ‑ "Canadian Jigs and Reels."

 

KERRY MILLS (BARN DANCE) [2], THE.  AKA and see “Davy, (Davy,) Knick-Knack/Knick-Knock,” “Paddy Joe Gormley’s,” “Paddy Taylor’s Barndance.” Irish, Barndance. D Major. Standard tuning. AABB. The Kerry Mills title appears to be Terry Teahan’s name for the tune. Globestyle CDORBD 092, Terry Teahan (various artists) – “Happy to Meet Sorry to Part.”  Mairead Mooney and Frankie Kennedy – “Ceol Aduaidh” (untitled first tune of the Germans set, learned from Mairead’s father Francie Mooney).

 

KERRY POLKA [1], A. AKA and see “Peg Ryan’s.” Irish, Polka. D Major. Standard tuning. AABB. A untitled version of the tune appears in Martin Mulvihill’s 1st Collection (1986), No. 3 in the polka section, notes Paul de Grae. Bulmer & Sharpley (Music from Ireland), vol. 4; 77 (appears as “Peg Ryan’s”). Cranitch (Irish Fiddle Book), 1996; pg. 38. Vallely (Learn to Play the Fiddle with the Armagh Pipers Club), 21. 

 

KERRY POLKA [2]. New England, Polka. B Minor. Standard tuning. AABB'. Miller & Perron (101 Polkas), 1978; No. 22.

 

KERRY POLKA [3]. AKA and see “Andy Boyle’s,” “Cathy’s Favourite,” “Pat Horgan’s [1],”  Séamus Cussen’s [2].” Irish, Polka. G Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 91, pg. 36.

 

KERRY POLKA [4]. AKA and see “The Derryveeney,” “McElroy’s Fancy,” “Pat Horgan’s [2].” Irish, Polka. E Dorian. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 92, pg. 36.

 

KERRY REEL [1], THE/A. AKA – “Rogha Chiarraí,” “The Kerryman.” Irish, Reel. E Dorian (Em). Standard tuning. AABB. See also "The Green Banks of Rossbeigh," “The Green Fields of Ros(s)beigh,” "Pairceanna Glasa Ros Beithe," “Tom Clark’s Fancy,” "The Witch of the Glen.” The melody was recorded in 1926 by Kerry fiddler Michael Hanafin under the title “Green Fields of Rossbeigh.” In 1959 another Kerry fiddler, Denis Murphy (1910-1974) recorded it in Dublin as the first tune in a medley including “The Steampacket” and “Colonel Frazer.” County Sligo fiddler Michael Coleman recorded “The Kerry Reel” in New York in the 1920’s, paired with “The Perthshire/Boyne Hunt.” Sources for notated versions: Michael Coleman (Co. Sligo, Ireland/New York) [Brody, Miller & Perron, Phillips]; fiddler Jimmy Murphy (b. 1938, Meelick, near Swinford, Co. Sligo) [Flaherty]; Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Brody (Fiddler’s Fakebook), 1983; pg. 156. Cranford (Jerry Holland: The Second Collection), 2000; No. 155, pg. 59. Flaherty (Trip to Sligo), 1990; pg. 40. Miller & Perron (Irish Tradtional Fiddle Music), 1977; vol. 3, No. 3. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 79. Mulvihill (1st Collection), 1986; No. 35, pg. 9 & No. 92, pg. 24. Phillips (Fiddlecase Tunebook), 1989; pg. 32. Copley DWL‑9‑617, Jack Wade‑ "Ceili Music From Ireland." IRC Records, Michael Coleman - “The Musical Glory of Old Sligo” (1967). Rounder CD 1087, Denis Murphy – “From Galway to Dublin” (1992). Shanachie 33001, Michael J. Cashin and Tom Doyle‑ "The Wheels of the World." Shanachie 33002, Michael Coleman‑ "The Legacy of Michael Coleman."

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:Green Fields of Rossbeigh, The

T:Kerry Reel, The [1]

H:on a tape, Mike (Rafferty) and Joe Madden played it.

Z:Lesl

M:C|

L:1/8

K:Edor

A|:BE~E2 BAF2|ABde fded|BE~E2 BAFA|BFAF EFGA|

B3B BAF2|ABde fded|BE~E2 BAFA|1 BFAF E3A:|2 BFAF E4||

|:(3Bcd ef gefe|dB~B2 dBA2|Bdef g2fe|dBAF E3f|

g~g2a gfed|f~f2z fedB|ABde fzeB|dBAF E4:||

 

KERRY REEL [2], THE. AKA and see “Brooklyn Lasses,” “John Kelly’s (Reel),” “The Old Concertina Reel [1].” Irish, Reel. E Dorian. Standard tuning. AB. No relation to “Kerry Reel [1].” Printed in Bulmer & Sharpley under John Kelly’s name. See also the related “Brooklyn Lasses” in Ryan’s/Coles. Source for notated version: fiddler John Kelly, Sr. Breathnach (CRÉ III), 1985; No. 115 & 186, pgs. 57 & 84 (appears “Gan Ainm”/No Title). Bulmer & Sharpley (Music from Ireland), 1974, vol. 3; No. 10 (appears as “John Kelly’s”). Green Linnet 3009/Mulligan 021, Kevin Burke‑ "If the Cap Fits" (1978. Learned from John Kelly, Sr.). John Kelly Sr. – “Seoda Ceoil.”

X:1

T:Old Concertina Reel, The

T:Kerry Reel

T:John Kelly's

R:reel

N:id:hn-reel-390

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

K:Edor

B2ed BcdA|B2AF EFGA|B2ed BcdA|(3BcB AF D2FA:|

|:Beec d2fd|edBc dBA2|1 Beec d2fd|edBc ~d3A:|2 g2ge ~f3e|dBABe3d||

 

KERRY REEL [3], THE (Ríl Chiarraí). Irish, Reel. G Major. Standard tuning. AB. Breathnach (1996) identifies this as a version of “An Claíomh I Láimh” or “The Sword in (the) Hand.” Source for notated version: from fiddler William Jones (County Fermanagh), collected by Liam Donnelly (County Tyrone and Belfast) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 112, pg. 58.

                       

KERRY STAR. AKA and see "The Barrow Castle," "Belles of Tipperary [2]," "The Blea‑berry Blossom," "Connacht Lasses," "The Connacht Star," "The Dandy Girl/Lass/Lasses," "The Four Courts of Dublin," "Green Fields to America," "Jackson's Welcome to Cork [1]," "Johnny Shooting in the Glen," “Lamont’s Reel,” “Mel Roddy’s Tune” (northeast Kings County, PEI), “Miss Mona(g)han(‘s Reel),” "O'Connell in Clare," “Shannon’s Shores,” "Stormy Weather," "The White‑haired Piper.” Irish, Reel. D Major. Standard tuning. AB. Source for notated version: “From P. Carew’s MS” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 899, pg. 227.

                       

KERRYMAN'S DAUGHTER [1], THE. AKA and see “Cunningham's Fancy,” "Fisherman's Lilt [1],"”Funny Eye,” "You're Right My Love," "Molly, What Ails You?" "The Pretty Girls of the Village [1]," "Lady Mary Lindsay," "The Siege of Ennis [1]." Irish, Reel. C Major. Standard tuning. AB (Armagh Pipers): AABB (Brody, Miller & Perron, O’Neill/Krassen). The tune was famously recorded under this title by County Sligo fiddle great Michael Coleman (1891-1945), in New York in 1927, paired with “The Bird in the Tree.” It is also set as a polka and is familiar as part of the ceili dance “Siege of Ennis.” The ‘B’ part is melodically similar to “Billy in the Lowground.” See also the related (in the second parts) “Old John’s Jig.” Sources for notated versions: Jean Carignan (Montreal, Canada) [Brody]; Michael Coleman [Miller & Perron]. Armagh Piper’s Club (Play 50 Reels), 1982; No. 3, pg. 4. Brody (Fiddler’s Fakebook), 1983; pg. 156. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 5. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 80. O'Neill (Krassen), 1976; pg. 112. Green Linnett 1022, Eileen Ivers and Mick Moloney‑ "Irish Music: The Living Tradition, vol. 2.” Green Linnet SIF 1139, “Eileen Ivers” (1994). IRC Records, Michael Coleman - “The Musical Glory of Old Sligo” (1967). Philo 2001, "Jean Carignan" (appears as first tune in "Bird in the Tree Medley"). Shanachie 33002, Michael Coleman‑ "The Legacy of Michael Coleman."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Kerryman’s Daughter [1]

M:C

L:1/8

R:Reel

K:C

cA|GFEF GAcd|(3ege dB cAA2|GFEF GAcd|(3ege dB c2A|GFEF GAcd|

(3ege dB cAA2|GFEF GAcd|edcB c2||

cd|eg ~g2 age^f|gedB cAA2|eg ~g2 ea ~a2|bagb ~a3g|eg ~g2 age^f|

gedB cAA2|G2GE GAcd|(3ege dB c2||

 

KERRYMAN’S DAUGHTER [2], THE. AKA and see “Considine’s Grove{s},” “Cronin of Kerry,” “Dinny Ryan’s,” “The Gneevguilla Reel,” “Miss Brady,” “The Pride of Rathmore.” Irish, Reel. A Dorian. Standard tuning. ABC. A different tune than “Kerryman’s Daughter” [1]. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 76, pg. 20.

X:1

T:Kerryman’s Daughter [2]

M:C|

L:1/8

R:Reel

K:A Dorian

EA (3AAA e2 dB|(3efe dB GABG|EA (3AAA edef|gedB GABG|EA (3AAA e2 dB|

(3efe dB GABG|EA (3AAA edef|gedB BA A2||ea (3aga bgaf|egdB GABd|

ea (3aga ea (3aga|gedB A2 (3Bcd|ea (3aga bgaf|egdB GABd|ea (3aga bgaf|gedB A2||

B|~=c3A ~B2G|AcBA GE D2|cA (3AAA BG (3GFG|AcBG A3B|~=c3A ~B3G|

AcBA GE D2|GBAc (3Bcd ge|dBGB A2||

                       

KERRYMAN'S FLING, THE. Irish. Traditional. Green Linnet SIF‑1105, Patrick Street ‑ "Irish Times" (1989).

                       


KERRYMAN'S VISIT TO DUBLIN, THE. Irish, Jig. D Minor. Standard tuning. AB. Peter Kennedy states that this melody is popular as a fiddle tune, as a march and as a Highland Schottische. Lucy Broadwood (JFSS 5) comments that this tune family is widely known in Ireland and Scotland, and can be found (in either long or short forms) as the melody for the songs "The Crafty Wee Bony," "Lucy's Flitting," and a fife-dance version of "The Lass O'Glenshee," while Cazden (et al, 1982) adds Ord's "The Road to Dundee," and his Catskill Mountain (New York) collected song "The Hills of Glenshee." Source for notated version: Mr. Flattely of Mayo, via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 489, pg. 270.

                       

KERRY’S WELCOME TO THE DENE. English, Quickstep March (6/8 time). D Major. Standard tuning. AABBCCD. Composed by fiddler Willy Taylor in the pipe-march tradition, on the occasion of the birth of his grand-daughter. The Dene was Taylor’s farmhouse.

X:1
T:Kerry's Welcome to the Dene
M:6/8

L:1/8
R:Quickstep
C:Willy Taylor
K:D
a/g/ | f3   f>ga | A>dd d>ef | g2b b>ed | c>ba g>ec | d2a  f>ga | A>dd d>ed | c>Aa  g>ec |

d3  d2:: a/g/ | f3A>df | g>ec e>ge | c3 A>ce | A>fe d>ag | f3 A>df | g>ee  e2e | A>ca f>ec|

d3 d2:: a/d/ | f3  f>dd | g>BB B2d | c>de A>Bc | d>fa A>Bc | d2A f>ed| g>BB B2d |

c>Aa  g>ec| d3 d2 :|| a | f>af  d>fd | g>BB B2g | c>de A>Bc | d>fa A>Bc | f>af d>fd|

g>BB B>ed | c>Aa  c>ea | d3 d2a | f>af  d>fd | g>BB B2g | e>ge c>ea | B>aa A2a |

f>af  d>fd|  B>ef  g>ed | c>Aa  g>ec | d3 da2 ||

                       

KERRYWOMAN’S LAMENT, THE. Irish, Air (4/4 time). Ireland, County Clare. G Major. Standard tuning.

X:1

T:Kerrywoman’s Lament, The

R:Air

S:Junior Crehan

D:Ceol an Clair

M:4/4

L:1/8

Z:transcribed by Paul Keating

Q:75

K:G

"G"d d/2c/2A/2B/2 G2 E D2 E/2|"Dm"G A2 (3A/2G/2A/2 "G"B/2 G2 c3/2|!

"G"B/2{c}B/2A/2B/2 d2 "Em"e G2 G|"G"G2 A (3A/2G/2E/2 "Em"G2 G/2E/2 =F‑|!

‑"Dm"=F (3A/2G/2E/2 DE "G"G G2 z|"G"d/2c/2A/2B/2 G2  B d2 (3=f/2e/2d/2|!

"Em"e2 de/2d/2 "Dm"e=f d2|"G"d/2c/2A/2B/2 G2 B/2c/2 d2 (3=f/2e/2d/2|!

"Em"e2 d<e "G"d3 d|"Em"g2 (3=f/2e/2d/2 e"G"g B2 A‑|!

‑"G"A (3A/2G/2A/2 B/2 G2 c3/2 B/2B/2A/2B/2|"G"d2 e G2 G G2|!

"Em"A (3A/2G/2E/2 G2 "Dm"G/2E/2 =F2 (3A/2G/2E/2|"G"DE G G3 z2||!

 

KERSHAW'S HORNPIPE. AKA and see "Back of the Haggard," Black’s Hornpipe [2],” “Duke’s Hornpipe,” "Lady Flashdash Hornpipe," “Loyalist Hornpipe,” “Miss Manner’s Hornpipe.” English, Hornpipe. England, North‑West. D Major. Standard tuning. AB (Kershaw): AABB (Knowles). From Joseph Kershaw (Slackote, Saddleowrth, east of Manchester) who wrote his ms. around 1820 (judging from a watermark dated 1817, according to Anne Gilchrist’s 1910 finding). The tune appears in the manuscript of Joshua Burnett of Worsborough, south Yorkshire (active around 1830-1850) as “Kershaw’s Hornpipe.” Jamie Knowles suggests that it could have been written by Kershaw, as claimed by a later note in his manuscript book, however, the tune appears in John Clare’s (1793-1864) manuscript (from around the same period or a bit later) under the title “Duke’s Hornpipe,” and in the decidedly earlier John Miller (Perth, Scotland) manuscript (1799) as “Black’s Hornpipe.” Langdale, Cumbria, fiddler William Irwin had it in his 1838 manuscript as “Loyalist Hornpipe,” and an untitled version appears in the 19th century music manuscripts of the Welch family (Bosham, Sussex). North Yorkshire fiddler and architect Lawrence Leadley (1827-1897) included it in his mid-19th century music manuscript copybook as “Lady Flashdance.” “The Back of the Haggard” is a later title, well-known in Ireland. The Kershaw manuscript now resides in the Vaughan Williams Memorial Library at Cecil Sharp House, London. Callaghan (Hardcore English), 2007; pg. 19. The Joseph Kershaw Manuscript, 1993; No. 68. Knowles (Northern Frisk), 1988; No. 118.

X: 1
T:Kershaw's Hornpipe
M:4/4
L:1/8
S:Anne Gilchrist's 1910 Trnscptn of Joseph Kershaw's 1820 Ms
Z:Johnny Adams - Village Music Project
K:D
(3ABc | dfdf ecAc | dBGB AFDF |  GBAc Bged | c2 A2 A2 (3ABc |

dA A2 eAA 2 | fefg aAAc | BdGB AFGE | D2 D2 D2 :||: (3ABc| dAdA FDFA |

BGDG BGdB | gefd ecdB | Afed cBAG | Fd d2 Ge e2| Af f2 Bg g2 | fafd Bgec | d2 d2 d2 : |

 

KESAN TULLESSA. Finnish, Waltz. A Major. Standard tuning. AA'BB'. Composed by Konsta Jylha (b. 1910). Matthiesen (Waltz Book II), 1995; pg. 28.

 

KESH JIG [1], THE. AKA and see "Castle Jig [1]," “Kerrigan’s,” "The Kincora Jig," “Little Boy Ted in the Hay,” “The Mountaineers’ March,” “Tear the Callies.” Irish, Double Jig. G Major. Standard tuning. AABB (most versions): AA’BB’ (Miller & Perron). Very popular in Irish sessions, albeit often seen as a ‘beginners tune’. See “Port Pat Coclain” for a West Kerry slide version of this tune, and also the related “Spring Well” and “Fond of the Ladies.” Michael Coleman recorded the melody on 78 RPM as “Kerrigan’s Jig.” The first printed version appears to be in George Petrie’s 1850’s collection under the title “Tear the Callies.” Source for notated version: Boys of the Lough (Ireland/Scotland) [Brody]. Boys of the Lough, 1977; pg. 4 (appears as "Kincora Jig"). Brody (Fiddler’s Fake Book), 1983; pg. 157. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg.12. Mallinson (Essential), 1995; No. 81, pg. 35. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 24. Reiner (Anthology of Fiddle Styles), 1979; pg. 49. Songer (Portland Collection), 1997; pg. 118. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 29. Mulligan LUN 002, The Bothy Band - “The Bothy Band” (1975). Mulligan LUN 030, The Bothy Band‑ "Afterhours.” Philo 1026, The Boys of the Lough‑ "Live at Passim" (appears as "Kincora Jig"). Voyager 320‑S, Frank Ferrel and Graham Townsend‑ "Fiddle Tunes." Outlet 1031, Sean McGuire‑ "Ireland's Champion Traditional Fiddler."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Kesh Jig [1]

L:1/8

M:6/8

K:G

D|G3 GAB|ABA ABd|edd gdd|edB dBA|G3 GAB|ABA ABd|ede gdB|AGF G2:|

|:A|B3 dBd|ege dBG|BAB dBG|A3 AGA|BAB dBd|ege dBd|g3 aga|bgf g2:|

 

KESH JIG [2]. Irish, Jig. D Major. Standard tuning. AABB.

X:1
T:The Kesh Jig [2]
M:6/8
L:1/8
R:jig
N:reconstructed from hazy memory of a slow setting
N:in C played by John Carty at a session in Abbeyfeale
Z:Transcribed by Paul de Grae

K:D
D3 DEF|EFD E2 A|BAd BAF|FED E2 F|D3 DEF|
EFD EFA|BAd BAF|1EDB, D2 A,:|2EDB, D2 E|:
FDF A2 d|BdB A3|BdB AFD|EFD EFG|FDF A2 d|
BdB A2 A|dcd e2 f|1d3 d2 E:|2d3 d3||

 


KESHCORRAN. Irish, Slow Air (3/4 time). E Minor. Standard tuning. AB. "A tune with this name was given by me to Dr. Petrie; and it is printed with my name acknowledged in Stanford‑Petrie, as I copied it from a MS. written in the neighbourhook of Lough Conn, Co. Mayo. It is in C time: whereas the tune given here from Gorde in in 3/4. Whether the two airs are vatieties of one common melody, I will leave to others to determine. Keshcorran is a well‑known mountain in the Co. Sligo" (Joyce). Source for notated version: "Michael Walsh, a good professional fiddler, Strokestown, Co. Roscommon" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 675, pg. 338.

X:1

T:Keshcorran

M:3/4

L:1/8

R:Air

N:”Slow and tender.”

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

Z:AK/Fiddler’s Companion

K:E Minor

A | B4 e>e | e>d B3 (3B/c/d/ | ef g2 f>e | ed/B/ B3 (3B/c/d/ | ef g2 f>e | (e2 d/)d/e/4d/4B/4A/4 GB |

A2 GE ~G>E | E4 || (5E/F/G/A/B/ | c>Bc>ABA | {F}GA ~B4 | {g}g>e e>d e/d/B/A/ | G4 EF |

G>A B/A/G/E/ G>E | ed Bc B/A/G/F/ | E3 z/E/ G>E | E4 ||

 

KESWICK BONNY LASSES. English, Hornpipe. England, Lakeland district. D Major. Standard tuning. AB. Source for notated version: Greg Stephens [Knowles]. Knowles (A Northern Lass), 1995; pg. 42.

                       

KETCH CALLED 'SULLIVAN’S JOHN', THE. Irish, Reel. A ketch is a type of sailing boat. Chieftains – “Water from the Well” (2000. Appears as part of “Dusty Miller” set).

                       

KETRIN OGIE. AKA and see "Catherine/Katherine Ogie." Scottish. Appears in full in the Guthrie Manuscript. The MS was named for covenenting minister James Guthrie of Stirling, beheaded in 1661 for publishing a seditious pamphlet; it appears in a book of his sermons. Alburger points out that he was probably no lover of dance music, and that it is possible someone sewed the music into Guthrie's book as a joke.

 

KETTE BAIRDIE.  AKA – “Katie Beardie.” Scottish, Air. From the Skene manuscript. See note for “Simon Brodie.”

 

KETTLEDRUM (Kettle Drum). AKA and see “Pepper’s Black [2].” English, Country Dance Tune (2/2 time). A Minor. Standard tuning. AABB. Published by John Playford (1623-1686) in his first edition of his The English Dancing Master (1651), with instructions for a round dance. It appeared in subsequent editions of the Dancing Master through the eighth edition of 1690, after which it was dropped from the long-running series. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 50, pg. 27. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 103 (appears as “Puck’s Deceit”, the name of a country dance by Brooke Friendly and Chris Sackett set to the tune). Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 10. Raven (English Country Dance Tunes), 1984; pg. 10 & 46 (the latter is a facsimile copy of Playford’s printing). Beautiful Jo Records BEJOCD 33, “Cast a Bell” (2001). North Star NS0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990).

X:1

T:Kettle Drum

M:4/4

L:1/8

K:A Mixolydian

efgf e2d2|A2f2A2f2|efgf e2d2|A2f2d4:|

|:efga g3a|g3a g2e2|fg a2a2 ^g2|a6 fg|

agfe defd|e4A4|F2A2A2f2|d8:|

 

KETTY TERROL. AKA and see "Kitty Tyrrell [1]" (Ire.). AKA ‑ "O Blame Not the Bard" (Ire.). Scottish (originally Irish), Waltz. E Flat Major. Standard tuning. AABB. Carlin (Gow Collection), 1986; No. 589.

 

KEVIN BARRY. Irish, Air (3/4 time) or Waltz. D Major. Standard tuning. One part. A famous ballad on the theme of Irish patriotism during the "troubles" of the early 20th century. Kevin Barry was hung on Nov. 1st, 1920.

***

In Mountjoy jail, one Monday morning, high up on the gallows tree,

Kevin Barry gave his young life, for the cause of liberty;

But a lad of eighteen summers, yet no one can deny,

As he walked to death that morning, he proudly held his head on high.

***

O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. Roche Collection, 1983, vol. 3; No. 52, pg. 14.

X:1

T:Kevin Barry

M:3/4

L:1/8

R:Waltz

S:O’Brien –  Jerry O’Brien’s Accordion Instructor (1949)

Z:AK/Fiddler’s Companion

K:D

D2F2 | A4A2 | ^G4 A2 | B2 (A4 | A2) F2A2 | f4d2 | A4F2 | (E6 | E2) c2d2 | e4d2 |

c4 G2 | B2 (A4 | A2) ^G2A2 | c4B2 | G4A2 | (F6 | F2) D2F2 | A4 A2 | ^G4A2 |

B2 (A4 | A2) F2A2 | f4d2 | A4F2 | (E6 | E2) c2d2 | e4d2 | c4G2 | B2 (A4 | A2)^G2A2 |

c4B2 | G4E2 | (D6 | D2) ||

 


KEVIN BURKE'S. Irish, Reel. One reel bearing Burke’s name is also known as “Dan Breen’s Reel” or the “West Clare Reel.” Kevin Burke is a famous modern Irish fiddler who grew up in London, moved west to Ireland, and finally settled in Oregon, in the United States. Green Linnet SIF 1051, Jackie Daly, Seamus & Manus McGuire - "Buttons and Bows" (1984). Green Linnet SIF 1075, John Whelan & Eileen Ivers - "Fresh Takes" (1987. Learned from Karen Tweed, Northhamptonshire).

 

KEVIN CHAISSON’S REEL. Canadian, Reel. Canada, Prince Edward Island. D Major. Standard tuning. AA’BB. Composed by Bill MacDonald (b. 1925 in North Lake, Kings County, now resident of E. Royalty, Queen’s County, Prince Edward Island) for fiddler Kevin Chaisson of Bear River, Kings County, PEI. Source for notated version: Bill MacDonald [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 74.

 

KEVIN COYNE’S. AKA and see “Brid Harper’s,” “Matt Molloy’s [4],” “McGreevey’s Favorite,” “Pride of the Bronx.” Irish, Reel. D Major. Standard tuning. Bulmer & Sharpley (Music from Ireland), vol. 4.

X:1

T:Kevin Coyne’s

M:4/4

L:1/8

Z:transcribed by Caroline Foty

K:D

|: A~F3 AFBA|A~F3 AFEF|A~F3 ABde|1 faag fddB :|2  faag fdde|

|:f~a3 fb (3bbb|f~a3 afde|f~a3 fb (3bbb|afdf e3 e|

f~a3 fb (3bbb|f~a3 afdc|dBAF ABde|faag fddB||

 

KEVIN LOUGHLIN’S. Irish, Jig. Outlet SOLP 1044, Josephine Keegan - “Irish Traditional Music.”

 

KEVIN MACGANN. Shetland, Reel? Hornpipe? Air?. F Major. Standard tuning. AAB. "An Irish Doctor friend of Tom's who in the early days of tape recording introduced him to many Irish fiddlers. Composed (by Tom Anderson) in 1962" (Anderson). Anderson (Ringing Strings), 1983; pg. 71.

 

KEVIN MAHON’S REEL (Ríl Chaoimhín Uí Mhathúna). Irish, Reel. D Major. Standard tuning. AABB. Composed by fiddler William Jones of County Fermanagh. Source for notated version: from William Jones via the mid-20th century collection of Liam Donnelly (County Tyrone and Belfast) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 130, pgs. 64-65.

 

KEVIN McHUGH’S (JIG).  Irish, Jig. G Major. Standard tuning. AABB. Fiddler Kevin McHugh is from the townland of Renaney, near Foxford, County Mayo. A skilled country dance musician in the Foxford area (who was greatly influenced by the fiddling of his uncle, Mick McHugh), he was later a member of St. Patrick’s Ceili Band formed by Fr. Towey.

X:1

T:Kevin McHugh’s

M:6/8

L:1/8

R:Double Jig

C:Kevin McHugh’s father

S:Played by June McCormack, Catskills Irish Arts Week 2005

Z:Larry Mallette 

K:G

B2d ded|{c}BA{c}B ~G2A|{B}AGE D2A|{B}AGE D(3EFG|

B2d ded|BAB GAB|{B}AGE DEG|{B}AGF ~G3:|

|:B2B GAB|c2c ABc|~B2G{A}GFG|ABc d3|

~B3 ~G3|c2c BdB|AGE DEG|{B}AGF G3:| 

 

KEVIN McHUGH’S (SLIP JIG) [1].  Irish, Slip Jig. Coleman Center CD CC004, Kevin McHugh & John McHugh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”).

 

KEVIN McHUGH’S (SLIP JIG) [2].  Irish, Slip Jig. Coleman Center CD CC004, Kevin McHugh & John McHugh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”).

 

KEVIN RYAN’S. Irish, Reel. D Major. Appears in Sully’s as an untitled reel.

 


KEY(S) OF THE CELLAR, THE. AKA and see "Come Ye Ower Frae France," "The Marchioness of Tweed‑Dale's Delight." Scottish, Country Dance Tune (3/2 time). B Flat Major. Standard tunng. AABB. The tune, in old hornpipe metre, appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740." It is the vehicle for the political satire song "Cam Ye Ower Frae France(, Cam ye round by London)," and the bawdy Irish ballad “The Rakes of Stoney Batter” (Bruce Olson finds this latter song has a verse which mentions the even older English song and dance tune “Bobbing Joan,” and because of this the “Rakes” tune became itself known as “Bobbing Joan” or “Bob and Joan.” The “Bob” title and variants even came to replace the original title in some Scottish publications).  Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 16, pg. 121. Gow, Second Collection (2nd Ed.), 1803.

 

KEY OF THE CONVENT.  See “Keys to the Convent,” “King of the Pipers [2].”

 

KEY WEST HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB. 1st strain is similar to "Lamplighter's Hornpipe." At the time this tune was included in Ryan’s, 1883, Key West’s mainstay industry was wrecking (i.e. salvage), but by 1890 it was accounted one of the most prosperous cities in the state. The name ‘Key West’ is thought to derive from a mishearing of the Spanish Cayo Heuso, meaning ‘island of the bones’, so called because when the Spanish explored the island they found numerous bleached remains of victims of warring indigenous tribes, who left them unburied either because of religious reasons, or because of the difficulty in working the hard-packed limestone ground. Cole (1000 Fiddle Tunes), 1940; pg. 97. Kerr (Merry Melodies), vol. 2; No. 373, pg. 41. Ryan’s Mammoth Collection, 1883; pg. 133. White’s Unique Collection, 1896; No. 125, pg. 22.

X:1

T:Key West Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896), No. 125

Z:AK/Fiddler’s Companion

K:G

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

d/B/G/B/ .d/(g/f/g/) | d/B/G/B/ .d/(g/f/g/) | e/d/c/B/ A/G/F/A/ | GB[B,G] :: (c/B/) |

A/F/D/F/ A/c/B/A/ | B/G/D/G/ (B,/D/)(G,/B,/) | D/G/B/d/ g/d/B/G/ | A/d/c/e/ .d(e/f/) |

G/b/g/d/ B/d/B/G/ | (C/B,/)(C/D/) .E/.D/.C/.B,/ | C/e/d/c/ B/A/G/F/ | GB[B,G] :|

 

KEYS TO THE CONVENT (Eochracha an Chlochair). AKA and see “King of the Pipers [2].” AKA – “Key of the Convent.” Irish, Jig. Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008).

 

KEYSTONE OF INVERNESS. AKA and see "Clach Na Cudain [2]."

 

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

 

© 1996-2009 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.

 

 


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

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