The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
KIC - KISI |
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] |
KIASER’S DEFEAT JIG. American, Jig. Recorded in the
early 1920’s by fiddler Allan Sisson. Note the misspelling in the title.
KICK A DUTCHMAN. American, Waltz. C Major. Standard tuning. AA'B. Same first strain (an
international one) as that of tune called "Old Mazurka" in Bayard,
1981; No. 650, pgs. 568-569. See also tunes "Varsoviana
Waltz" and "Silver Lake
Varsoviana" for other usages of the strain. Ford (Traditional Music in America), 1940; pg. 136.
KICK HIGH TODAY. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
KICK THE POPE. AKA and see "Fair and Aisy I'll Be
Rid of Her,” "Fair
and Aisy I'll Get Out of It.” Bayard (1981) marks the tune an Orange Irish
one because of the title, and identifies it as another member of the ‘pervasive’
"Welcome Home” tune family.
KICK THE ROGUES OUT. Scottish, English; Jig (9/8 time). England, Northumberland. D Major.
Standard tuning. AABB. John Glen (1891) finds the earliest printing of the tune
in Robert Bremner's 1757 collection.
It is one of the "missing tunes" from William Vickers' 1770
Northumbrian dance tune manuscript. Bremner (Scots Reels), c. 1757; pg. 36.
X:1
T:Kick the
Rogues Out.
M:9/8
L:1/8
R:Jig
S:Bremner –
Scots Reels (c. 1757)
Z:AK/Fiddler’s Companion
K:D
(FGA) D2B (AFD) | (FGA) D2=c “tr”B2A
| (FGA) D2B (AFD) | (GFE) (EFA) “tr”B2A :|
|: (dcd) D2B (AFD) | (dcd) A2g
“tr”(f2e) | (de)f (ef)d (c”tr”B)A | (B/c/d)B (AF)A “tr”B2A :|
KICK THE WORLD BEFORE
YOU. AKA and see “Priest’s Leap [2],” “Red Stockings [2].” Scottish, Country
Dance Tune (9/8 time). The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of
Ancaster at Drummond Castle), inscribed "A Collection of Country Dances
written for the use of his Grace the Duke of Perth by Dav. Young, 1734."
KICK YE BUCKETT. See “The Bucket,” “The
Colonel [2].”
KICKING MULE. Old‑Time, Breakdown. Known as a southeastern Tennessee tune. An
instrumental version of "Whoa Mule (Whoa) [1]." The title appears in
a list of traditional Ozark Mountain fiddle tune compiled by musicologist/folklorist
Vance Randolph, published in 1954. It is perhaps the same tune as "Bucking
Mule." It was also in the repertoire of fiddler Tommy Magness (1911-1972),
born in north Georgia near the southeastern Tennessee border.
KID, THE (An Mionnán). See “An Mionnán.”
KID ON THE MOUNTAIN
[1], THE (An Mionnán
Air/Ar an Sliab).
AKA and see "The Bottle of Wine."
Irish, Slip Jig (9/8). E Aeolian (Em). Standard tuning. ABCD (Breathnach):
AABBCC (Williamson): AABBCCDD (Moylan): ABBCCDDEE (Brody): AABBCCDDEE (Kennedy,
Mallinson, Martin & Hughes, Tubridy): AABBCC'DDEE (O'Neill/Krassen):
AABBCCDDEEFF (O'Neill/1915, 1001 & 1850). “The Bottle of Wine,” an
alternate title, is the name of a song to the tune Breathnach collected from P.
O’Loughlin (Largy), Miltown Malbay, County Clare. See also the related “Kilbride’s Favourite.” Sources for notated
versions: “Mr. Townsend, Cork” [Joyce]: fiddler Tommy Peoples (County Donegal)
and guitarist Paul Brady (Ireland) [Brody]; piper Seamas Ennis, 1959 (Co.
Clare, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra
region of the Cork-Kerry border)--apparently the only slip jig he knew
[Moylan]. Breathnach (CRE II), 1976;
No. 104, pg. 55. Brody (Fiddler’s
Fakebook), 1983; pg. 157. Jordan (Whistle
and Sing), 1975; 46. Joyce (Old Irish Folk Music and Songs), 1909;
No. 672, pg. 336 (appears as untitled ‘hop jig’). Kennedy (Fiddler’s Tune Book: Slip Jigs and Waltzes), 1999; No. 37, pg. 9.
Mallinson (Enduring), 1995; No. 90,
pg. 38. Martin & Hughes (Ho-ro-ghedllaedh),
1990; pg. 46. Moylan (Johnny O’Leary),
1994; No. 301, pg. 173. O'Neill
(Krassen), 1976; pg. 85. O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 225, pg. 120. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1155, pg. 218. O'Neill (Damce Music of
Ireland: 1001 Gems), 1907/1986;
No. 434, pg. 85. Tubridy (Irish
Traditional Music, Vol. 1), 1999; pg. 37. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 85. Flying Fish 217, Barde ‑ "Images" (1978).
Folkways FW 8876, Kevin Burke‑ "Sweeney's Dream." Green Linnet
SIF 3005, Bothy Band - "Old Hag You Have Killed Me" (1981. A reissue
of the 1976 Mulligan LP). Mulligan 030, The Bothy Band‑
"Afterhours." Outlet 3002, Paddy Cronin‑ "Kerry's Own
Paddy Cronin" (1977. Features a double-tracked ‘duet’ with himself on
fiddle and flute). Shanachie 29003, Tommy Peoples and Paul Brady‑
"The High Part of the Road." Shanachie 79010, Planxty‑
"The Well Below the Valley." Shanachie 97011, Duck Baker -
"Irish Reels, Jigs, Airs and Hornpipes" (1990). Voyager 320‑S,
Frank Ferrel‑ "Fiddle Tunes." Also recorded by Michael Coleman.
Popcorn Behavior – “Journeywork” (1997).
X:1
T:Kid On The Mountain
M:9/8
L:1/8
R:Slip Jig
K:Em
|:"Em"EDE "D"FEF "Em"G2 F|"Em"EDE "D"BcA BGD|"Em"EDE "D"FEF "Em"G2 A| "D"BAG FAG FED:|!
|:"G"BGB "D"AGF "G"G2 D|"G"GAB "D"dgf dBG|"G"BAB "D"AGF "G"G2 A| "D"BAG FAG FED:|!
|:"Em"gfg eBe e2 f|"Em"gfg "D"efg afd|"Em"gfg efe e2 a|"D"bag fag fed :|!
|:"Em"eBe e2 f gfg|"Em"eBe "D"efg afd|"Em"eBe e2 f g2 a|"D"bag fa g fed:|!
|:"G"edB "D"dBA "G"G2
D|"G"GAB "D"dge dcA|"G"edB "D"dBA
"G"G2 A| "D"BAG FAG FED:|
KID ON THE MOUNTAIN
[2], THE. Irish, Slip Jig. Tonality slipping
from E Minor (as in the first version) into G Major. Standard tuning. AABBCC.
An odd version of “Kid on the Mountain [1]," but distanced enough for a
separate entry. Kerr (Merry Melodies),
vol. 4; No. 191, pg. 22.
X:1
T:Kid on the Mountain, The [2]
M:9/8
L:1/8
R:slip jig
B:Kerr – Merry Melodies, vol. 4, pg.
22, No. 191 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Emin
DEE DEF G2E|DED d2A BAF|DEE DEF
G2A|BAG FED AFD:|
|:BcB ABA G2A|B2A Bde dBA|BcB ABA G2A|BAG FED AFD:|
|:gfg dBd e2f|gfg efg afd|gfg dBd
e2f afd d2f afd:||
KIDS, THE. Scottish, Reel. A Major. Standard tuning.
AABB. Stewart-Robertson
(The Athole Collection), 1884; pg.
36.
X:1
T:Kids, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
R:Reel
K:A
g|acec ace2|acec ac ~B2|aced ceae|fdec ac~B :: cAAe ceA2|cAAe ce~B2|cAAe ceae|fdec ac~B2:|
KIDS IN THE POOL, THE. Irish, Jig. D Major/Mixolydian. Standard
tuning. AABB. Black (Music’s the Very
Best Thing), 1996; No. 292, pg. 157.
X:1
T: Kids in the Pool
C: © B.Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: Dmix
A | d^cd def | cBc cGE | d^cd def | agf gfe | d^cd def | cBc cGE | DAA cBA | GEC D2 :|
e | fdd a2 f | bag fed | ecc g2 e | agf ede | fdd Add | cBc cGE | DEG ABc | GEC D2 :|
KIELDER JOCK’S. AKA and see “The Omnibus,” “Stage
Hornpipe [1].” English, Hornpipe. England, Northumberland. G Major. Standard
tuning. The tune is James Hill’s “The Omnibus,” here named for Northumbrian
fiddler Jack “Kielder Jock” Davidson who lived in the latter 19th /early
20th centuries. A copy of his manuscript is in the Beamish museum.
KIERAN AND LIZ’S FIRST VISIT. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning.
AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland
(1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No.
292, pg. 104.
KIERAN KELLY'S. Irish, Barn Dance (4/4 time). AABCCDD. Standard tuning. D Major ('A',
'B' and 'D' parts) & G Major ('C' part). An Irish barn dance usually sounds
like an American or Canadian 4/4 quadrille. Keiran Kelly (Co. Athlone,
Ireland/London, England) was an virtuoso button accordion player who won the
All‑Ireland championship for the instrument in 1954 and 1955, during the
early years of the fleadhanna. In the 1960's he fronted the Kieran Kelly Ceili
Band. Taylor (Through the Half‑door),
1992; No. 69, pg. 49. Shaskeen ‑ "Atlantic
Breeze."
KIERAN KELLY’S (REEL). Irish, Reel. Patty Furlong – “Traditional Irish Music on the Button
Accordion” (1999).
KIIKURI KAAKURI. Finnish, Air. A tune popular in ethnic communities in Michigan,
Northern Wisconsin and Minnesota, to whom in many cases during the assimilation
process the words to the song were less important than music, having
disappeared or been altered, as in this hybridized version:
***
Kiikuri, Kaakuri, Kirjava Lintu,
Grab him by the ankle and throw him out the window.
(Leavy, 1984).
KILAVEL JIG. AKA and see “Killavil Jig [1].”
KILBAHA. AKA and see “The Laurel Groves.”
Irish, Reel. Breathnach (CRÉ I),
1963; No. 196.
KILBERRY. English, Waltz. D Major.
Standard tuning. AABBCCDD. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 139, pg. 35.
KILBRIDE’S FAVOURITE. Irish, Slip Jig. See also the related “Kid on the Mountain.” Giblin (Collection of Traditional Irish Dance Music),
1928; 73.
KILBURNEY. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript.
KILCAR MAZURKA, THE. Irish, Mazurka (3/4 time). Ireland, County
Donegal. G Major. Standard tuning. AA’BB’. Source for notated version: fiddlers
Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Feldman
& O’Doherty (The Northern Fiddler),
1979; pg. 177 (appears as unititled “Mazurka”).
KILCHATTAN WEDDING, THE (Calum Figheadair). Scottish, Reel. D Minor. Standard
tuning. AABB'CCD. Fraser (The Airs and
Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No.
26, pg. 9. Stewart-Robertson
(The Athole Collection), 1884; pg.
230 (appears as "Calum Figheadair").
X:1
T:Calum Figheadair
T:Kilchattan Wedding, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Dmin
c | Addf cAAa | fAAf cAAf | Addf cAAa | ~f^c d/d/d G2G :|
|:f|de~fc d/d/d g2|fd d/d/d ecce|1 de~fc d/d/d g2|f^c d/d/d G2G:|2 bagf dfga|~f^c d/d/d G2G||
KILCOMMON. Air (3/4 time). Great Meadow Music GMM 2003,
“Rodney Miller’s Airdance” (2000).
KILCOON. Irish, Reel. G Major. Standard tuning. AA’BB’. Composed by Killargue,
County Leitrim, fiddler Joe Liddy. Green Linnet
GLCD 1211, Kevin Crawford – “In Good
Company” (2001. Appears as “Kilcloon,” learned from Donegal fiddler Brid
Harper).
X:1
T:Kilcoon
M:C|
L:1/8
R:Reel
K:G
G,2B,D GBdB | c2 ec dB{d}BA | GEDE
GABG | A/B/c BA GEDB, |
G,2B,D GBdB | cdef ~g3a | bgag edBA
|1 GEDE GEDB,:||2 GEDE GABc ||
dg~g2 dgeg | dggf gfed | ea{b}ag
~a3g | ea{b}ag edBc |
dg~g2 dgbg | agef ~g3a | bgag edBA
|1 GEDE GABc:||2 GEDE GEDB,|]
KILCOOLEY WOOD. Irish, Hornpipe. G Major. Standard tuning. AA’BB’. Composed by
Tipperary fiddle player and composer Seán Ryan (d. 1985), of Nenagh, County
Tipperary. Kilcooley house and woodland, a landed estate in Kilkenny, County
Tipperary, Ireland, near Ryan’s native homestead, is the site of the remains of
an old Cistercian Abbey on the ancient route to Cashel. Ryan (The Hidden Ireland). Drumlin Records BMNCD2, Brian McNamara – “Fort of the
Jewels” (2004. Learned from Seán Ryan’s son, Brian, a flute player and
pianist). Kevin Rowsome – “The Rowsome Tradition.”
X:1
T:Kilcooley Wood
R:hornpipe
C:Sean Ryan
S:The Hidden Ireland
P:2
M:C
L:1/8
Q:75
K:G
GF|DGGA BDcD|BDAD GABc|dg (3gfg
fgag|fdcA (3Bcd AF|
|DGGA BDcD|BDAD GABc|dg (3gfg
fdcA|1(3Bcd AF G2:|2(3Bcd AFG2 Bc||
dg (3gfg fgaf|dg (3gfg bgaf|defg
abag|fdcA (3Bcd AF|
DGGA BDcD|BDAF GABc|dg (3gfg
fdcA|1(3Bcd AF G2 Bc:|2(3Bcd AF G2||
GF|DGGA BDcD|BDAF GABc|dg 3gfg
fgag|fdcA (3Bcd AF|
KILCOY CASTLE. Scottish, Reel. A Mixolydian. Standard. AA'BB'. A pipe tune. Kilcoy
derives from the Gaelic Cu coille, meaning ‘nook of the wood’ or ‘nook
of the hazel wood’. Kilcoy Castle was a home of the MacKenzies for nearly 300
years, until 1813. It was the subject of one of the prophecies by the 17th
century Brahan Seer, Kenneth MacKenzie (Coinneach Odhar {Dun-colored Kenneth}),
of Ross-shire, who predicted “The stern castle of Kilcoy shall stand cold and
empty,” and indeed it did in the 19th century when it was allowed to
fall nearly to ruins. It was restored at the beginning of the 20th
century and is now in private possession, although the gardens are open to the
public in the summer. MacDonald (The Skye
Collection), 1887; pg. 73.
X:1
T:Kilcoy Castle
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
A<A cA e2 cA | a2 (cA) eAcA |
A<A cA e2 (cA) | g2 (BG) dG BG :|
|: a2 (cA) e2 (cA) | a2 (cA) eAcA |1
a2 (cA) e2 (cA) | g2 (BG) dGBG :|2
aefd e2 (d<e) | g2 (dg) d2 BG |:
ABcd e2 (cA) | a2 (cA) eAcA |1 ABcd e2 (cA) |
g2 (BG) dGBG :|2 aefd e2 (d>e) |
g2 (dg) d2 BG ||
KILCOY'S MARCH. Scottish. Flying Fish FF‑299,
Battlefield Band ‑ "There's a Buzz" (1982).
KILCUMMIN LASS, THE. Irish, Polka. D Major. Standard tuning. AABB.
Kilcummin is an area just northeast of Killarney, west Kerry. Source for
notated version: learned from Jack Sweeney by accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 324, pg. 185.
KILCUMMIN SLIDE, THE. Irish, Slide (12/8 time). Ireland, Sliabh
Luachra region of the Cork-Kerry border. G Major. Standard tuning. AA’BB.
Source O’Leary stated: “I’d say it is from Kilcummin (Co. Kerry) it came. The
most of the slides and polkas come from there. That’s the strange thing.”
Source for notated version: Mick Mahony via accordion player Johnny O’Leary
(Sliabh Luachra region), recorded in recital at Na Piobairi Uilleann, February,
1981 [Moylan]. Breathnach (CRÉ III),
No. 40 (appears as untitled jig). Moylan (Johnny
O’Leary), 1994; No. 91, pgs. 52-53. RTE CD174,
“The Sliabh Luachra Fiddle Master Padraig O’Keeffe.” Topic 12T357, Johnny
O’Leary - “Music for the Set” (1977).
KILDARE CLUB, THE. Irish, Jig. G Major. Standard tuning. AABB. Source for notated version: O’Farrell’s Pocket Companion (c. 1808) [O’Neill]. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 29. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 139.
X:1
T:Kildare Club, The
M:6/8
L:1/8
S:O'Farrell's Pocket Companion (c. 1808)
Z:Paul Kinder
K:G
e|dGG dcB|dGG e/2f/2ge|dGG edB|dBA A2 B|
dGG dcB|dBd G2 A|BAG e/2f/2ge|dBA A2:|
|:B|dBd gdB|gba gdB|dBd gdB|cAA A2 B|
dBd
ece|dBd g2 a|b2 a/2g/2 e/2f/2ge|dBA A2:||
KILDARE FANCY, THE ("Roga Cille-Dara" or
"Rogha Chill Dara"). Irish, Hornpipe. D Major. Standard tuning.
AABB. ‘Kildare’, derived from the Gaelic cill
dara, means ‘Church of the Oaks’ or “the ‘cell’ by the oak’ (referring to a
monastery founded by St. Bride). The melody was first recorded under this title
by piper Patsy Tuohy, and if fact is a favorite of pipers in general. The tune
uses a portion of the melodic material also covered in "Cincinatti Hornpipe [1],"
"Cliff Hornpipe," "Cork Hornpipe [1]," "Dundee Hornpipe," “Duxberry Hornpipe,” "Fred Wilson's Clog," "Harvest Home [1]," "Higgins’ Hornpipe," "Kephart's Clog" (Pa.), "The Liverpool Hornpipe [2]"
(Bayard's No. 2), “Paine’s Reel,” “Pantomime Reel,” "Ruby Lip," "Snyder's Jig" (Pa.), "Standard Hornpipe," "Union Hornpipe [3]," "Wilson's Clog [1]," "Zig‑Zag Hornpipe/Clog.” Sources
for notated versions: Chicago police patrolman, piper and flute player
John Ennis, originally from County Kildare [O’Neill]; piper
Jim Brophy, 1972 (Dublin, Ireland) [Breathnach]; accordion player Johnny
O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler
Peter Turbut [Feldman & O’Doherty]. Breathnach (CRÉ II), 1976; No. 298, pg. 153. Cranitch (Irish Fiddle Book), 1996; pg. 78. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 245.
Moylan (Johnny O’Leary), 1994; No.
265, pg. 151. O'Neill (O’Neill’s Irish
Music), 1915/1987; No. 320, pg. 158. O'Neill (Krassen), 1976; pg. 164.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1559, pg. 283.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 809, pg. 140. Alcazar
Dance Series FR 203, Rodney Miller ‑ "New England Chestnuts"
(1980. Learned from the playing of Adirondack fiddler Larry Older). Flying Fish
FF‑055, The Red Clay Ramblers ‑ "Merchants Lunch" (1977).
X:1
T:Kildare Fancy
M:2/4
L:1/16
R:Hornpipe
S:O’Neill – Music of Ireland, No. 1559
Z:Transcribed by Michael Hogan
K:D
d>B | A>FD>F A>Fd>B | (3ABA F>A f>ed>c | B>AB>f g>ef>d | e>dc>B A2d>B |
A>FD>F A>Fd>B | (3ABA F>A f>ed>c | B>AB>f g>ef>d | e>c (3ABc d2 :|
|:d>e| f>dc>d B>dA>F | D>dc>d f>dc>d | e>A (3AAA f>A (3AAA | (3efe (3dcB A2d>e |
f>dc>d B>dA>F | D>dc>d f>dc>d | e>Af>A g>Af>A | e>c (3ABc d2 :||
KILDARE HORNPIPE, THE. AKA and see “Pretty Maggie Morrissey.”
Irish, Hornpipe. D Major. Standard tuning. AABB. ‘Kildare’, derived from the Gaelic cill
dara, means ‘Church of the Oaks’ or “the ‘cell’ by the oak’ (referring to a
monastery founded by St. Bride). Allan's Irish Fiddler, No. 94, pg. 24.
KILDARE QUICKSTEP, THE. Irish, Quickstep. D Major. Standard tuning.
AABB. ‘Kildare’, derived from the Gaelic cill dara, means ‘Church of the Oaks’ or
“the ‘cell’ by the oak’ (referring to a monastery founded by St. Bride). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 113, pg. 64.
X:1
T:Kildare Quick-step
M:2/4
L:1/8
R:March
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:D
A | d/c/d/e/ de | f/e/f/g/ fg | ad
g/f/e/d/ | ce eA | d/c/d/e/ de | f/e/f/g/ fg | ad f/e/d/e/ | fd d :|
|: f/g/ | af bf | gee e/f/ | ge ae |
fd dA | d/c/d/e/ de | d/c/d/e/ de | f/e/f/g/ fg | ad f/e/d/e/ | fd d :|
KILDONEY LASSES, THE. AKA and see "The Red-Haired Lass," "Jim Seery's."
KILDRUMMIE LODGE. Scottish, Reel. B Flat Major. Standard tuning. AAB. Composed by
Alexander Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 45, pg. 17.
KILDRUMMY CASTLE. Scottish, Strathspey. D Major. Standard tuning. AA'BB'CC'. Composed by
Alexander Walker. Kildrummy Castle, in the North
East of Scotland, dates from the middle of the 13th century and was
likely built by Gilbert de Moray, Bishop of Caithness, as both a fortress and
residence and became one of the noblest of northern castles. In its day it was
unrivalled as a seat of power, much sought after, with a long and colorful
history. It passed through many hands of the Scottish nobility, including the
Stewarts, Elphinstones and Erskins. Robert Bruce used it as a base in the wars
with England in the 14th century.
Modernized through the centuries with additions according to fashion,
such as the 16th century Tower House, it finally came to an end in
1715 during the ill-fated Jacobite rising involving John Erskine, after which
time it was abandoned to be used as a quarry. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No.
60, pg. 22.
KILECRANKIE. See “Killecrankie [6].”
KILEY'S REEL. AKA and see “Hang Fire.” Canadian,
American; Reel. A Major. Standard tuning. AB (Silberberg): AABB (Cole, Messer,
Perlman). Sources for notated versions: Peter Doiron (b. 1924, Rustico, Queen’s
County, Prince Edward Island; now resident of Summerside) [Perlman]; Stuart
Williams (Seattle) [Silberberg]. Cole (1000
Fiddle Tunes), 1940; pg. 32. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 77, pg. 52. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 108. Ryan’s Mammoth Collection,
1883; pg. 58. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
82. Smithsonian Folkways SFW CD 40126, Rodney
Miller – “Choose Your Partners!: Contra
Dance & Square Dance Music of New Hampshire” (1999).
X:1
T:Kiley’s Reel
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
E | A/c/e/g/ a/g/f/e/ | d/c/B/A/
(G/B/).E | .B(G/B/) (E/G/).B | c/B/A/c/ B/A/G/B/ |
A/c/e/g/ a/g/f/e/ | d/c/B/A/
(G/B/).E | .B(G/B/) (E/G/).B | {c}B/A/G/B/ A :|
|: E | .e(c/e/) .e(c/e/) | .f(d/f/)
.f(d/f/) | .e(c/e/) .e(c/e/) | .B(G/B/) .B(G/B/) |
.e(c/e/) .e(c/e/) | .f(d/f/)
.f(d/f/) | A/c/e/g/ {b}a/g/a/f/ | e/d/c/B/ A :|
KILFENORA JIG [1]. Irish, Double Jig. D Major. Standard tuning. AABB’CCDDEE’
(Harker/Rafferty): AABB’CCDDEE’FF’GG’ (Mallinson). The tune was recorded by the
renowned Kilfenora Ceili Band and played as its signature tune (followed by
“Kilfenora Jig [4]”, below). Mike Rafferty also remembers it being played by
the Laoichtín Naofa Ceili Band at Miltown Malbay with Willie Clancy (Harker,
2005). The jig “Is Fear Paidir na
Port” is incorporated into the Kilfenora version of the tune, and is
related to O’Neill’s “Chorus Jig [5].”
The melody is similar that of the reel “Glen Road to Carrick.” Source for
notated version: New Jersey flute player Mike Rafferty, born in Ballinakill,
Co. Galway, in 1926 [Harker]. Harker (300
Tunes from Mike Rafferty), 2005; No. 243, pg. 75. Mallinson (Enduring), 1995; No. 33, pg. 14. Dezi Donnelly – “Familiar Footsteps.” Arcady – “Many Happy
Returns.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Kilfenora
Jig [1]
M:6/8
L:1/8
R:Jig
K:D Major
B|:A2 D FED|A2 D FED|A2 D FED|dce
dcB|A2 D FED|A2 D FED|
~E3 =cAF|~G3 GFG :: FAd dAF|~A3
BAG|FAd dAF|~A3 A2 G|
FAd dAF|~A3 AFD|~E3 =cAF|1~G3
GFG:|2~G3 G zg:|:
f2 d dcd|f2 d dcd|f2 d dcd|~a3
bag|f2 d dcd|f2 d def|ged cde|g3 a2 g:|:
fed faf|gbg faf|fed faf|~a3 bag|fed
faf|gbg faf|fed cde|g3 a2 g:|
fed edc|dcd AFA|DFA dAF|~A3 AB=c|~B3
=cB=c|~B3 AFD|
~E3 =cAF|1~G3 G z g:|2~G3 G2||
X:2
T:Kilfenora Jig No. 1
S:Jake Schumacher, 8/28/2000
Z:Jerome Colburn, 2000
R:Single Jig or Slide
M:6/8
L:1/8
K:G
FG | A2 D FED | A2 D FED | A2 D FED | d^ce dAG |\
A2
D FED | A2 D FED | ~E3 cAF | G3 G ::\
AG | F2 d dAF | ABA AFD | F2 d dAF | A3 BAG |\
F2 d dAF | ABA AFD | ~E3 cAF |1 G3 G :|2 G3 Gde |:\
f2 d d^cd | f2 d d^cd | f2 d def | ~a3 bag |\
f2 d d^cd | f2 d def | ged ^cde | g3 a2 g ::\
fed faf | gbg faf | fed faf | ~a3 bag |\
fed faf | gbg faf | ged ^cde | g3 a2 g ::\
fed ed^c | d^cd AFA | DFA BAF | ~A3 AB=c |\
~B3 ~c3 | B3 GED | ~E3 cAF |1 G3 Gde :|2 G3 G |]**
KILFENORA JIG [2]. AKA and see “Micko Doyle’s Jig,”
“The Old Favourite.” Irish, Single
Jig. G Major. Standard tuning. AAB. Tubridy (Irish Tradtional Music, Book Two), 1999; pg. 30. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon”
(1995). Green Linnett SIF3084, Four Men and a Dog - “Shifting Gravel”
See also listings at:
Alan Ng’s Irishtune.info |
X:1
T:Kilfenora Jig [2]
L:1/8
M:6/8
R:Single Jig
K:G
A|B2B BAB|dBA G2B|ded d2d|ded
B2A|B2B BAB|dBA G2B|ded cBA|G3 G2:|
d|g2g f2f|e2e edB|ded d2 d|ded
B2d|g2g f2f|e2e edB|dge dBA|G3 GBd|
g2g f2f|e2e edB|ded d2d|ded B2d|g2g
f2f|e2e edB|dge dge|dge dBA||
KILFENORA JIG [3]. Irish, Double Jig. G Major. Standard tuning. AABB. Tubridy (Irish Traditional Music, Book Two),
1999; pg. 35
X:1
T:Kilfenora Jig [3]
L:1/8
M:6/8
K:G
d | B2B BAG | F2d d^cd | B2g gfg |
eag fed |…
KILFENORA JIG [4]. AKA and see “Jerry Lynch’s.” Irish, Jig. D Major. Standard
tuning. AABB. This tune follows the “Kilfenora Jig [1]” in the famous set by
the Kilfenora Ceili Band. Source for notated version: New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 244 (appears as “Kilfenora
Jig No. 2”).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Kilfenora Jig No. 2
S:Jake Schumacher, 2000
Z:Jerome Colburn
M:6/8
L:1/8
R:Jig
K:D
F2 A ABA | ABA FED | G2 B B2 A | B2 A B2 Bcd |\
F2 A ABA | ABA FED | dcB AGF | GFE D3 ::\
d2 A F2 A | dce d3 | dcB AGF | EFG ABc |\
d2 A F2 A | dce d2 c | dcB AGF | GFE D3 :|**
KILFENORA
LASS, THE. AKA and see “The Eviction,” “Harry’s Loch,” “Maids of Tramore,” “Scatter the Mud [1].” Irish, Jig. G
Major. Standard tuning. AABB’. In a one-volume tune collection compiled by
fiddler Ted Furey a note appears with the tune that it was composed in County
Wexford by one P.J. O’Leary around the year 1800. Furey thought O’Leary was a
piper. Cotter (Traditional Irish Tin
Whistle Tutor), 1989; 12. Peoples (Fifty
Irish Fiddle Tunes), 1986; 12.
X:1
T:Kilfenora
Lass, The
T:Harry’s
Loch
M:6/8
L:1/8
R:Jig
D:Tommy
Peoples: Fifty Irish Fiddle Tunes
K:G
Bd|e2 A
BAG|EAA ABc|e2 A B2 A|BGF GBd|!
e2 A
BAG|EAA ABc|ege dBA|BGF G:||!
Bd|gfg
efg|eag fed|gfg efg|fdc def|!
[1 gfg efg
eag fed|ege dBA|BGF G2:||!
[2 gfg aga|b2 a ged|efg dBA|BGF G2||
X:2
T: Kilfenora Lass
S: Treoir
M: 6/8
L: 1/8
Q: 325
Z: Transcribed by Bill Black
R: jig
K: Ador
Bd |: e2 A BAG | EAA ABd | e2 A B2 A | BGG GBd |
e2 A BAG | EAA ABd | efg dBA | BGG GBd :|
g3 efg | eag fed | gfg eag | fdc def |
|1 gfg efg | eag fed | efg dBA | BGG GBd :|
|2
gfg aga | b2 a ged | efg dBA | BGF G3 ||
KILFENORA REEL [1]. Irish, Reel. D Major. Standard tuning. AA'B. Carlin (Master Collection), 1984; No. 223, pg.
130.
KILFENORA REEL [2]. Irish, Reel. D Major. Standard tuning. AA'B. Shows slight similarity to
version #1. Alewine (Maid that Cut Off
the Chicken’s Lips), 1987; pg. 22.
X:1
T:Kilfenora Reel [2]
M:C|
L:1/8
R:Reel
K:D
D3F A2 ag|f2 eg fB (3BdB|BAFB ABde|1
fdec dBAF:|2 fdec dBAB||
d2fd Adfd|(3ddd fd B2 AB|d2 fd
Adfd|gfed BABc|d2 fd Adfd|
(3ddd fd B2 AB|d2 (3cdc (3BcB
AB|ABde fd d2:|
KILFENORA REEL [3]. AKA and see AKA and see “Charlie Mulvihill’s (Reel)
[2],” “Cronin’s Fancy
Hornpipe,” “The Doon Reel [2],” “O’Keeffe’s Reel [2],” "Speed the Plow [2],” “Tom Billy’s (Reel) [3]."
KILFENORA REEL [4]. Irish, Reel. D Major. Standard tuning. ABCD. The tune is a “processed”
reel associated with north Clare’s
Kilfenora Ceili Band, via Maurice O’Keeffe to Cork accordion player Jackie
Daly.
X:1
T:The Kilfenora Reel
M:4/4
L:1/8
R:reel
D:Jackie Daly "Many's a Wild
Night" track 3(c)
K:D
F3 G FEDE|FBAF E2 DE|FAAB AFDE|F2 E2
E2 FE|
D2 FA B2 (3B=c^c|dBAF E2 DE|FAAB
AFEG|F2 D2 D3 G||
F3 G FEDE|FBAF E2 DE|FAAB AFDE|F2 E2
E2 FE|
D2 FA d2 cA|BdAF E2 DE|FAAB AFEG|F2
D2 D2 de||
fedB A2 de|fedB A2 de|fedB AFDE|F2
E2 E2 FE|
D2 FA BA (3B=c^c|dBAF E2 DE|FAAB
AFEG|F2 D2 D2 de||
fedB A2 de|fedB A2 de|fedB AFDE|F2
E2 E2 FE|
D2 FA d2 cA|BdAF E2 DE|FAAB AFEG|F2
D2 D4||
KILFENORA REEL [5]. AKA and see “Hould the Reins,”
“Thornton’s.” Irish, Reel. D Major.
Standard tuning. AAB.
X:1
T:Kilfenora Reel [5]
M:C|
L:1/8
R:Reel
S:Geraldin Potter
K:D
d2AG FDD2 | EFGE ABcA | d2AG FDD2 |
EAGE D4 :||
Ac~c2 Ad~d2 | ABcA BAGE | Ac~c2
Ad~d2 | cAGE D4 |
Ac~c2 Ad~d2 | ABcA BAGE | Adde fded
| cAGE D4 ||
KILFENORA REEL [6]. AKA and see “Kitty
Linnane’s Favourite,” “Tierney’s.”
Irish, Reel. The tune appears under this title on the album by Moher entitled
“Over the Edge.” It perhaps takes its name from the Kilfenora Ceili Band who
recorded it as “Tierney’s.”
KILFENORA SLIDE. Irish,
Slide (12/8 time). G Major. Standard tuning. AABBCC. Popularized by the
Kilfenora Céilí Band (North Clare) in the 1950’s. Treoir, vol. 39, No.
4, 2007; pg. 29.
X:1
T:Kilfenora Slide
M:12/8
L:1/8
R:Slide
K:G
D|G2B B2D|G2B B2D|G2B BAB cBc A2D|G3
BAG EDE c3|BAF DEF G3 G2:|
|:B|d2g g2f efe d2B|GBd dcB cBc
A2B|d2g 2f efe d2B|GBd dcB cBA G2:|
|:B|A2F D2B A2F D2B|A2F GFE D3
DEF|GFG BAG EDE c3|BAF DEF G3 G2:||
KILFINANE HORNPIPE, THE (Crannciuil Cill-Finain). Irish, Hornpipe. G Major. Standard
tuning. AABBCC. O'Neill (Krassen), 1976; pg. 212. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1762, pg. 328. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 932, pg. 159.
X:1
T:Kilfinane Hornpipe, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
932
Z:AK/Fiddler’s Companion
K:G
DE|DGBd cAFA|Ggfg edBc|DGGB
cBcB|(3ABA (3GFE D2 DE|
DGBd cAFA|dgfg edcB|edcB
dcBA|G2B2G2:|
|:Bc|dcde dcBc|dgfg edBc|dcde
dBGB|(3ABA (3GFE D2 Bc|
dcde dcBc|dgfg edBg|bagf
afdf|g2b2g2:|
|:Bc|dBGB dbfg|ecAc efge|afdf bgfg|(3aba
(3gfe d2 Bc|
dBGB dbfg|ecAc efga|bagf
agfd|g2b2g2:|
KILFINANE JIG, THE (Port Cill-Finain). AKA and see "Tollach an Leathair," "Boring the Leather [2],"
"The Shoemaker's Fancy,"
"Come with me now,"
"When you go home," "The Humours of Ayle House,"
"The Connaughtman [2],"
"Down the back Lane."
Irish, Double Jig. D Major. Standard tuning. AABB. “The Connaughtman,” “Humours
of Ayle House” and “Down the Back Lane” are related tunes. O'Neill (Krassen),
1976; pg. 65. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
1070, pg. 201. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 273, pg. 60.
X:1
T:Kilfinane Jig, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
273
Z:AK/Fiddler’s Companion
K:D
d/B/|ADD F2d|cAA BAG|FDD A2d|cAF
GAG|FED def|ged cde/g/|fed cAF|GFD D2:|
|:d/B/|ABA fed|eAB cAG|ABA fed|eEF
GAB|ABA fed|eAB cde/g/|fed cAF|GFD D2:|
KILFINANE REEL, THE. AKA and see "Rolling on the Ryegrass,"
"Maureen Playboy," "Old Molly Ahern," "The Ladies Tight Dress," "The Lady on the Railroad,"
"The Brown Red Girl," "The Connachtman's Rambles [1],"
"The Listowel Lasses,"
"Boil the Kettle Early,"
"Kitty
got a clinking (coming from the races) [1]," "Punch for the Ladies [2],"
"The Railway Station,"
"McCaffrey's Reel," "What the Devil ails you [2]"
"Love among the Roses,"
"The Rathkeale Hunt," "The Shannon Breeze [1]," "The Piper's Lass."
KILFODDA REEL. See “Killfadda Reel.”
KILGLASS LAKES. Irish, Jig. A modern
composition by flute player John McEvoy, named for a scenic region in northeast
County Roscommon, where McEvoy has family. Clo Iar
Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007).
KILKEE FARMER, THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black.
Kilkee (Cill Chaoi) is located in southwest Clare. Black (Music’s the Very Best Thing), 1996; No. 369, pg. 196.
X:1
T: Kilkee Farmer
C: © B.Black
Q: 325
R: hornpipe
M: 4/4
L: 1/8
K: G
D | GABd cBAB | GBdg fgdB | cBAc BAGB | AGAB AGEF |
GABd cBAB | GBdg fgdB | ceag fdcA | (3Bcd cA G3 :|
d | edBd efge | fd^cd fgaf | edBd efga | bagf e2 dB |
GABd
cBAB | GBdg fgdB | ceag fdcA | (3Bcd cA G3 :|
KILKEE HEROES. Irish, Reel or Highland. G Major. Standard tuning. AB. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 80, pg. 21.
KILKEE LASSES. AKA and see “The Faraway
Wedding [1],” “In and Out
the Harbour,” “Lady Clare’s,” “The Rambler’s Rest,” “Tie the Bonnet,” “Upstairs in a Tent [1].” Irish, Reel. G
Major. Standard tuning. AB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 81, pg. 21.
KILKENNY BOYS. AKA and see “Lady Mary
Ramsey [2],” “Miss Ramsay [2],”
"The Queen's Shilling." Irish,
Reel. D Major. Standard tuning. AB. Kilkenny
takes its name from Saint Kenneth, a companion of St. Columba. The tune is a
reel-time setting of the strathspey “Lady Mary Ramsey/Ramsay.” Cole (1000 Fiddle Tunes), 1940; pg. 23. Ryan’s Mammoth Collection, 1883; pg. 47.
X:1
T:Kilkenny Boys
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
D>B A/F/F/B/ | A/F/F/B/ A/F/F/d/
| D>B A/F/F/A/ | B/d/A/F/ .E(E/F/) |
D>B A/F/F/B/ | A/F/F/B/ A/F/F/d/
| D>B A/F/F/A/ | B/d/A/F/ EE ||
f/d/d/f/ e/c/c/e/ | d/B/B/d/
A/F/F/A/ | f/d/d/f/ e/c/c/e/ | B/d/A/F/ EE |
f/d/d/f/ e/c/c/e/ | d/B/B/d/
A/F/F/A/ | f/d/e/c/ d/c/B/A/ | B/d/A/F/ DD ||
KILKENNY GIRL, THE (An Cailin Ua Cill-Cainnig). Irish, Jig. G Major. Standard
tuning. AABB. Kilkenny takes its name from
Saint Kenneth, a companion of St. Columba. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 752, pg. 140.
X:1
T:Kilkenny Girl, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 752
Z:AK/Fiddler’s Companion
K:G
B|d2B d2B|G2G GAB|c2A c2A|FGA
D2B|d2B g2d|e2c g2e|ded BcA|G3 G2:|
|:D|DFA cAF|GBd dBG|DFA cAF|GBd
dBG|ece ege|dBd dgd|edc BcA|G3 G2:|
KILKENNY HORNPIPE, THE (Crannciuil Cill-Cainnig).
Irish, Hornpipe. G Mixolydian. Standard tuning. AABB. Kilkenny takes its name from Saint Kenneth, a companion of
St. Columba. See also the air setting as “Kilkenny
Tune.” O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 835, pg. 144.
X:1
T:Kilkenny Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
835
Z:AK/Fiddler’s Companion
K:G
dc|B2 AB GAGE|D2G2G2 Bc|dBge
dBGB|dcBc A2 dc|
B2 AB GAGE|D2G2G2 Bc|d2 ge dcBA|G4
G2:|
|:de|=fefg f2 de|=fefg f2 AB|cBcd c2
AB|cBcd (3cde dc|
B2 AB GAGE|D2G2G2 Bc|d2 ge dcBA|G4
G2:|
KILKENNY JIG, THE ("An Port Cill-Cainnig"
or "Port Chill Chainnigh").
AKA and see "The Black Stripper,"
"Arthur McBride [1]," "The Castle Street Jig," "The Milkmaid [2]," "The Maids of Glenroe," "The Maid at the Well," "An Maide Draighin," "The Blackthorn Stick [5]."
Irish, Double Jig. A Dorian. Standard tuning. AABB. Kilkenny takes its name
from Saint Kenneth, a companion of St. Columba. See also the related “Young Tom Ennis.” Sources for notated
versions: Paddy Cronin [Breathnach]; flute player Sonny McDonagh (b. 1926,
Rinnarogue, Bunninadden, County Sligo) [Flaherty]. Breathnach (CRÉ III), 1985; No. 18, pg. 10. O'Neill
(Music of Ireland: 1850 Melodies), 1903/1979; No. 740, pg. 138. Outlet Records PAS 3002, Paddy Cronin ‑ "Kerry's
Own Paddy Cronin" (1977).
X:1
T:Kilkenny Jig, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 740
Z:AK/Fiddler’s Companion
K:A Minor
A/B/|cBA dB^G|AE^F ^GAB|cBA dB^G|ABA A2B|cBA dB^G|
AE^F ^GAB|c2e dB^G|ABA A2:|
|:e|g^fg agf|g2e edB|a2e a2e|a2e edB|g^fg agf|g2e edB|c2e dB^G|ABA A2:|
KILKENNY RACES. Irish, Set Dance (Cut time) {To be played "with dashing
vigour," according to Joyce}. G Major. Standard tuning. AABCC (Joyce):
AABB'CC (McNulty). Kilkenny takes its name
from Saint Kenneth, a companion of St. Columba. Source for notated version: "Mr. Victor
Power of Leap, Co. Cork, a good amateur violinist, with much knowledge of Irish
music: about 1875" [Joyce]. Joyce (Old
Irish Folk Music and Song), 1909; No. 201, pgs. 99‑100. McNulty (Dance Music of Ireland), 1965; pg. 28.
X:1
T:Kilkenny Races
R:set dance
M:4/4
L:1/8
Q:1/4=100
Z:Peter Walters
S:The late Peter McGeary
K:G
(3DEF|G2G>F G>AB>c|d2(3efg
d2(3DEG|c2(3DEG B>AG>B|A>BA>G F>E(3DEF|
G2G>F G>AB>c|d2(3efg
d2g>f|(3ece (3gag (3fdf (3aba|g2g>fg2:|
(3ab^c'|d'2a2 b2g2|a>ba>g
f2d2|e>fe>d (3defg2|d>ed>c B2G2|
d'2a2 b2g2|a>ba>g f2d2|(3ece
(3gag (3fdf (3aba|g2g>fg2|
(3ab^c'|d'2a2 b2g2|a>ba>g
f2d2|e>fe>d (3defg2|d>ed>c B>AG>F|
G2G>F G>AB>c|d2(3efg
d2g>f|(3ece (3gag (3fdf (3aba|g2g>fg2|
(3d^c=c|B2G2 d2G2|(3eged>^c
d2G2|B>AG>B d>Bc>B|E2E2 F2(3d^c=c|
B2G2 d2G2|(3eged>^c d2G2|(3d^cd
(3gag (3fdf (3aba|g2g>fg2:|
KILKENNY ROVERS. Irish, Jig. C Major. Standard tuning. AABB. Kilkenny takes its name from Saint Kenneth, a companion of
St. Columba. Cole (1000 Fiddle Tunes), 1940; pg. 66. Ryan’s Mammoth Collection, 1883; pg. 97.
X:1
T:Kilkenny Rovers
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1882)
Z:AK/Fiddler’s Companion
K:C
G | GEE EcB | ccd cGG | GEE Ed^c |
e^ce dGG | GEE E(cB) |
dcd eef | gaf efd | dcc c2 :: (e/f/)
| ga^f g(g=f) | efd cde | fge f(fe) |
de^c def | ga^f g(g=f) | efd cde |
fge dcd | ecc c2 :|
KILKENNY TUNE ("Fonn Cille Camnigh" or "Fonn
Dill-Cannaig).
Irish, Air (4/4 time, "lively"). G Mixolydian (O'Neill): B Flat
Mixolydian (O'Sullivan/Bunting). Standard tuning. AABB. Kilkenny takes its name from Saint Kenneth, a companion of
St. Columba. See also the hornpipe setting as “Kilkenny
Hornpipe.” Source
for notated version: the Irish collector Edward Bunting noted the tune from E.
Shannon, Esq., Dublin, in 1839. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 273, pg. 47. O'Sullivan/Bunting, 1983; No. 149, pg. 206.
X:1
T:Kilkenny Tune
M:C
L:1/8
R:Air
N:”Lively”
S:O’Neill – Music of Ireland (1903), No. 273
Z:AK/Fiddler’s Companion
K:G
d>c | B2 A>B G>AG>E |
D2G2G2 B>c | dBge dBGB | dcBc A2 d>c |
B2 A>B G>AG>E | D2G2G2
B>c | d2 g>e d>cB>A | (G4 G2 ) :|
|: de | =f>ef>g f2 d>e |
=f>ef>g f2 A>B | c>Bc>d c>Bc>d | d>Bc>d (3cde d>c
|
B2 A>B G>AG>E | D2G2G2
B>c | d2 g>e d>cB>A | (G4 G2) :|
KILL ‘EM. American, Breakdown. USA, Texas. D Major. From the playing of Texas
fiddler Louis Franklin. The tune starts on the dominent chord and has a delayed
beat before the start of the ‘B’ part.
KILL HIM WITH KINDNESS. English, Country Dance Tune (3/2 time). A Minor. Standard. AAB. The
tune dates to after 1726. Barnes (English
Country Dance Tunes), 1986.
KILLABEG'S HOUSE. See "Killaghbeg House."
KILLACHASSY (Cill-a-Chasaidh). See “Killiechassie.”
KILLAGHBEG HOUSE. AKA and see "Ah, Surely,"
"Bearna na Gaoithe," "The
Bonfire [2]," "The
Boys of Twenty Five [2]," "The
Windy Gap [1]," "Killabegs House,”
“Killybegs Reel,” “Rose in the
Garden [3]." Irish, Reel. G Major. Standard. AABB. The title,
correctly spelled “Killaghbeg House,” was the family dwelling of Paddy Fahy in
east Galway, famous for its music sessions, and one of the practice locations
for the Ballinakill Ceili Band. Not to be confused with the fishing port of
Killybegs in Donegal. David Taylor (1992) believes the original title of the
tune is "The Bonfire," and states there is evidence that the tune pre‑dates
the "golden era" of Irish music from 1920 ‑ 1940, when many
popular Irish tunes were composed. Breathnach prints the tune in Irish Folk Dance Music (185) as
“Killabeg’s House,” from the playing of accordionist Sonny Brogan. Source for
notated version: New Jersey flute player Mike Rafferty, born in Ballinakill,
Co. Galway, in 1926 [Harker]. Harker (300
Tunes from Mike Rafferty), 2005; No. 30, pg. 10. Taylor (Crossroads Dance), 1992; No. 2, pg. 5. Shaskeen ‑ "The Mouse Behind the Dresser."
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Killybegs House
B:Irish Folk Dance Music, Jerry
O'Brien
R:reel
Z:Paul de
Grae
M:4/4
L:1/8
K:G
A^GAc BGGA|BBGBd gedB|A^GAc
BGGD|(3efe dc BGGB|
A^GAc BGGA|BGBd gfga|bgag efgd|(3efe
dc BG G2||
bg (3gag agef|gage dega|bg (3gag
aged|ea (3aba ea (3aba|
bg (3gag agef|gage dega|bgag
eagd|(3efe dc BG G2||
KILLALA BAY. Irish, Hornpipe. G Major. Standard tuning. AA’BB’. Composed by County
Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988), named for the bay
in the west of Ireland, off County Mayo. Reavy (The Collected Compositions of Ed Reavy), No. 101, pg. 114.
X: 1
T:Killala Bay
R:Hornpipe
C:Ed Reavy
M:4/4
L:1/8
Z:Joe Reavy
N:For the great bay in the west, where so many
N:of Ed's friends came from.
K:G
DG | BGBG AGFD | GABG B^cdf | eBcA FGAF | GBAG (3FED (3CB,A, |
G,B,DG BGFG | EA^GA cABc | dfeg fdcA |1 GBAF G2 :|2 GBAF GFGg ||
bgdB GFGf | afcA FEFA | B^cdf egfa | gbag (3fed (3cBA | GFGA BGBG |
ABcA B^cdf | (3efg fd cAFA |1 GBAF GFGg :|2 GBAF G2 ||
KILLALA LASSES [1]. Irish, Reel. D Major. Standard
tuning. AAB. Kennedy (Traditional Dance
Music of Britain and Ireland: Reels and Rants), 1997; No. 81, pg. 21.
KILLALA LASSES [2]. Irish, Reel. G Major. Standard
tuning. AAB. Kennedy (Traditional Dance
Music of Britain and Ireland: Reels and Rants), 1997; No. 82, pg. 21.
KILLALA MAIDS. Irish,
Jig. G Major. Standard tuning. AABB. Kennedy (Traditional Dance
Music of Britain and Ireland: Jigs
& Quicksteps, Trips & Humours), 1997; No. 91, pg. 22.
KILLALOE BOAT, THE (Bád Chill Dalua). AKA and see “Boholla Jig [1],” “Coffee and Tea,” “John Conroy’s,” “(A) Lilt from Home,” “Lilting Banshee,” “The Miller of Glanmire,” “Ryan’s Favorite.” Irish, Double Jig. A
Dorian. Standard tuning. AABB (Roche, Tubridy): AA'BB' (Flaherty). A popular
jig under several titles. Killaloe is in County Clare on the River Shannon at
the end of Lough Derg. The name is derived from the Irish term Cill
Dálua, (Killaloe), or the ‘Church of St. Lua’, the name of a sixth century
monastic establishment of St. Lua, which first stood on a small island in the Shannon,
before being moved to the mainland nearby, in what is present-day Killaloe. At
one time there were falls near the bridge at Killaloe, although the have since
disappeared due to a rise in the water level from a hydroelectric project. Musically, the turns of the settings
of “Killaloe Boat” in Roche and Flaherty are different. “Lilting Banshee” is a
related tune, as is O'Neill's "Miller of Glanmire." Sources for
notated versions: fiddler Fred Finn, 1919-1986 (Kiltycreen, Kilavil, County Sligo)
[Flaherty]; fiddler Martin “Junior” Crehan (Mullagh, west County Clare)
[Breathnach]. Breathnach (CRÉ V),
1999; No. 47, pg. 24. Flaherty (Trip to
Sligo), 1990; pg. 75. Roche
Collection, 1983, vol. 1; No. 101, pg. 44. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 38. Michael Tubridy – “The Eagle’s Whistle.”
X:1
T:Killaloe Boat, The
M:6/8
L:1/8
K:A Dorian
G|EAA EAA|BAB G2A|Bee edB|dBA
GED|EAA EAA|BAB G2A|Bee edB | dBA A2 :|
|:d|eaa age|dBA G2A|Bee edB|def
gfg|eaa age|dBA G2A|Bee edB| dBA A2 :|
KILLALOE
HORNPIPE, THE.
AKA and see “Tom Connor’s
Hornpipe.” “The Widow
Cantwell’s Fancy.” Irish, Hornpipe. G Major. Standard tuning. AABB. The
melody appears in the mid-19th century music manuscript collection
of Church of Ireland cleric James Goodman (1828-1896). Goodman, an uilleann
piper, collected in Cork and elsewhere in Munster, in the tradition and from
manuscripts and printed sources. Shields (Tunes
of the Munster Pipers), 1998; No. 509, pg. 197.
KILLANNAN'S
FANCY (Rogha Uí
Chuileanáin).
AKA and see "Ryan's Reel," "The Moving Bog(s) [1]," "The Turnpike Gate [3].” AKA – “Killanan’s
Fancy.” Irish, Reel. G Major. Standard tuning. AB (Breathnach, Armagh Piper’s):
AABB (Miller). Also played in D major (Patrick Street). Source for notated
version: flute player Roger Sherlock (Ireland) [Breathnach]. Armagh Piper’s
Club (Play 50 Reels), 1982; No. 8,
pg. 6. Breathnach (CRÉ III), 1985;
No. 116, pg. 57. Miller (Fiddler’s Thone),
2004; No. 184, pg. 117. Green Linnet GLCD 1160, Patrick Street – “Cornerboys” (1996). Inchecronin
Records INC 7420, Roger Sherlock ‑ "Memories of Sligo" (1978).
T:Killannan’s
Fancy
M:C|
L:1/8
R:Reel
K:G
BA | GEDE
G3B | A~D3 BDAD | GEDE GABd | egdB c2 BA | G~E3 G3B |
ADBD cDBD |
GEDE GABd | egdB G2 || Bd | ~g3b ~a3b | gabg agef |
~g3b a3b | gabg agef | gabg a2 ef |
gfge ~a3b | gabg afgf | e3e edBd | gedB A2 ||
KILLARNEY (Cill-Airne). Irish, Slow Air (4/4 time). D Major (Roche): G Major
(O'Neill). Standard tuning. One part (Roche): AB (O'Neill). A compositin by
Balfe. The town of Killarney can be found in west Kerry, southern Ireland, and
its name means ‘the cell among the sloe trees’ (referring to a monastary or
other religious site). O’Neill was criticized in some traditional circles for
his inclusion of several of Balfe’s compositions in his “Music of Ireland,” on
the grounds that “Balfe’s music...was not Irish, even if he was,” though it is
evident O’Neill though highly of this particular melody (O’Neill, 1913). The
Irish-American uilleann piper Patsy Touhey, regarded by O’Neill as the best
piper of his day (the turn of the twentieth century) recorded the melody on an
Ediphone cylinder. O'Neill (Music of Ireland: 1850 Melodies), 1979; No.
498, pg. 87. Roche Collection, 1983,
vol. 1; No. 26, pg. 14.
X:1
T:Killarney
M:4/4
L:1/8
N:”Slow”
R:Air
S:O’Neill – Music of
Ireland (1903), No. 498
Z:AK/Fiddler’s
Companion
K:G
d3B A2 (3GED | G2G2 G3z | d3 {e/d/}c B2 (3ABd | e2A2 A3z |
d3B A2 (3GED |
G2G2 G3z | B3c d2 Gc | B2A2 G3z || G2G2A2E2 | G2G2 Bd3 | B2
Bc dBAG | GEEG A3z |
e2A2d2G2 | c2F2B2G2 | F3G A2 (3Bcd | F2E2D4 | G3E D2DE |
G2G2A3z |
c3c B2A2 |dBAG E4 | E3 _E D3E | G2 (3GBd e4 | G3A B g2 B |
A4 G3z ||
KILLARNEY BOYS OF
PLEASURE, THE (Gaigíní Chill
Áirne). AKA and
see "Docherty's Reel,” “Doherty’s Reel [1],” “The Gweebarra (Bridge) Reel,” “Johnny Doherty’s Reel [2],”
"The New Fashioned Habit."
Irish, Reel. A Dorian (Brody/Boys of the Lough): E Dorian (Breathnach, Miller
& Perron). Standard tuning. AABB (Brody, Mallinson, Miller & Perron):
AA'BB' (Breathnach, Miller & Perron/2006). The
town of Killarney can be found in west Kerry, southern Ireland, and its name
means ‘the cell among the sloe trees’ (referring to a monastary or other
religious site). The reel, which is usually played in E Dorian, was popularized
by Tommy Peoples and is associated with him. According to Caoimhín Mac Aoidh,
the reel is known as “Ril a’ Sean Nós” (The Old Style Reel) in County Donegal.
Harker (2005) says the Killarney title is from County Antrim. Sources for notated versions: Boys
of the Lough (Ireland/Shetland) [Brody, Miller & Perron]; fiddler Seán
Keane (County Clare, Ireland) [Breathnach]; Donegal fiddler Tommy Peoples
[Bulmer & Sharpley]. Breathnach (CRÉ
III), 1985; No. 141, pg. 66. Brody (Fiddler’s
Fakebook), 1983; pg. 158. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 40. Jordan (Whistle and Sing), 1975; 51. Mallinson (Essential), 1995; No. 65, pg. 28. Miller
& Perron (Traditional Irish Fiddle
Music), 1977; vol. 2, No. 22. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg.
80. Claddagh Records CC17, Seán Keane ‑
"Gusty's Frolics" (1975). Trailer 2086 or Leader Ler 2086, "Boys
of the Lough" (1973. Appears as "Docherty's Reel").
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Killarney Boys of Pleasure
R:reel
H:Also played in Ador, #785
D:Fintan Vallely:
Z:id:hn-reel-348
M:C|
L:1/8
K:Edor
E2FD E2FA|(3Bcd AF DEFA|~B3d
e2ed|(3Bcd AF DEFD|
E2FD E2FA|(3Bcd AF DEFA|~B3d efed|1
(3Bcd AF FEED:|2 (3Bcd AF FEE2||
|:Be~e2 Befd|(3Bcd AF DEFA|dffe
fgfe|dBAF DEFA|
Be~e2 Befd|(3Bcd AF DEFA|dffe fgfe|1
dBAF FE~E2:|2 dBAF FEED||
“Variations:”
|:E2ED E2FA|BFAF DEFA|BA (3Bcd
efed|BdAF DEFD|
E2ED E2FA|BFAF DEFA|BA (3Bcd e2ed|1
BdAF FEED:|2 BdAF FE~E2||
|:Be~e2 fded|BdAF DEFA|~f3e
defe|dBAF DEFA|
Be~e2 fded|BdAF DEFA|~f3e defe|1
dBAF FE~E2:|2 dBAF FEED||
KILLARNEY CASTLE. Canadian, Reel. Canada, Cape Breton. C Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
16.
KILLARNEY WONDER SCHOTTISCHE [1]. AKA and see “Finnea Lasses.”
Irish; Schottische or highland. A Dorian. Standard tuning. AABB. The town of Killarney can be found in west Kerry, southern
Ireland, and its name means ‘the cell among the sloe trees’ (referring to a
monastary or other religious site). “The Killarney Wonder” was recorded in New
York in 1929 by fiddler Packie Dolan (1904-1932), born in Aghadowry, near
Ballinamuck, County Longford. He proved
to be a popular musician in New York expatriate Irish music circles and
recorded a number of tunes with famed Sligo fiddler Micheal Coleman
(1891-1945). Dolan tragically died at age 28 one week before he was due to
return to Ireland to live. Coleman himself recorded the melody in New York in
1927, paired with (and following) “Farrell O’Gara’s Schottische.”
Donegal fiddler Hughie Gillespie recorded it on 78 RPM in New York as “Finnea
Lasses.” Source for notated version: Paddy Ryan [Treoir]. Miller & Perron (Traditional Irish Fiddle Music), 1977;
vol. 3, No. 2. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 151. Gae-Linn/Viva Voce CEFCD 161, “Michael Coleman 1891-1945”
(1992. Reissue recordings). IRC Records, Michael Coleman.
X:1
T:Kilarney
Wonder Schottische [1]
M:C|
L:1/8
K:G
D~G3 A2 ge
| dBcA BGEG | D ~G3 A2 ge | dBAc BGGE | D~G3 A2 ge | dBcA BGEG |
D~G3 A2 ge
| dBAc BG G2 || gdeg d2 Bd | cABG AE E2 | gdeg dgbg | agab g2 ga |
bgeg d2 Bd
| cABG AGEG | D~G3 A2 ge | dBAc BG G2 ||
X:2
T:Killarney
Wonder Schottische [1]
M:C
L:1/8
R:Schottische
or hornpipe
K:A Dorian
[E2A2] AB
{d}cB ce|dB (3gab af g2|[E2A2] AB {d}cB ce|dB GB {c}BA A2:|
|:a2 ag a2
ba|ga gd (3ega gd|ea bg a2 ba|{a}gf gd {c}BA A2|
(3aba (3gab
a2 g2|(3efe (3ded (3cdc BA|[E2A2] AB {d}cB ce|dB GB {c}BA A2:|
KILLARNEY WONDER
(HORNPIPE) [2]. AKA and see “Kitty’s Wedding [1].” Irish, Hornpipe. This was County Kerry fiddler Paddy
Cronin’s title for the melody. Copely Records 9-112
(78 RPM), Paddy Cronin (1952 Appears as one of the “Killarney Wonder
Hornpipes”).
KILLARNEY WONDER [3]. AKA and see “Bantry Hornpipe.” G Dorian. Standard
tuning. AABBCCDD. Treoir, vol. 32, No. 1, 2000; pg. 21.
X:1
T:Killarney Wonder [1]
R:Schottische
S:Treoir
L:1/8
M:C|
K:G Dorian
dc|B2 GB cBcA|dbge dedB|cBcA (3Bcd BG|ABAG FDEG|
BABG cBcA|dbge dedB|cedc BAFA|G2B2B2:|
|:cB|AGAB cBcA|dfge dedB|cBcA (3Bcd BG|ABAG FDEF|
GFGA BGFD|GABG ABce|dgfe (3ded (3cBA|G2B2G2:|
|:Bc|dgBg dgBg|gbag fdef|gfge dedc|(3BAG (3AGF BDB,D|
Ggge dBGB|cBcd efge|dgfe (3ded (3cBA|G2B2G2:|
|:dc|BGGF GDB,D|G2 BG ABcA|dcde fdcA|(3ded cA d2 cA|
BGGF GDB,D|G2 BG ABcA|dgfe (3ded (3cBA|G2B2G2:|
KILLARNEY'S LAKES. Irish, March (6/8 time). G Major. Standard tuning. AABB. The town of Killarney can be found in west Kerry, southern
Ireland, and its name means ‘the cell among the sloe trees’ (referring to a
monastery or other religious site). Roche Collection, 1983, vol. 2; No. 340, pg. 60.
KILLASHANDRA LASSES, THE (Cailinide Ua Cill-A'-Sean-Rata). AKA and see “Humors of Castle
Lyon(s)/Castlelyons,” “Judy McFadden’s.”
Irish, Double Jig. G Major. Standard tuning. AABB'. O'Neill (Krassen), 1976;
pg. 37. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 880, pg.
163. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 133, pg. 37.
X:1
T:Killashandra Lasses, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
133
Z:AK/Fiddler’s Companion
K:G
D|GAG BAG|dBG BAG|ABA ABd|ecA
A2D|GAG BAG|dBG BAG|ABc BAB|GEE E2:|
|:d|efg fed|efg dBG|ABA ABd|ecA
A2d|1 efg fed|efg dBG|ABc BAB|GEE E2:|2
bag agf|gfe dBG|ABc BAB|GEE E2:|
KILLASSER REEL. Irish, Reel. E Minor. Standard tuning. AABB. Composed by Yonkers
uilleann piper Jerry O’Sullivan, named for his grandfather’s home parish in
County Mayo. Black (Music’s the Very Best
Thing), 1996; No. 119, pg. 62.
X:1
T: Killasser Reel
C: J. O'Sullivan
Q: 350
R: reel
M: 4/4
L: 1/8
K: Edor
A | BGEG Bdgd | AF F2 DF F2 | BGEG Bdgd | BAGF E3 A |
BGEG Bdgd | AF F2 DF F2 | BAGB d3 B | AGFG E3 :|
A | eBgB aBgB | fd d2 ad d2 | eBgB a2 gb | gfef e3 f |
eBgB
aBgB | fd d2 ad d2 | b3 a gabg | agfg e3 :|
KILLAVIL BUCKS. Irish, Reel. An unusual version of
“The Bucks of Oranmore,”
notes Gregory Daly (CHC 009). Cló Iar-Chonnachta CICD
167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007).
Coleman Music Center CHC 009, fiddler Dick Brennan (d. 1968) & flute player
Peter Horan – “The Coleman Archive, vol. 2: The Home Place” (2005. Various
artists).
KILLAVIL FANCY. AKA and see "Coleman's
Cross [2]," "Eilis Ni
Brogain" (Eilis Brogan), “Farewell
Reel,” “Killavil Reel [2],” “Ryan’s,” "The
Ten Pound Float.” Irish, Reel. G Major. Standard tuning. AB (most
versions): ABB’ (Harker/Rafferty). Originally a County Sligo reel, named for
the town of Killavil, birthplace of fiddler Lad O’Beirne and others. The tune is
played in both single and double reel versions in sessions. Sources for notated
versions: New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]; fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape
Breton, Nova Scotia) [Cranford]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 24. Cranford (Brenda Stubbert’s), 1994; No. 71, pg.
25. Harker (300 Tunes from Mike Rafferty),
2005; No. 89, pg. 28. Mulvihill (1st
Collection), 1986; No. 13, pg. 4 (appears as untitled reel). Vallely (Play the Tin Whistle with the Armagh Pipers
Club), vol. 2: 27. Compass Records 7 4446 2,Oisíin
McAuley – “From the Hills of Donegal” (2007). Larraga MMR112000, Mike &
Mary Rafferty – “The Road from Ballinakill” (2001).
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
M:C|
L:1/8
R:Reel
B:Mulvihill – 1st Collection (1986), No. 13
K:G
DGBG A2 BA|GE {F}(3EDE cEGE|DGBG A2 BA|GE{F}ED EGGA|
~B3d A2 BA|GE {F}(3EDE cE {F}(3EDE|DGBG A2 BA|GE{F}ED EG G2||
G2 BD edge|dB {c}(3BAB dBAB|G2 Bd eg {b}(3gfg|dBAG EGGA|
G2
Bd edge|dB {c}(3ABA dega|bgag egde|gedB AGEG||
KILLAVIL JIG [1]. AKA- “Killavel Jig,” “Kilavel Jig” AKA and see “Planxty Gavin,” “Port Shligigh” (Sligo Jig), “The Trip to Killavil.” Irish, Jig. E
Dorian. Standard tuning. AABB. Killavil is a parish in the south of County
Sligo, the birthplace of the great 20th century Irish fiddler
Michael Coleman. Sources for notated versions: fiddler Jimmy Murphy (b. 1938,
Meelick, near Swinford, County Sligo) [Flaherty]; flute player Seamus Tansey
[Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 47. Flaherty (Trip to Sligo), 1990; pg. 44. O’Malley (Luke O’Malley’s Collection of Irish Music,
vol. 1), 1976; No. 104, pg. 52 (appears as “Planxty Gavin”). Vallely (Learn to Play the Fiddle
with Armagh Pipers Club), 197?; No. 38, pg. 35 (appears as “Kilavel Jig”). Green Linnet SIF 3018 – “Molloy/Peoples/Brady” (1978.
Follows “Scotsman Over the Border”). Shanachie 78015, James Keane – “With
Friends Like These” (1998. Appears as “Trip to Killavil”). Patty Furlong
–“Traditional Irish Music on Button Accordion” (1999).
X:1
T:Killavil Jig
M:6/8
L:1/8
R:Jig
K:E Dorian
BEE BEE|Bdf edB|BAF FEF|DFA dBA|BEE BEE|Bdf edB|\
BAF dAF|FED E3::e2f gfe|~f3 edB|BAF FEF|DFA dBA|\
Bef gfe|~f3 edB|BAF dAF|FED E3:|
KILLAVIL JIG [2]. AKA and see “Limerick Roses,”
“Master Crowley’s Favorite,”
“Pathway to the Well.” Irish,
Jig. D Major. Standard tuning. AAB. The title “Master Crowley’s Favorite” comes
from the first recording of the tune, by fiddler Hugh Gillespie on a 78 RPM
disc. Philippe Varlet also finds a version by Sligo fiddler Michael Coleman,
recorded on a hard-to-find World Broadcast record made in 1944, the second tune
in a medley entitled “James O’Beirne’s” (a reference to fellow-New York fiddler
James “Lad” O’Beirne). A few years later Paddy Killoran recorded the melody
under the title “Limerick Roses.” Leitrim fiddler Seamus Horan played the tune
with Packie Duignan on their Topic LP, but not having a name simply called it
“Your Jig.” Given all the above, Varlet concludes the connection of the tune
with Sligo region fiddlers is strong. Source for notated version: fiddler
Johnny Henry (b. 1922, Cloonlairn, Doocastle, County Sligo) [Flaherty].
Flaherty (Trip to Sligo), 1990; pg.
146.
X:1
T:Killavil Jig [2]
M:6/8
L:1/8
R:Jig
K:D
DFF AFF|BFF AFE|DFF AFF EDE GFE|….
KILLAVIL POSTMAN, THE. Irish, Barndance. D Major. Standard tuning.
County Cork button accordion player Jackie Daly plays this tune paired with “Gypsy Princess” on the Arcady album. Arcady – “After the Ball.”
X:1
T:Killavil Postman, The
S: Arcady
M:4/4
Z: Bill Reeder
K:D Major
FG|A2 d2 dedB|ABAF EDEF|D2 D2 D2
E2|F6 FG| A2 d2 dedB|ABAF EDcd|e2 e2 e2 f2|B6 A2|
A2 d2 dedB|ABAF EDEF|D2 D2 D2 E2|F6
FA| B2 B2 GF E2|A2 A2 FE D2|A,2 D4 E2|D6 de||
f2 f2 dc B2|f2 f2 dc B2|f2 f4 g2|f6
cd| e2 e2 cB A2|e2 e2 cB A2|e2 e4 f2|B6 de|
f2 f2 dc B2|f2 f2 dc B2|f2 f4 g2|f6
de| f2 f2 e2 e2|d2 d2 c2 c2|cded cded|c2 B2 A2 :||
KILLAVIL REEL [1], THE (Cill Abhail). AKA and see “Farewell Reel,” “Fred Finn’s,” “Mick Finn’s,” “Tilly Finn’s,” “Tom(m) Steele [2].” Irish, Reel. D
Major. Standard tuning. AA’BB’ (Breathnach, Cranitch). Source for notated
version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland), who had
the tune from Sligo fiddler Fred Finn [Breathnach]. Breathnach (CRÉ I), 1963; No. 147, pg. 59. Bulmer
& Sharpley (Music from Ireland),
1976, vol. 4, No. 11 (appears as “Gan Ainm/Untitled”). Cranitch (Irish Fiddle Book), 1996; No. 58, pg.
147. James Keane - “With Friends Like These.”
See also listings at: Alan Ng’s
Irishtune.info |
X:1
T:Killavil Reel, The
L:1/8
M:C|
R:Reel
K:D
D2AD
BDAD|(3DDD AB BAGF| E2BE cEBE| E2Bc dBAF| D2AD BDAD|
D2AD BDAF |G2EF GABc|1 d2fd (3BdB
AF:|2 defd (3BdB AB|| d2fd Adfd |
gdfd edBc |d2fd Adfd|g2fg ~e3f |d2fd
Adfd|gdfd edBc|
dBBA Bcde| f2ed BdAB|defd adfa|gdfd
edBc | d2fd adfd |
g2fd ~e3f | d2fd Adfd |g2fg edBc|
dBBA Bcde| f2ed BdAF ||
X:2
T:Killavil Reel, The
T:Mick Finn’s
T:Cill Abhaill
R:reel
N:Second part with variations
D:Molloy, Peoples, Brady
Z:id:hn-reel-480
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:D
D2AD BDAD|D2AD BDAD|E2BE cEBE|E2Bc
dBAF|
D2AD BDAD|D2AD BDAF|GFEF GABc|1d2fd
BdAF:|2 defd BdAB||
d2fd Adfa|g2fg egfe|d2fd Adfa|g2fg
~e3f|
d2fg Adfa|g2fg edBc|dBBA Bcde|f2ed
BdAD|
defd adfa|gefd edBc|defd adfa|gefd
~e3f|
defd adfa|g2fg edBc|dBBA Bcde|f2ed
BdAF||
X:3
T:Tom Steele [2]
M:C|
L:1/8
K:D
D2 AD BDAF|D2 AD BDAF|E2 BE dEcE|E2
Bc dBAF|
D2 AD BDAF|D2AD BDAF|G2 EF GABc|1
defd (3BcB AF:|2 defd (3BdB AB||
|:d2 fd Adfd|g2 fg eB~B2|d2 fd
Adfd|g2fg e2 Ac|d2 fd Adfd|
g2 fg edBc|dBBA Bcde|1 fdec dBAB:|2
fdfc dBAF||
KILLAVIL REEL [2], THE. AKA and see “Coleman’s Cross [2],” “Éilís ní Brógaín,” “Killavil Fancy,” “The
Ten Pound Float.” Irish, Reel. G Major. Standard tuning. AA’B. Taylor (Music for the Sets: Blue Book), 1995;
pg. 14.
KILLAVIL WALTZ, THE. Irish,
Waltz. Learned by County Sligo flute player and fiddler Peter Horan from his
mother, Magaret Horan (née Davey). Cló Iar-Chonnachta
CICD 167, Peter Horan & Gerry Harrington – “The Merry Love to Play” (2007).
KILLEEN’S
HORNPIPE.
Irish, Hornpipe. G Major. Standard tuning. AABB. Composed by Falmouth,
Massachusetts, musican and writer Bill Black.
X: 1
T: Killeen's Hornpipe
M: C|
L: 1/8
R: hornpipe
C: B. Black
K: G
A | BABc BA G2 | gfga ge d2 | cdef gdBd | (3cBA
BG AcBA |
BABc BA G2 | gfga ge d2 | ed^cd =cGEG | FADF G3
:|
A | Bdgf gdBd | ^cea^g a=geg | fdcA FADF | GABc
d3 A |
Bdgf
gdBd | ^cea^g a=geg | fdcA FAdf | gdBd g3 :|
KILLERMAN, THE. English, Country Dance Tune. The tune appears
in John Carr’s First Book of Cotillions
(1801). Maggie’s Music MMCD216, Hesperus - “Early
American Roots” (1997).
KILLESHANDRA, THE. Irish, Jig. A
Minor. Standard tuning. AABB. Not O’Neill’s similarly titled “Killashandra
Lasses.” Source for notated version: Leo Ginley [McGuire & Keegan]. McGuire
& Keegan (Irish Tunes by the 100),
1975; No. 3, pg. 1.
KILLFADDA, THE. AKA - “Culfadda," "Coolfadda,” “Kilfodda." AKA and see “The Cruel Father, “Redican’s Reel.” Irish,
Reel. F Major. Standard tuning. AABB. Composed by New York fiddler Larry
Redican (1908-1975), born in Dublin of parents from County Sligo. The tune was
named for the birthplace of his mother, Culfadda, a townland and school
approximatley halfway between Keash (on the Boyle-Ballymote Rd.) and Gurteen
(on the Boyle-Tobercurry Rd.), south County Sligo, near the border of County
Roscommon. Redican emigrated to the United States in 1928 and worked for the
cosmetics company Estee Lauder in New York; he became a member of the famed New
York Céilí Band. The tune was called “The Cruel Father” by the Pride of Erin
Ceili Band (who played it in the key of G Major), a corruption of the title
“Killfadda.” Redican’s reputation in Ireland was secured by broadcasts on
Ciarán Mac Mathuna’s radio program A Job
of Journeywork. Many pipers and flute players play the tune in the key of
G. New York musician, writer and researcher Don Meade finds that Redican
borrowed the second part of “Hit or Miss
(Reel)” in Ryan’s Mammoth Collection
(1883) for his tune, although changed the key from ‘C’ to ‘F’. Sources for
notated versions: flute player Charlie Lavin (b. 1940, Cloonshanville, near
Frenchpark, County Roscommon) [Flaherty]; fiddler Larry Redican [Bulmer &
Sharpley]. Bulmer & Sharpley (Music
from Ireland), vol. 4, No. 25. Flaherty (Trip to Sligo), 1990; pg. 152 (appears as “Larry Redican’s”).
Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg.
32 (appears as “The Kilfodda”). Cló Iar-Chonnachta,
CICD 148, Mick Conneely – “Selkie” (2001). RTE 124, Larry Redican – “Job of
Journeywork.”
X:1
T:Killfadda, The
C:Larry Redican
S:Liz Carroll
R:Reel
M:4/4
L:1/8
K:F
G|AdcA GcAG|FAGF DEFD|CA,~A,2
CDFG|AF~F2 GABG|
AdcA GcAG|FAGF DEFD|CA,~A,2
CDFG|AFGE ~F3 :||
A|~c3 A BAGA|F2AF GFDF|CF~F2
CF~F2|BAGF DFGA|
~B3 d cAGF|dcde fcAF|CF~F2 DFBd|cAGA
~F3 :||
KILLIAN’S DAY. Irish, Reel. A Major. Standard tuning. AABB.
Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn,
south Country Antrim. The village of Mullagh in County Cavan has the strongest
claim to this saint’s birthplace, who became one of the most famous Irish
missionaries of the Dark Ages. He died a martyr in Wurzburg, Germany, in the
year 689. There is a holy well in Mullagh that bears his name, and in earlier
days a pattern was held in his honor there on his feast day, July 8th.
Keegan (The Keegan Tunes), 2002; pg. 31.
KILLIECHASSIE. AKA and see "Miss Fleming of Moness." Scottish, Strathspey. G
Major. Standard tuning. AB (Fraser): AAB (Kerr, Athole). This tune "is a
juvenile production of the editors, highly in request, but more from the
amiable qualities of the young lady to whom it is addressed than any merit it
possesses" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 162, pg. 66 (appears as “Killachassy”). Kerr (Merry Melodies), vol. 2; No. 132, pg. 16. Stewart-Robertson
(The Athole Collection), 1884; pg.
174.
X:1
T:Killiechassie
L:1/8
M:C
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
g|d<G d>B G>AB>g|d<G e/d/c/B/ c<A A>g|d<G d>B G>A B<g|b/a/g/f/ g>e d<BB:|
b|g>d B<b g>d B<b|g>d e/d/c/B/ c<A A>b|g>D B<g d<gB<g|e<B g>e d<BB<b|
g>d B<g e<gd<g|c<gB<g c<A AB/c/|d<Ge<B g<B a>f|b/a/g/f/ g>e d<BB||
KILLIECRANKIE [1]. AKA – “Killycrankie,” “Killiekrankie.” AKA and see “Planxty Davis.” Scottish, Air and
Slow March (cut time). D Major (Aird, O’Farrell): C Major (most versions).
Standard tuning. One part (Sharp): AB (Johnson, Perlman): AABB (Aird): AABBCCDD
(O’Farrell). O’Farrell (c. 1806) directs: “Slow.” There appear to be two main versions of
“Killiecrankie” tunes, according to Paul Roberts (who has written modern,
definitive notes on the tune), a Lowland/Williamite version and a
Gaelic/Jacobite one; in this index “Killiecrankie [1]” describes the Lowland
version, as printed by James Aird, the Gows, and in the Northumbrian Bewick’s Pipe Tunes. “Killiecranke [2]”
describes the Gaelic/Jacobite version. Allison Kinnaird (The Harp Key, Kinmor Music, Shillinghill, Temple, Midlothian,
Scotland, 1986) remarks that “Killiecrankie” “has a very mixed musical
pedigree” and is of the opinion it is related to one degree or another with
many tunes going back to the early 17th century. She believes it
relates to the English melodies “Clean Country Way,” “Gilderoy” and the “Miller
of Dee,” and the Irish “Star of the County Down” and the Irish Gaelic song
“Gleanntan Araiglin Aobhinn.”
***
The title commemorates
the famous Battle of Killiecrankie, Perthshire, in 1689 between the Highland
forces led by Claverhouse in support of the Catholic King James II, and the
Protestant Major-General Hugh Mackay, leader of the army of William III
(although composed primarily of Lowland Scots). Although the Jacobites won the
day they ultimately lost the war, while Claverhouse himself perished in the
battle. The name Killiecrankie is derived from the Gaelic root word coille, meaning a wood, coupled with
‘crankie,’ which refers to aspens; thus the phrase means ‘wood of the aspens’
(Matthews, 1972). Johnson (1983) states it was later renamed after another
(different) battle called Tranent Muir, East Lothian, fought in 1745 {which
battle is usually known as the Battle of Prestonpans}. He suggests on stylistic
reasons that the tune may be the surviving opening for a battle pibroch (see
"Highland Battle, A"), although no other parts have come down. A tune
by the name of "Keel Cranke" was published by Henry Playford in his
1700 collection of Scottish tunes (Original
Scots Tunes), however, the earliest printing of the song appears to be in
the Leyden Manuscript of c. 1692,
according to John Glen (Early Scottish
Melodies). Glen further states: “That portion of (“Killiecrankie”) which is
sung to the chorus is still more ancient; it forms part of the tune called “My
Mistres blush is bonny” (sic) in the Skene
Manuscripts” (c. 1615). Glen dates the Leyden Manuscript by its inclusion
of tunes referring to ‘King James March to Ireland’ and the “Watter (sic) of
the Boyne,” a reference to the Jacobite Wars. As “The Irish Gillycranky” it is
included in the Atkinson manuscript of 1694/95. ”Killiecrankie” was set for
violin and continuo by William MacGibbon (1695-1756), and was printed by Oswald
in his Caledonian Pocket Companion.
***
There is some confusion
in the literature with “Killiecrankie” and “Planxty Davis.” For example, the
Gow printing has been called in print a version of “Planxty Davis.” Kinnaird
(1986) believes the “Planxty Davis” title became attached to the tune by
mistake, belonging instead probably to a tune for which O’Carolan wrote the
words “The Two William Davises.” Kinnaird’s own version was learned from a Cape
Breton fiddle player named Gillies, who maintained that the Nova Scota traditional
music where he lived was descended from that of the old harpers, and, while
Kinnaird placed no particular veracity on the assertion, it did indicate to her
the value Nova Scotians placed on keeping musical tradition alive. Modern Cape Breton fiddlers (like
Mike MacDougall and Jerry Holland) play the tune in the key of C Major. Sources for notated versions: James Thomson Manuscript, pg. 20 [Johnson]; Peter Chaisson (b.
1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman].
Aird (Selections), vol. 2, 1782; No.
18, pg. 7 (appears as “Killycrankie”). Gow (Complete
Repository), Part First, 1799; pg. 7 (appears as “The Original Sett of
Killecrankie”). Gow (Collection).
Johnson (Scottish Fiddle Music in
the 18th Century), 1984; No. 6, pg. 24. McGibbon
(Scots Tunes, book II), c. 1746; pg.
37 (appears as “Gilliecrankie”). O’Farrell (Pocket Companion, vol. II), c. 1806; pgs. 102-103 (appears As
“Killecrankie with Variations”). Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 210. Sharp (Country Dance Tunes), 1909/1994; pg. 62. Cape Breton’s Magazine, Mike
MacDougall - “Tape for Father Hector” (1985). Rounder 82161-7032-2, Bill Lamey
– “From Cape Breton to Boston and Back: Classic House Sessions of Traditional
Cape Breton Music 1956-1977” (2000).
X:1
T:The Original Sett of
Killecrankie
M:C
L:1/8
S:Gow – 1st Repository
(1799)
Z:AK/Fiddler’s Companion
K:C
E/F/|G>A{A}GE
(G/E/)G/A/ G>E|(G/F/)(E/D/) (C/D/)E/F/ G2 GE/G/|
~AcAG/A/ cAA
G/A/2B/2|c>e {cd}ed/c/ A2 Ae/g/|ag/e/ ge/d/ ed/c/ de|
c>A (G/A/)c/E/ {E}G2
Gc/B/|AG/A/ cA/c/ (dd) {d}e>d|{B}c>A (G/A/)c/E/ D2C:|
|:e/f/|g>age
(g/e/)g/a/ {a}g>e|(g/f/)e/d/ (c/B/)e/f/ g2 (ge/g/)|a>c’ ag (a/g/)a/c’/
{b}ag|
ag/e/ de/g/ a2
ae/g/|(a/g/)e/a/ (g/e/)d/g/ (f/e/)(d/c/) de|~c>A (G/A/)c/E/ {E}G2 Gc/B/|
AG/A/ cA/c/ (dd)
{d}e>d|{B}c>A (G/A/)c/E/ D2C:|
X:2
T:Killiecrankie
M:2/2
L:1/8
S:Sharp – Country Dance Tunes
(1909)
Z:AK/Fiddler’s Companion
K:C
C2|G3A G2E2|G3A
G2E2|D2C2 CDEF|G4 G2G2|A3c A2G2|A2 cB A2G2|
c3d e2c2|A4 A2
cd|e2g2d2e2|c3d e2c2|G3A c2E2|G4 G2G2|A3A c2c2|
d3d e3d|dcBA GAcE|D4
C2C2|G3A G2E2|G3A G2E2|D2C2 CDEF|
G4 G2G2|A3c A2G2|A2cB
A2G2|c3d e2c2|A4 A2 cd|e2g2d2e2|c3d e2c2|
G3A c2E2|G4 G2G2|A3A
c2c2|d3d e3d|dcBA GAcE|D4 C2||
X:3
T:Gilliecrankie
M:C
L:1/8
N:”Brisk”
S:McGibbon – Scots Tunes, book II, pg. 37 (c. 1746)
Z:AK/Fiddler’s Companion
K:D
F/G/ | A>dAF
(A/F/)(A/d/) AF | (A>Bd)F (A2A)d/c/ | B>dBA “tr”(B/A/B/)d/ BA |
(d/c/d/)e/ (d/e/f/)d/
(B2B)f/a/ | b(a/f/) a(f/e/) | f(e/d/) ef | A>BdF A2 Ad/c/ | BB dd ee
“tr”f>e |
d>B (A/B/d/)F/
“tr”E3D :: (f/g/) | a>baf “tr”(a/g/a/)b/ af | (a/g/)”tr”(f/e/) d/e/f/g/
(a2a)f/a/ |
b>d’ba (b/a/b/)d’/ ba
| (b/a/)(g/f/) (e/f/)(g/a/) (b2 b)f/a/ | (b/a/f/)b/ (a/f/e/)a/ (f/e/d/)f/
(e/d/)(B/e/) |
(d/B/)(A/B/) (d/c/d/)F/
(A2A)d/c/ | “tr”(B/A/B/)c/ (d/c/d/)f/ (e/d/e/)g/ “tr”f>e | (d/B/A/B/)
(A/B/d/)F/ “tr”E3D :|
KILLIECRANKIE [2]. AKA - “The Battle of
Killiecrankie/Killicrankie.” AKA and see "Planxty Davis." Scottish, Irish;
Slow March (2/4 time) or Set Dance (cut time). D Major (Kerr, Roche); C Major
(Cranford/Holland). Standard tuning. AB (Kerr): AABB (Cranford/Holland, Roche).
A much elaborate version of the air, it is this Paul Roberts calls the Gaelic/Jacobite
version of “Killiecrankie.” The original tune, “Planxty Davis” (by which name
it is known in Ireland), is, according to 19th century antiquarians,
the product of the ancient Sligo-born harper Thomas O’Connellan (who is
supposed to have composed seven or eight hundred tunes), who died near Lough
Gur, County Limerick, in 1698. Sometimes his place of death is given as
Bouchier Castle along with the information that and was buried at Temple Nuadh.
In fact, there is much contradictory information about Connellan in the
historical record, and much of what exists is rather vague. O’Neill, in Irish Minstrels and Musicians (1913),
says of him:
***
This bard and musical genius whom Arthur O’Neill called ‘Tom Conlan, the
great harper’,
was born in Cloonmahon, (anciently known as Clonymeaghan), County Sligo.
The date
of his birth is variously given as about 1625 and 1640. His celebrity in
Ireland was very
great although it would seem he is no less popular in Scotland where
according to Arthur
O’Neill he attained to city honours as ‘ballie’ in Edinburgh. After a sojurn of a score of
years in Caledonia, he returned to his native land in 1689 and died
while a guest at
Bouchier Castle near Lough Gur in County Limerick in 1698. “His remains
were reverently
Interred in the adjoining churchyard of Temple Nuadh,” Grattan Flood
says, “and over
His grave a few pipers appropriately played by way of a funeral dirge
the introductory
And concluding phrases which O’Connellan had added to Myles O’Reilly’s
‘Irish Tune’;
The version being known as ‘The Breach of Aughrim’.” A banshee we are told wailed from
The top of Carraig na g-Colour while his funeral procession was passing
to the burial ground.
The mournful cooing of the wild pigeons from which the rock takes its
name, may account
For this quaint fancy. The ‘Great Harper’ was the composer of ‘The
Dawning of the Day’,
Also known as ‘The Golden Star’, ‘Love in Secret’, ‘Bonny Jane’, ‘The
Jointure’, ‘Molly
St. George’, ‘If to a Foreign Clime I go’, ‘Planxty Davis’ and seven or
eight hundred others
Now forgotten. The last named, ‘Planxty Davis’, is known in Scotland as
‘The Battle of
Killiecrankie’.
***
Allison Kinnard (The Harp Key, 1986) and Sanger &
Kinnaird (Tree of Strings, 1992, pg.
110), however, write the “Planxty Davis” title seems to have been attached to
the tune by mistake, and instead belongs to a tune to which the Irish harper
Turlough O’Carolan (1670-1738) wrote words called “The Two William Davises.”
After Thomas Connellan’s death his younger brother Laurence, also a harper who
it is said affected a different style, travelled to Scotland and popularized
several of this dead brother’s pieces, including “The Battle of Killiecrankie.”
***
Sanger and
Kinnaird find the tune associated to other tunes throughout the British Isles
which date at least to the early 17th century. In Ireland it is
related to “The Star of the County
Down,” and the Scottish Atkinson Manuscript (1694-95) includes it under the
title “The Irish Gillycranky.” In England it is related to “The Clean Country Way,” “Gilderoy” and “The Miller of Dee,” all common in
instrumental and vocal collections. The late Cape Breton fiddler and composer
Jerry Holland (1955-2009) remembered Angus Chisholm playing this tune in a
medley (in ‘C’ major) with the march “General Robertson of Lawar’s.”
***
Cranford (Jerry
Holland: The Second Collection), 2000; No. 308, pg. 111. Kerr (Merry Melodies), vol. 1; No. 23, pg. 49.
Roche Collection, 1983, vol. 2; No.
282, pg. 34.
X:1
T:Killicrankie
M:2/4
L:1/8
R:Slow
March
S:Kerr – Merry Melodies, vol. 1, No. 23 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
(F/G/)|A>BAF|A/F/A/B/
A>F|A/G/F/E/ D/E/F/G/|A2 AF/A/|B>dB (A/B/)|dBB (3A/B/c/|
d>e
f(e/d/)|B2 Bf/a/|ba/f/ af/e/|fe/d/ ef|d>B A/B/d/F/|A2 Ad/c/|BA/B/ dB/d/|ee
f>e|A/B/d/F/|”tr”E2D||
(f/g/)|a>baf|a/f/a/b/
a>f|a/g/f/e/ d/e/f/g/|a2 af/a/|b>d’ba|b/a/b/d’/ ba|ba/f/ ef/a/|b2 bf/a/|
b2
bf/a/|b/a/f/b/ a/f/e/a/|g/f/e/d/ ef|d>B A/B/d/F/|A2 Ad/c/|BA/B/ dB/d/|ee
f>e|d>B A/B/d/F/|”tr”E2D||
KILLIECRANKIE [3]. AKA – “The Braes of Killiekrankie.” Scottish, Air. Robert Burns wrote
the song beginning "Where hae ye been sae braw, lad" to this tune,
which bears no relation to versions #1 and #2. Words,
set to a different air than the march that is usually played under the title
“Killiecrankie”, to the song go:
***
Whaur hae ye been sae braw, lad?
Whaur hae ye been sae brankie‑o?
Whaur hae ye been sae braw, lad?
Come 'ye by Killiecrankie‑o?
***
An' ye had been whaur I hae been
Ye wadna been sae cantie‑o
An' ye had seen what I hae seen
On the braes o' Killiecrankie‑o
***
I fought at land, I fought at sea
At hame I fought my auntie‑o
But I met the Devil and Dundee
On the braes o' Killiecrankie‑o
***
The bauld pitcur fell in a furr
And Clavers gat a crankie‑o
Or I had fed an Athol gled
On the braes o' Killiecrankie‑o
***
Oh fie, MacKay, What gart ye lie
I' the brush ayont the brankie‑o?
Ye'd better kiss'd King Willie's loff
Than come tae Killiecrankie‑o
***
It's nae shame, it's nae shame
There's sour slaes on Athol braes
And the de'ils at Killiecrankie‑o
***
‘Clavers’,
in verse four, refers to the Earl of Claverhouse, Viscount Dundee, John Graham,
who in 1689 led the first Jacobite Rebellion against the forces of William of
Orange. Essentially, it was a battle between Clavers’ Highland allies (mostly
from Clan Cameron, Donald, Stuart and MacLean), pitted against a largely
lowland Scots army (though the Williamite forces did include some professional
Highland soldiers with the result that close relatives fought on opposite
sides) commanded by Major-General Mackay. They met at the pass of
Killiecrankie, near Pitlochry, Perthshire, in the southern Highlands in July,
1689, with the result that the Jacobite supporters of James II won a
significant but bloody battle, with a pyrrhic conclusion, for Claverhouse
himself was slain. Having no leader to replace him the clans disbanded and the
rebellion quickly petered out.
KILLIECRANKY [4]. See "The Breach
of Killiecranky," "Barrack
Hill [2]."
KILLIE KRANKIE [5]. AKA
and see "Money Musk." The tune was printed
under the title "Killie Krankie" in George P. Knauff's Virginia Reels, volume I, in 1839, which
name was given to the tune because it was associated with the Scottish dance
called "Killie Krankie." By
the year 1800 it was generally known by the "Money Musk" title, or
sometimes as the generic title "Highland Fling." It may have been
this tune recorded (but not released) as “Killie-Cranky” by Texas fiddler
Forrest Copeland for Brunswick in 1929.
X:1
T:Killie Krankie [5]
M:2/4
L:1/8
R:Reel
B:George P. Knauff –
Virginia Reels
N:Published in
Baltimore by Geo. Willig n.d. (1839?)
Z:AK/Fiddler’s Companion
K:A
f/|(e/A/c/A/) (e/A/d/f/)|(e/A/c/A/)
(B/c/d/f/)|(e/A/c/A/) (e/A/d/e/)|(f/d/B/e/) (c/A/A/f/)|
(e/A/c/A/) (e/A/d/f/)|(e/A/c/A/)
(B/c/d/f/)|(e/A/c/A/) (e/A/d/e/)|(f/d/B/e/) c/A/A/||e/|
(a/e/f/a/) (e/d/c/c/) |(d/e/f/d/)
(c/e/B/e/)|(a/e/f/a/) (e/d/c/e/)|(f/d/B/e/) (c/A/A/e/)|
(a/e/f/a/) e/d/c/c/|(d/e/f/d/)
c/e/B/e/|(a/e/f/a/) (e/d/c/e/)|(f/d/B/e/) c/A/A||
KILLECRANKIE [6]. AKA and see "Had Ye
Been Whar I Hae Been Ye Wadna Be Sae Canty," "If Ye Had Been Where I Hae
Been." Scottish, March (2/4 time). D Mixolydian. Standard tuning.
AABB. Not to be confused with another tune called "Killiecranky" or
"The Breach of Killiecranky." Standard. AABB. Carlin (Gow Collection), 1986; No. 593. Gow (The First Collection of Niel Gow’s Reels),
1784 (revised 1801); pg. 23.
X:1
T:Killecrankie (sic) [6]
M:2/4
L:1/8
R:March
N:”Slowish”
S:Gow – First Collection of Niel Gow’s Reels (1784)
Z:AK/Fiddler’s Companion
K:D
d/e/|f~f {g}fe/d/|g~g {a}gf/e/|ff
{g}fe/d/|~g(g {a}g)f/e/|(f/g/a/)f/ “tr”ed|B(dd):|
|:f/g/|aA AB=c|(d/=c/)B/A/
Gf/g/|.a.A.a.A|f(a a)f/g/|a(A A)B/=c/|(d/=c/)(B/A/) Gg|(f/g/a/).f
“tr”e>d|Bdd:|
KILLIMOR JIG. AKA and see "Port Ui
Cheallaigh," "Kelly's Jig,"
"The Killimer Jig,” "The Killimore Jig.” AKA – “The Kylemore.” Irish,
Double Jig. G Major. Standard tuning. AABB. Composed by Tipperary fiddle player
Seán Ryan (d. 1985). The tune is printed by Breathnach in Ceol Rince na hÉirreann vol. 1 as “Kelly’s Jig,” from the playing
of accordion player Sonny Brogan. Killimor (pronounced kill-EYE-mer) is a
townland in east County Galway near Woodford, and not far from Sean Ryan’s home
across the Shannon River in Nenagh. There is a Killimor Ceili Band, as well.
Source for notated version: piper Willie Clancy (1918-1993, Miltown Malbay,
west Clare) [Mitchell]. Breathnach (CRÉ I),
1963; No. 11. Mitchell (Dance Music of
Willie Clancy), 1993; No. 109, pg. 93. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 3, No. 17. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 24. Ryan (The Hidden Ireland), 8. Avoca 33‑AV‑121, Sean Ryan & P.J. Moloney
(c. 1960). Avoca 139, Sean Maguire (with the Four Star Quartet)‑‑"Music
of Ireland." Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the
Source” (2008). MKM7590, Mike McHale – “The Schoolmaster’s House” (2000.
Appears as “Killimer,” learned from accordionist Patsy McPhilips).
See also listings at:
Alan Ng’s Irishtune.info |
X:1
T:Killimor Jig
M:6/8
L:1/8
R:Jig
D:Sean
Ryan & PJ Moloney
Z:S
K:G
DEF G2 A | BAG AB^c | d^cd faf | ded
cAF |!
DEF G2 A | BAG AB^c | d^cd fed | cAF
G3 :||!
GBd g3 | dgb gdB | GBd g2e | fed cAF |!
GBd gbg | dgb gdB | GBd fed | cAF G3 :||
X:1
T:Killimore Jig
M:6/8
L:1/8
R:Jig
K:G
|:E|DEF GFG|BAG AB=c|d^cd fef|ded ^cAF|DEF GFG|BAG AB=c|d^cd fed|=cAF G2 :|
|:D|GBd ~g3|dgb gdB|GBd g2e|fed cAF|GBd gbg|dgb gdB|GBd fed|cAF G2:|
KILLIMORE JIG. AKA and see “Killimor Jig” (above), “Kelly’s
Jig.”
KILLIN. Scottish, Reel. A Mixolydian. Standard tuning. AABB'. Stewart-Robertson
(The Athole Collection), 1884; pg.
19.
X:1
T:Killin
M:C|
L:1/8
S:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
B|d2eB AGAB|d2ed BB=GB|d2ed cAec|B=GdB A/A/A A:|
B|d2 fd ceae|d2fd BB=GB|1 d2fd ceae|B=GdB A/A/A A:|2 ddfd ceae|B=GdB A/A/A A||
KILLINEY MAIDEN, THE. Irish, Air (3/4 time). C Major. Standard
tuning. AB. Source for notated version: "Patrick MacDowell, distinguished
sculptor" (1799‑1870) {Joyce}. Joyce (Old Irish Folk Music and Song), 1909; No. 527, pg. 284.
KILLORAN'S POLKA [1] (Polca Mhic Giolla Luairinn). Irish, Polka. G Major. Standard
tuning. AABB. Source for notated version: flute player Roger Sherlock (Ireland)
[Breathnach]. Breathnach (CRÉ III),
1985; No. 67, pg. 34. Inchecronin Records INC 7420,
Roger Sherlock ‑ "Memories of Sligo" (1978).
KILLORAN'S POLKA [2] (Polca Mhic Giolla Luairinn). AKA and see “Mary Girl,” “Up
and Away [1].” Irish, Polka. G Major. Standard tuning. AABB. Source for
notated version: flute player Roger Sherlock (Ireland) [Breathnach]. Breathnach
(CRÉ III), 1985; No. 79, pg. 38. Inchecronin Records INC 7420, Roger Sherlock ‑
"Memories of Sligo" (1978).
KILLORAN’S POLKA [3]. AKA and see “Church
Street (Polka) [2],” “Pete’s Polka.”
KILLORAN’S REEL [1]. Irish, Reel. A composition of County Sligo/New York fiddler Paddy
Killoran. John Vesey – “Sligo Fiddler.”
KILLORAN’S REEL [2]. AKA and see “The Cat
that ate the sidecomb,” “Ho! Awake,” “Kate Kelly’s Fancy,” “Nellie Donovan,” “Ravelled hank of yarn [1],” “Twin Katy’s.” Irish, Reel. G Major. Standard.
AB. Source for notated version: set dance music recorded at Na Píobairí
Uilleann, late 1980’s [Taylor]. Taylor (Music
for the Sets: Blue Book), 1995; pg. 30.
KILLORAN’S REEL [3]. AKA and see “Last Night’s Fun
[3]," “The Wexford Lasses.”
KILLOUR HOUSE. Irish, Reel. G Major. Standard tuning. AABC. Composed by
Philadelphia/County Cavan fiddler and composer Ed Reavy (1898-1988). Killour
House, explains Ed’s son Joseph Reavy, was the home of Matty and Bridie Murphy
of the Neale, County Mayo, relatives of Ed’s wife Mary Jo whom he visited in
1969. The Murphys had a simple cottage; no hot water or “fancy plumbing,” but
were warm and gracious people. Reavy (The
Collected Compositions of Ed Reavy), No. 54, pg. 57.
X: 1
T:Killour House
R:reel
C:Ed Reavy
M:2/2
L:1/8
Z:Joe Reavy
N:The home of Matty and Bridie Murphy in the Neale (County Mayo). Ed
N:visited there in '69 with Joe and his wife Mary Jo, (niece of the Murphys).
N:The house was traditionally Irish: no hot water, no "fancy plumbing," only
N:a full measure of love and genuine Irish hospitality. The Murphys follow the
N:simple life and this left us with fond memories long
N:after we returned to the States. May Killour House live
N:on in this traditional tune dedicated to them by Ed.
K:G
dc|BGFG Bdgd|BGFG cAFA|B^cdf e=ceg|fafd =cAFA|(3B^cd AF GDB,D|G,B,DG
Bdeg|(3fga fd cAFA|GBAF G2:||ga|bagf gdBd|cBcA FGAF|GBdB ceag|fgfd ^cdef|
gbaf gdBd|cBcA FGAF|GABd cAfA|GBAF G2 ga||bagf fdBd|cBcA FGAc|BcdB ceag|
(3fga
e^c d2 ef|(3gfg bg dBGB|cBcA FGAF|GABc (3dcB (3cBA|GBAF G2||
KILLWORTH VOLUNTEERS. See spelling “Kilworth Volunteers.”
KILLY HORNPIPE. Irish, Hornpipe. G Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 289, pg.
162.
KILLYBEGS HOUSE. AKA and see “Killaghbeg House.”
KILLYBEGS REEL. AKA and see “Killaghbeg House.”
KILLYCRANKIE. See “Killiecrankie.”
KILMALEY (REEL). AKA and see “Glen Allen,” “Sonny Martin.” Irish, Reel. G Major.
Standard tuning. AB (Harker): AABB (Taylor). The Kilfenora Ceili Band recorded
the tune under this title on their first album, c. 1960. Piper Leo Rowsome
recorded it in 1947 under the title “Glen Allen.” Sources for notated versions:
set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Harker (300 Tunes from Mike Rafferty), 2005; No.
24, pg. 8. Taylor (Music for the Sets:
Yellow Book), 1995; pg. 31. MKM7590, Mike McHale – “The Schoolmaster’s House” (2000.
Learned from his father, a button accordion player from County Roscommon).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
KILMARNOCH'S REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript, 1734, in the
possession of the Earl of Ancaster at Drummond Castle. It is inscribed "A
Collection of the best Highland Reels written by David Young, W.M. &
Accomptant." “The name Kilmarnoch probably refers to Ernan, a nephew of
St. Columba and later himself a bishop, but his (Celtic) admirers turned his
name into Ernoc (-oc being a diminutive ending often applied to personal names
as in Petroc, Cadoc, etc.), and then spoke of him as Ma Ernoc, ma being a term of affection, so that
Kilmarnick is really ‘the church of my dear little Ernan’. St. Ernan’s head was
long preserved at Kilmarnock. It was washed every Sunday and the water given to
the sick, from which they derived great benefit” (Matthews, 1972).
KILMELFORD. American, Reel. A Mixolydian.
Standard tuning. AABB. Composed by Alstead, New Hampshire, fiddler Randy
Miller. Miller (Fiddler’s Throne),
2004; No. 185, pg. 117.
KILMER JIG, THE. Irish, Jig. D Major. Standard tuning. AABB’.
Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill].
Mulvihill (1st Collection),
1986; No. 93, pg. 84.
KILMOULIS JIG. Irish, Jig. D Major. Standard tuning. AABBCC. Miller (Fiddler’s Throne), 2004; No. 66, pg. 50.
Green Linnet SIF 1040, Touchstone – “The New Land”
(1982).
KILMOVEE JIG, THE. AKA and see “Larrisey’s.”
Irish, Jig. G Major. Standard tuning. AA’BB’. Treoir, vol. 37, No. 4, 2005; pg. 26.
X:1
T:Kilmovee Jig, The
M:6/8
L:1/8
R:Jig
K:G
D|GFG BAB|GAB AGE|DEG Bdg|ege dBA|
~G3~B3|ded BGE|DEG Bdg|1 edB G2:|2
edB GBd||
|:gfg dBG|AGE GED|GBd g2f|eag fed|
BAB dBA|GAB AGE|DEG Bdg|1 edB GBd:|2
edB G2||
KILNABOY JIG, THE. Irish, Jig. G Major. Standard tuning. AABB.
Source for notated version: Jimmy Hogan (County Clare) [Black]. Black (Music’s the Very Best Thing), 1996; No.
106, pg. 55.
X:1
T: Kilnaboy
S: Jimmy Hogan
Z: transcribed by B.Black
Q: 300
R: jig
M: 6/8
L: 1/8
K: G
D | GBA G2 D | GBA G2 D | GBA GFG | BAA AFD |
GBA G2 D | GBA G2 A | BdB AGA | BGG G2 :|
A | B3 c3 | ded B2 A | G2 e dBG | EAA AGA |
B3
c3 | ded B2 A | G2 e dBG | BGG G2 :|
KILNAMONA BARNDANCE. Irish, Barndance. G Major. Standard tuning. AABB. The tune popularized
by concertina player Gerdie Commane (b. 1917), of Ballyknock, Kilnamona, County
Clare, who learned it from the humming of his father. His father Pat, who had
the house Commane lives in today, was known to the locals as ‘the Irishman’. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon”
(1995). Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers”
(1997).
X:1
T:Kilnamona Barndance
R:Barndance
D:Milltown Malbay Concertina
Recital, player unknown
Z:Adrian
Scahill
M:4/4
L:1/8
K:G
g3e|dGBd GABc|d2c2 A3B|(3cdc A2
e3g|(3ege d2B3c|\
dGBd GABc|d2c2 AGAB|(3cdc A2 (3ege
d2|G4 G4:||\
b3d' bagb|(3ac'a ab agef|(3gag ge
dABd|(3ege AG A3a|\
b3d' bagb|(3ac'a ab agef|(3gag ge
dABd|(3gag fa g3a:||\
KILRACK'S REEL. AKA and see “Kelvarock.” AKA –
“Killravock’s,” “Kilravock’s.” Scottish, Strathspey. A Major (McGlashan): G
Major (Cranford/Holland). Standard or AEae tuning. AAB. John Glen (1891) finds
the earliest printing of the tune in Alexander
McGlashan's 1780 collection. It is traditionally played in scordatura
tuning, AEae. The title is a variation of Kilravock, pronounced ‘kill-rake’, a
name that derives from the Gaelic prefix kil,
meaning a church, coupled with an individual’s name. Kilravock Castle
(pronounced ‘kill-rake’) dates from the 15th century and lies near
Inverness and Nairn in the Scottish Highlands, not far from Cawdor Castle. It
was for 25 generations the seat of the Rose clan. Sir Hugh Rose entertained
Bonnie Prince Charlie at the castle with a violin rendition of an Italian
minuet during the Rising of 1745. Cranford (Jerry Holland: The Second
Collection), 2000; No. 194, pg. 73. Gow, First Collection of Strathspey Reels. Hardie (Caledonian Companion), 1992; pg. 121. Martin (Traditional Scottish Fiddling), 2002; pg. 28. McGlashan (Collection of Strathspey Reels), c.
1780/81; pg. 16. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back:
Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).
Jerry Holland – “Crystal Clear” (2000).
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Kilrack’s Reel
M:C
L:1/8
R:Strathspey
S:McGlashan – Strathspey Reels (c.
1780-81)
Z:AK/Fiddler’s Companion
K:A
B,|G,2 G>B, G,2 G>B,|A,2 B>A E/E/E E2|A2 e>B c2 B>e|c<A e>B cA A2:|
|:c/d/|e>cA>c e>fd>c|d>fe>c B/B/B Bc/d/|e>cA>c
e>fe>c|d>fe>c A/A/A Ad/e/|
f>de>c d>Bc>A|d>fe>c B/B/B
B2|D>CB,>A, B,>A,G,>f|e<d c>B cA A||
KILRACK'S STRATHSPEY. AKA and see “Kilrack’s Reel.”
KILRAINE JIG, THE. AKA and see “The
King of the Pipers [1],” “The Farting
Badger.”
KILRAVOCK'S REEL. Scottish, Reel. John Glen (1891) finds the earliest printing of the
tune in Angus Cumming's 1778
collection (pg. 17). There is a Kilravock Castle (pronounced ‘kill-rake’) near
Inverness and Nairn in the Scottish Highlands.
KILRUDDERY HUNT. See “Celia O’Gara.”
KILRUSH AIR. AKA and see “Tweedside.”
KILRUSH POLKA [2]. Irish, Reel. G Major. Standard
tuning. AABB. Despite the title, it is a reel. Tubridy (Irish
Traditional Music, Book Two), 1999; pg. 22.
KILRUSH LAKES. AKA – “Kilrush Lasses.” Irish, Reel. G Major. Standard tuning. AAB.
Kennedy (Traditional Dance Music of
Britain and Ireland: Reels and Rants), 1997; No. 83, pg. 22.
KILT IS MY DELIGHT, THE. AKA and see "Ben Nevis," "Coig na Scalan," "I'm Over/Owre Young To
Marry Yet [1]," "Lady Frances Wemys' Reel,"
"Old Virginia Reel [1],”
"Roy's Wife of Aldivalloch,"
"The Ruffian's Rant."
Scottish, Reel. D Major. Standard tuning. See also the related Shetland tune “Oot Be Est da Vong.” Kerr (Caledonian Collection), pg. 10. “Fiddlers Three Plus Two.”
X:1
T:Kilt is My Delight, The
M:C|
L:1/8
R:Reel
K:D
dB|A2 AB ABdf|edef edBd|A2 AB
ABdf|edef d2:|
|:ef|g2 ag f2 af|edef edBd|1 g2 ag
f2 af|edef a2:|2 A2 AB ABdf|edef d2||
KILT THY COAT, MAGGIE. Scottish, Dance Tune (3/4 time). D Major. Standard tuning. AAB. From the Skene Collection (1620); the title means "Lift up thy petticoat, Maggie." Emmerson (1972), Purser (1992) and Williamson report that “Kilt” was played at least once in conjunction with Satanic rituals, upon a time. It is recorded in the Spottiswoode Miscellany (vol. 2, pg. 68) that at the trial of John Douglas and 8 women from the Lowland town of Tranent for witchcraft on the 3rd of May, 1659, the accused confessed to “merry meetings with the Devil at which they had music, J. Douglas being the piper and danced to “Kilt Thy Coat, Maggie/And come thy way with me” and “Hulie the bed will fa.’” The tune in the Skene is likely the tune the unfortunate Douglas piped. Source for notated version: the Skene Manuscript (1620) [Purser]. Purser (Scotland’s Music), 1992; Example 6, pg. 123. Flying Fish FF358, Robin Williamson, "Legacy of the Scottish Harpers, Vol 1."
KILTY LADS, THE. Scottish, Quickstep (6/8 time). E Minor.
Standard tuning. AABB. Kerr (Merry
Melodies), vol. 1; No. 13, pg. 48.
X:1
T:Kilty Lads, The
M:6/8
L:1/8
R:Quickstep March
B:Kerr – Merry Melodies, vol. 1, pg.
48 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:E Minor
B|E2F G2A|B2B B2A|G2B d2B|A2F D3|E2F
G2A|
B2B e3|d<dB B2A|B2E E2::E|e2e
B2B|e2e B2^c|
D2B A2G|F2E D2D|e2e B2B|e2e B2^c|d2B
A2G|F2D A2F:|
KILTYCREEN. AKA and see “Coillte Críona.”
KILTYFANAD REEL, THE. AKA and see “The Nine Points of Roguery.” Irish,
Reel. Ireland, County Donegal. D Major. Standard tuning. ABC. Made popular by
James Byrne, but also associated with fiddler Padai Bhilli na Ropai, a native
of the southwest Donegal village. Source for notated version: Francie and
Mickey Byrne (County Donegal) [Feldman & O’Doherty]. Feldman &
O’Doherty (The Northern Fiddler),
1979; pg. 163.
KILWINAN/KILWINDER
LODGE. Scottish, English; Reel. England,
Northumberland. F Major. Standard tuning. AAB. John Glen (1891) finds the
earliest printing of the tune in Robert
Bremner's 1757 collection. Bremner (Scots
Reels), c. 1757; pgs. 38-39. Seattle (William
Vickers), 1987, Part 2; No. 235 (as "Kilwinder Lodge").
X:1
T:Kilwinan Lodge
M:C
L:1/8
R:Reel
S:Bremner – Scots Reels c. 1757
Z:AK/Fiddler’s Companion
K:F
c | A(FF)c (A/B/c) Fc | fc (A/B/c)
BGGc | AFFc (A/B/c) Fc | f2 (a/g/f/e/ f)FF :|
|| e | f2 (a/g/f) gdfc | (f/g/a)
(f/g/a) gdde | f2 (a/g/f) gdfc | fdcB AFFe | f2 (a/g/f) gdfc |
(f/g/a) (f/g/a) gddg | (a/g/f)
(g/f/d) (f/d/c) (d/c/B) | (A/B/c) (G/A/B) AFF ||
KILWINNING'S STEEPLE. AKA and see “Clock in the
Steeple,” “Jumping Geordie,” “The Pope’s Toe,” “The Prince of Wales’ Fancy,” “The Templeglantine Reel [1].”
Scottish, Reel. A Major. Standard tuning. AB. Although the tune is labelled
Scotch in Cole, it does not appear in any commonly available collection of
tunes from that country. The melody is similar, however, to the Scottish song “There’s
nae luck aboot the hoose (there’s nae luck ava).” Cole (1000 Fiddle Tunes), 1940; pg. 43. Ryan’s Mammoth Collection, 1883; pg.
70.
X:1
T:Kilwinning's
Steeple
T:Clock in
the Steeple, The
M:4/4
L:1/8
R:Coles/Ryans
p.70
B:ONeill's
MOI No.1248
Z:Transcribed
by Ted Hastings
K:A
g|a2(ec)
defg|afec dBBg|a2 (ec) defg|(af)ec (3AAA Ag|!
a2(ec)
defg|afec dBBg|a2 (ec) defg|(af)ec (3AAA A||!
B|c2 (cA)
d2 (dB)|efec dBBd|c2 (cA) defg|afec A2 (AB)|!
c2 (cA) d2 (dB)|efec dBBd|ceae
defg|afec A2A||
KILWORTH HILLS, THE. Scottish, Retreat March (3/4 time). A Major.
Standard tuning. AABBCCDD. Composed by Pipe Major George S. McLennan. “The
retreat march is not necessarily a march time tune which would be marched to,”
explains Stuart Eydmann; rather, “as often as not it was played as part of the
evening ritual in military camps as day duties gave way to night ones. It was
not linked to the military manoeuvre of retreating in or from battle but was
linked to the idea of refuge and safety in the camp.” Martin (Ceol na Fidhle), vol. 2, 1988; pg. 38.
KILWORTH LASSES, THE. AKA and see "The Primrose Lasses," "The Primrose Girl [2]," "The Primrose Lassy," "The Brown Eyed Girl," "The Maids."
KILWORTH REEL. Irish, Reel. G Dorian. Standard tuning. AABB. O’Farrell gives the tunes provenance as Irish. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 98.
X:1
T:Kilworth Reel
M:C|
L:1/8
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:Gdor
G2 BG dGBG | F2 AF cFAF | G2 BG dGBG | ABAG FD G2 :|
|:
(gf)gd BGGd | (gf)fc AF F2 | (gf)gd BGGB | ABAG FD G2 :||
KILLWORTH VOLUNTEERS QUICK MARCH, THE. Scottish, March (2/4 time). G Major. Standard tuning. AABB. James Aird dedicated his Selection of Scotch, English, Irish and Foreign Airs to “the Volunteer and Defensive Bands of Great Britain and Ireland.” He was referring to the numerous units raised for home defense during the several wars with France during the latter 18th and early 19th centuries. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 135, pg. 50.
X:1
T:Killworth Volunteers Quick March, The
M:2/4
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:G
c | B>d d2 | dggb | B>cdB | dggb | c’afa | bgdg | d>edc | cBAG |
B>d d2 | dggb | B>cdB | dggb | c’afa | bgeg | BdFA | G2G :|
|: d/c/ | BGBd | gdcB | A>Bcd | ecBA | B>dgb | c’abg | f>gaf | d>cBA |
Bd
d2 | dggb | BddB | dggb | c’afa | bgdg | d>e (d/c/)(B/A/) | G2 G :||
KILT THY COAT MAGGIE. Scottish, Air. In 1659 John Douglas
and eight women were tried for witchcraft. During the trial they confessed
to "merry meetings with Satan, enlivened with music and dancing.
Douglas was the pyper, and the two favourite airs of his majesty were `Kilt thy
coat, Maggie, and come thy way with me', and `Hulie the bed will fa'."
[Spottiswoode Miscellany (Edin. 1844-5), II.68; Thomas Davidson, Rowan Tree and
Red Thread (1949), 19.]
All, including the piper, were burned in 1659.
KIMBALL HOUSE. Old‑Time, Breakdown. USA, Ga. Recorded
Anthology of American Music, 1978, Ted Hawkins (North Ga., 1939) ‑
"Traditional Southern Instrumental Styles."
KIMMEL MARCH. American, March. A Brooklyn resident of German ancestry, accordionist
John J. Kimmel recorded mostly Irish tunes for Edison in the early 20th
century. Edison 50604 (78 RPM), John H. Kimmel, 1918.
KIMMEL’S
(JIG) [1]. AKA and see “Micky Callaghan’s Jig,” “Mickey O’Callaghan,” “Patsy Geary’s,” “The Yellow Rose.” Irish, Jig or Slide. D Major.
Standard tuning. AA’B. A Brooklyn resident of German ancestry, accordionist
John J. “Dutch” Kimmel recorded mostly Irish tunes for Edison in the early 20th
century. Philippe Varlet says the connection between Kimmel and the tune “is
tenuous at best,” and stems from a track recorded by Declan Masterson and Kevin
Glackin on “Face the Hob,” one the “Music for Sets” recordings that was
Taylor’s source (employed as accompaniment music for the 5th figure
of the Orange and Green Set). The set, consisting of this tune paired with “Coleman’s Cross [4]," was
recorded by the Bothy Band in 1975. It was the second tune that was recorded in
1916 by Kimmel (see “Kimmel’s [2]"),
clarifies Varlet, who never actually recorded the tune called by Taylor
“Kimmel’s [1]." His name became
associated with the Geary/Yellow Rose tune through its pairing with the
“Coleman’s Cross” tune which he did record (as “Smash”).
As a slide it has been recorded as “Micky Callaghan’s Jig” and “Micho Russel’s Slide.” Source
for notated version: set dance music recorded at Na Píobairí Uilleann, late
1980’s [Taylor]. Taylor (Music for the
Sets: Blue Book), 1995; pg. 31 (appears as “Kimmel’s No. 1”). Mulligan LUN 002, The Bothy
Band‑ "The Bothy Band '75” (first tune in set with “Coleman’s
Cross”).
KIMMEL’S (JIG) [2]. AKA and see “Champion [2]," “Coleman’s Cross [4]," “Smash.” Irish, Jig. E Minor (‘A’ part) & G Major (‘B’ part). Standard tuning. AABB. The second tune in the set played by Declan Masterson and Kevin Glackin on “Face the Hob,” and by the Bothy Band (1975). This tune was originally recorded on an Edison 78 RPM by John J. “Dutch” Kimmel, a Brooklyn resident of German ancestry, under the title “Smash” in 1916. Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 32 (appears as “Kimmel’s No. 2”). Mulligan LUN 002, The Bothy Band‑ "The Bothy Band '75" (appears as “Coleman’s Cross”).
KIMMEL'S JIG [3]. American, Jig. D Major. Standard tuning. AABB. Written in the Irish
style. John J. “Dutch” Kimmel (whom Carlin says was "a German by birth but
an Irishman at heart") recorded many Irish medlies in the 1920's on the
diatonic one‑row accordion. He also ran several important clubs. Carlin (Master Collection), 1984; No. 240, pg.
139.
KIMMY’S JIG. Canadian, Jig. Canada, Prince Edward Island. G Major. Standard tuning.
AA’BB’. Composed in honor of his
daughter by Blooming Point, Queen’s County, Prince Edward Island, fiddler
Reuben Smith (b. 1931). Source for notated version: Reuben Smith [Perlman].
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 125.
KINARD POLKA. Irish, Polka. G Major. Standard tuning (fiddle). AABB. Kinard is a
locale in north County Limerick, near Glin. Source for notated version: a
recording by County Limerick/Bronx fiddler Martin Mulvihill [Black]. Black (Music’s the Very Best Thing), 1996; No.
327, p. 175. Mulvihill (1st
Collection), 1986; No. 6, p. 112.
X:1
T: Kinard Polka
S: M. Mulvihill
Q: 300
R: polka
Z:Transcribed by Bill Black
M: 2/4
L: 1/8
K: G
A | BG G/A/G/F/ | DG G>A | BG GF/G/ | Ad d/e/d/c/ |
BG
G/A/G/F/ | DG GB/d/ | ed cA | AG G :|
KINCALDRUM('S). AKA and see “The Devil in a Bush.”
Scottish; Reel. G Major. Standard tuning (fiddle). AB (Surenne): AAB (Athole,
Gow): AABB' (Skye). The alternate title, “Devil in a Bush,” seems idiosyncratic
to Northumbrian musician William Vickers, who included it in his 1770-1772
music manuscript. It was also included by Waverton, Cumbria, musician John Rook
(as “Kincaldrum’s Reel”) in his 1840 music manuscript (p. 189). See also the
related “England’s Glory.” Carlin (The Gow Collection), 1986; No. 465. Gow
(Complete Repository), Part 2, 1802;
p. 18 (appears as “Kincaldrum’s Reel”). MacDonald (The Skye Collection), 1887; p. 92. Stewart-Robertson
(The Athole Collection), 1884; pg.
173. Surenne (Dance Music of Scotland),
1852; p. 82.
X:1
T:Kincaldrum
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
d|g2 dc B2 AG|FGAB cAAf|gdec B2 AG|FGAc BGG:|
B|DGBG cABG|DGBG cAAB|DGBG cABG|BdAc BGGB|
DGBG
cABG|DGBG cAAc|Bdef gedc|GdAc BGG||
KINCARDINE O’NEILL. Canadian, Strathspey. A Minor. Standard tuning (fiddle). AAB. Composed
by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; p. 1.
KINCATHRINS REEL. Scottish. The melody appears in the Gillespie Manuscript of Perth (1768).
KINCORA JIG. AKA and see "Castle Jig [1],"
“Kerrigan’s Jig,” "The Kesh Jig [1]," “The Mountaineers’ March,” “Tear the Callies.” Irish, Jig. G Major.
Standard tuning (fiddle). AABB. Source for notated version: Tony Smith of Co.
Caven (Boys of the Lough). Boys of the
Lough, 1977; p. 4. Transatlantic TRA 296, Boys of
the Lough ‑ "Recorded Live."
KINCORA REEL. Irish, Reel. Shaskeen Records OS‑360,
Andy McGann, Felix Dolan, Joe Burke ‑ "A Tribute to Michael
Coleman" (c. 1965).
KIND AND EASY. English, Jig. D Major. Standard tuning. AAB. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 70.
KIND DEARIE. Scottish, Hornpipe. B Flat Major. Standard tuning. AABBCC. Kerr (Merry Melodies), vol. 4; No. 308, pg.
32.
X:1
T:Kind Dearie
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 308
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:B_
(dc)|d2F2F2(GA)|BABc B2d2|cBcd
edcB|d2G2G2(dc)|d2F2F2(GA)|
BABc B2(ba)|gfga
bgfe|d2B2B2::f2|gfga b2d2|edef g2B2|cBcd edcB|
d2G2G2(dc)|d2F2F2(GA)|BABc
B2(ba)|gfga bgfe|d2B2B2::(3fga|gfdf gfdf|
bfdf gfdf|bagf edcB|d2G2G2(dc)|BFDF GFDF|BFDF
GFDF|Bfga bgfe|d2B2B2:|
KIND ROBIN (LO’ES ME). AKA and see “Robin Cushie.”
Scottish, Slow Air (cut time). G Major. Standard tuning. AABB. “Very Old”
states Gow (1817). Melodic material from this tune appears in the song "Bonny Banks o' Loch Lomond."
McGibbon (1762) prints the melody as “Robin Cushie.” Gow (Complete Repository), Part 4, 1817; pg. 5.
X:1
T:Kind Robin lo’es me
M:C|
L:1/8
R:Slow Air
S:Gow – 4th Repository (1817)
Z:AK/Fiddler’s Companion
K:G
D|G2G2G3B|A>BAG
{F}E2 DE|G2G2G3B|A>GAB (d2e2)|G2~G2 g3B|
(cB)(AG) {F}E2 DE|G2~G2{cd}e2 dB|d4
G3:|
|:d|~d2 ed B2gB|(cB)(AG) E3d|~d2 ed
(cB)(AG)|A2Bd e3e|d2 ef g3B|
(cB)(AG) {F}E2 DE|G2 ~G2 {cd}e dB|d4
G3:|
KIND SIR, BE ‘AISY’. AKA and see “Colleen Rue [1].”
KIND SISTER. American, Waltz. D Major. Standard tuning. AA'BB'. Composed 1989‑90
by Massachusetts musician Joe Baker, and named after the death of a German
Catholic nun in India who had helped him adopt his children. Matthiesen (Waltz Book I), 1992; pg. 31.
KINDNESS FOR EVER MAIR. Scottish, Slow Reel. D Major. Standard tuning. AABB. "A very old
tune (Gow)." Carlin (The Gow
Collection), 1986; No. 261. Gow (Complete
Repository), Part 3, 1806; pg. 13.
X:1
T:Kindness for ever mair
M:C
L:1/8
R:Slow Reel
S:Gow – 3rd Repository
(1806)
Z:AK/Fiddler’s Companion
K:D
g|{g}f3e d2 (de/f/)|(fe)(dB)
e4|{c}d3B A2 (Bc/d/)|(A<F) E>F D3g|{g}f3e d2 (de/f/)|
(fe) dB (AB) (de)|f>d e>c
d>B AF|{F}B4 E3::z|E3F B2B2|B2 AF {F}B4|E3F A2 dB|
(A>F) E>F D4|E3F B2B2|B2 AF B2
de|f>d e>c d>B AF| {F}B4 E3:|
KINFANNS HOUSE.
Scottish, Slow Air (3/4 time). F Major. Standard tuning. AAB. Composed
by Nathaniel
Gow (1763-1807). Kinfauns Castle and House (various spellings: Kinfauus,
Kinfanns, etc.) was the seat of Lord and Lady
Gray, about three miles east of Perth, overlooking the River Tay. The
castle once belonged to Thomas Charteris de Longueville, called the Red Reaver
(from the color of his flag during his pirate days), who assisted Sir William
Wallace and later Bruce. His sword was preserved there for many years. The
manor house was built in 1799. Gow (Fifth Collection of Strathspey Reels),
1809; pg. 10.
X:1
T:Kinfanns House
M:3/4
L:1/8
R:Slow Air
C:Nathaniel Gow (1763-1831)
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:F
F>G|A2c2
A>F|{A}G2 F2 f>c|d<f c<A d>B|A2G2”tr”F>G|A>B {AB}c2
A>F|G2F2 “tr”f>g|
a>gfedc|A4:||”tr”f>g|{fg}a>gfc
(d<f)|c2A2 f>c|(d<f) (c<a) (A/c/)B/A/|[F2A2] [E2G2] “tr”f>g|
a>gfefa|c2
{dc}A2 f>e|{e}d>c de fa|{a}A4 “tr”f>g|a/fz/ g/ez/ f/dz/|c2A2 f>c|
(d<f)
cA ~FG/A/|[F2A2] {BA}[E2G2] FA|c3 e/d/ BA|~d>e f2 ed|(c<d) (A<B)
“tr”G>F|F4||
KING, THE. AKA and see "The
Circle" (Burchenal), “John
Blessing’s Delight,” "Miss/Mrs. Monroe's Jig,"
“Mrs. Monroe’s [1],” “Mrs. Spens Monroe,” "Sam Hyde's
Quickstep." Irish, Double Jig. G Major. Standard tuning. AABBCCDD.
Philippe Varlet points out this four part jig is a combination of “Miss
Monroe’s” and one part of “Going to Donnybrook” from O’Neill’s
collection, plus another part. Kerr (Merry
Melodies), vol. 4; No. 210, pg. 24. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949.
X:1
T:King's Jig, The
M:6/8
L:1/8
R:Jig
Z:Philippe Varlet
N:Learned in Doolin in 1979, from
Roger Burridge and Davy Spillane
K:G
D|~G3 AGA|Bcd efg|~G3 AGA|BGE EDE|
~G3 AGA|Bcd efg|edB AGA|{B}AGF G2:||
d|~g3 efg|fd^c def|~g3 aga|bge e2 f|
~g3 aga|bge efg|edB AGA|{B}AGF G2:||
E|DGG BGG|AGG BGG|efg edB|AGA BGE|
DGG BGG|AGG BGG|efg edB|1 ABA G2:|2
ABA ~G3||
efg fBB|bag fBB|ede ~f3 | gfe ~f3 |
efg fBB|bag
fBB|efg fed|1 egf e2 B:|2 egf edB||
X:2
T:King, The
L:1/8
M:6/8
S:Jerry O’Brien’s Accordion Instructor
(1949)
Z:AK/Fiddler’s Companion
K:G
D/E/F/|G2G
AGA|Bcd efg|G2G AGA|BGE E2D|
G2G AGA|Bcd
efg|DcB AGA|BGG G2:|
|:f|gfg
efg|fdd def|gfg aga|bge e2f|gfg aga|bge efg|
dcB cBA|BGG
G2:|
|:D|DGG
BGG|AGG BGG|efg dBG|AEE EFE|
DGG BGG|AGG
BGG|efg dBG|AGG G2:|
|:e|efg
fBB|bag fBB|eBB fBB|gfe ^dBB|
efg fBB|bag
fBB|efg fe^d|(e3 e2):|
KING AND THE TINKER, THE. Irish, Air (3/4 time). F Minor. Standard
tuning. One part. Source for notated version: “From O’Neill’s Collection,
1787" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 399, pg. 101.
X:1
T:King and the Tinker, The
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 399
Z:AK/Fiddler’s Companion
K:Fmin
c>B | G2F2 F>E | F2F2 EF | G2
BAGF | E4 cB | G2F2 FE | F2F3F | G2B c=d | e4 ||
cB | B2c2e2 | f4 (ef) | g2f2 cd | e4
ef/g/ | f2e2 cB | G2F2 EF | G2F2 F>{A}G | F6 ||
KING BILLY’S MARCH. Irish, March (6/8 time). Ireland, County Donegal. A Mixolydian.
Standard tuning. AABB. ‘King Billy’ refers to William of Orange, invited to
assume the throne of England by Parliament. Source for notated version: fiddler
Simon Doherty (County Donegal) [Feldman & O’Doherty]. Feldman &
O’Doherty (The Northern Fiddler),
1979; pg. 110.
KING BILLY’S RAMBLES. Irish. Ireland, County Donegal. A pipe tune in the repertoire of
Teelin, County Donegal, fiddlers Mickey and Francie Byrne, who, according to
Feldman & O’Doherty (1979) probably learned this tune from travelling piper
Mickey Gallagher, a cousin of Donegal fiddler John Doherty (1895-1980).
KING CHARLES'S JIG. Irish, Scottish; Set Dance (6/8 time). D Major. Standard tuning. AB
(Howe): AABB (Joyce, Shields/Goodman). A melody by this title appears in the Gillespie Manuscript of Perth (1768).
Each part has six measures instead of the usual eight. The melody appears in Church of Ireland
cleric James Goodman’s mid-19th century music manuscripts as “King
Charles’s Jig (old times). ‘Seantrúis’ (old trousers).” There is a Scottish
dance called Sean Trews which is a solo
dance performed in tartan trousers rather than a kilt, although what the
connection might be with Goodman’s tune is unknown, if any. 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: P.W. Joyce said in his 1909
volume that he learned the tune as a child in Limerick, around the 1840’s;
however, in his 1873 collection he said he noted the tune down in 1852 from
James Buckley, a Limerick piper [Joyce]. Howe (1000 Jigs and Reels), c. 1867; pg. 21. Joyce (Ancient Irish Music), 1873; No. 58, pg. 59. Joyce (Old Irish Folk Music and Songs), 1909;
No. 140, pgs. 71‑72. Shields/Goodman (Tunes
of the Munster Pipers), 1998; No. 200, pg. 82.
X:1
T:King Charles’s Jig
M:6/8
R:Set Dance
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
G|FDF AFA|BGB AFD|E3 D2G|FDF AFA|Bcd
edc|d3D2:|
|:c|def efg|fed faf|e3 E2G|FDF
AFA|Bcd edc|d3 D2:|
X:2
T:King Charles’s Jig (old times).
“Seantrúis”
M:6/8
L:1/8
R:Jig
S:James Goodman manuscripts (mid-19th
century)
B:Hugh Shields – Tunes of the Munster Pipers, No.
200 (1998)
K:D
F2A AFA|BAB AGF|E3 D3|F2A AFA|def
gec|d3 d3:|
|:def efg|fdf agf|e3 d3|F2A AFA|def
gec|d3 d3:|
KING CORMAC AND THE
LERICAUN. Irish, Air (3/4 time). E Flat
Major. Standard tuning. One Part. Stanford/Petrie (Complete Collection), 1905; No. 408, pg. 103.
X:1
T:King Cormac and the Lericaun
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 408
Z:AK/Fiddler’s Companion
K:Eb
B2 | B2c2 e>f | e3 fge | f2g2 ef
| e4 ec | B2 AG FE | F2G2B2 | “tr”c6 |
B4B2 | B2c2 e>f | e3 fge | f2g2
e>f | e4 ec | {c}B2 AG FE | F2G2 EF | E6 | E4 ||
KING COUNTY BREAKDOWN. Old-Time, Breakdown. E Major ('A' part) & A Major ('B' part).
Standard tuning. AABB. Source for notated version: Stuart Williams [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 132.
KING ENJOYS HIS OWN
AGAIN, THE. See "When the King Enjoys His
Own Again."
KING GEORGE. AKA and see “King George V,” “Old King’s
Strathspey,” “Old King George Strathspey.” Canadian, Strathspey. Canada, Cape Breton. A Dorian. Standard
tuning. ABCD. There are a series of tunes commemorating various King Georges,
and Dunlay & Greenberg remard there is some confusion as to which one this
refers to. King George V, whose name is sometimes attached to this tune, ruled
from 1910 to 1936. Source for notated version: Alex Gillis (Cape Breton, Nova
Scotia) [Dunlay and Reich]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 39.
Dunlay and Reich (Traditional Celtic
Fiddle Music from Cape Breton), 1986; pg. 35. ACC-4979,
Natalie MacMaster - “4 on the Floor” (1989). CECD001, Brenda Stubbert - “In Jig
Time” (1995. Appears as “King George V”). CLM-1006, Carl MacKenzie - “Celtic
Ceilidh” (1987. Appears as “Old King George Strathspey”). Decca 14024 (78 RPM),
Alex Gillis‑ "The Inverness Serenaders" (c. 1936-7). Sea-Cape
Music ACR4-12940, Buddy MacMaster - “Judique on the Floor” (1989. Appears as
“Old King’s Strathspey”). Topic 12TS354, Mary MacDonald- “Cape Breton Scottish
Fiddle” (1978).
KING GEORGE THE III'S
MINUET. AKA – “Congress Minuet.” English,
American; Minuet (3/4 time). G Major. Standard tuning. AABB. The tune appears
in the Revolutionary War era manuscript of Captain George Bush, under the title
“Congress Minuet.” Evidently the title honouring English King George III was
anathma to him, although the tune was not.
Source for notated version: the
music manuscript book of Captain George Bush (1753?-1797), a fiddler and
officer in the Continental Army during the American Revolution [Keller]. Keller
(Fiddle Tunes from the American Revolution), 1992; pg. 9 (appears as
“Congress Minuet”). Morrison (Twenty-Four
Early American Country Dances, Cotillions & Reels, for the Year 1976),
1976; pg. 15.
KING
GEORGE THE IVth('s WELCOME) [1]. Scottish (originally), Canadian,
Irish; Strathspey. Canada; Prince Edward Island, Cape Breton. Ireland, County
Donegal. A Dorian (Skye): A Dorian/Mixolydian (Athole, Perlman). Standard
tuning. AAB (Skye): AA'B (Little). This composition is credited to Captain
Daniel Menzies by MacDonald in his Skye
Collection, where a note indicates it is part of a "Skye set."
Cape Breton/PEI settings are in the Dorian/Mixolydian mode, similar to that in
MacDonald’s Skye Collection. Perlman
(1996) notes this strathspey is a widely-played tune on Prince Edward Island,
and Paul Cranford similarly notes “King George” is a part of the standard Cape
Breton repertoire (usually as part of a medley with the strathspey and reel “Miss Lyall [1]” and “The King’s Reel”).
***
It is perhaps fitting
that the piece should have such longevity, as the personage of the title was a
lover of dance music and a convivial patron and supporter of English and
Scottish musicians, especially during his years as the Prince of Wales and the
Prince Regent. When the famous Scots composer and violinist Nathaniel Gow
journeyed to London he was frequently honored with invitations to the private
parties of the Prince, who on occasion joined Gow in the performance of
contemporary concert music (the Prince was a respectable violoncello player).
When George visited Scotland in 1822, Gow was among the best of the musical
talent of the country to be summoned to the Dalkeith palace to participate in
the occasion. The Prince publicly
remembered his London visits with Gow to the assembly and, and during the
course of the subsequent banquet, he rose from his table to go to Gow’s,
ordered him a goblet of fine wine, and reiterated the pleasure he had taken in
listening to Gow’s performances over the years. The musician was so overcome by this familiarity and royal
acknowledgement that all he could do was to mutter in a choked voice, “God
bless Your Majesty.”
***
The Prince of Wales, 1803 (later King George
IV, 1762-1830).
***
Source for notated version: Peter
Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island)
[Perlman]. Little (Scottish and Cape
Breton Fiddle Music in New Hampshire), 1984; pg. 32. MacDonald (The Skye Collection), 1887; pg. 106.
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 195. Stewart-Robertson
(The Athole Collection), 1884; pg.
42. Culburnie Records CUL102c, Alasdair Fraser &
Jody Stecher – “The Driven Bow” (1988). GTD Heritage Trad. HCD 008, Tommy
Peoples - "Traditional Irish Music Played on the Fiddle." Rounder
7004, Joe Cormier ‑ "The Dances Down Home" (1977. Reel
version). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and
Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977”
(2000).
X:1
T:King George IV’s Welcome
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
B,|A,A,A,>B, C>DE>A|A,A,A,>C CG,G,>B,|A,A,A,>B, C>DE>C|B,>DG>E D/C/B,/A,/ G,:|
B|^c>eA>e c>e d/c/B/A/|^c>eA>e d/c/B/A/ G>B|^c>eA>e c<e e>^f|gg a/g/^f/e/ d/c/B/A/ G>B|
^c>eA>e c>e d/c/B/A/|^ceA>e d/c/B/A/
G>B|^c>eB>c A>B ^F>A|G>ED>C B,>A,G,>B,||
KING GEORGE THE IV [2]. Scottish, Cape Breton; Reel. A Dorian. Standard
tuning. AAB. A reel setting of the strathspey in version [1]. In the repertoire
of fiddler Buddy MacMaster (Cape Breton, Nova Scotia). Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 84, pg. 22.
KING GEORGE THE IV
HIGHLAND. Irish, Highland. Ireland, County
Donegal. A Dorian. Standard tuning. AB. A variant, at least in the ‘A’ part, of
“King George IV” AKA “King George IV’s Welcome.” Source
for notated version: Francie and Mickey Byrne (County Donegal) [Feldman &
O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 173. Claddagh CC44CD,
Francie Byrne (Cashel, Donegal) - “The Brass Fiddle: Traditional Fiddle Music
of Donegal.” Green Linnett GLCD 1137, Altan - "Island Angel" (1993).
KING GEORGE V. AKA and see “King George.” Cape Breton,
Strathspey. Celestial Entertainment CECS001, Brenda
Stubbert - “In Jig Time!” (1995).
KING GEORGE V's ARMY. AKA and see “Kitchener’s
Army [1].” Scottish, March (2/4 time). A Major. Standard tuning. AABBCCDD.
Composed by Pipe Major George S. McLennan. The army referenced was the British
army of World War I.
***
King George V of Great Britain (1865-1936)
***
Martin (Ceol na Fidhle), vol. 2, 1988; pg. 9.
KING GEORGE'S MARCH. Scottish, March. The melody appears in the Gillespie Manuscript of Perth (1768).
KING GEORGE’S WELCOME
TO IRELAND. English, Jig (6/8 time). D Major. Standard tuning. ABC. The melody
appears in the music manuscript book of John Burks, dated 1821, a musician who
may have been from the north of England (photocopy in ed. possession). The tune
presumably honors King George IV (1762-1830), son of George III, who had been
Prince of Wales, then Prince Regent since 1811 when it was apparent that his
father’s mental instability no longer allowed him to govern. In 1820, at the
age of 59, George became King George IV, when his father died blind and insane.
George was affectionately (and derisively) known as “Prinny” to his subjects
and “managed simultaneously to be a national scandal, a national disaster, a
national achievement, and a national entertainment” (Bryant, Age of Elegance, 109). In 1821 King
George visited Ireland and was received with great enthusiasm. The Catholic
population had high hopes that the visit would usher in relief from oppressive
laws and culminate in emancipation. George spent a month in the country and
when his visit ended he expressed gratification at his reception. A copper
penny was struck in Ireland in his honor in 1822. There was no forthcoming
emancipation or perceptible relief for the majority of the population. In the
manuscript the tune is attributed to “Goulding, 1822.” It is not known to whom
this refers, although the firm of Goulding, Phipps and D’Almaine were ‘music
sellers’ to the Prince of Wales. In 1800 Goulding & Co. published a
sumptuous piano/vocal edition of Thomas Attwood’s comic opera St. David’s Day, or the Honest Welshman
to celebrate the feast day of the patron saint of Wales, dedicated by
permission to George, Prince of Wales.
X:1
T:King George’s Welcome to Ireland
M:6/8
L:1/8
R:Jig
S:John Burks’ music manuscript
copybook, dated 1821
N:”by Goulding. 1822.”
Z:AK/Fiddler’s Companion
K:D
A|F2d G2d|A2d B2d|cBc ABc|d2f
a2A|F2d G2d|
A2d B2d|cBc ABc|(d3 d2)||f|gag
fed|gag fed|
Bee e2d|cee e2f|gag fed|gag fed|BAG
(FA)A|Bdd d2||
e|f3 gab|e3 fga|d3 efg|ABc d2e|f3
gab|e3 fga|d3 efg|ABc d2||
KING JAMES' MARCH TO IRELAND. AKA and see "Lochabar No More." The tune
appears in the Leyden Manuscript, c.
1692‑93.
KING JAMES' MARCH TO LIMERICK. AKA and see "Irish Lamentation," "Limerick Lamentation,” “Lochaber No More." Irish, Air. See
notes under the alternate titles.
KING OF DAMASCUS. Scottish, Country Dance Tune (4/4 time). The melody appears in the Drummond Castle Manuscript (in the
possession of the Earl of Ancaster at Drummond Castle), inscribed "A
Collection of Country Dances written for the use of his Grace the Duke of Perth
by Dav. Young, 1734."
KING OF DENMARK'S
FAVOURITE, THE. AKA and see "Cottillon
La Promenade," "La Prominade."
English, Jig. G Major. Standard tuning. AABBCCDD. At least one editor has noted
that in places the melody bears a resemblance to a tune called "Sweets of
May." The melody was originally published in Charles and Samuel Thompson’s
Compleat Collection, vol. 3 (London, 1773). Music manuscript versions
can be found in the copybook collections of William Vickers (1770, Northumberland),
Fife Major Nathaniel Brown (1781, entries while in service in Durham, Conn.,
and Verplank’s Point, N.Y.), and flute player Ralph Pomeroy (1790, New Haven
and Hartford, Conn.). Similarly, dance figures appear in publications and
manuscripts from the latter 18th century. Titles or alternate titles
given are “La Promenade St. Cloud” (Pomeroy), “Laprom C(ountry) Dance” (Brown),
and “La Promendae Cottillon” (Vickers). While the title may refer to a favorite
melody, it may also refer to one Count Holke, known as the King of Denmark’s
Favourite, a retainer (‘Master of his Majesty’s Wardrobe”) who accompanied the
Danish monarch and his prime minister on a visit to England in 1768. The young
Holke (he was aged 23 at the time) was a handsome and flippant man, whom
Walpole concluded was a “complete jackanapes.” Seattle (William Vickers), 1987, Part 2; No. 249. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 158.
X:1
T:King of Denmark’s Favourite, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G2d B2G|B2c B2A|G2d B2G|A2D G3::A2B A2G|A2B A2G|G2A B2A|B2c d3|
G2d
B2A|B2c B2A|G2d B2G|A2D G3::GAG G2A|BcB B2A|GAG GcB|AGF G3:|
|:ded d3|DED D3|cdc c3|DED D3|G2D G2A|BcB B2A|G2D GcB|AGF G3:||
KING OF DENMARK'S
FROLICK.
One of the "missing tunes" from William Vickers' 1770 Northumbrian
dance manuscript. Title similar to "King of Denmark's Favourite."
KING OF FRANCE, THE. AKA and see "Lady Doll Sinclair."
Scottish. John Glen (1891) finds the earliest printing of the tune in Joshua Campbell's 1778 collection (pg.
73).
KING OF FRANCE’S
MINUET. American(?), Minuet (3/4 time). D Major.
Standard tuning. AABB. The melody appears in the music manuscript copybook of
Henry Livingston, Jr. Livingston
purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the
age of 23. In 1775 he was a Major in the 3rd New York Regiment,
which participated in Montgomery’s invasion of Canada in a failed attempt to
wrest Québec from British control. An important land-owner in the Hudson
Valley, and a member of the powerful Livingston family, Henry was also a
surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a poet and musician, and
presumably a dancer, as he was elected a Manager for the New York Assembly’s
dancing season of 1774-1775, along with his 3rd cousin, John Jay,
later U.S. Chief Justice of Governor of New York.
X:1
T:King of France’s Minuet
M:4/4
L:1/8
R:Minuet
S:Henry Livingston’s manuscript
copybook, late 18th century
Z:AK/Fiddler’s Companion
K:D
D2 DDDD|F2
FFFF|A2 AAAA|d4e2|f2d2e2|f2d2e2|f2 gfef|d6:|
|:a2
aaaa|a2 bagf|g2 gggg|g2 agfe|f2 ffff|f2 fg a2|e2 eeee|e6:|
KING OF JIGS (Rí na bPort). AKA and see “The
Kings Jig [2].” Irish, Double Jig. G Major. Standard tuning. AABBCCDD. See
also related tunes “Going to
Donnybrook,” “Best in the Bag,” “The Happy Mistake,” “Lady Shire’s Favourite,” “Miss/Mrs. Monroe’s Jig,”
and “Mrs. Spens Monroe.” Breathnach
(1996) believes the tune was originally a Scottish jig. The tune appears in two
ports in O’Farrell’s Pocket Companion
and in Goodman (II, pg. 35) under the title “The Happy Mistake.” O’Neill prints
it as “Miss Monroe” and “Mrs. Spens Monroe.” Breathnach (CRÉ IV), 1996; No. 8, pg. 6. Bulmer & Sharpley (Music from Ireland), vol. 4; No. 64.
KING OF LAOISE, THE. See "March of the King of Laois,"
“Rory O’Mo{o}re.”
KING OF LEIX, THE. AKA and see "March of the King of Laois,"
“Rory O’Mo{o}re.”
KING OF POLAND, THE. AKA and see "Courtiers,
Courtiers." English, Country Dance Tune (6/8 time). E Minor (Raven): G
Dorian (Barnes, Chappell, Sharp). Standard tuning. AAB (Chappell, Raven): ABB
(Sharp): AABB (Barnes). The air appears in Playford’s Dancing Master of 1686,
though Chappell (1859) finds no lyrics to a song about a King of Poland in the
ballad literature. It appears as “Courtiers, Courtiers” on broadside sheets
beginning about 1695. As “The Beggar’s Delight” it appears in the Pepys
collection, as it was sung at the Theatre Royal.
***
Courtiers, courtiers, think not in scorn,
If poor silly swains in love should be,
Love lies hid in rags all torn,
As well as in silks and bravery.
And the beggar doth love his lass as dear
As he that hath thousands, thousands, thousands,
He that hath thousands pounds a year.
***
Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 60‑61.
Raven (English Country Dance Tunes),
1984; pg. 12. Sharp (Country Dance Tunes),
1909/1994; pg. 57.
X:1
T:King of Poland, The
L:1/8
M:6/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:Gdor
F2D F2G|A>BA D2E|F>GA d2A|F2E
D2z|F2D F2G|A>BA D2E|F>GA d2A|F2E D2||
d/e/|f2>ed ^c2d|d2D D2E|F>GA
c2A|c2A G2E|F>GA d2A|F2E D2||
KING OF PRUSSIA. Scottish, Jig. D Major. Standard tuning. AABB. John Glen (1891) finds
the earliest printing of the tune in Robert
Bremner's 1757 collection. Bremner (A
Collection of Scots Reels), 1757; pg. 25.
X:1
T:King of Prussia’s Reel (sic)
M:6/8
L:1/8
R:Jig
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:D
D | (DED) (dcd) | (AGF) (EFG) |
(FED) (dcB) | (AGF) E2F | (DED) (dcd) |
(AGF) (EFG) | FAF GEA | FDD D2 :: A
| d2g (f/g/a)f | bgb afa |
(g/a/b)g (f/g/a)f | gee e2d | ded
fga | bag fed | Bec “tr”(c>Bc) | dAF D2 :|
KING OF PRUSSIA’S MARCH. American (?), March (4/4 time). C Major. Standard tuning. AABB. Howe (Complete Preceptor for the Accordeon), 1843; pg. 12.
X:1
T:King of Prussia’s March
M:4/4
L:1/8
R:March
S:Howe – Complete Preceptor for the Accordeon (1843)
Z:AK/Fiddler’s Companion
K:C
E>F | G2 G>G G2 AB | c2 c>c c2G2 | A2c2G2c2 | F2F2 E2G2 | AcBc GcBc |
F2 F>F E2c2 | B2c2d2e2 | f4 fagf | e2 g>c edcB | c2 c>c c2 :: c>d | e2 e>e e2 dc |
d2 e>f g2 AB | c2 c>c c2 BA | B2 c>d e2G2 | A2 A>A AcBc | G2 G>G GcBc |
F2F2E2c2 | B2c2d2e2 | f4 fagf | e2 g>c edcB | c2 c>c c2 :|
KING OF
SWEDEN'S MARCH, THE. AKA
and see "Durang's Hornpipe."
Scottish, March. Emmerson states this was "a familiar hornpipe in the late
eighteenth century country dancing schools in the southwest of
Scotland." See also note for
"Charles of Sweden."
KING OF THE CANNIBAL
ISLANDS. AKA and see "Nottingham Swing," "Hilly‑Go, Filly‑Go
All The Way," "Cumberland
Reel," "Vulcan's Cave."
English, Jig. England, Dorset. D Major. Standard tuning. AAB A popular jig
under a bewildering variety of titles, including “Cabbages and Onions,” “The
Cannibal Islands,” “Hilly-go, Filly-go All the Way,” “Hokee Pokee Wonkee Fum,”
“King of the Cannibal Islands” “Les Deux Rivales,” “Nottingham Swing,”
“Vulcan’s Cave” and the “Cumberland Reel.”
The melody has been the vehicle for numerous songs and dances. In
Scotland it is the vehicle for a Scottish Country Dance called “Cumberland
Reel,” in England it was a country dancex called “Vulcan’s Cave,” and the
“Nottingham Swing,” while in Ulster it has been a popular tune for ceili bands
who often play it as a single jig or slide, and finally, the melody has also
seen service for parts of quadrilles. According to Anthony Bennett’s article
“Rivals Unravelled: A Broadside Song and Dance”, Folk Music Journal, vol. 6, no. 4, 1993) originally it was a
composition of John Charles White, published as the third set of a quadrille in
Les Deux Rivales/The Two Rivals.
White himself adapted it as a country dance and called it “Vulcan’s Cave,”
“introduced at the Theatre Royal Covent Garden, performed at the Amicable
Society’s Balls, Willis’s Rooms, and all Fashionable assemblies in London,
Bath, Cheltenham, Brighton, etc.” “King of the Cannibal Islands” (Cannibal Islands referred to Fiji) is the
name of a popular comic song set to the melody by A. W. Humphreys about 1830
and “Sung by him with great applause at the London Concerts.” A broadside
printing of the lyrics from Glasgow in 1858 directs it to be sung to the air of
“Hokee pokee wonkee fum.” It begins:
***
Oh, have you heard the news of late,
About a mighty king so great?
If you have not, ‘tis in my pate—
The King of the Cannibal Islands.
He was so tall—near six feet six,
He had a head like Master Nick’s,
His palace was like Dirty Dick’s,
‘Twas built of mud for want of bricks,
And his name was Poonoowingkewang,
Flibeedee flobeedee-buskeebang;
And a lot of Indians swore they’d hang
The king of the Cannibal Islands.
Hokee pokee wonkee fum,
Puttee po pee kaihula cum,
Tongaree, wougaree, ching ring wum,
The King of the Cannibal Islands.
***
The “Cannibal” title appears in a
repertoire list brought by Philip Goodman, the last professional and
traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898. While
mostly traditional in his repertoire, Goodman regularly played several novelty
or ‘popular’ tunes. In 1866 during the Canadian gold-rush Robert Burrell
grumbled in a letter that the music from Bakerville’s Hurdie house across the
street was disturbing his sleep. He mentioned four of the songs that were
ringing in his ears, among them "King of the Cannibal Islands.” As
“Vulcan’s Cave,” the melody not only appears in John Burk’s manuscript
collection but also that of the Rev. Robert Harrison of Brampton, Cumbria, dated
1820. Trim (Thomas Hardy), 1990; No. 78 (includes harmony part. Only the
harmony is original to Hardy's MS.).
KING OF THE CASTLE. Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985).
Ryan (Seán Ryan’s Dream), 13.
KING OF THE CELLAR, THE. AKA and see "The Galway Harebait," "An Chearc is a hAl."
KING OF THE CLANS (Ri na gClann). Irish, Reel. G Major. Standard tuning. AB
(O'Neill): AA'BB' (Shanachie). A reportedly uncommon reel that is
"awkward" to play because of the crossing of strings required,
according to fiddler Andy McGann, who learned the tune from fiddler Martin
Wynne. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 788, pg. 137. Peoples (Fifty Irish Fiddle Tunes), 1986; 20. GTD Heritage Trad. HCD 008, Tommy Peoples -
"Traditional Irish Music Played on the Fiddle." Rounder Records 7057,
Jerry Holland – “Parlor Music” (2005). Shanachie 29009, "Andy McGann &
Paul Brady" (the music is notated in the booklet that comes with the
album).
X:1
T:King of the Clans
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
788
Z:AK/Fiddler’s Companion
K:G
B|d2 GA
Bdge|dedB AGEG|DGBG dGBG|cege dcBc|dGBd gdBd|gdbg agef|
ga (3gfe dBge|dBAc BGG||f|g2 bg
(3efg df|gdBG AGEG|DGBG dGBG|
cege dcBd|g2 bg edge|dBGB AGEG|DGBd
gece|dBAc BGG||
KING OF THE FAIRIES, THE (Rí na Sideog). AKA and see "Bonnie Charlie [1]." "King William of Orange,” “Your Old Wig is the Love of My Heart.” Irish,
Set or Long Dance. E Dorian (Harker/Rafferty, Mallinson, O'Neill): E Minor
(Brody, Raven, Stanford/Petrie): G Minor (Welling). Standard tuning. AAB
(O'Neill): AABB (Harker/Rafferty, Mallinson, Stanford/Petrie): AABBCC (Brody,
Raven, Welling). One tale attached to the tune has it that “The King of the
Fairies” is a summoning tune, and if played three times in a row during a
festivity the King must appear. Once summoned, however, the King assesses the
situation, and if the gathering is to his liking he may join in; if however, he
does not find it to his liking he may cause great mischief. “King of the Fairies”
appears to be derived from a Jacobite tune called “Bonny Charlie,” appearing in
many 18th century Scots and Northern English publications, such as Aird (1783). It was collected in the 19th
century in Ireland by P.W. Joyce (Old
Irish Folk Music and Songs, 1909, No. 690) under the title “Your old wig is
the love of my heart,” and by George Petrie as an untitled air
(Stanford/Petrie, Complete Collection,
No. 1281). Sources for notated versions: Dave Swarbrick (England) [Brody]; New
Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926
[Harker]. Brody (Fiddler’s Fakebook),
1983; pg. 158. Harker (300 Tunes from
Mike Rafferty), 2005; No. 294, pg. 96. Mallinson (Enduring), 1995; No. 84, pg. 35. Raven (English Country Dance Tunes), 1984; pg. 168 (appears as "King
William of Orange"). Welling (Welling’s
Hartford Tunebook), 1976; pg. 22. CAT-WMR004, Wendy MacIssac - “The ‘Reel’ Thing” (1994).
Folkways FW 8876, Kevin Burke‑ "Sweeney's Dream." Transatlantic
341, Dave Swarbrick‑ "Swarbrick 2."
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: King of the Fairies, The
M:C|
L:1/8
R:Hornpipe
K: E Dorian
B,|:EDEF GFGA|B2B2 G3A|B2E2 EFGE
|FGFE DE (3FED) |
|EDEF GFGA|BAGB d3=c|B2E2 GFED|E2 ED
E:| B|
||e2e2 Bdef|gagf e3f|e2B2 BABc|dedc
Bc d/c/B|e2B2 Bdef|
gagf efed|Bdeg fedf|e2 ed e3f |g3e
f3d|edBc d3e|dBAF GABc|
dBAF GFED|B,2E2 EFGA|B2e2 edef|e2B2
BAGF | E2 ED E3||
X:2
T:Untitled Air
M:2/4
L:1/8
B:Stanford/Petrie, Complete Collection, No. 1281, pg. 322.
(1905)
Z:AK/Fiddler’s Companion
K:E Dorian
E/^D/E/F/ G/F/G/A/|BB G>A|BE
EG|F/G/F/E/ DB,|E/^D/E/F/ G/F/G/A/|
BB G>A|BE G/F/E/^D/E3E::ee
B/^d/e/f/|g/a/g/f/ e2|eB B/A/B/^c/|d/e/d/^c/ B^d|
eB B/^d/e/f/|g/a/g/f/ ed|B/^d/e/g/
f/e/d/f/|e3 e/>f/|g>e fd|eB/c/ d>e|
d/B/A/F/ G/A/B/^c/|d/B/A/F/
G/F/E/D/|B,E GA|Be e>f|eB B/A/G/F/|E3 E:||
KING OF THE HILL. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth,
Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 82, pg. 42.
X:1
T: King of the Hill
C: © B. Black
Q: 300
R: jig
M: 6/8
L: 1/8
K: G
A | BGD B,EE | CEE ^CEE | DEG AGA | Bdd edc |
BGD B,EE | CEE ^CEE | DEG Fdc | BGF G2 :|
A | Bcd edd | gdd edd | cee ^cag | fd^c d2 f |
gdB cBA | Bcd BAG | DEG Fdc | BGF G2 :|
KING OF THE PIPES (Rí na bPiob). AKA and see “Tommy Peoples’ Jig [2].” Irish,
Double Jig. D Major. Standard tuning. AABBCC (Miller): AA'BB'CC (Breathnach).
Source for notated version: fiddler Paddy Glackin (Ireland) [Breathnach].
Breathnach (CRÉ III), 1985; No. 35,
pg. 16. Bulmer & Sharpley (Music from
Ireland), vol. 3; No. 70. Miller (Fiddler’s
Throne), 2004; No. 67, pg. 51. Gael‑Linn
Records DEF 060, Paddy Glackin ‑ "Ceol ar an bhFidil" (1977).
Gael-Linn CEF060, “Paddy Glackin.”
KING OF THE PIPERS [1] ("Rig
na Piobairide" or "Rí na bPíobairí"). AKA and see
“The Farting Badger,” “The Kilraine Jig,” “McSweeney’s Jig.” Irish, Double Jig. D
Major/Mixolydian. Standard tuning. AABCC' (Breathnach): AABBCCDD (Alewine,
Brody, Carlin, Feldman & O’Doherty/Doherty): AABBCCDDE (O'Neill):
AABBCCDDEE (Taylor): AABBCCDDEEFF (Feldman & O’Doherty/Byrne). There are a number of versions of
this popular jig. Francis
O’Neill (Irish Folk Music) says that
the multi-part tune “created a sensation” when introduced to Chicago
traditional musicians and dancers (“who had never heard” it before) by the
elderly fiddler Edward Cronin, originally from Limerick Junction, County
Tipperary. O’Neill thought it “quite probable” that the melody had originally
been a clan march. “King of the Pipers” is a common tune in County
Donegal, where two different versions are played (see also version #2, below).
Seán Keane was of the opinion the melody had a Donegal provenance and said it
was associated with the Order of the Knights of St. Patrick. Caoimhin Mac Aoidh
(1994) states that the tunes "clearly have piping origins" and
remarks on the melody/drone rendition of the piece by Teelin, Donegal, fiddlers
Francie Dearg Byrne and Mickey Ban Byrne--a style imitative of the pipes.
Feldman & O’Doherty (1979) believe the brothers probably obtained their
version from piper Mickey Gallagher, a traveling cousin of famous Donegal
fiddler John Doherty’s. Alternate titles from the north are “The Kilraine Jig,”
named after a townland outside Glenties in the central mountain district of
County Donegal, “McSweeney's Jig,” named for the famous Donegal uilleann piper
and fiddler Tarlach McSweeney, and “The Farting Badger.” Caoimhin Mac Aoidh
maintains that the “King of the Pipers” title references McSweeney, although
because of McSweeney’s fame a number of tunes he played were simply titled
“King of the Pipers.” “The Farting Badger” title, Mac Aoidh indicates, was
specific to the Teelin region of County Donegal (which he says had an abundance
of good fiddlers in the 1920-30s). Sources for notated versions: fiddler Edward
Cronin [O’Neill]; fiddler Sean Keane (Ireland) [Brody]: fiddler John Doherty, 1966
(1895-1980, Co. Donegal, Ireland) [Breathnach, Feldman & O’Doherty];
fiddlers Francie and Mickey Byrne (County Donegal) [Feldman & O’Doherty]; set dance music recorded live at Na
Píobairí Uilleann, mid-1980’s [Taylor]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 22. Brody (Fiddler’s Fakebook), 1983; pg. 159.
Carlin (Master Collection), 1984; No.
234, pg. 136. Feldman &
O’Doherty (Northern Fiddler), 1979;
pg. 57 & pg. 177. O'Neill (Music
of Ireland: 1850 Melodies), 1979; No. 702, pg. 130. Taylor (Music for the Sets: Yellow Book), 1995;
pg. 26. Claddagh
Records CC17, Seán Keane ‑ "Gusty's Frolics" (1975). Drumlin
Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004). Gael‑Linn 068, Seamus Glackin‑ "An
Fhidil." Green Linnett, "Mick Moloney." Green Linnett GLCD 1117,
Altan - "Harvest Storm" (1992. A five-part version learned "many
years ago on a visit to the house of the late Mickey and Francie Byrne of
Kilcar, Co. Donegal"). GTD Heritage Trad. HCD 008, Tommy Peoples -
"Traditional Irish Music Played on the Fiddle." Holla Records HRCD001, Peter & Angela Carberry –
“Memories from the Holla” (2001).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:King of the Pipers [1]
M:6/8
L:1/8
K:Dmix
A (3A/A/A/ D B (3B/B/B/ D|ABG FED|A (3A/A/A/ D BAF|GAG FED|
A (3A/A/A/ D B (3B/B/B/ D|ABG FED|CEG cGE |GAG FED:|
|: fga afd|ded {c/d/}cAG | ~F2D (3c/B/A/ GF |GAG FED|fga afa | geg fdA|
GFG (3c/B/A/ GF|GAG FED :: def def | def dFA |def dAF|GEF GFE|
~d3 ^cdc|B^cB AFD|CEG cGE|GAG FED::d (3D/D/D/ D c (3D/D/D/ D|B (3D/D/D/ D A (3D/D/D/ D|
d (3D/D/D/ D cAF|GAG FED|d (3D/D/D/ D c (3D/D/D/ D|B (3D/D/D/ D AFD|CEG cGE|GAG FED:|\
X:2
T:King of the Pipers, The [1]
R:jig
H:There are 3 other tunes called "King of the Pipers": #8, #66, #307
H:This tune comes in two distinct versions. See also #240.
D:Altan: Harvest Storm
D:Declan Masterson: Tropical Trad
Z:id:hn-jig-219
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
K:Dmix
|:A2F B2F|A2G FED|A2F B2F|GFG AFD|A2F B2F|A2G FED|GAB cAF|GFG AFD:|
|:dfa afd|ded cAG|FGA cAF|GFG AFD|dfa afa|geg fdf|e^cA DFA|GFG AFD:|
|:d2e d2A|ded dcA|d2e dcA|GFG AFD|d2e d2A|ded dcA|GAB cAF|GFG AFD:|
|:def def|def e^cA|def e^cA|~G3 AFD|def def|def e^cA|GAB =cAF|GFG AFD:|
|:Ddd Dcc|DBB AFD|Ddd Dcc|GFG AFD|Ddd Dcc|DBB AFD|GAB cAF|GFG AFD:|
"variations"
|:A2D B2D|A2G FED|A2D B2D|GFG GFD|A2D B2D|A2G FED|GAB cAF|GFG AFD:|
|:dfa afd|d^cd e^cA|GAB =cAF|GFG AFD|dfa afa|geg fdA|GAB cAF|GFG AFD:|
|:d2e d2A|d2e dcA|d2e dcA|GFG AFD|d2e d2A|d2e dcA|GAB cAF|GFG AFD:|
|:def def|def e^cA|def def|~G3 AFD|def def|def e^cA|GAB =cAF|GFG AFD:|
|:Ddd
Dcc|DBB DAA|Ddd Dcc|GFG AFD|Ddd Dcc|DBB ~A3|GAB cAF|GFG AFD:|
KING OF THE PIPERS [2] (Rí na bPíobairí). AKA and see “Keys to the Convent.” Irish, Double Jig. Ireland, County Donegal. A Dorian. Standard tuning. AABBCCDDEE. This Donegal tune refers to the piping status of Donegal musician Tarlach Mac Suibhne {1818-1916}, Piobaire Mor, who also played fiddle. The tune has been recorded by Donegal fiddler Paddy Glackin (“Ceol ar an bhFidil”).
See also listings at: Alan Ng’s Irishtune.info |
Ng’s listing goes w this tune
X:1
T:King of the Pipers, The [2]
R:jig
H:There are 3 other tunes called "King of the Pipers": #8, #219, #307
D:Paddy Glackin: Ceol ar an bhFidil le Paddy Glackin
D:Dervish: The Boys of Sligo
Z:id:hn-jig-66
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
K:D
AFF dFF|AFB AFD|AFF dAF|DFA GAB|AFF dFF|AFB AFD|~F3 AFD|DFA GAB:|
|:ABc d2A|dfa agf|geg fdB|AFA Bcd|ABc d2A|dfa agf|geg fdB|1 AFA ~B3:|2 AFA B2A||
|:Bbb Baa|~g3 fdA|Bbb Baa|AFA B2A|Bbb Baa|~g3 fdB|AFd AFE|1
DFA B2A:|2 DFA ~B3||
KING OF THE PIPERS [3] (Rí na bPíobairí). AKA - “Paddy Gallagher’s.” Irish, Double Jig.
Ireland, County Donegal. The third of the county Donegal tunes, all different,
by this name. This complex “King of the Pipers” was the signature tune of
fiddler Paddy “The Tae” Gallagher (d. 1980's) of Ardara, Donegal. Breathnach
(CRÉ II), 1976; No. 45, pg. 25. Nimbus NI 5320, Ciaran Tourish, Dermot McLaughlin, Seamus
Glackin, Kevin Glackin - “Fiddle Sticks: Irish Traditional Music from Donegal”
(1991).
See also listings at: Alan Ng’s Irishtune.info |
X:1
T:R\'i na bP\'iobair\'i
T:King of the Pipers, The [3]
R:jig
H:There are 3 other tunes called "King of the Pipers": #8, #66, #219
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
Z:id:hn-jig-307
M:6/8
K:Dmix
d|:cAG A2D|DED AdB|cAG ~A3|DED GED|
cAG A2D|DED AGE|FDF E^CE|DEF GED:|
|:d2e fdf|e^cA AFA|d2e fed|f/g/af gfe|
d2e fdf|e^cA AGE|FDF E^CE|DEF GED:|
|:B2G AGA|BGE Edc|B2G AGE|GED Ddc|
B2G AGA|BGE E2^c|d^cd A2G|1 FDD Ddc:|2 FDD DdB||
"variations"
|:cAG ABA|~D3 A2d|cAG A2D|DED GED|
cAG A2D|DED AGE|FDF E^CE|DED GED:|
|:d2e fdg|e^cA AFA|d^cd efg|faf gfe|
d2e fdg|e^cA AGE|FDF E^CE|DED GED:|
|:~B3 AGA|BGE Edc|~B3 AGE|GED Ddc|
~B3 AGA|BGE E2^c|d^cd ABG|1 FDD Ddc:|2 FDD DdB||
X:2
T: Doherty's King of the Pipers [1]
T: R\'i na bP\'iobair\'i
S: B.Breathnach: "Ceol Rince na hEireann" II/45
Z: B.Black
L: 1/8
M: 6/8
R: jig
K: Dmix
d|: cAG A2D|DED A2d|cAG A2D|DED GED|
cAA A2D|DFD AGE|FDF ECE|DED GED :|
d2e fdg|ecA AFA|d^cd efg|faf gfe|
d2e fdg|ecA AGE|FDF ECE|DED GED|
d2e fdg|ecA AFA|d^cd efg|aba gec|
d2e fga|ecA AGE|FDF ECE|DED GED||
B2G A2G|BGE Edc|B2G A2E|GED Ddc|
B2G
A2G|BGE E2^c|d^cd A2G|1 FDD Ddc :|2\
FDD D3||
KING OF THE PIPERS [4]. AKA and
see “Knights of St. Patrick,”
“The Limestone Quarry.” Irish,
Jig. D Major. Standard tuning. AA’B.
X:1
T:Knights of Saint Patrick, The
T:King of the Pipers, The
R:jig
H:There are 3 other tunes called "King of the Pipers": #66, #219, #307
Z:id:hn-jig-8
M:6/8
K:D
dcd faf|dcd AFD|GBG FAF|EFG ABc|dcd faf|dcd AFD|GBG FAF|1 ECE D3:|2 ECE D2f||
~a3 fdf|aba agf|~g3 ece|Ace gfg|~a3 fdf|aba afg|afd bge|dAF D2f|
~a3 fdf|aba agf|~g3 ece|Ace gfe|dcd ede|fef gfg|afd bge|dAF
D3||
KING OF THE RATH, THE (Rig An Rata). Irish, March (6/8 time). B Flat Major/G
Dorian. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1808, pg. 329.
X:1
T:King of the Rath, The
M:6/8
L:1/8
R:March
S:O’Neill – Music of Ireland (1903), No. 1808
Z:AK/Fiddler’s Companion
K:Bb
B2d dcB | ABA cA^F | GAG G2d | dcB
cAF |
B2d dcB | ABA cA^F | GAG G2d | cA^F
G3 :|
|| B2B B2d | c2c c2e | d2d d2=e |
f2f f3 | d2d d2e |
c2c c2d | B2d dcB | ABA cBA | GAG
G2e | dcB cAF |
BBB B2d | ccc c2e | ddd d2=e | fff
f3 | ddd d2e |
ccc c2d | BBB B2d | dcB cA^F | GAG
G2d | cA^F G3 ||
KING PIN JIG. AKA and see "Bob
Chadduck's Jig." American, Dance Tune (2/4 time). A Major. Standard.
AABB. The 'jig' refers not to the familiar Irish jig in 6/8 time, but rather a
type of syncopated old‑time banjo tune often used as a vehicle for clog
dancing. It is often called a “straight” or “sand” jig, the latter because is
was performed on a sanded stage to facilitate the steps. See also the first
part of “Bob Chadduck’s.” Cole (1000
Fiddle Tunes), 1940; pg. 83. Ryan’s
Mammoth Collection, 1883; pg. 117. White’s
Unique Collection, 1896; No. 35, pg. 6.
X:1
X:1
T:King Pin
M:2/4
L:1/8
R:’Sand
Jig’
S:White’s Unique Collection (1896), No. 35
Z:AK/Fiddler’s Companion
K:A
EA/B/
c/e/z/e/ | f/e/c/e/ a{g/}a | EA/B/ c/e/z/e/ | f/e/d/c/ B/e/^d/e/ | z/E/A/B/
c/e/z/e/ |
f/e/^d/e/
f/a/g/a/ | b/g/a/f/ e/c/A/B/ | z/c/B/G/ A :: A{g/}a A{g/}a | f/e/^d/e/ f2 |
ze e2 |
(3c/B/A/B/G/ A/G/F/E/ | A{g/}a A{g/}a | f/e/^d/e/ f/a/g/a/ | b/g/a/f/ e/c/A/B/
| z/c/B/G/ A2 :|
KING PIPPIN POLKA. AKA - “My Auntie Jean.” English, Polka. England, Dorset. G Major
(Kerr):D Major (Roche, Trim). Standard. AB (Roche): AABB (Kerr, Trim). The
melody was composed by Charles D’Albert (1864-1932), a Glasgow-born pianist and
composer who was a student of Franz Liszt. D’Albert became a naturalized German
citizen (he was the son of a French/Italian father and an English mother, never
spoke English fluently, and considered himself to be German) and composed 21
operas, a symphony, two piano concerti, and numerous lesser works. Peter
Kennedy says children sing words to the tune, beginning: “My mother says I
never should play with gipsies in the wood.” See also D’Albert’s “Sweetheart’s Waltz.” Mozart Allan (Allan’s Ballroom Companion), pg. 9.
Kerr, Merry Melodies, vol. 4, No.
408, pg. 45. Roche, vol. 2, 1927; No. 304 (appears as untitled tune in “Old
‘Set’ Tunes” section). Trim (Thomas Hardy),
1990; No. 77.
X:1
T:King Pippin Polka
M:2/4
L:1/8
S:Kerr – Merry Melodies, vol. 4, No. 408
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
DD/G/ B2|cc>E B2|BA A/B/A|AG
G/A/G|DD/G/ B2|cc/E/ B2|
BA A/B/A|GBGz::d/d/d D/D/D|ED
D/E/D|BA A/B/A|AG G/A/G|
d/d/d D/D/D|ED D/E/D|BA A/B/A|GBGz:|
KING ROBERT THE BRUCE. AKA – “Bruce’s March (2).” Scottish, Marching Air (4/4 time). D Major.
Standard tuning (fiddle). AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927) as a companion piece to
his "Sir William Wallace."
Robert Bruce was the Scottish hero who successfully led a second rebellion in
1306, the year Wallace was executed, which eventually led to his being crowned
king of an independent Scotland. Skinner printed the march in his “Harp and
Claymore” collection, calling it “Bruce’s March.” Hardie (Caledonian Companion), 1992; pg. 126 (with variations). Skinner, Harp and Claymore. Skinner (The Scottish Violinist), pg. 32
(includes variations).
X:1
T:King Robert the Bruce
M:C
L:1/8
R:March
N:”Boldly”
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:D
A, | {C}[DD>]E FD EA, D2 |
{D}d>c .B/.A/.G/.F/ {D}FEEF | [DD>]E FD G>A B>B |
.A/.B/.c/.d/ .e/.f/.g/.e/
[Af][Fd][Fd] :| .a/.g/ | fDad b(G,G,) b/a/ | ^gEbE a(A,A,) a/=g/ |
fDaD b(G,G,)B, | A,/B,/C/D/ E/F/G/A/
FDDa | d’dDd’ b(G,G,)b | e’b E^g a(A,A,>)B, |
[DD>]E FD EA, D2 | .A,/.B,/.C/.D/
.E/.F/.G/.A/ FDD ||
KING SHALL
ENJOY HIS OWN AGAIN, THE. AKA and see “When the King Enjoys His
Own Again.”
KING WILLIAM OF ORANGE. AKA and see "Bonnie
Charlie [1]," "King of the Fairies."
English, Reel. E Minor. Standard tuning. AAB. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 5. Raven (English Country Dance Tunes), 1984; pg.
168.
KING WILLIAM WALTZ. English, Waltz. England, Yorkshire. D Major. Standard tuning. AABBCCDD.
Source for notated version: an MS collection by fiddler Lawrence Leadley,
1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather
& Seattle (The Fiddler of Helperby),
1994; No. 93, pg. 53.
KING WILLIAM'S MARCH. AKA and see "The Boyne Water
[1]," "The Cavalcade
of the Boyne," "When the King
Came O'er the (Boyne) Water(s)," "The Battle of the Boyne (Water)."
King William = William of Orange.
KING WILLIAM’S RAMBLES. Irish, March (6/8). Ireland, County Donegal. A Mixoldyian. Standard
tuning. AABBCCDDEEFFGG’. See also the related “Langstrom’s Pony.” Source for notated
version: fiddlers Francie and Mickey Byrne (County Donegal) [Feldman &
O’Doherty]. Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 176.
KINGDOM, THE. See "Kingdom
Coming."
KINGDOM COME. AKA and see "Massa's Gone Away," "Kingdom Coming," "The Kingdom,"
"Year of Jubilo."
KINGDOM COMING. AKA ‑ "The Kingdom." AKA and see “Massa’s Gone Away,” "Year of Jubilo," "The Doodletown Fifer [2],” “T’Other Side of Jordan.” Old‑Time,
Song or Reel. USA; New York, Pennsylvania.
D Major. Standard tuning. AAB (Shaw): ABB (Mattson & Walz, Sweet): AABB
(Perlman): AA'BB (Ford). Composed as a song for the minstrel stage by Henry
Clay Work in 1862. This date, however, predates Lincoln’s Emancipation
Proclamation of 1863. The song was widely published in early 1860’s songsters
and was popular with Civil War soldiers, who, upon their discharges, helped to
spread the air into folk tradition. Charles Wolfe (1991) says the song is to be
found more in white than black songsters. Bill Hicks (1975) notes that while
the air seems to have been popular with older traditional musicians, the song
(which celebrates the end of slavery) is never heard sung.
***
African-American collector Thomas
Talley (born c. 1870) printed a version in his book Negro Folk Rhymes (1922) called “Year of Jubilee,” collected from
an African-American informant. It also appears in Newman White’s American Negro Folksongs (1928), with
notes. Talley’s words differ from the usual:
***
Niggers, has you seed ole Mosser;
(Red mustache on his face.)
A-gwine ‘roun’ sometime dis mawnin’,
‘Spectin’ to leave de place?
***
Nigger Hands all runnin’ ‘way,
Looks lak we mought git free!
It mus’ be now de Kingdom Come
In de Year o’ Jubilee.
***
Oh, yon’er comes ole Mosser
Wid his red mustache all white!
It mus’ be now de Kingdom Come
Sometime to-morrer night.
***
Yanks locked him in de smokehouse cellar,
De key’s throwed in de well;
It sho mu’ be de Kingdom Come.
Go ring dat Nigger field-bell!
***
“Kingdom Coming” is cited as having
commonly been played for Orange County, New York country dances in the 1930's (Lettie
Osborn, New York Folklore Quarterly),
and by central Pa. fiddlers Ralph Sauers, Harry Daddario, and Archie Miller. It
has been collected in the fife as well as fiddle tradition in Pennsylvania.
Kirk and Sam McGee recorded the song in 1927, although later in life Kirk
believed it was a mistake (perhaps because of the pro-Union sympathies
expressed) and blamed the idea on their agent at the time, who thought it would
be a good idea. See also notes to “Massa’s Gone Away” and “Year of Jubilo” for
more on fiddled versions. Sources for notated versions: Harry Daddario (Buffalo
Valley region, Pa.) [Guntharp]; Angus McPhee (b. c. 1929, Mt. Stewart, Queens
County, Prince Edward Island) [Perlman]. Arnold (Folksongs of Alabama), 1950. Ford (Traditional Music in America), 1940; pgs. 69 & 339. Guntharp (Learning the Fiddler’s Ways), 1980; pg.
91. Mattson & Walz (Old Fort
Snelling... Fife), 1974; pg. 68. Ostling, 1939; No. 13. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 159. Shaw (Cowboy Dances),
1943; pg. 384. Sweet (Fifer’s Delight),
1964/1981; pg. 20. Flying Fish FF‑009, The Red
Clay Ramblers ‑ "Stolen Love" (1975). Vocalion 5167 (78 RPM),
Sam and Kirk McGee (1927. Learned from their father, c. 1910).
X:1
T:Kingdom Coming
L:1/8
M:2/4
K:C
E/D/|CE E>G|Ge e/d/c/A/|GG c>E|D3 E/D/|CE E>G|Ge/e/ e/d/c/A/|GB
d>c|
c3 c/B/|AA A/B/c/A/|G>A G/F/E/F/|GE c>E|D3 E/D/|CE E>G|Ge/e/ e/d/c/A/|
GB d>c|c3 c/B/||A>B c>A|c3 A|G/^F/G/A/ GE|D3 E/D/|CE EG/c/|ee/f/ e/d/c/A/| GB d>c|(c2 c)||
KINGDOM OF FIFE, THE. Scottish, Country Dance Tune (9/8 time). This
melody 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."
KINGERY HORNPIPE. Old‑Time, Breakdown. USA, Missouri. G Major. Standard tuning.
AABB. Source for notated version: Dr. Jimmy Gray (St. Louis County, Missouri)
[Christeson]. R.P. Christeson (Old Time
Fiddlers Repertory, Vol. 2), 1984; pg. 70.
KINGFISHER, THE. Irish, Hornpipe. D Major. Standard tuning.
AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black.
Black (Music’s the Very Best Thing),
1996; No. 80, pg. 41.
KINGPIN. AKA and see "King Pin Jig."
KING’S.
AKA and see “King’s Fancy.”
KING'S, THE. See “The King’s Reel.”
KING'S COMPLAINT. AKA and see "Fain I Would."
English, Country Dance Tune (6/4 time). D Dorian. Standard tuning. AB. The tune
appears under this title in Elizabeth
Rogers' Virginal Book. Chappell (1859) was of the opinion that this tune
was considerably older than the mid‑17th century, when it appears in
publications, and offers as proof the widely differing variants in Elizabeth
Rogers' MS and Playford's Dancing Master.
Chappell (Popular Music of the Olden
Times), vol. 1, 1859; pg. 295.
KING'S DELIGHT, THE. AKA and see "When once I lay with another
man’s wife," "The
gamesters and lawyers." English, Air and Country Dance Tune (6/4
time). D Major. Standard tuning. AB. The tune appears in Playford's Musick's
Handmaid (1678), Introduction to the Skill of Musick (14th edition,
1700) and other of his publications. A manuscript collection dated 1704 known
as "Agnes Humes' MS" (at one time kept in the Advocate's Library,
Edinburgh) also contains the piece. John Gay adapted it for a song in his
ballad opera The Beggar's Opera (1728) where it is known as "The
gamesters and lawyers are jugglers alike," though Kidson finds it had been
previously used as a air for a "not over refined song" (Kidson
puriently refuses to print even the first line of that ribald piece, but
mentions it is given in the early editions of Gay's opera as the original name
of the air). Arnold made further use of the melody in his opera "Two to
One" (1784). Kidson (Old English
Country Dances), 1890; pg. 2. Harmonia Mundi
907101, The King's Delight - "17c. Ballads for Voice and Violin Band"
(1992).
X:1
T:King’s
Delight, The
M:6/4
L:1/8
R:Triple
hornpipe
S:Frank
Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s
Companion
K:D
d4 d2
a4a2|f3e e2 d3e d2|e3f e2 a3b ag|f6 e6||
d4 d2 a4a2|f3e
f2d2e2f2|g3a g2 f3e f2|e2d2e2A2B2c2|
d2e2f2 gf
ed3|e6 d6|e4 f2 gf ed3|e6 d6||
KING’S FANCY.
AKA and see “Blue Angel.” AKA – “Liam
King’s,” “King’s Favorite.” Irish, Jig. B Flat Major (‘A’ part) & G Minor
(‘B’ part). Standard tuning. AAB (Miller & Perron/2006): AABB (McGuire
& Keegan, O’Malley): AABB’ (McNulty, Miller & Perron/1977). Composed by
the late Liam King, a piano player who lived in Belfast and Dublin. Randy
Miller notes the ‘B’ part is similar to the Cape Breton played jig “The
Champion Jig.” Source for notated version: from a tape by fiddler Seán Maguire
[O’Malley]. McGuire & Keegan (Irish
Tunes by the 100, vol. 1), 1975; No. 8, pg. 2.
McNulty (Dance Music of Ireland),
1965; pg. 19. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 2, No. 17 (appears as “King’s
Favorite”). Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 25. O’Malley (Luke O’Malley’s Collection of Irish Music,
vol. 1), 1976; No. 82, pg. 41. Avoca
139, Seán Maguire (with the Four Star Quartet {Seán Maguire, William Power,
Seán Cotter, Eileen Lane})‑‑"Music of Ireland."
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:
1
T:
King's
M:
6/8
L:
1/8
Q: 325
S: Luke O'Malley vol 1
Z: Transcribed by Bill Black
R: Jig
K: Gm
B/c/ | dcB {c}BAB | GBe FBd | EGe DFB | cAF f=e_e
|
d2 B {c}BA_A | GBe FBd | EGc DFB | AGF G2 :|
|: c | dcB {c}BAB | dBG BAG | A^FD cAF | ded cBA
|
d2
B {c}BAB | dBG BAG | A^FD dcA | BG^F G2 :|
KING'S FAVORITE, THE. See “King’s Fancy.”
KING'S GUN, THE. Scottish, Reel. A Mixolydian. Standard tuning.
AABB'. From Ross's Collection. MacDonald (The
Skye Collection), 1887; pg. 11.
X:1
T:King’s Gun, The
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
e|A<Aag fe a2|A<A a2 cAAc|A<A
ag fe =g2|B<B g2 BGG:|
a|A<AeA c2 Aa|A<A eA
cAAa|A<AeA c2 Ac|B<B =g2 BGGa|
A<AeA c2 Aa|A<AeA cAAc|d2 fd
c2 ec|B<B =g2 BGG||
KING'S HEAD. AKA and see "Soldier's Joy
[1]," "King's Hornpipe [1],"
"(I) Love Somebody [1],"
"Payday in the Army."
English (origianlly), American; Reel. D Major. Standard tuning. AABB.
"Kings Head" was the name "Soldiers Joy" went by in areas
of the northern U.S., especially in Pennsylvania; it is an immensely popular
tune and in nearly every fiddler's repertory (see note for "Soldier's
Joy"). Bayard (1944) relates that a Pennsylvania story exists to explain
this name concerning a condemned man who saved himself by playing this tune for
the king; this will be recognized as an old legend, having attached itself in
another form to such tunes as "Camp
Chase" and much earlier (in a variant form) to "MacPherson's
Farewell." Influential North
Carolina fiddler Tommy Jarrell also heard the story of "King's Head"
and repeated it to an interviewer in 1982 (see Peter Anick, "An Afternoon
with Tommy Jarrell," Fiddler
Magazine, Spring 1995), though the melody was not known by that title in
his region (Jarrell knew the tune variously as "Love Somebody,"
"Soldier's Joy" and "Payday in the Army;" it was not
recorded where and when he heard the "King's Head" story and it may
be heard heard it from one of many young musician visitors who frequented his
home in his later years). Seattle fiddler and musicologist Vivian Williams
writes: "’The King’s Head’ was played by fiddler Jake Lake
(originally from Cook County, Illinois) at the wedding of Henry Van Asselt and
Catherine Jane Maple in a cabin on the Duwamish River, near Seattle, on
Christmas Day, 1862, according to an account written by the bride's brother,
John Wesley Maple. Other tunes played at that wedding: ‘’The
Unfortunate Dog’, ‘Fishers Hornpipe’, ‘Devil’s Dream’, ‘Gal on a Log’,
‘Arkansas Traveller’.”
***
Despite the story of the condemned
man, the title probably has more to do with its association to the alternate
titles “Soldier’s Joy” and “Payday in the Army.” It is recognized that money, often a joy to soldiers (especially
when paydays were irregular during hostilities), carries numerous
euphemisms. Among these are references
to a sovereign whose picture was stamped on the obverse of coins; note, for
example, the phrase ‘taking the Queen’s shilling’ for the bounty upon enlisting
once upon a time in the British army.
In a similar sense, the title ‘the kings head’ may refer to money paid
out in coin stamped with a male sovereign.
***
The King’s Head was also the name of
many taverns in England, referred to from the 16th century on. One
famous King’s Head was in Southwark, an area that featured a competing
establishment called The Queen’s Head. Another King’s Head inn at the corner of
Chancery Lane, dating from the time of Edward VI, was the residence of Izaak
Walton and appears in all his illustrated editions of his book The Compleat
Anger, which he advertised to be “sold at his shopp in Fleet Street; under the
King’s Head tavern.” Perhaps the oddest story connected to a King’s Head
establishment was regarding the tavern adjacent to Stationers Hall Court,
accessed through a doorway that passersby would scarcely glance at. Through the
door was “a long passage, at the end of which was a roomy tavern with quaint
corners, and originally known by the sign of
the ‘King’s Head’, at which time it was a fashionable coffee and
chop-house. At the beginning of the 19th century the famous fat man,
Daniel Lambert, took up his lodgings at this house, and here he held public
receptions, at which visitors, for a modest fee, might look upon his fifty-two
stone (728 lbs.) of human flesh. For years after Lambert had departed this life
his portrait in oils hung upon the tavern walls, and his walking-stick was also
preserved as a curiosity” (Hackwood, 1909). Charles Dickens (in Household Words, vol. 12, 1855) writes
that pleasure gardens and music halls had to be licensed in London in the last
half of the 18th century, a license which had to be renewed annually
at the Middlesex quarter sessions (although theatres such as Drury Lane, Covent
Garden and the Opera House were exempt, as they had special crown-licenses).
Not surprisingly, this limited the number of venues. Ones that were licensed
were “Saddler’s Wells, which has since grown into a temple of Shakespeare;
another was Bagnigge Wells; a third was Rannelagh; while others were Marybone
Gardens, the Bell and the Angel at Edmonton, the King’s Head at Enfield,
the Long Rooms at Hampsted, White Conduit House, Islington Spa, the Adam and
Eve tea-garden, the Shepherd and Shepherdess, &c. Some of these had much
celebrity in their day.”
***
Bayard traces the tune itself to
Europe: "Either in part or as a whole, this tune also has international currency:
see J. Tiersot, 'Chansons Populaires Recueillies dans les Alpes Francaises', p.
532, tune No. 3‑‑an air (one of the 'monferines') with a second
part closely resembling the second of No. 21. See also Burchenal, Folk‑Dances of Finland, p. 36,
'Ten Person's Polka', pp. 78, 79, the whole of No. 21 as the second part of a
'Kontra'; Yngvar Heikel, Finlands Svenska
Folkdiktning, VI, B, Folkdans (Helsingfors: Utgivna av Svenska
Litteratursallskapet i Finland, No. 268, 1936), pp. 69, 'Gammalmodig Atta'; 73,
No. 1b, 'Stampantakt'; 264, 'Fein Engelska'; 283, 'Kokar Engelska'; 310, 'Sex
Man Engelska'. The names of the dances connected with these Swedish‑Finnish
versions suggest that tunes and steps alike were introduced from British
tradition" (Bayard, 1944). In his
1981 publication he stated the tune dated back to the latter part of the
1700's, and that it had since become as popular on the fife as on the fiddle.
Sources for notated versions: Mrs. Sarah Armstrong, (Derry, Pennsylvania, 1943)
[Bayard, 1944]; Hiram White (elderly fiddler from Greene County, Pa., 1930's),
George Reed (elderly fiddler from Centre County, Pa., 1930's), and George
Strosnider (elderly fiddler from Greene County, Pa., 1930's) [Bayard, 1981].
Adam, No. 2. Aird, (Selections) vol. 1;
No. 109. American Veteran Fifer, No.
93. Bayard (Hill Country Tunes),
1944; No. 21. Bayard (Dance to the Fiddle),
1981; No. 332A‑C, pgs. 303‑310. Burchenal, 1918; p. 6. Cole (1001 Fiddle Tunes), 1940; p. 24. DeVille,
No. 76. Ford (Traditional Music in
America), 1940; p. 95 (2d part of "Coonie in the Creek").
Greenleaf and Mansfield, 'Ballads and Sea Songs of Newfoundland', p. 377 (a
quadrille with a second strain which corresponds to part 2 of 'King's Head'). Harding's Original Collection, No. 20.
Howe's School for the Violin, p. 37. Jigs and Reels, p. 22. Kerr (Merry Melodies), vol. 1; No. 6. Krassen
(Appalachian Fiddle), 1973; pgs. 15
& 45. Levey, No. 90. Linscott (Folk
Songs of Old New England), pp. 110, 111. O'Neill, Music of Ireland, No. 1642. Raven (English Country Dance Tunes), 1984; pg. 166. Robbins, No. 56. Roche Collection, vol. 2, No. 216. Saar,
No. 14. Seventy Good Old Dances, p.
14, No. 9. Sweet (Fifer’s Delight),
1964; pg. 43. Sym's Old Time Dances,
p. 31. Thede (The Fiddle Book), pg.
118. White's Excelsior Collection, p.
72.
KING’S HEAD [2], THE.
English, Country Dance Tune (3/2 time). G Major. Standard tuning. ABC.
Geoghegan (Compleat Tutor for the
Pastoral or New Bagpipes), c. 1745-46; pg. 31.
X:1
T:King’s Head, The [2]
M:3/2
L:1/8
S:Geoghegan – Compleat Tutor for the Pastoral or New Bagpipe (c. 1745-46)
Z:AK/Fiddler’s Companion
K:G
G4B2d2 g4 | d2 cB agfe d4 | g2 fe
dcBA G2 ed | cdec dBcA G4 | defg acdc acdc | cBAB cBAB {G}F4 |
DEFG AcBA Ggfe | dcBA BGAF G4 || d4
f2a2 d4 | d2cB agfe d4 | efga Bede cede | Bede BAGF E4 |
gfge d2B2 F4 | edge F2E2 D4 | DEFG
AcBA Ggfe | dcBA BGAF G4 || E4 G2B2e4 |
gfge c2B2A4 |
Bcde fedc BdcB | agfe dDcA B4 | dBGB
dfed e2dc2 | ecAc egfe f2d2 | gfed cBAG Fedc | BAGB AGAF G4 ||
KING'S HEALTH [1], THE. AKA and see "Joy to Great Caesar," "Farinell's Ground." English,
Air. The tune appears in D’Urfey’s Pills
to Purge Melancholy, vol. II (1719).
KING'S HEALTH [2], THE (Deoch slaint' an Righ). Scottish, Slow Air (3/4 time). B
Minor. Standard tuning. AAB. "The words and music to this air appear to be
the composition of MacIntyre, a bard belonging to the district of Breadalbane,
who has published a volume of Gaelic Poetry, and is ing genuine praise of our
present GRACIOUS AND BELOVED SOVEREIGN, and of the benefits we have enjoyed
under his mild and benign government. The air is incomparably grand, though
simple, and worthy of verses appropriate to the original subject, which is
justly but lically handled in the Gaelic, yet, with the ornament or patriotic
and loyal verses, might even rival 'God Save the King'" (Fraser). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 109, pg. 42.
X:1
T:King’s Health, The
T:Deoch slaint’ an Righ
M:3/4
L:1/8
R:Slow Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:D
B>c B3A|B>c d3e|d>e f3e|d>c d3B|A>A B3A|B>d e3B|d>e d3c|
d>e f3g|f>B B3^d|e>f e3c|d>e f3e|d>B A3G|F>G A3g|f>e d3c|
B>A F3E|F>^A B3 B||d>e d3D|d>e f3e|d>D f3e|d>c d3B|e>f e3^d|
e>f g3b|a>g f3e|d>e f3g|f>B B3^d|e>f e3c|d>e f3e|d>B A3G|
F>G
A3g|f>e d3c|B>A F3E|F>^A (B3 B)||
KING'S HORNPIPE [1], THE. AKA and see "Soldier's Joy [1]." English,
Hornpipe. England, Northumberland. D Major. Standard tuning. AABB. "An
early appearance of 'Soldier's Joy'" (Seattle). Kerr (Merry Melodies), vol. 1; pg. 3. O'Neill (1001 Gems); No. 868 (appears as “Soldier’s Joy”). Seattle (William Vickers), 1987, Part 2; No. 246.
KING’S HORNPIPE [2]. AKA and see “Forty Gun
Frigate.”
KING'S HOUSE, THE. Scottish. Composed by Bobby McLeod.
KING’S INN, THE.
Irish, Jig. Composed by fiddler James Kelly, originally from Dublin,
named for the first school he attended in the city. Capelhouse
Records, James Kelly – “Traditional Irish Music” (1996).
KING'S JIG [1], THE. AKA and see "At Winchester Was a Wedding,"
"The Winchester Wedding."
English, Air (9/8 time). B Flat Major. Standard tuning. ABB. The tune appears
in The Dancing Master (1686 and later
editions), Pills to Purge Melancholy,
180 Loyal Songs, and many of the
ballad operas of the early 18th century. The alternate title comes from a
ballad written to the tune by Thomas D'Urfey and published in 1684. Chappell
(1859) says "jigs were danced by persons of all ranks during the latter
half of the seventeenth century; and this having been published as 'The King's
Jig', during the life of Charles II, we may suppose it to be one of the tunes to
which his Majesty danced." Chappell (Popular
Music of the Olden Times), vol. 2, 1859; pgs. 49‑50.
X:1
T:King's Jig, The
T:In Winchester Was A Wedding
M:9/8
L:1/8
R:(Slip?) jig
S:Chappell's Popular Music of the Olden Times
O:English
Z:Eric Root
N:Transposed from B-flat
K:A
A,|CDEF2E ECA,|CDEA2FB2B,|CDEF2E
ECE|FGA BGEA2A,|
CDEF2E ECA,|CDE AGFB2B,|CDEF2E
ECE|FGA BGEA2|
|:f|efc e2AB2F|BcdF2BG2E|AFD FAF
BGc|FGAA2GA2:|
KINGS JIG [2], THE. AKA and see “King of
Jigs,” “The Lark’s March.” Bulmer &
Sharpely (Music from Ireland), 1976,
vol. 4, No. 64.
KING’S JIG [3], THE. Scottish (?), Jig. D Major. Standard tuning.
AABB. McGlashan (Collection of Scots Measures), c. 1780;
pg. 22.
X:1
T:King’s Jig
M:6/8
L:1/8
R:Jig
B:McGlashan – Collection of Scots Measures
(c. 1780)
Z:AK/Fiddler’s Companion
K:D
def efg|f>gf eBe|c3 B2A|Bgf
edc|Bgf edc|d3 D2:|
|:F2A AFA|BGB AFD|E3 A,3|F2A AFA|BGB
Adc|d3 D2:|
KING’S LAMENT. AKA and see “Dicky’s Discovery.” Old-Time,
Breakdown. D Major. Standard tuning. AB. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 84.
KING'S MARCH, THE. American, March (2/4 time). USA, southwestern
Pa. G Major. Standard tuning. AB. Bayard was unable to trace this tune to
British antecedents, though he thought it sounded Scottish. Source for notated
version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960)
[Bayard]. Bayard (Dance to the Fiddle),
1981; No. 358, pg. 355.
KING'S NEW HEALTH, THE. AKA and see "Lumps of Pudding."
KINGS OF KERRY. AKA and see “Mike Scott’s.”
KINGS OF INISHBOFIN, THE. Irish, Jig. Composed by Charlie Lennon in
honor of the Kings, a family of musicians.
X:1
T:Kings of Inishbofin, The
M:6/8
L:1/8
C:Charlie Lennon
R:Jig
K:D
AB/c/d AFA | GEE EFG | Ace ged | cdc
Bcd |
Add AFA | G/G/FG EFG | Ace ged | cBA
d2 B:||
Aff {a}fdA | Bgg {a}gfe | Agg {a}gfe
| Aea bag |
fag fdA | Bgg {a}gfe | cea bag | fge
d2B:||
KING'S PENNY. English, Country Dance Tune (6/8 time). F Dorian. Standard tuning.
AABB. Barnes (English Country Dance Tunes),
1986.
KING'S REEL, THE. Scottish (originally), Canadian; Reel. Canada;
Cape Breton, Prince Edward Island. A Dorian (Skye): A Mixolydian (Dunlay &
Reich, Dunlay & Greenberg/MacLean, Little): A Mixolydian/Dorian (Dunlay
& Greenberg/MacMaster): A Minor {'A' part} & A Mixolydian {'B' part}
(Kerr, Athole). Standard. AAB (Little, Shears, Skye): AABB’ (Kerr, Athole):
AA’BB’ (Perlman): AABCCD (Dunlay). Dunlay and Reich (1986) remark that this is
a favorite among audiences in Cape Breton; "loud whoops of excitement are
often heard at dances when the fiddler changes into this tune during a
medley." Shears (1986) agrees, saying it is “an old reel still
popular in Cape Breton.” The melody is frequently played in
Nova Scotia in a medley following "King George the IVth"
strathspey and with "The Old
King's Reel," especially for stepdancing note Dunlay and Greenberg
(1996). It was set for bagpipes by Barry Shears in his Gathering of the Clans Collection (1986). The tonality in the ‘A’
part of all versions shifts between Mixolydian and Dorian. Perlman (1996)
states the third part (or B’ in
Perlman’s book) is a Cape Breton addition. Source for notated version: Buddy
MacMaster (Cape Breton) [Dunlay & Reich]; Buddy MacMaster and Joe MacLean
(Cape Breton) [Dunlay & Greenberg]; Paul MacDonald (b. 1974, Charlottetown,
Queens County, Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape
Breton), 1996; pg. 41. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986 pg. 47. Kerr
(Merry Melodies), Vol. 2; No. 64, pg.
9. Little (Scottish and Cape Breton
Fiddle Music in New Hampshire), 1984; pg. 36. MacDonald (The Skye Collection), 1887; pg. 106.
Perlman (The Fiddle Music of Prince
Edward Island), 1996; pg. 89. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 57. Stewart-Robertson
(The Athole Collection), 1884; pg.
42. ATL 0193, Howie MacDonald - “The Ceilidh Trail”
(1993. Appears as “King George IV Reel”). Celtic CX051, Donald MacLellan.
Celtic CX036, Jimmie MacLellan. DMP6‑27, Doug MacPhee‑ "Cape
Breton Piano II" (1979). Culburnie Records CUL102c, Alasdair Fraser &
Jody Stecher – “The Driven Bow” (1988). Decca 14024 (78 RPM), Alex Gillis‑
"The Inverness Serenaders." Rodeo (Banff) RBS 1246, Joe MacLean‑
"And His Old Time Scottish Fiddle." RF8901, John Morris Rankin/The
Rankin Family- “The Rankin Family” (1993). Rodeo RLP 107, Joe MacLean - “And
his Old Time Scottish Fiddle” (c. 1967). Rounder 7006, Theresa MacLellan‑
"A Trip to Mabou Ridge” (1979). Rounder 7004, Joe Cormier‑ "The
Dances Down Home" (appears as "King George the Ivth"). Topic
12TS354, Alex Francis MacKay - “Cape Breton Scottish Fiddle” (1978).
X:1
T:Kings, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Amin
B,|A,/A,/A, EA, FA,EA,|A,/A,/A, EA, CA,A,E|A,/A,/A, EA, FA,EF|
GEDC B,G,G,:|e|^cAeA aAeA|^cAeA cAAe|^cAeA aAe^f|
gedc BGGB|^cAeA aAeA|^cAeA cAAc|d2 Bd c2Ac|Bgdg BGG||
X:2
T:King's Reel, The
M:2/2
L:1/8
Q:180
R:Reel
K:D
|:B,|(G,A,)EA, FA,EA,|(G,A,)ED CA,A,B,|(G,A,)EA, FA,EF|G2 DC BG,G,:||:d|
(3cBA eA aeed|(3cBA eA caad|(3cbA eA agef|gdd=c BGGB| (3cBA ea aeed|
(3cBA eA cAAB|=c2 dc B2 (Gc)|Bgdg BG G:||:B,|(G,A,)EA, FA,EA,|(G,A,)ED CA,A,B,|
(G,A,)EA, FA,EF|G2 DC BG,G,:||:d|cA A/2A/2A eaed|cAeA cAAd|cA A/2A/2A agef|
gedg BGGB|cA A/2A/2A eaed|cAeA cAAc|dfed {cd}c2 Ac|Bgdg
BGG||
KING'S TUNE, THE (Porst an Righ). See "White Houses of Sheildaig
(Taighean Geala Sheildaig)".
KINGSAIL. English, Country Dance Tune (cut time). G Minor. Standard tuning.
AABB’. The melody appears in John Young’s third volume of the long running Dancing Master series, 2nd
edition (London, 1726). Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 70.
KINGSAIL: A NEW TUNE. English, Country Dance Tune.
The melody appears in Henry Playford’s Apollo’s
Banquet, 5th edition (1687), 6th edition (1690) and 7th
edition (1693).
KINGSBURY JIG. English, Jig. A version of “The Oyster Girl.” The verse below was used as a mnemonic for the tune, according to Mike Yates (2002):
***
Saturday night I lost
my wife,
And where do you think
I found her?
Up in the moon,
playing a tune,
With all the girls around her.
***
See
also note for “Saturday Night [2]."
KINGSBURY REEL. Old-Time, Breakdown. D Major. Standard tuning. AABB. Source for notated
version: Bill Christopherson [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 132.
KINGSPORT. AKA and see "Temperance Reel,"
"Teetotaler('s Reel),"
"Devil in Georgia [1],"
"Old Tiddley-Toe."
KINGSTON, THE. AKA and see “Kingstown Hornpipe.” Irish,
Hornpipe. G Major. Standard tuning. AABB. See also the related “Whistling Mike.” Allan's Irish Fiddler, No. 95, pg. 24. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 77. Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 15.
X:1
T:Kingston Hornpipe
M:4/4
L:1/8
R:Hornpipe
K:G
D/E/F|GFGB dBgf|e/g/e ce dBGB|cBAc
BAGB|AGFA ecBA|
GFGB dBgf|e/g/e ce dBGB|cBAc
BAGB|AGFA G2:|
|:A/B/^c|d^cdf afdf|abc’b agfe|defg
abc’b a/b/a g/f/e d/e/d c/B/A|
GFGB dBgf|e/g/e ce dBGB|cBAc
BAGB|AGFA G2:|
KINGSTON VOLUNTEERS
QUICKSTEP.
English, March (2/4 time). D Major (‘A’ part) & B Minor (‘B’ part).
Standard tuning. AABB. Gibbons credits the tune to “J. Perry.” Source for
notated version: the 1823-26 music mss of papermaker and musician Joshua
Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner].
Sumner (Lincolnshire Collections, vol. 1:
The Joshua Gibbons Manuscript), 1997; pg. 33 (set for two instruments).
KINGSTON VOLUNTEERS
SLOW MARCH. English, March (cut time). D Major.
Standard tuning. AABB. Gibbons originally set the tune in the key of F major.
Source for notated version: the 1823-26 music mss of papermaker and musician
Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds)
[Sumner]. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 34 (set for
two instruments).
KINGSTOWN HORNPIPE. AKA and see “Kingston.” Irish, Hornpipe. G Major. Standard tuning.
AABB. O'Neill (O’Neill’s Irish Music),
1915; No. 373, pg. 179.
X:1
T:Kingstown Hornpipe
M:C
L:1/8
R:Hornpipe
S:O’Neill – O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:G
(3DEF | G>FG>A B>G g>f |
(3ege c>e d>BG>B | c>BA>c (3BdB G>B | A>GF>A
d>cB>A | G>FG>B d>Bg>f |
(3ege c>e dBG>B | c>BA>c
(3BdB G>B | A>GF>A G2 :: (3AB^c | d^cdf a>fd>f | a>bc’>b
a>gf>e |
d>ef>g a>bc’>b | a>g
(3f/g/f/e d>cB>A | G>FG>B d>Bg>f | (3ege c>e d>BG>B
| c>BA>c (3BdB G>B | A>GF>A G2 :|
KINGSVILLE. Canadian, Clog (4/4 time). Canada, Cape Breton. B Flat Major (‘A’ part)
& F Major (‘B’ part). Standard tuning. AB. Composed by Cape Breton fiddler
and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 66.
KININVIE HOUSE. Scottish, Strathspey. C Major. Standard tuning. AAB. Composed by William Marshall (1743-1832). Kininvie House is the
ancient home of the Leslies, located in lower Glen Fiddich. Moyra Cowie (The Life and Times of William Marshall,
1999) documents and obscure but interesting convergence through Kininvie House,
which was in Marshall’s time occupied by the family of Archibald Young of
Banff, the Duke of Gordon’s solicitor in Banff. Marshall was employed by the
Duke as Steward of the Household, and thus would have ample occasion to known
Young. Young and his wife retired to Kininvie House. Their son, George Young,
was commissioner to Sir Archibald Grant of Monymusk, the subject of the tune
famously known as “Monymusk.” Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 46.
X:1
T:Kininvie House
M:C
L:1/8
R:Strathspey
S:Marshall – 1822 Collection
Z:AK/Fiddler’s Companion
K:C
E>G GA/B/ c<E D2|E>GGA/B/
cGce|f/e/f/g/ a/g/f/e/ dDFD|EGGA/B/ cGce:|
~g>age d(DD) e/f/|~g>a g<e
cgec|f/e/f/g/ a/g/f/e/ d(DD)F|E(GG)A/B/ cGce|
~g>age d(DD) e/f/|~g>a g<e
cgec|f/e/f/g/ a/g/f/e/ dDFD|EGFA Gfeg||
KINLOCH
(OF KINLOCH). AKA and see "Blow the Wind Southerly (Home to
My Dear)," “Lacrum Cosh,” “Ligrum Cush,” "The Marquis/Marquess of Granby,"
“Mickey
Murphy{’s Jig},” “Mrs. Kinloch’s of Kinloch’s Favorite,” “Over the Water to Charlie,”
"Pot Stick," “Seán
Buidhe/Buí,” "The Shambuy/Shambuie," “Wishaw’s Delight,” “Yellow John [2].” English, Scottish, Irish; March (6/8 time) or Jig. England;
Northumberland, Shropshire, Dorset. D Major (most versions): C Major (Dixon).
Standard tuning. AB (Kerr, Stokoe & Bruce): AABB (Ashman, Kennedy, Plain Brown, Sweet): AABBCCDDEEFFGGHH.
The Gaelic name Kinloch means ‘end of the lake’. According to one source, tune
was named for a Newcastle dancing master and music publisher, and was published
around 1815. However, it appears somewhat older than that, and is sometimes
attributed to George Kinloch of Kinloch. Niel Gow and sons published it in their
Fourth Collection (1800) under the title “Mrs. Kinloch of Kinloch’s
Favorite” and attributed it to “Mr. Kinloch.” London musician Thomas Hammersley
included it in his music manuscript copybook, which he began in 1790. Glen (pg.
231) believes this title to the tune first appeared in John Watlen's Second Collection of Circus Tunes, 1798.
An alternate Scots title is “Over the Water to Charlie,” a reference to the
Jacobite Bonnie Prince Charlie. Violinist James William Bryson (b. 1852) of
Perth composed fine variation sets to the melody. It was the march tune of the
English army's 99th Regiment, the Duke of Edinburgh's (Wiltshire Regiment). The
melody is contained in the Hardy family manuscripts of Dorset (whose most
famous member was the novelist, Thomas Hardy). In Ireland “Kinloch of
Kinloch” can be found in the unpublished collection (1844-1846) of the a local
County Leitrim fiddle master named Blind Kiernan, however, Irish titles usually
are “Yellow John” or “Seán Buí.” Brendan Breathnach, in his Folk Music and Dances of Ireland,
identifies this jig as a favorite melody of Munster poets of the 18th
century as a vehicle for Irish verses. He identifies at least fifteen songs
having been written to it. “Blow the Wind Southerly” is a (Northumbrian) song also based on the
“Kinloch” tune. Dixon (1995) prints the tune with variation sets by
Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and
fiddler originally from Morpeth, Northumberland. “Kinloch of Kinloch” was
popular in America as well. It can be found in several early 19th
century collections, including Riley’s Flute Melodies, vol. 3 (New York,
1820) and (George) Willig’s Collection of Popular Country Dances, No. 2
(Philadelphia,1812). In manuscript form, it appears in the music copybooks of
fluter H. Canfield (Hartford, 1823), Morris Woodruff (Litchfield, Conn., 1803),
and Pierre Landron Duport (entitled “Miss George Anna Reinagle Music Book for
Fancy Dances”, Washington, D.C., 1825), while dance figures for the tune appear
in a copybook collection of community dances from New Harmony, Indiana, 1826.
Nevin’s Drummer’s, Fifer’s and Bugler’s Guide (Chicago, 1861) sets it as
a waltz, calling it “Dutch” (i.e. German). Sources for notated versions: a c. 1837-1840 MS by
Shropshire musician John Moore [Ashman]; an 1845-47 music manuscript by
musician Ellis Knowles (Radcliffe, Lancashire) [Plain Brown]; W. Cocks 20th century music manuscript in
the Morpeth Chantry Bagpipe Museum [Dixon]. Ashman (The Ironbridge Hornpipe), 1991; No. 33b, pg. 10. Dixon (Remember Me), 1995; pg. 55. Howe (Complete Preceptor for the Accordeon), 1843; pg. 9. Kennedy (Jigs
& Quicksteps, Trips & Humours), 1997; No. 93, pg. 23. Kerr (Merry Melodies), vol. 1; No. 19, pg. 32.
Martin (Taigh na Teud), 1990; pg. 5. Plain Brown Tune Book, 1997; pg. 17. Stokoe & Bruce (Northumbrian Minstrelsy), 1882; pg. 183
(appears as "Blaw the Wind Southerly"). Sweet (Fifer’s Delight), 1964/1981; pg. 23. FTX 121, The Barn Dancers (Jack
Armstrong’s Barn Dance Band) – “A North Country Rant.”
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
T:Kinloch
of Kinloch
M:6/8
L:1/8
R:Jig
B:Kerr
– Merry Melodies, vol. 1, pg. 32, No. 19 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
A|f>ed
AFA|BAB AFA|f>ed AFA|Bdc d2A|fed AFA|
BGB
AFA|f>ed AFA|Bdc
d2||a|a2a e2a|d>ed c>BA|
f2a
e2a|^g>fg a2a|b2b a2a|g>fg f>de|f>ed B<gf|eBc d2||
X:2
T:Dutch (Waltz)
S:William Nevins "Drummers, Fifers and Buglers Guide" , Chicago, 1861
M:3/4
L:1/4
K:D
d//e//|f>ed|
|:a|f2a|e2a|
bgb|afa|geg|
KINLOCH'S GRAND
HORNPIPE. AKA and see "Mrs. Taff," "The Banks Hornpipe." "This
hornpipe is usually attributed to an as yet unknown composer 'Parazotti', but
it could possibly be a set of a piece which was danced to by one Mme Parisot,
who retired from the London stage to marry in 1809" (Alburger, 1983). The Gaelic name Kinloch means ‘end of the lake’.
KINNARD POLKA, THE. Irish,
Polka. Composed by New York fiddler and teacher Martin Mulvihill (1919-1987),
named after a townland in County Limerick.
Mulvihill was originally from Glin, County Limerick, and emigrated to
New York in the 1950’s. Mulvihill (1st
Collection), 1986. Ossian OSS CD 130, Sliabh Notes
– “Along Blackwater’s Banks” (2002).
KINNEGAD SLASHERS, THE (Buailteoiride Ceann-Na-N-Gad). AKA and see “Bannocks’ o’ Barley Meal,” “Barley Meal,” “Kenmure’s/Kenmuir's
On/Up and Awa' (Willie),” "Land
of Sweet Erin," "O! An
Irishman's Heart," "O! Merry Am I,"
“The Old Brags,” "Paddy
Digging For 'Goold'," "Powers
of Whiskey,” “Slashers." Irish,
Double Jig or March. D Major (most versions): C Major (Howe). Standard. AABB
(Howe, O’Farrell): AABC (Sweet): AABBCC (Kerr, O'Neill). The tune was first
published in the third volume of O’Farrell’s
Pocket Companion (London, 1804-16). The first appearance in America was in
John Paff’s Gentleman’s Amusement No. 2 (New York, c. 1812), as
“Kinneygad Slashers.” O’Neill, in Waifs
and Strays of Gaelic Melody (1922), proposed this tune as the antecedent of
"Turkey in the Straw." There
is some resemblance in the first part, but in general the relationship is seen
by most as incidental and not relational, and there are better claims for the
derivation of “Turkey in the Straw.” O’Neill says the tune can be played either
as a jig or a march. The tune was popular during the 78 RPM era and was
frequently recorded.
***
Gearóid Ó hAllmhuráin proposes that
this tune was originally dedicated to the Kinnegad, Westmeath, hurling team
(hurling being played with ash sticks in a decidedly rough-and-tumble
encounter!). However, the title may actually honor an Irish yeomanry unit
called the Kinnegad Cavalry, who, on July 11th, 1798, found
themselves in defence of Clonard against the rebels. The attack of the United
Irishmen was repulsed and the attackers dispersed, whereupon the cavalry of the
Kinnegad Yeomen pursued them with much slaughter. Their success in this
engagement earned them the sobriquet of Kinnegad Slashers. The Journal for
Army Historical Research, Vol. IV, gives that “a lively melody, still
popular in Ireland, was named The Kinnegad Slashers in complimentary
commemoration of the achievements of that corps at Clonard.” The tune has been
the regimental slow march of the Gloucestershire Regiment, the ‘Glosters’, who
inherited the nickname of the Old Brags from the 28th Regiment of
Foot. Gloucestershire fiddler Stephen Baldwin (1873-1955), a veteran of the
regiment, had this tune in his repertoire under the title “The Old Brags.” In
Scotland the tune is usually known as “Kenmure’s On an’ Awa Willie,” after a
Jacobite song of that name, according to Nigel Gatherer. It was recorded in the
music manuscript copybook of fiddler John Burk, dated 1821, in the key of ‘C’
under the title “The Irishman in London,” with the note that it is a ‘Song’.
The “Irishman” title is that of a farce by English dramatist William Macready
(1755-1829), called The Irishman in
London; or, the Happy African (1793), although there was no music in the
play. Source for notated version: fiddler James Kelly [Ceol]. Cahusac (Annual
Collection of Twenty Four Favorite Country Dances for 1809), 1809; No. 16.
Ceol, VI, 1, April, 1983; pg. 14. Howe (Complete Preceptor for the Accordeon),
1843; pg. 10. Kerr (Merry Melodies),
vol. 2; No. 245, pg. 27. O’Farrell (Pocket
Companion, vol. III), c. 1808; pg. 31. O'Neill (O’Neill’s Irish Music),
1915/1987; No. 151, pg. 86. O'Neill (Krassen), 1976; pg. 40. O'Neill (Music
of Ireland: 1850 Melodies), 1979; No. 901, pg. 168. O'Neill (Dance Music
of Ireland: 1001 Gems), 1986; No.
148, pg. 39. O’Neill (Waifs and Strays of
Gaelic Melody), 1922; No. 237b. Ryan’s
Mammoth Collection, 1883; pgs. 93 & 105. Sweet (Fifer’s Delight), 1964/1981; pg. 30. “The
Caledonian Companion” (1975). Celtic
Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin”
(1999. Learned from East Galway/Bronx, N.Y., flute player Jack Coen). Shanachie
34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of
Ireland” (1995).
X:1
T:Kinnegad Slashers, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
148
Z:AK/Fiddler’s Companion
K:D
A|d>ed dAF|A>BA ABc|d>ed
dAF|E<ee e2f|d>ed dAF|ABA Aag|fef dBA|B<dd d2:|
|:A|d>fa afd|c>de ecA|d<fa
afd|f<aa a2A|d<fa afd|c>de eag|fef dBA|B<dd d2:|
|:(3A/B/c/|dAF dAF|A>BA ABc|dAF dAF|E<ee e2f|
dAF dAF|A>BA Aag|fef dBA|B<dd d2:|
X:2
T:Kinnegad Slashers, The
M:6/8
L:1/8
S:O'Farrell's Pocket Companion 1804-10
Z:Paul Kinder
R:Jig
K:D
B/2c/2|d>ed dAF|A>BA ABc|d>ed dAF|Eee e2 f|
d>ed dAF|ABA A2 g|f>ef dBA|Bdd d2:|
|:A|dfa afd|cde ecA|dfa afd|faa a2 A|
dfa afd|cde eag|fef dBA|Bdd d2:||
X:3
T:The Irishman in London
M:6/8
L:1/8
S:John Burk’s music manuscript
copybook (1821)
N:”Song”
N:The melody is the Irish jig
“Kinnegad Slashers”
Z:AK/Fiddler’s Companion
K:C
G|c>dc cGE|G>AG GAB|c>dc
cGE|Ddd d2 e/d/|c>dc cGE|
G>AG G2f|e>de cAG|Acc c2G|ceg
gec|Gcd dBG|ceg gec|
ecc c2G|ceg gec|Bcd def|ede cAG|Acc
c2 e/d/|cGe cGE|GGG G2e/d/|
cGE cGE|Ddd d2 e/d/|cGE cGE|GGG
G2f/e/|dec AGA|Acc c2||
KINNON AND BETTY LOU AT WEST
MABOU. Canadian, Jig. Canada, Cape Breton. B Flat
Major. Standard tuning. AABB’. Composed by Cape Breton fiddler Dougie
MacDonald. The title to fiddler Kinnon Beaton, of Mabou, Cape Breton, and his
wife Betty MacMaster Beaton who are renowned for their music for dancing.
Cranford (Jerry Holland: The Second Collection), 2000; No. 244, pg. 89.
KINNON BEATON.
Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB.
Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009)
in honor of Mabou, Cape Breton, fiddler Kinnon Beaton. Kinnon and his family
are heirs to a rich local and generational musical tradition. He is the son of
blacksmith and fiddler Donald Angus Beaton and Elizabeth MacEachern. Cranford (Jerry
Holland: The Second Collection), 2000; No. 299, pg. 206. Jerry Holland – “Crystal Clear” (2000).
KINRARA (STRATHSPEY)
[1]. AKA and see "Countess of Dalkeith."
Scottish, Strathspey. B Flat Major. Standard tuning. AB (Marshall): AAB
(Athole, Hunter). Kinrara was the summer residence "where the Duchess of
Gordon resided in Badenoch" (Marshall). The strathspey was composed by William Marshall (1748-1833) on short notice, at the request
of Jane, Duchess of Gordon, wife of his patron and employer, Alexander, the
fourth Duke of Gordon. Moyra Cowie (1999) writes that Jane had become estranged
from Alexander because of his liason with Jean Christie, the daughter of the
housekeeper at Gordon Castle, and since she would not abide long in the same
house, she had Kinrara built on the banks of the Spey in Badenoch, below the
hill of Tor Alvie. The tune was first published in 1800 by Pietro Urbani and
Liston (Edinburgh), alongside a piece by the Duke (who was an amateur fiddler)
called “Brodie House.” It was
republished by the Gows in their Fourth
Collection (1800) under the title "The Countess of Dalkeieth,” without
crediting Marshall. Jane Gordon died in 1812 and is buried on the Kinrara
estate, overlooking a broad curve in the Spey.
***
Elizabeth Grant of Rothiemurches
describes her experiences of Kinrara:
***
We are often over at Kinrara, the Duchess having perpetual dances,
either in
the drawing room or the servants hall and my father returning these
entertainments
in the same style. A few candles lighted up bare walls, at short
warnings fiddles
and whisky punch were always at hand and then gentles and simples reeled
away in company till the ladies thought the scene becoming more
boisterous
that they liked remaining in; nothing more however, a highlander never
forgets his
place, never loses his native inborn politeness, never presumes upon on
favour.
***
Hunter (The Fiddle Music of Scotland), 1988; No. 170. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 2 and the Kinrara
Collection (1800), pg. 25. Stewart-Robertson (The Athole Collection), 1884; pg. 293.
X:1
T:Kinrara [1]
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Bb
F|B>cB>d F<B G/F/E/D/|B<F B>d c<C C>A|B>cB>d F<B G/F/E/D/|
E<g f>e d<BB:|
f|d>f e/d/c/B/ b>Be>g|f>g e/d/c/B/ d<c cd/e/|f>Bd>B g>Be>g|
F>B cB/c/ d<B ~B>d|fg/a/ b>B g>Bf>B|e>cd>B A>cc>d|
B<F
G<BF<B G/F/E/D/|E<g f>e d<B~B||
KINRARA [2] (Ceann-rara). Scottish, Reel. F Major. Standard tuning. AB.
"This sprightly air commemorates the mirth and festivity kept up by the
late Duchess of Gordon at Kinrara, every memorial of whom calling to mind how
much she is missed" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 118, pg. 46‑47. Stewart-Robertson (The Athole Collection), 1884; pg. 211. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and
Caves” (2001).
X:1
T:Kinrara [2]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
A|~F2 FC A,B,CF|D<D ~F>G A3c|AFFC A,B,CA,|G,<G A^C D2 DA|
~F2 FC A,B,CF|D<D F>G A2 Ac|AFFC A,B,CA,|G,G, A,^C D2D||
f|cAfA cAAa|fedc A2 Af|cAfA cAAc|GG A^c d2 df|cAfA cAAc|
defg
a2 ge|fdec BGAF|CFA,^C D2D||
KINRARA [3]. AKA and see "Niel Gow's
Strathspey." Scottish, Air. The song "Kinrara" uses as its
air Duncan MacIntyre's "Niel Gow's Strathspey."
KINSAUNS HOUSE. Scottish, Slow Air. F Major. Standard tuning. AAB. Composed by Nathaniel
Gow. Carlin (The Gow Collection),
1986; No. 546.
KINTAIL. See “Seaforth Lullaby.”
KINVARA REEL. AKA and see “Eddie
Moloney’s No. 1.” Irish, Reel. G Major. Standard tuning. ABC. Kinvara is a version
of the Irish Gaelic Cin Mhara,
meaning ‘head of the sea’, and refers to a town in County Galway, near the
border with Clare. The tune was recorded under this title by P.J. Hernon and as
“Eddie Moloney’s No. 1” by Frankie Gavin. It appears in a 1980 issue of Treoir
magazine where it is identified as having been composed by Tommy Whelan. Like
Moloney, Whelan was an east Galway flute player, and the two were friends. East
Galway flute player Jack Coen (living in the Bronx, NY) remembers that Moloney
and Whelen used to forgot which one of them had composed certain tunes. Coen
would ask one or the other the source for a new tune and invariably they would
credit it to the other flute player. Tongue-in-cheek, Jack sometimes calls such
East Galway tunes of indefinite origin "Whelan Moloney's" (Brad
Hurley). Source for notated version: collected in 1960 from Eddie Moloney
(Galway City, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 219, pg. 114 (appears as “Gan ainm/No title”). CEF 103, Frankie Gavin – “Up
and Away” (appears as 2nd tune of “Eddie Moloney Set”). P.J. Hernon
– “Ceol Chonamara.”
X:1
T:Eddie Moloney’s
R:reel
D:Frankie Gavin: Croch suas E
D:Paul McGrattan: The Frost Is All
Over
Z:id:hn-reel-773
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
~g3a gdBd|~g2bg ea~a2|g2dg gdBd|ecAc BG~G2|
~g3a gdBd|~g2dg ea~a2|g2ga gdBd|ecAc BG~G2||
|:GdBd ~G3z|GdBd eA~A2|GABd g2ge|1 fdcA AGFA:|2 fdcA AGAF||
|:~G2dG BGdG|~G2dG FDFA|1 ~G2dG (3Bcd eg|fdcA AGAF:|2 ~G3A (3Bcd ef|gdcA AG (3Bcd||
KINVARA SLIDE, THE. Irish, Slide (12/8 time). D Major. Standard.
AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black,
dedicated to Fergus & John Keane, “stalwart members of the Boston céili
band scene.” Black (Music’s the Very Best
Thing), 1996; No. 223, pg. 120.
X:1
T: Kinvara Slide
C: © B. Black
Q: 400
R: jig
M: 12/8
L: 1/8
K: D
A | ABA F2 D E2 D F2 D | ABA DFA B2 B dcB |
ABA F2 D E2 D F2 D | d2 F EFE D3-D2 :|
A | B2 d dcd c2 e ece | f2 b a2 f e3-edB |
ABA
F2 D E2 D F2 D | d2 F EFE D3-D2 :|
KIOWA SPECIAL. Old-Time, Breakdown. D Major. Standard tuning.
ABB’. Source for notated version: Howie Meltzer [Silberberg]. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 83.
KIOWA STOMP. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
KIPEEN SCANLON’S
HORNPIPE. Irish, Hornpipe. G Major. Standard
tuning. AABB. Composed by County Cavan/Philadelphia fiddler and composer Ed
Reavy (1898-1988) in honor of fiddler Kipeen Scanlon, one of the fiddlers who
was supposed to have had a profound effect on Sligo/New York Irish fiddle
master Michael Coleman. Coleman is said to have told Reavy that Scanlon was the
best fiddler in Ireland (Joseph Reavy). Reavy (The Collected Compositions of Ed Reavy), No. 116, pg. 129.
KIP'S JIG. Irish, Jig. A Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 267, pg.
152.
KIRK, THE. Scottish, Slip Jig. G Major. Standard tuning.
AABB' Carlin (Master Collection),
1984; No. 166, pg. 98.
KIRKBY
MALZEARD. AKA and see "The Girl I Left Behind Me [2]."
Kirkby Malzeard is a village in Yorkshire, England. There are several Kirkby
villages in northern England in the region of the ancient Danelaw (i.e. country
settled by Danish colonists in the Dark Ages), and the word means ‘village with
a church’.
KIRKCUDBRIGHT. Scottish, Country Dance Tune (4/4 time). The melody
appears in the Drummond Castle Manuscript
(in the possession of the Earl of Ancaster at Drummond Castle), inscribed
"A Collection of Country Dances written for the use of his Grace the Duke
of Perth by Dav. Young, 1734." Kirkcudbright is an Old English word
meaning ‘Cuthbert’s church’.
KIRKGATE HORNPIPE [1]. AKA and see “Cook Hornpipe.”
English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. Kidson
(1890) notes this hornpipe (along with “Kirkgate Hornpipe [2]”) was at one time
greatly popular in Leeds, Yorkshire. In the mid-19th century a small musical
society in the region used to hold its meetings in Kirkgate, and the hornpipes
were great favorites there. Kidson had the melody is from a manuscript dated
1818. Fiddler Lawrence Leadley (Helperby, Yorkshire) included the tune in his
c. 1840’s music manuscript under the title “Cook Hornpipe.” Kidson (Old English Country Dances), 1890; pg.
25. Knowles (A Northern Lass), 1995;
pg. 34.
X:1
T:Kirkgate Hornpipe [1]
M:4/4
L:1/8
R:Hornpipe
B:Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:G
(dc)|BcAB G2 (dc)|B2g2g2 ag|fdec A2
AG|FGEF D2 dc|BcAB G2 dc|
B2g2g2 ag|fdec BAGF|G2G2G2::ef|a2a2f2d2|g2
ab g3f|
edec B2 AG|FGEF D2 dc|BcAB G2
dc|B2a2a2 ba|fdec BAGF|G2G2G2:|
KIRKGATE HORNPIPE [2]. AKA and see “Newcastle Hornpipe
[2].” English, Hornpipe. England, Yorkshire. G Major. Standard tuning.
AABB. No relation to “Kirkgate Hornpipe [1]," although the two were found
in a manuscript dated 1818 in which this tune was called “Newcastle Hornpipe.”
Kidson notes it is not the “Newcastle Hornpipe” which usually bears the title,
yet it appears in a large number of 19th century music manuscripts
under the “Newcastle” or “New Castle” title. Like “Kirkgate Hornpipe [1],”
Kidson notes the tune “used to be at one period greatly popular in Leeds.”.
Kidson found the tune, with the “Kirkgate Hornpipe” title, in another
manuscript of a slightly later date. He may be referring to the George Spencer
(Leeds, West Yorkshire) music manuscript collection, dated 1831, in which the
“Kirkgate Hornpipe [2]” appears. Under the “Newcastle” title the melody appears
in the 19th century music manuscript collections of Joshua Gibbons
(Market Rasen, Linclonshire), the Welch Family (Bosham, Sussex), Joseph Kershaw
(Oldham, E. Lancashire), William Thomas Green (Northumberland), Docker, W.
Cock’s Anon. (Northumberland), William Calvert (Leyburn, north Yorkshire),
James Winder (Wyresdale, Lancashire),
Bewick (Northumberland), William Hall Lister (East Boldon, near
Newcastle), and Joshua Burnet (Worsborough, south Yorkshire) [Callaghan, 2007]. Callaghan (Hardcore English), 2007; pg. 19. The
Joseph Kershaw Manuscript, 1993; No. 36. Kidson (Old English Country Dances), 1890; pg. 25.
X:1
T:Kirkgate Hornpipe [2]
M:4/4
L:1/8
R:Hornpipe
B:Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:G
gd|B2B2 BcAB|G2G2G2 Bc|dBdB
edcB|cBAG FAFD|B2B2 Bd^ce|
d2d2d2 AG|FAFD
EGE^C|D2D2D2::AB|c2c2c2 AB|cBAG F2D2|
d2d2d2 ef|gfed cBAG|e2e2 egfg|d2d2
dgfg|dBec BAGF|G2G2G2:|
KIRKMICHAEL PLOUGHS. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. The tune
appears in Robert Petrie's 1st
Collection (c. 1790). Petrie hailed from Kirkmichael, a village and parish
in north-east Perthshire in the Highlands region. Glen (The Glen Collection of Scottish Dance Music), Vol. 1, 1891; pg. 39.
Petrie (Collection of Strathspey Reels
and Country Dances), c. 1790; pg. 4.
X:1
T:Kirkmichael Ploughs
M:C
L:1/8
R:Strathspey
S:Glen Collection, Vol. 1 (1891)
Z:AK/Fiddler’s Companion
K:B_
d|B2 F<D B>cd>c|B<G
F>D c<C C>c|B2 F<D Bcd>c|B>G F/G/F/E/ DCB,:|
g|f<B dc/B/ F>B dc/B/|E<B
D>B c<C C>g|f<B dc/B/ FB dc/B/|EF/G/ F>E DB,B,g|
f>B dc/B/ F>B dc/B/|EBDB
c<C C>f|g<ef<d e<cd<A|BG F/G/F/E/ DB,B,||
X:2
T:Kirkmichael
Plows
C:Robert
Petrie
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>, 3/5/04
N:Petrie's
First Collection, page 4
L:1/8
M:C
R:Strathspey
K:Bb
d
| B2 F<D B>cd>c | B<GTF>D c<CC>c | B2 F<D Bc{Bc}d>c
| B>G F/G/F/E/ DC B, :|
g
| f<B {e}dc/B/ F>B {e}dc/B/ | E<BD>B c<CC>g | f<B {e}dc/B/
FB {e}dc/B/ | EF/G/ TF>E DB,B,g |
f>B
{e}dc/B/ F>B {e}dc/B/ | E<BD>B c<CC>f | g<ef<d
e<cd<A | BG F/G/F/E/ DB,B, |]
KIRKNEY WATER. Scottish, Reel. G Major. Standard tuning. AAB. Composed by Alexander
Walker. Walker (A Collection of
Strathspeys, Reels, Marches, &c.), 1866; No. 173, pg. 59.
KIRK'S HORNPIPE. AKA and see "York Hornpipe."
Scottish, Hornpipe. D Major. Standard tuning. AABB. Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 46.
X:1
T:Kirk’s Hornpipe
M:C
L:1/8
R:Hornpipe
S:Honeyman – Strathspey Reel and
Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
R:Hornpipe
K:D
AG|FGAF D2 d2|cdec A2 f2|gfed B2
ed|c2 A2 A2 AG|FGAF D2 d2|cdec A2 f2|
Gfed Bdce|d2 d2 d2::fg|afdf a2 a2|gece
g2 g2|fedc d2 ed|
c2 A2 A2 fg|afdf a2 a2|gece g2
g2|fedc Bdce|d2 d2 d2:|
KIRKWALL BAY. Scottish, March (6/8 time). D Major. Standard tuning. AABB'CCDD'.
Composed by the late Scottish accordion player Jimmy
Shand. Martin (Ceol na Fidhle),
vol. 2, 1988; pg. 32.
KIRKWOOD. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB’.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
64.
KIRN, THE. Scottish, Strathspey. D Major (Surenne): D
Mixolydian (Williamson). Standard tuning. AB (Surenne): AABBCC (Williamson).
"The word kirn can mean: 1) a churn for making milk into butter, 2) one
who over‑nurses a baby, 3) a slapdash or good‑for‑nothing
worker, 4) one who flirts immodestly or makes improper advances, 5) a repulsive
mixture of slops, 6) a kernel or a grain of corn, 7) the last handful of grain
gathered from a harvest field 8) a harvest home feast. The word can also be
used as a verb in many of those senses" (Williamson, 1976). Surenne (Dance Music of Scotland), 1852; pgs.
144-145. Williamson (English, Welsh,
Scottish and Irish Fiddle Tunes), 1976; pg. 64.
X:1
T:Kirn, The
M:C
L:1/8
R:Strathspey
S:Surenne – Dance Music of Scotland, pgs. 144-145 (1852)
Z:AK/Fiddler’s Companion
K:D
D<DF>D A>DF>D |
A,<A,C>A, E>A,(C<E) | D<DF>D A>D(F<A) | (3Bcd (3efg
(f<d)d>f |
D<DF>D A>DF>D |
A,<A,C>A, E>A,(C<E) | D<DF>D A>D(F<A) | (3Bcd (3efg
(f<d)d>f ||
d<df>d g>ef>d | g2
e>d c>B(A<e) | d<df>d g>ef>d | (e/4f/2<g) e>c
(d<D)D>f |
d<df>d g>ef>d | g2
e>d c>B(A<e) | (3def (3efg (3fed (3cBA | (3Bcd (3ABc (3dAG (3FED ||
KIRRIE KEBBUCK, THE. Scottish, Strathspey. D Major. Standard
tuning. AB (Hunter): AAB (Cranford/Holland): AA’B (Martin). Composed by J. Scott Skinner and one of the tunes included in his
concert set of 1921 which was romantically entitled "Warblings From the
Hills." 'Kebbuck' is the Scots word for a large whole cheese. Hunter
(1988) reports that when the tenants of Skinner's friend, Alex McPherson
("The Laird o' Thrums"),
paid rent "he always offered them a whisky, a bannock and a slice of
kebbuck." Cape Breton fiddler Bill Lamey recorded the tune (in a medley
with Skinner’s “MacKenzie Hay”) on 78 RPM. Cranford (Jerry Holland: The
Second Collection), 2000; No. 117, pg. 45. Hunter (Fiddle Music of Scotland), 1988; No. 105. Martin (Ceol na Fidhle), Vol. 4, 1991; pg. 20. Rounder Records 7057, Jerry Holland – “Parlor Music”
(2005).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An Index to Recorded
Sources |
X:1
P: The Kirrie Kebbuck
C: J.S.Skinner
R: strathspey
Z: 1997 by John Chambers <jc:trillian.mit.edu>
M: C
L:1/8
F:http://trillian.mit.edu/~jc/music/abc/Scotland/Inverary.abc
K: D
B \
| "D"A<F F>A "G"B<G G>B | "A7"c>A e>c "D"(3dfe (3dcB \
| "D"A<F F>A "G"B<G G>B |1 "A7"c>A g>c "D"d3 :|2 "A7"(3Agf (3edc "D"d3 |]
g \
| "D"f>g a>f d<a f>d | "G"g>a b>g "A7"e<b g>e \
| "D"f>g a>f "Bm"d<a f>d | "Em"(3Bgf "A7"(3edc "D"d3 |]
g \
| "D"f>g a>f "Bm"(3dag (3fed | "Em"g>a b>g "A7"(3eba (3gfe \
|
"D"(3fed "A7"(3edc "Bm"(3dcB "A7"A>G
| "D"F<D "A7"E>C "D"D3 |]
KIRSTY MACFARLANE. Scottish, Reel. D Major. Standard tuning. AA’BB’. Composed by Carl Volti,
born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, composed many
tunes found in the Kerr’s collections and also published several tutors, albums
of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Merry Melodies), Vol. 4; pg. 8, No. 51. Rounder CD 7026, Theresa
Morrison – “Laments and Merry Melodies from Cape Breton Island (1998). Rounder
Heritage Series 1166-11592-2, Theresa Morrison (et al) – “The Art of
Traditional Fiddle” (2001. Appears as last tune of “Inganess” medley).
X:1
T:Kirsty MacFarlane
C:Carl Volti
M:C|
L:1/8
K:D
A2 (AB) ABde|fedf edBd|A2 (AB)
ABde|1 fedf e2a2:|2 fdec defg||
|:a2 (ab) afde|fedf edBA|1 a2 (ab) afde|fedf
e2 (fg):|2 A2 (AB) ABde|fdec d2f2||
KISHKEAM LASSES, THE. AKA and see “Cathleen Hehir’s,” “Joe Cooley’s Delight,” “Kathleen O’Hehir,” “Rural Felicity [2].” Irish, Slide (12/8 time). D Major. Standard
tuning. AAB. See also a related untitled jig in Breathnach (CRÉ II), 1976; No. 81. De Danann
recorded the tune as “Kathleen Hehir’s.” Source for notated version: accordion
player Johnny O’Leary (Sliabh Luarchra region of the Cork-Kerry border)
[Moylan]. Moylan (Johnny O’Leary),
1994; No. 184, pg. 106. Gael-Linn CEF-092, Julia and
Billy Clifford - “Ceol as Sliabh Luachra.”
KISKEAM (SLIDE). AKA and see “Bowna,” “Rain a Sup.” Irish, Slide. G Major. Standard tuning.
AA’BB. Kiskeam is in northwest County Cork, near Kanturk, Newmarket, the Sliabh
Luachra region. Gael-Linn CEF 092, Julia and Billy
Clifford - “Ceol as Sluabh Luachra” (appears as “Rain a Sup”). Ossian CD 90,
Seamus Creagh – “Came the Dawn” (learned from Johnny O’Leary).
X:1
T:Kiskeam
M:6/8
L:1/8
R:slide
Z:id:hn-slide-40
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
K:G
d2B BAB|c2B A2B|c2c cBc|e2d B2c|
d2B BAB|c2B A2B|cde dcB|1 GBd gfe:|2
G3 G2B||
|:d2g gfg|a2g f2d|e2e edf|f2e def|
g2g gfg|a2g f2d|efg a2g|fef g2e:|
KISIMUL'S GALLEY. Scottish, Slow Air (3/4 time). D Major. Standard tuning. AA. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 44.
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
© 1996-2010 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.