The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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KISS - KY |
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, 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] |
KISS, THE.
English, Country Dance Tune (whole time). B Flat Major. Standard tuning.
AABB. The melody is unique to Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773). Thompson (Compleat Collection
of 200 Favourite Country Dances, vol. 3), 1773; No. 98.
X:1
T:Kiss, The
M:C
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:Bb
F|B/B/B
Bd c/c/c ce|df (e/d/c/B/) AcAF|B/B/B Bd c/c/c cb|afc=e f2F2:|
|:F|c/c/c ce d/d/d df|edcB AcAF|Ebge DfdB|[Cc]ecA B2 [B,2B2]:||
KISS AND COME AGAIN. AKA and see "Cam You Here to
Kiss and Clap." Shetland, Unst.
KISS AND MAKE UP. American, Jig. A Dorian. Standard tuning. AABBCC’BB. Composed by
Watertown, Massachusetts, fiddler and guitarist Mark Simos. Source for notated
version: Hillbillies from Mars via Heather Pinney and Clyde Curley (Portland,
Oregon) [Songer]. Songer (Portland
Collection), 1997; pg. 119. HFM 1301, “The
Hillibillies from Mars” (1993).
KISS BEHIND THE DOOR, THE. AKA and see “The
Merry Girl.” Irish, Polka. Leitrim flute player John McKenna (1880-1947)
recorded this tune twice for Decca records: the first time in 1934 as “The
Merry Girl” and again in 1937 as “Kiss Behind the Door.”
KISS FOR A HALF PENNIE, A. Scottish, Country Dance Tune (4/4 time). The 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."
KISS FOR NOTHING, A. Scottish, Jig (9/8 time). F Major. Standard. AABB. John Glen (1891)
finds the earliest printing of the tune in Robert
Bremner's 1757 collection. Bremner (Scots
Reels), 1757; pg. 74.
X:1
T:Kiss for Nothing, A
M:9/8
L:1/8
R:Jig
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:F
F2c A2c d2f | F2c cAF GEC | FAc cAc
d2f | agf cAF G2A :|
|: (f/g/a)g fcf Acf | fcf Aca
g2(f/e/) | fce fga cde | fac dfF G2A :|
KISS HER AND CLAP HER. Shetland, Wedding Tune (noted both in 6/8 and duple time versions). A
Mixolydian. Standard. AABB. The title means 'kiss her and pet her'. This was
the second tune usually played for the wedding party in a traditional Shetland
wedding of the last century; it "was a cue for the groom's party to kiss
the bridesmaids ceremonially" (Cooke, 1986). Cooke (1986) prints the
following text for this tune:
***
Here awa, there awa, wandering Willie
Here awa, there awa, wandering Willie
Lang have I sought thee,
Now I have gotten my Willie again.
***
Source for notated version: Peter
Fraser (Finnigirth, Walls, Shetland) [Anderson & Georgeson, Cooke]. Anderson
& Georgeson (Da Mirrie Dancers),
1970; pg. 11. Cooke (The Fiddle Tradition
of the Shetland Isles), 1986; Ex. 29, pg. 83. Shetland Folk Book. Front Hall 018, How to Change a Flat Tire ‑
"Traditional Music of Ireland and Shetland" (1978).
KISS HER SLYLY. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript.
KISS HER SWEETLY. Shetland, Shetland Reel. Shetland, Unst (Island of). D Major. Standard
tuning. AABB. "A rather attractive little reel collected many years ago
from the playing of the late Albert Thomson of Unst" (Anderson). Anderson
(Ringing Strings), 1983; pg. 44.
KISS IN THE FURZ [1]. AKA and see "A Blast of Wind," “The
Clout,” “The Cock in the Heath
[2],” “Humours of Caledon,”
“Humours of Westmeath,”
"John Fleming's Jig,” “The Rakes of Westmeath [1]."
English, Irish; Slip Jig. D Major. Standard tuning. AABB. William Litten was a
musician aboard an English warship in the early 19th century who
compiled a manuscript of tunes played aboard ship. Huntington (William Litten’s), 1977; pg. 32. O'Neill
(Music of Ireland); No. 1123, pg. 212
(appears as “Blast of Wind”).
KISS IN THE FURZE [2]. AKA and see “John Fleming’s
Jig,” “Kerry Jig [2].”
KISS IN THE KITCHEN, A. Irish, Air (6/8 time). D Major. Standard tuning. AB. P.W. Joyce
obtained the tune from the manuscripts of the Forde collection. Source for
notated version: "Patrick MacDowell, distinguished sculptor" (1799‑1870)
{Joyce}. Joyce (Old Irish Folk Music and
Songs), 1909; No. 554, pg. 294.
X:1
T:Kiss in the Kitchen
M:6/8
L:1/8
R:Air
B:P.W. Joyce – Old Irish Folk Music and Songs, No. 554 (1909)
Z:AK/Fiddler’s Companion
K:D
f/e/|dAF DFA|dB/c/d/e/ fa/g/f/e/|dAF
DB/A/G/F/|Eee e2 (3gfe|
dAF DFA|dB/c/d/e/
fa/g/f/e/|AA/B/A/B/ d/e/f/e/d/e/|fdd d2||
(3a/b/c’/|d’af b/a/g/f/e/d/|d’af
b/a/g/f/e/d/|e/d/e/f/g/a/ b/a/g/f/e/d/|
Bee e2 f/g/|afa d’bg|f/a/b/c’/d’/b/
b/a/g/f/e/d/|AA/B/A/B/ d/e/f/e/d/e/|fdd d2||
KISS IN THE SHELTER. Irish, Slip Jig. G Major. Standard tuning. AAB. Collector George Petrie
notes the tune is “A Connaguht Jigg.” Mulvihill (1st Collection), 1986; No. 4, pg. 107. Stanford/Petrie (Complete Collection), 1905; No. 935, pg.
238.
X:1
T:Kiss in the Shelter
M:9/8
L:1/8
R:Slip Jig
B:Stanford/Petrie – Complete Collection, No. 935 (1905)
Z:AK/Fiddler’s Companion
K:G
c|(BA).G ADD ADD|(BA).G ADD EDC|BAG
ADD ADD|GAB cBA GED:||
c3 BdB cBA|d3 dcd ecA|c3 BdB cBA|GAB
cBA GED|
c3 BdB cBA|d3 dcd ecA|cde dcB
cBA|GAB cBA GED||
KISS ME AGAIN WALTZ. Old‑Time, Waltz. USA, Missouri. B Flat Major. Standard tuning.
AB. Composition credited to Victor Herbert. The tune was popular in western
fiddle contests for some years. Source for notated version: Taylor McBain (Mo.)
[Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 276. Missouri
State Old Time Fiddlers Association 002, Taylor McBaine (b. 1911) ‑
"Boone County Fiddler." Rounder 0436, Art Galbraith – “Traditional
Fiddle Music of the Ozarks, vol. 2: On
the Springfield Plain” (appears as “Kiss Me Waltz”).
KISS ME DARLING (Tabair Do'm Pog A Muirnin). AKA and see "The Wild Irishman [4].” Irish, Jig. D
Major. Standard tuning. AABB. See also "Norickystie,"
"Cailleach an Tuirne,"
"Cailin an Tuirna," "Norah
with the Purse," "Wreathe
the Bowl," "The Road to
Lurgan," the double jig "The Maid at the Spinning Wheel,"
"Maire an Phortair,"
"Tune the Fiddle." O'Neill (Music
of Ireland: Melodies), 1903/1979; No. 920, pg. 171. O’Neill (Waifs and Strays of Gaelic Melody), 109.
X:1
T:Kiss Me Darling
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 920
Z:AK/Fiddler’s Companion
K:D
d2e f2d | g2e f2d | d2e fed | cec
ABc | d2e f2d |
g2e f2d | fga gec | dAF D2 :: g| fed
{d}c2B | A2A A2g |
fed c2A | GEF G2g | fed cBA |AFG A2g
| fga ABc | dAF D2 :|
KISS ME FAST, MY MINNIE'S (Mother's) COMING. AKA and see "Bonny Jockey," "Kiss Me Suen, My Minnie's Coming," "Quick March Scot's Royal." Scottish, English; Jig. England, Northumberland. D Mixolydian. Standard tuning. AABB (Aird, Gow): AABB' (Athole). John Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 14). James Aird included it in his Selection of Scotch, English Irish and Foreign Airs, vol. 1 (1782, No. 156, pg. 54), printed in Glasgow. Despite Glen’s inference for a Scottish provenance, English printings are considerably older: it appears in Walsh's Second Book of the Compleat Country Dancing Master (London, 1735) and in Wright's Compleat Collection of Celebrated Country Dances, Vol. 2, by Mr. Johnson (London). The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Aird (Selections), vol. II, 1785; No. 99, pg. 36. Carlin (The Gow Collection), 1986; No. 526. Gow (Complete Repository), Part 2, 1802; pg. 37. Stewart-Robertson (The Athole Collection), 1884; pg. 137.
X:1
T:Kiss Me Fast
M:6/8
L:1/8
R:Jig
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
E |: D2A F2A | E2=c GE=C | D2A F2A | D2A AFD | GBG FAF |
E2F GE=C | dcB Afd | D2A AFD :: d2g f/g/af | e2f ge=c | d2g f/g/af |
d2a afd | gbg faf | e2f ge=c |1 d^cB Afd | D2A AFD :|2 agf gfe | (d3 d2) ||
X:1
T:Kiss me fast my mother’s coming
M:6/8
L:1/8
S:Aird, vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
D2AF2A | E2F GFE | D2A F2A | D2A F2A |
G2B F2A | E2F GFE | dcB AFA | D2F AFD :|
|: d2a faf | e2f gfe | d2g faf | d2g faf | gbg faf |
e2f gfe | dcB AFA | D2F AFD :|
KISS ME, JOE. AKA and see "Julia's Wedding."
Irish, Reel. G Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 9. Miller (Fiddler’s Throne), 2004;
No. 186, pg. 118. Ryan’s Mammoth
Collection, 1883.
X:1
T:Kiss Me, Joe
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
FE|DF F2 GEFE|DEFA BABc|dcdB
AFEG|FDEC DA,B,C|
DF F2 GEFE|DEFA BABc|dcdB
AFDF|EA,B,C D2:|
|:FG|AFDA BGEB|cGEc dAFf|gBBg
fAAf|edcB AGFG|
AFDA BGEB|cGEc dAFf|gBBg fAAf|eABc
d2:|
KISS ME KATE (Tabair Do'm/Dam Pog A Cait). AKA and see “Charming Mollie’s [1].” Irish,
Reel. G Major. Standard tuning. AB (Harker/Rafferty, O'Neill/1850, Vallely):
AA'B (O'Neill/Krassen): AABB (Mulvihill). Sources for notated versions:
recorded at Flead Ceol, New York, from the playing of fiddler Seamus Connolly
and accordionist Joe Burke, 1978 [Mulvihill]; New Jersey flute player Mike
Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No.
109, pg. 33. Mulvihill (1st
Collection), 1986; No. 88, pg. 23. O'Neill (Krassen), 1976; pg. 137.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1432, pg. 266.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 669, pg. 119. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 21, pg. 12.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Kiss Me Kate
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
669
Z:AK/Fiddler’s Companion
K:G
D|G2 Bd gdBG|D2 GB AEEF|G2 Bd
gdBd|ecBc ADEF|G2 Bd gdBG|
D2 GB AEEF|G2 Bd gdBd|ecAc
BGG||g|fgag fddg|fgag bgeg|fgag fddg|
fdef g2 dg|(3gab af g2 bg|fgag
fddg|fded fded|fdef gedB||
KISS ME LADY. AKA and see "The Pipers
Dance," “The Yellow Goat.”
KISS ME MY LOVE AND
WELCOME. English, Reel. A Major. Standard
tuning. AABB. Trim (Thomas Hardy),
1990; No. 14.
KISS ME QUICK AND GO. English, Reel. C Major. Standard tuning. AB. Raven (English Country Dance Tunes), 1984; pg.
147.
KISS ME QUICK, MY
PAPPY’S A-COMING. Old-Time, Breakdown. USA, Kentucky.
AEae tuning. Bruce Greene – “Ellum Wood” (Learned from Sammie Walker, of Summer
Shade, Metcalfe County, south-central Kentucky, c. 1911-1987. "Sammie learned
a lot of his tunes from his dad, Joe D. Walker. There were about three generations of Sammie's family that played
old time music, and when we got together Sammie would stay in the background
until the rest of them gave out. Then
we would stay up late and play and smoke those little King Edward cigars and he
would tell me about the old fiddlers he grew up around. They all learned a
whole lot of their fiddling from the Carver family, especially Henry Carver,
who in turn credited a man named John Gregory, who settled in Fountain Run from
Virginia in the late 1800s....Anyhow, Sammie passed away in 1987, and I don't
smoke King Edwards anymore"). See also the similarly titled Scottish tune
“Kiss Me Fast, My Minnie’s
Coming.”
KISS ME SUEN, MY
MINNIE'S COMING. See "Kiss Me Fast, My Minnie's
Coming."
KISS ME SWEETHEART (Tabair Do'm Pog A Teagair). Irish, Single Jig. G Major.
Standard tuning. AABB. Connolly & Martin (Forget Me Not), 2002; pgs. 54-55. O'Neill (Krassen), 1976; pg. 67.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1082, pg. 204.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 392,pg. 79.
X:1
T:Kiss Me Sweetheart
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
392
Z:AK/Fiddler’s Companion
K:G
c|B2G GBG|A2B c2e|B2G GBG|ecA
ecA|B2G GBG|A2B c2e|dBd gfe|dBG G2:|
|:c|B2c d2g|ece d2g|BGB dBG|ecA
ecA|B2c d2g|ece d2c|Bcd gfe|dBG G2:|
KISS ME SWEETLY. Scottish, Reel. C Major (Bremner, Gow, MacDonald): G Major (O’Neill).
Standard tuning. AAB (Gow): AABB (Bremner, O’Neill). John Glen (1891) finds the
earliest printing of the tune in Robert
Bremner's 1757 collection. As “Kiss Her Sweetly” it appears in the 1770
music manuscript book of Northumbrian musician William Vickers, about whom
unfortunately nothing is known. Bremner (Scots
Reels), 1757; pg. 4. Gow (Complete
Repository), Part 4, 1817; pg. 32. MacDonald (The Skye Collection), 1887; pg. 113. O’Neill (O’Neill’s Irish Music), 1915; No. 110, pg. 62.
X:1
T:Kiss Me Sweetly
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:C
g|(a/g/f/e/) (cg) egcg|(a/g/f/e/)
(cg) eddg|(a/g/f/e/) (cg) egde|c>AGE C/C/C C:|
F|(E/F/G) (cG) AGcG|(E/F/G) (ce)
dDDF|(EF/G/) (cG) EGca|gede c/c/c (cG)|
(E/F/G) (cG) AGcG|(E/F/G) (ce)
eDDF|(E/F/G) (cG) EGca|gede c/c/c c||
X:2
T:Kiss Her Sweetly
M:C|
L:1/8
R:Reel
S:William Vicker’s music manuscript
collection (Northumberland, 1770)
K:C
EGcG AGcG|EGce dDDF|EGcG AGga|egde
c/c/c c2:|
|:{a}gecg egce|acec d/d/d
da|{a}gf/e/ cg|eccG|AB/c/ GE C/C/C C2:|
KISS ME WALTZ. American, Waltz. Widely known
under the titles “Kiss Waltz” or “Kiss Me Waltz” (“Kiss Me, Again” is a
different tune). North Carolina banjoist and singer Charlie Poole recorded the
tune in the 1920’s as the “Kiss Waltz” (see note for
that tune).
KISS MY LADY [1]. English, Reel. D Major. Standard tuning. AABBCC. Huntington (William Linton's), 1977; pg. 24.
KISS MY LADY [2]. English, Country Dance Tune (6/8 time). G Major. Standard tuning.
AABBCC. Source for notated version: an MS collection by fiddler Lawrence
Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle].
Merryweather and Seattle (The Fiddler of
Helperby), 1994; No. 47, pg. 41.
KISS MY WIFE AND
WELCOME. English, Jig (12/8 time). E Dorian.
Standard tuning. AABB. Huntington (William
Linton's), 1977; pg. 33.
KISS THE BRIDE (Pog An Brideog/Brideac). AKA and see “Early Rose,” “Strawberry Banks.” Irish, Reel. G
Major. Standard tuning. AA'B (O'Neill/1850 & 1001): AABB (Cole, Connolly &
Martin): AA'BB' (O'Neill/Krassen). Seamus Connolly (2002) notes that he heard
this reel played fairly often on Radio Telefís Éireann in the 1960’s, though
adds that it is not played much in recent times. Cole (1000 Fiddle Tunes), 1940; pg. 19. Connolly & Martin (Forget Me Not), 2002; pgs. 56-57.
O'Neill (Krassen), 1976; pg. 150. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1496, pg. 277. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 720, pg. 127.
Ryan’s Mammoth Collection, 1883; pg.
44.
X:1
T:Kiss the Bride
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
720
Z:Fiddler’s Companion
K:G
D2 | GBAG FGAc | BGBd g2 dg | ecAG
FGAc |1 BGAF GFED :|2 BGAF G2 ||
d2 | g2 fg a2 ga | bagf g2 dg | ecAG
FGAc | BGAF GFED |
g2 fg a2 ga |bagf g2 dg | ecAG FGAc
| BGAF G2 ||
KISS THE BRIDE IN THE
BED (Tabhair póg don
Bhrídeoig sa Leaba). AKA and see "Bumper
Allen's Delight," “The Dairymaid
[4],” "Kiss the Maid in Bed,"
"Tom the Fisherman,"
"The Maids of Tipperary."
Irish, Reel. D Mixolydian. Standard tuning. AABB. Not O'Neill's "Kiss the
Bride." Sources for notated versions: piper Seán Potts (Ireland)
[Breathnach]; students of New York fiddler John McGrath (1900-1955, originally
from County Mayo) [O’Malley]. Breathnach (CRE
I), 1963; No. 150, pg. 60. O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 32, pg. 16. Coleman Music Center CHC 009, Dick Brennan & Tommy Hunt
– “The Coleman Archive, vol. 2: The Home Place” (2003. Reissue recording by
various artists. The cut was originally recorded for Parlaphone in Dublin,
Ireland, c. 1932).
X:1
T:Kiss the Bride in Bed
M:C|
L:1/8
R:Reel
S:O’Malley Collection
K:D
dB | AF ~F2 DFBF | AFDE FE ~E2 | AF
~F2 DFAF | (3EFE DE FDD>B |
AF ~F2 DF ~F2 | dF ~F2 EDBC | DF ~F2
BFAF | (3EFE DE FD D2 ||
dcdf abag | (3faf eg fB ~B2 | dcdf
abag | (3faf eg fdd>c | dfaf g2 ag |
(3faf eg fB ~B2 | dfaf g2 ag | (3fga
eg fd d2 ||
KISS THE LASS. See "Kiss the Lass Ye
Like the Best."
KISS THE LASS YE LIKE/LOVE THE BEST [1]. AKA and see “Ruidhle na
Maragan Dubh” (Reel of the Black Puddings). Scottish, Canadian, English;
Strathspey or Reel. England, Northumberland. Canada, Cape Breton. B Minor.
Standard tuning. AABB. The melody was in the repertoire of Cape Breton/Boston
fiddler Bill Lamey (1914-1991). The Athole
Collection gives the tune under the title “Ruidhle na Maragan Dubh” (Reel
of the Black Puddings). Cranford (Jerry
Holland’s), 1995; No. 86, pg. 26. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 5. MacDonald (The Skye Collection), 1887; pg. 62.
Raven (English Country Dance Tunes),
1984; pg. 179 (appears as "Kiss the Lass"). Rounder
82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House
Sessions of Traditional Cape Breton Music 1956-1977” (2000). Rounder Records
7057, Jerry Holland – “Parlor Music” (2005).
X:1
T:Kiss the Lass Ye Like the Best
M:C|
L:1/8
R:Reel or Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:B Minor
f|(Bcde) f2 ea|c<AeA aAec|(Bcde)
faea|c<A a>c B/B/B f2:|
|:B/B/B (b^a) bBbf|=a>baf
defd|efab faea|c<A a>c B/B/B f2|
B/B/B (b^a) bBbf|=a>baf defd|efba
faea|c<A a>a B/B/B f2:|
KISS THE LASS YE LIKE BEST [2]. Scottish, Reel. D Major. Standard tuning. AABB. A different tune than MacDonald’s (Skye) “Kiss the Lass Ye Like the Best.” The melody appears in the Gillespie Manuscript of Perth (1768), but John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection (pg. 55). Bremner (Scots Reels), 1757; pg. 54
X:1
T:Kiss the Lass ye like best
M:C|
L:1/8
R:Reel
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:55
d | A/A/A “tr”FA BEEd | A/A/A “tr”FA Ddfd | (e/f/g) (f/g/a) eEEF |
A/A/A “tr”(B>B) ADD :: (f/g/) | a>baf beef | abaf defd | (e/f/g) (f/g/a) eEEF | A/A/A “tr”(f>e) dDD :|
KISS THE MAID BEHIND
THE BARN. AKA and see "Kiss the Maid Behind the Barrel(s)."
KISS THE MAID BEHIND
THE BARREL(S) {"Pog An Cailin
Taob Iar De'n Stanna," “Tabhair Póg don Gearrchaile taobh thiar den
Bhairille,” or "Pog an Cailin Ar Cul an Stanna"}. AKA and see "Kiss the Maid Behind the Bar/Barn,"
"Clonmel(l) Lassies,"
"The Bruisus," "An Gearrchaile
taobh thiar den Bhear," "Green
Garters [2]," "Geehan's Reel,"
"The Grazier," "The Humours of Flip," “The
Maid Behind the Bar [2],” "Sally
Kelly [2]," "Trim the
Velvet." Irish, Reel. G Mixolydian/Major (O'Neill/1850, Stanford/Petrie):
G Major (Breathnach, Flaherty/O'Neill/1001). Standard tuning. AAB
(Stanford/Petrie): AABBC (Stanford/Petrie): AABCDD (Flaherty, O’Neill): ABCDEF
(Breathnach). Both O'Neill versions feature an occasional C # note, thus
obscuring the tonality in sections between G Major and D Major. Petrie’s
versions No. 885 is identified as “a Cork reel” while his No. 887 is “Set in
the county of Limerick.” Breathnach (CRÉ 1,1963) prints a version of the tune
under the title “The Maid Behind the Bar [2]" and says he never heard the
reel with the F natural that Petrie prints. The reel in CRÉ V, from Kerry fiddler Denis Murphy, is “a special version which
can be heard among Sliabh Luachra musicians, longer than the usual setting”
(Jackie Small/CRÉ V). “Trim the Velvet”
is a related tune. Sources for notated versions: flute player Sonny McDonagh
(b. 1926, Rinnarogue, Bunninadden, County Sligo) [Flaherty]; “From Col.
Westenra” [Stanford/Petrie]; “From P. Carew’s MSS” [Stanford/Petrie]; “From F.
Keane” [Stanford/Petrie]; “From Mrs. McSweeny. From (the Irish collector) Mr.
Joyce” [Stanford/Petrie]; Chicago fiddler James Kennedy who had the tune from
his father, a celebrated local fiddler from Ballinamore, County Leitrim
[O’Neill]; fiddler Denis Murphy (Kerry) [Breathnach]. Breathnach (CRÉ V), 1999; No. 170, pg. 83. Flaherty
(Trip to Sligo), 1990; pg. 125.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1308, pg. 245.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 571, pg. 105. Stanford/Petrie (Complete Collection), 1905; Nos. 884, 885, 886 & 887, pg. 224. Coleman Center CD CC004, Gregory Daly & Ted McGowan –
“The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in
South Sligo”). Front Hall Records FHR-009, How to Change a Flat Tire – “Point
of Departure” (1976).
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Kiss the Maid Behind the Barrel
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
571
Z:AK/Fiddler’s Companion
K:G
DGGc AGGF|DGGB cAGF|DGGc AGA^c|defd
cAFA:|dg {a}(3gfg ag {a}(3gfg|
dg {a}(3gfg agfe|df {g}(3fef af
{g}(3fef|defd cAFA|dg {a}(3gfg ag {a}(3gfg|
dg {a}(3gfg agfg|afge fde^c|dfeg
fdcA||G2 dG BGdG|G2 dG cAFA|G2 dg AGA^c|
defd cAFA|G2 dG BGdG|G2 dG cAFA|G2
GB A2 A^c|defd cAFA||B2 BG A2 Ac|
BABc dedc|B2 BG A2 A^c|defd cAFA||
X: 2
T: Kiss the Maid behind the Barrel
S: "Treoir"
M: 4/4
L: 1/8
R: reel
Z: Transcribed by Bill Black
K: G
DG G2 AG G2 | DG G2 cAFA | DG G2 AGFA |1 defd
AGFG :|2 defd cAFA |
dg g2 bg g2 | dg g2 bgaf | df f2 af f2 | defd
cAFA |
dg g2 bgaf | d^cde f3 g | a2 ge fdec | d2 eg
fdcA ||
G2 dG eGdG | G2 dG cAFA | G2 dG G2 AB | cdfd
cAFA |
G2 dG G2 dG | G2 dB cAFA | B3 B ABcA | defd cAFA
||
g2 bg agab | g2 bg defa | g2 bg ag g2 | defd
cAFA |
g2 bg agab | g2 bg defg | afge fdec | d2 eg fdcA
||
(3Bcd BG (3ABc Af | G2 GB cAFA | (3Bcd BG ABcA |
defd cAFA | B3 B ABcA | (3Bcd BG ABcA | defd
cAFA ||
G2 (3Bcd G3 D | GdBd cAFA | G2 (3Bcd G3 A | defd
cAFA |
GdBd
GdBd | G2 Bd cAFA | B3 B ABcA | defd cAGF | G4 ||
KISS THE MAID BEHIND
THE BIER. AKA – “Kiss the Maid Behind the
Byre.” AKA and see “Anton a’Bhearnais,”
“I Lost My Love,” “My Love in the Morning,” “This is My Love, Do You
Like Her?” Irish, Scottish; Jig. A Dorian. Standard tuning. AA’BB’. The
title is from John Doherty (Donegal, Ireland) who called it a ‘wedding jig’.
There are numerous songs sung to it in both Ireland and Scotland in both
English and Gaelic. Caoimhin Mac Aoidh says the tune is the well-known Scottish
jig “I Lost My Love,” printed by Kerr. See also the related “Bundle and Go [4].” Source for notated
version: John Doherty
(1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty
(The Northern Fiddler), 1979; pg. 58.
Topic, Green Linnet SIF 3077, John Doherty - “Bundle
and Go.”
KISS THE MAID IN BED. AKA and see “The Dairymaid [4],”
"Kiss the Bride in the Bed."
KISS WALTZ [1], A. AKA – “Kiss Me Waltz.” Old‑Time, Waltz. G Major (‘A’ part) &
D Major (‘B’ part). Standard tuning. AB. Widely known throughout the South and
Midwest under the titles “Kiss Me Waltz” or “Kiss Me.” The melody was recorded
by Texas fiddler Captain McKinney for Okeh Records in 1929. Fiddler Posey Rorer
recorded a rather up-tempo version as “Kiss Waltz,” with Charlie Poole, Roy
Harvey and the North Carolina Ramblers around the same time as McKinney,
although the side was never issued commercially. Other early recordings are by
W.T. Narmour and S.W. Smith (twice, in 1929 and 1934). Seattle fiddler Vivian
Williams finds that the tune was derived from a classical composition called
“Il Bacio” by the Italian composer Arditi in the mid-19th century.
Kentucky mandolinist and bandleader Bill Monroe recorded a version on his
“Uncle Pen” album under the title “Kiss Me Waltz” (the title Art Galbraith also
used), with fiddle by Kenny Baker, and was presumably
played by Monroe’s uncle Pendleton Vandeveer. Source for notated version: Art Galbraith (1909-1993, near
Springfield, Mo.) [Beissswenger & McCann]. Beisswenger & McCann (Ozarks
Fiddle Music), 2008; pg. 39. Columbia 142644-1,
Charlie Poole & the North Carolina Ramblers. County 540, "Charlie
Poole and the North Carolina Ranblers" (originally recorded 1926). County
3508, Charlie Poole and the North Carolina Ramblers, vol. 2. Historical Records
HLP‑8005, Charlie Poole (1926‑1930) ‑ "A Young Boy Left
His Home One Day" (1975). Rounder CD82161-0436-2, Art Galbraith –
“Traditional Fiddle Music of the Ozarks, vol. 2” (2000. Various artists.
Appears as “Kiss Me Waltz”). Rural Rhythm Records, Vassar Clements – “20 Fiddle
Tunes and Waltz Favorites” (1998). Voyager 336, Vivian Williams – “Winter
Moon.”
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
KISS WALTZ [2]. Old-Time, Schottische. G Major: D Major.
Standard tuning. Despite the title the tune is a schottische, from the playing
of Glen Lyn, Giles County, Virginia, fiddler Henry Reed. He played the tune for
folklorist Alan Jabbour twice, in the key of G and another time in the key of D
in October, 1967. The ‘A’ strain is from “Rainbow Schottische” (see note for
that tune).
KISS YOUR PARTNER (Pog Do Comtac/Companac). AKA and see “Braes of Dumblane,” “The Five Cross Roads.” Irish, Reel. G
Major. Standard tuning. AB (O'Neill/1850 & 1001): AABB' (O'Neill/Krassen).
O'Neill (Krassen), 1976; pg. 161. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1547, pg. 285. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 761, pg. 132.
X:1
T:Kiss Your Partner
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
761
Z:AK/Fiddler’s Companion
K:G
(3gfe | d2 Bd efge | dBGB AGEG | d2
Bd efgb | afdf g2 (3gfe | d2 Bd efge |
dBGB AGEG | d2 Bd efgb | afdf g2 ||
d2 | g2 {a}gf gbag | fdad bdad |
g2 {a}gf gbag | fdef g2 d2 | g2
{a}gf gbag | fdad bdad | edeg fdfb | afdf g2 ||
KISSED BEHIND THE
GARDEN.
AKA and see "The Jockey [2],"
AKA and see "Cailleach an Tuirne,"
"Cailin A' Tuirna," “Fourpence Ha’Penny Farthing,”
"Garrett Barry{'s Jig},"
"Gearoid de Barra," "Is
Maith Le Nora Ciste" (Nora Likes Cake), "Kiss Me, darling," "The Ladies' Fancy [3]," "The Maid at the Spinning Wheel,"
"Maire an Phortair," “Noran Kista,” “Nora’s
Purse,” "Norickystie," "Port an Achreidh,” "The Road to Lurgan," “Sergeant Early's Jig," “The Spinning Wheel [4],”"Tune the Fiddle,” "Wreathe the
Bowl.” "The Wild Irishman [4].” English, Jig. The melody appears
under this title in the 1770 Northumbrian music manuscript collection of
William Vickers.
KISS'D HER UNDER THE
COVERLET. English, Slip Jig. England,
Northumberland. G Dorian. Standard tuning. AABBCC. The melody appears under
this title in the 1770 Northumbrian music manuscript collection of William
Vickers. Seattle (William Vickers),
1987, Part 2; No. 280.
KISS'D SINCE KINDLEMISS (Candlemas). Northumbrian. One of the "missing
tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.
KISSED
YESTREEN/YESTREVEN. AKA – “As I was Kissed Yestreen.” AKA
and see “Yesterday’s Kisses.”
Scottish, Jig. A Dorian. Standard tuning. AB (Kerr): AABB (Howe, Sweet). 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 Grave
the Duke of Perth by Dav. Young, 1734." See also O’Neill’s “Yesterday’s
Kisses.” Howe (1000 Jigs and Reels),
c. 1867; pg. 130. Kerr (Merry Melodies),
vol. 1; No. 2, pg. 31. Sweet (Fifer’s
Delight), 1964/1981; pg. 36.
X:1
T:Kiss’d Yest’r E’en
M:6/8
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A Minor
E | A>BA ABd | e/^f/gB A2c | BAB
GAG | BAB GAB | cBc dcd |
ede a2g | edc ABd | e2A A2 :: ^g |
a2A ABA | a2A A2^f | g2G GAG |
BAB GAB | cBc dcd | ede a2g | edB
ABd | e2A A2 :|
KISSIMEE KID. Bluegrass, Breakdown. A Major. Standard tuning. AB. Composed by the
late Florida fiddler Vasser Clements (Kissimee is in central Florida). Brody (Fiddler’s Fakebook), 1983; pg. 160. Mercury SRM‑1‑1022, "Vasser Clements."
Round RX 103, "Old and In the Way."
KISSING AND DRINKING. English; Slip Jig. D Major. Standard tuning. AB. Source for notated
version: ships fiddler William Litten, of the British East India fleet. The MS
was brought to the island of Martha’s Vineyard by one of Litten’s shipmates,
Allen Coffin, although little is known of Litten himself [Huntington].
Huntington (William Litten’s), 1977;
No. 31.
X:1
T:Kissing and Drinking [1]
M:9/8
L:1/8
S:William Litten’s music manuscript
collection (1801-1802)
K:D
ABA dfd cec|ABA dfd fga|ABA dfd
cec|BdB geg dBG||
|:a3 faf g2e|a3 fga ecA|aba faf
gfe|BdBgfg dBG||
KISSING AND DRINKING
[2]. Irish, Jig. D Major. Standard tuning. AABB. Kennedy
(Jigs & Quicksteps, Trips & Humours), 1997; No. 94, pg. 23. Levey, The Dance Music of Ireland, No. 91.
X:1
T:Kissing and Drinking [2]
M:6/8
L:1/8
R:Jig
K:D
G|:FDD FDD|A/B/cA AGE|FDD FDD|B/c/dB
GED|
KISSING AND DRINKING [3].
AKA and see "Bounce upon
Bess," "Come all
you good fellows," "Larry O
Lashem," “Love and
Hospitality,” "The Parson
in/on his Boots," “The
Priest and/in His Boots [1],” "Paddy's Trip from Dublin,"
“Rocking the Cradle [2],” "There are Sounds of Mirth,"
"The Tivoli," "Sagart na
mBuataisi." Irish, Jig. D Major. Standard tuning. AABB. Brendan Breathnach says it was a favorite
tune of songsmiths; the multiplicity of titles probably has to do with the
number of songs set to it. He points out there are four songs to it alone in Crosby's
Irish Musical Repository (1808).
X:1
T:Kissing and Drinking [3]
M:6/8
L:1/8
R:Jig
K:D
afa geg|fdf ecA|
KISSING AND FLIRTING. English, Slip Jig. D Major. Standard tuning. AABB. Huntington (William Litten's), 1977; pg. 32.
KISSING IS THE BEST OF
A'. Scottish, Reel. G Mixolydian.
Standard tuning. AAB. Kerr (Merry
Melodies), vol. 3; No. 70, pg. 10. MacDonald (The Skye Collection), 1887; pg. 93.
X:1
T:Kissing is the best of a’
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:G
c|:(BG)GB (BG)Gc|BGGB gdec|(BG)GB (GB)Gc|A=FFA c2
BA:|
(B/c/d) df (gd)ec|(B/c/d) df g2
gd|(B/c/d) df (gd)ec|A=FFA c2 BA|
(B/c/d) df gded|(B/c/d) df g2
dg|egdg cgBg|A=FFA c2 BA||
KISSING RING, THE. Scottish, Jig. G Major ('A' part) & D
Major ('B' part). Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 261, pg. 29.
X:1
T:Kissing Ring, The
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 261
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
G2G G2B|d2d g2e|d2B BAG|A2F D3|G2G
G2B|d2d g2e|d2B B2G|AGF G2:|
|:A2A d2d|e2e f2f|g2g f2f|ede d3|ABA
d2d|e2e f2f|a2g f2f|ede d3:|
KISSING THY SWEET LIPS (Ag Pogad Do Beil Milis). Irish, Slow Air (4/4 time). D
Major. Standard tuning. AB. Source for notated version: Chicago Police Sergeant
James O’Neill, a fiddler originally from County Down and Francis O’Neill’s
collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 502, pg. 88.
X:1
T:Kissing Thy Sweet Lips
M:C
L:1/8
R:Air
N:”Slow”
S:O’Neill – Music of Ireland (1903), No. 502
Z:AK/Fiddler’s Companion
K:D
D2 | D3E F2 dc | {c}B3 A {G}F2 DE |
F3 G F2 ED | B,4 z2 A,B, | D3 E F2 dc |
BcBA {G}F2 DE | F2 AG F2E2|D4 z2 ||
(3ABc | d3c B>A B/c/d | e2f2 A2 A/B/c |
d3 c A2G2 | A2 Bc d2 {d>A}
{G/F/E/D/} {C/D/E/F/} {G/F/E/F/} {G/A/B/c/} d2|
B3A A3G | F3D B,2 DE | F2 AG F2
{F}E>D | D4 z2 ||
KIT KAT CLUB. English, Country Dance Tune (6/4 time). G Minor. Standard tuning. AABB.
Knowles (1995) explains that the Kit Kat Club is where young gentlemen would
sit in theaters in the 18th century. Knowles (A Northern Lass), 1995; pg. 23.
KIT O’CONNOR’S REEL. Irish, Reel. A Major. Standard tuning. AB. The tune is perhaps related
to “Gorman’s,” says Philippe Varlet. Kit O’Connor was a button-accordion (Paolo
Soprani) player active in the London session scene in the 1950’s. See the
related “My Love is Fair
and Handsome [2].” Mulvihil (1st
Collection), 1986; No. 114, pg. 30. Shanachie
79044, Tommy Peoples – “The Iron Man.” Damp in the Attic (4th track,
last tune of set).
X:1
T:Kit O’Connor’s Reel.
M:C|
L:1/8
R:Reel
S:Mulvihill - 1st Collection (1986), No. 114
K:A
E2 EG A2 (3cBA|eA (3cBA BAFA| E2 EG
A2 dB|AF {G}(3FEF dFAF |
(3EFE CE A,2 CE|c2 BA BAGE| CE
{F}(3EDE Ac {d}dBc | BABc A3 || f|
eA (3cBA EAdf|eA (3cBA BAFf |ec
{d}cBc ac {d}cBc | dB{c}BA Bcdf |
ec (3cBc ac (3cBc|dBBA Bcde| af{g}fe
fgaf|ecAc (3BcB AF | E2 ||
X:2
T:Kit O'Connor's
R:reel
S:Tommy Peoples
D:The Iron Man, Shanachie 7904
Z:Philippe Varlet
M:C|
L:1/8
Q:220
K:A
~E3 F ABcd | eA{d}cA {d}BAFA | ~E3 F
ABcA | BF (3FFF BFAF |
~E2 CE A,2 CE | dc{d}cA {d}BAFE |
CE~E2 Acfc |1 ecBc +A3A3+ F :|2 ecBc
+A3A3+ f ||
eAcA EAcf | eAcA {Bc}BAFA | ec (3ccc
ecac | ecAc Bcdf |
ec~c2 acfc | ecAc {Bc}BAFA | af{a}fe
~f2 af | eAcA BcAf |
eAcA EAcf | eAcA {Bc}BAFA | ec (3ccc
ac (3ccc | ecAc Bcdf |
ec~c2 cafc | ecAc {Bc}BAFA | aAgA
fAaf | eAcA BcAF ||
X:3
T:Kit O'Connor
C:Reel
H:Connie Connel
H:'Normally' an A tune (Tommy
Peoples esp.)
M:4/4
L:1/8
K:G
D3E GABG | dGBG AGEG | D3E GABA |
GE~E2 cEGE | {G}EDB,D G,2B,D |\
~B3B AGEG | D3E GABd |1 {e}dBAd BGG2
:|2 {e}dBAd BGGd |:\
{e}d2BG DGBG | DGBG AEE2 | dB~B2
gB~B2 | c2Bc ABce |
dB~B2 gB~B2 | c2Bc ABce|\~g3g
eg{a}ge | dBGB AGEG :|
KIT O’MAHONY’S
HORNPIPE (Crannciuil Cait Ni
Matgamna).
Irish, Hornpipe. G Major. Standard tuning. AABB. Kit, for Catherine, O’Mahony
(c. 1812-1900) was compiler Captain Francis O’Neill’s mother. She was raised in
the musical household of her parents, Donal and Mary O’Mahony, a ‘latter-day
chieftain’ who kept open house for travelling musicians near Drimoleague in
west Cork. Later in life Kit lilted and sung the melodies she had learned and
transmitted them to her own children (Carolan, 1997). Seen also “Kit O’Mahony’s
Jig” from the same source. Alan Jabbour says the tune is from a large tune family
that includes O’Neill’s “Touch
Me if You Dare [1],” Petrie’s “Take
Her Out and Air Her [3],” Joyce’s “Miss Redmond’s Hornpipe”
and Ford’s “Gilderoy [2].” American
fiddler Henry Reed had a variant (called simply “British Field March”) from an
elderly fiddler and fife player named Quince Dillon, and claimed it had been
played by the British to retreat in the Battle of New Orleans. Paddy Ryan (Treoir, vol. 35, No. 3, 2003) says “This
hornpipe and the Jig of the same name were two tunes many older musicians
associate with the music of (Connolly-Kilmaley fiddler) Highdie Doohan and his
musical comrades Paddy Murphy, Peadar O’Loughlin and Paddy Canny.” O’Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1593, pg. 295. O’Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 838, pg. 145. O’Neill (O’Neill’s
Irish Music), 1915; No. 339, pg. 167. Treoir, vol. 35, No. 3, 2003;
pg. 27. Celtic Crossings CD0299-02, Gearóid Ó
hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from Paddy Murphy,
who had it from Fiach Roe, West Clare, postman and fiddler Hughdie Doohan in
the 1930’s).
X:1
T:Kit O’Mahony’s Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
838
Z:AK/Fiddler’s Companion
K:G
GA | B2 BG A2 AG | FGAB cAFD | BGBd
cAGF | D2G2G2 GA |
B2 BG A2 AG | FGAB cAFD | fefd cAGF
| D2G2G2 :|
|: D2 | GABc d2g2 | defd cAGF | GABc
d2 ef | gage d2 ef |
gage fgfd | efed cdeg | {g}fefd cAGF
| D2G2G2 :|
KIT O'MAHONY'S JIG (Port Cait Ni Matgamna). Irish, Double Jig. G Major.
Standard tuning. AABBCCDD. Kit, for Catherine, O’Mahony (c. 1812-1900) was
compiler Captain Francis O’Neill’s mother. She was raised in the musical
household of her parents, Donal and Mary O’Mahony, a ‘latter-day chieftain’ who
kept open house for travelling musicians near Drimoleague in west Cork. Later
in life Kit lilted and sung the melodies she had learned and transmitted them
to her own children (Carolan, 1997). O'Neill (Krassen), 1976; pg. 54. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1021, pg. 190. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 234, pg. 53. GTD Heritage Trad. HCD
008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle."
Tim Collins – “Dancing on Silver.”
X:1
T:Kit O’Mahony’s Jig
M:6/8
L:1/8
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
234
Z:AK/Fiddler’s Companion
K:G
d/c/|BcB ABA|GAG FGA|BAB cAF|DGG
Gdc|BAG AGF|DGE FGA|fed cAF|DGG G2:|
|:A|GBd deg|fed cAF|GBd def|gfg
def|gfe fed|ecB cde|fed cAF|DGG G2:|
|:D|GBd cAc|BGG GBd|gdB cAE|FGA
cAF|GBd cAc|BGG gfg|fed cAF|DGG G2:|
|:d|gfg dBG| fed cAF| GBd deg|fef
def|gfg afd|bag afd|fed cAF|DGG G2:|
X:2
T:Kit O’Mahony’s Jig
M:6/8
L:1/8
S:Streamed radio (“Thar Droichead
Sall”, 1 Sept. 05)
Z:Transcribed by Bob Pfeffer
K:G
A|:B2d A2d | G (3BAG FGA | BAB cAF |
DGF Gdc |
ABG (3BAG F | (3DED G FGA | fed cAF
|1 DGF G2A :|2 DGF G2D |
|: GBd gag | fed cAF | GBd def | gbg
def|
(3gag e fed|edB cde|fed cAF|DGF G2D
:|
|: GBd c (3ABc|BGF GBd|gdB cAG|FGA
cAF|
GBd c (3ABc|BGF GBd|fed cAF|1DGF
G2D:|2 DGF GBd|
|:gag dBG|fed cAF|GBd def|gag def|
g (3efg afd|bag fed|fed cAF|1DGF
GBd:|2DGF G2||
KIT WHITE’S NO. 2. AKA and see “MacGregor’s March,” “Maurice O’Keefe’s [5],” “Rob Roy’s March.” English, Scottish,
Irish. Paul de Grae finds this tune to be nearly identical to an untitled polka
from fiddler Maurice O’Keeffe. Townsend (A
Second Collection of English Country Dance Tunes), 1983.
X:1
T:Kit White’s No. 2
M:4/4
L:1/8
K:D
A2 AB A2 AB|A2 d4 c2|B2 Bc B2 Bc|B2
e4 cB|
KITCHEN (REEL), THE. Canadian, New England; Reel. A Major. Standard
tuning. AAB. Messer, 1948; No. 20. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 40, pg. 30. Sannella, Balance and Swing (CDSS).
X:1
T:Kitchen
Reel
R:Reel
M:4/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:A
ed|cAce
a2e2|fgaf e2c2|cAce afec|d2B2 B2ed|
cAce
a2e2|fgaf e2c2|ceae gabg|a2a2 a2:|
|:b2|c'4
c'2b2|a6c2|dcde f2d2|B6e2|
b4
b2a2|g6e2|d2e2 f2e2|c6e2|
c'4
c'2b2|a6c2|A2c2 e2a2|f6d2|
BBdd f2a2|AAcc e2a2|BABc defg|a2a2
a2:|
KITCHEN CEILI REEL. American, Reel. Composed by
fiddler George Wilson (Wynanskill, New York). Kitchen Ceili is the name of one
of the bands George plays in. RC2000, George Wilson –
“Royal Circus” (2000).
KITCHEN COMB, THE. A tune title in the Henry Hudson Collection attributed to Limerick uilleann piper Walter Jackson. Caoimhin Mac Aoidh (1994) makes a case for a relation between this tune title and the Donegal tunes known collectively as "The Combs" attributed to the Bundoran branch of the Jackson family. See note under "Jacksons' Combs" for more information on the Donegal 'Comb' tunes.
KITCHEN GIRL. Old‑Time, Breakdown. USA, West Virginia. A Mixolydian ('A' part)
& A Minor or Dorian ('B' part). Standard tuning. AABB. Collected in 1966
from influential Glen Lyn, Virginia, fiddler Henry Reed by fiddler and
folklorist Alan Jabbour, who popularized the melody along with the Hollow Rock
String Band (through their 1967 recording). Reed’s tune has become so
wide-spread it is sometimes played in Europe as a representative American
old-time tune. Fiddler Bill Hicks points out that "kitchen girl" was
often a term used for a female slave who worked in the kitchen. Another
interpretation of the title is perhaps suggested by the painting below:
***
“Kitchen Ball at White Sulphur Springs, Virginia” (1838), by Christian Mayr (1803-1851). North Carolina Museum of Art.
***
Sources for notated versions:
Highwoods String Band (N.Y.) [Brody]; Alan Block [Phillips]; Stephanie
Prausnitz [Silberberg]. Brody (Fiddler’s
Fakebook), 1983; pg. 160‑161. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey
Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988, 2003);
pg. 6. Phillips (Fiddlecase Tunebook),
1989; pg. 26. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 132. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 84. Spandaro (10 Cents a Dance), 1980; pg. 37. Flying
Fish 053, "Cathy Fink & Duck Donald" (1978. Learned from Steve
Proescher, Norfolk, Va., and Reed Martin, Kensington, Md.). Flying Fish FF247,
"Fiddle Fever" (1981. Appears as part of "Daybreak in the
Mountains"). June Appal 014, John McCutcheon ‑ "The Wind That
Shakes the Barley" (1977. Learned from Henry Reed). Kanawha 311, "The
Hollow Rock String Band". Kicking Mule 206, David Bromberg‑
"Kicking Mule's Flat‑Picking Guitar Festival". Philo 1051, Boys
of the Lough (with fiddler Jay Ungar) ‑ "Good Friends, Good
Music" (1977). Rounder 0074, Highwoods String Band‑ "No. 3
Special" (1977. Learned from Bert Levy and fiddlers from Durham/Chapel
Hill, N.C.). Rounder 0089, Oscar and Eugene Wright‑ "Old‑Time
Fiddle and Guitar Music from West Virginia" (learned from Henry Reed).
Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered
Dulcimer Music” (reissues, orig. released 1977).
X:1
T:Kitchen Girl
M:C|
L:1/8
S:Jay Ungar
Z:AK/Fiddler’s Companion
K:Amix
a4 (g3 f)|(e>f) e>d c2
c>d|e2f2 (g>a) b>a|^g2 e2 e2 (3efg|a2 e2 g2 d2|
(e>f) e>d (c>d) e>f|g2
d2 (e>f) e>d|1 c2 A2 A2 (3ef^g:|2 c2 A2 A3 B||
K:Ador
|:(A>B) c>A (B>A) G2|(A>B) A>G E3
G|A2 B2 c2d2|e3 (g e>)d (c>B)|
(A>B) c>A (B>A)
G>B|(A>B) A>G E2 A>B|(c>B) A>c (B>A) G>A|1 E<A
A3B:|2 E<A A4||
KITCHEN HORNPIPE. AKA and see "Kelly's
Hornpipe."
KITCHEN MAID, THE. Scottish, Pipe Jig. Well‑known. Green Linnet SIF 1077, Capercaille ‑
"Crosswinds" (1987).
KITCHEN WITH NO FOOD, THE. AKA and see “Taidhgin an Asail’s Jig.”
KITCHENER’S ARMY [1]. AKA and see “George the Fifth’s Army,” “George’s Army March,” “King George V’s Army.” Scottish, March (2/4 time). A Major. Standard
tuning. AABBCCDD. Paul Stewart Cranford notes that Cape Breton fiddlers often
play the tune ABDC. Composed by Pipe Major George S. MacLennan, in honor of the
forces of Lord Kitchener, commander of the British Army during World War 1.
Cranford (Jerry Holland: The Second Collection), 2000; No. 12, pg. 6. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 9 (appears as “King George V’s
Army”). Scots Guards, vol. 1. Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to
Boston and Back: Classic House Sessions of Traditional Cape Breton Music
1956-1977” (2000).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index |
KITCHENER’S ARMY [2]. Scottish, March (6/8
time). A different march than
“Kitcherer’s Army [1]."
KITTEN, THE. AKA and see “Yellow Stockings.” Irish, Slip Jig. E
Minor. Standard tuning. AABBCDD. See also the related “Humours of Whiskey [2].”
Source for notated version: copied from O’Farrell’s
Pocket Companion (1804-10) [O’Neill]. Mulvihill (1st Collection), 1986; No. 6, pg. 108. O’Farrell
(Pocket Companion, vol. 1); c. 1805;
pg. 76. O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 186.
X:1
T:Kitten, The
M:9/8
L:1/8
R:Slip Jig
S:O'Farrell's Pocket Companion 1804-10
Z:Paul Kinder
K:G
D|:G2 B GEE GEE|G3/2A/2G/2F/2 GEE F2 D|G2 B GEE GEE|FGA ABG FED:|
|:G2 c BGd BGd|G2 c BGd cBA|G2 c BGd BGd|ecA ABG FED:|
|:B/2c/2BA GEE GEE|B/2c/2BA GEE FED|B/2c/2BA GEE GEE|FGA ABG FED:|
|:G2 G dBG BdB|G2 G dBG ecA|GBd g3/2a/2g/2f/2 gdB|ecA ABG FED:|
|:BGE
cGE dGE|cGE BGE AFD|BGE cGE dGE|d2 B ABG FED:||
KITTEN AND THE FROG, THE. AKA and see "Kitty
in the Fog."
KITTENS ON CATNIP. American, Reel. D Mixolydian. Standard tuning. AABB’. Composed by Dave
Goldman of the Portland, Oregon, band Moondog. Songer (Portland Collection), 1997; pg. 120.
KITTIE’S WEDDING. AKA and see “Over the
Moor to Maggie [2].” Irish, Reel.
KITTLE CATTLE. Scottish, Reel. B Flat Major. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 178, pg.
21.
X:1
T:Kittle Cattle
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 178
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Bb
d|B2 (FE) DB,B,D|CccB ABcd|B2 (FE)
DB,DF|GcAF B3:|
||d|Bcde fBdB|edcB AFGA|Bcde
fdBd|cecA B3|
Bcde fBdB|edcB AFGA|B2 (FE)
DB,DF|GcAF B3||
KITTY ALONE. AKA and see "As
I Walked On the Road to Sligo," “Paddy
Brown.” Irish, Air (6/8 time). A Dorian. Standard tuning. One part. Source
for notated version: George Sinclair, Cork (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 660, pg. 331 and No.
123, pg. 62. Petrie‑Stanford (Complete
Collection), 1903‑06; No. 446.
KITTY AND THE BABY. Old‑Time, Breakdown. USA, north Ga. Recorded in 1930 by Ga.
fiddlers Lowe Stokes (Elijay, Ga.) and Bert Layne, approximately one and a half
months before Stokes lost his right hand in a hunting accident.
KITTY AT THE WELL. Canadian, Reel. Canada, Prince Edward Island. A Major. Standard tuning.
AA’BB. Perlman (1996) thinks this may have originally been a strathspey,
converted on eastern Prince Edward Island. Source for notated version: from a
78 RPM recording by fiddler Lem Jay {1880-1960} (Mt. Stewart, Queens County,
Prince Edward Island) [Perlman]. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 82.
KITTY BO-BO. English, Sword Dance Tune (3/4 time). England, Northumberland. G Major.
Standard tuning. AABBCC. A traditional Northumbrian sword dance tune performed
by pitmen at Christmas mummer's plays‑‑see note for "The Sword Dancer's Song." The
title is perhaps from the Gaelic word for cow, bo. Bruce & Stokoe (Northumbrian
Minstrelsy), 1882; pg. 137.
X:1
T:Kitty Bo-Bo
L:1/8
M:3/4
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
gfed g/f/e/d/|B2G2B2|gfed g/f/e/d/|A2F2A2:|
|:GBdBdc|B2G2B2|GBdBcA|A2F2A2:|
|:B2
GcBA|B2G2B2|B2 GcBG|A2F2A2:|
KITTY CLINE. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
KITTY CLOVER('S). AKA and see "Peggy on the
Settle." Irish, Reel. D Major ('A' part) & B Minor ('B' part).
Standard tuning. AABB. Cole (1000 Fiddle
Tunes), 1940; pg. 12. Ryan’s Mammoth
Collection, 1883; pg. 34.
X:1
T:Kitty Clover’s
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
A |:dcdA BE E2|BE E2 FDFA|dcdA BE
E2|FAAG FDFA|dcdA BE E2|
BE E2 FDFA|dcdA BE E2|FAAG
FDFA::BABc d2 fd|BABc dAFA|
BABc d2 eg|fdec dAFA|BABc d2 fd|BABc
dAFA|BABc d2 eg|faec dAFA:|
KITTY CLYDE'S. AKA and see “Miss Betsy Robertson,” “Kitty Robertson.” Scottish, Reel. G Major. Standard
tuning. AABB. A popular song was composed and published in 1853 by L.V.H.
Crosby called “Kitty Clyde,” no relation to this reel. “Kitty Clyde” was also
the name of a famous thoroughbred racehorse, born in 1860 (and presumably named
after the song). Cole (1000 Fiddle Tunes),
1940; pg. 36. Ryan’s Mammoth Collection,
1883; pg.
X:1
T:Kitty Clyde’s
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
d |g2 (dc) B2 GB|(Aa)ag fdef| gfgd
ecdB|cAdc BG Gd|g2(dc) B2 GB|
(Aa)ag fdef| gfgd ecdB|cAdc BG
G::c|(BG)(DG) EGDG|ABcA cedc|
(BG)(DG) EGce|dBcA BGGc|(BG)(DG)
EGDG|ABcB cedc|BdgB ceag|fdef g2z:|
KITTY COME DOWN THE
MEADOW.
Irish, Jig. G Major. Standard tuning. AABB. Miller (Fiddler’s Throne), 2004; No. 68, pg. 51.
KITTY COME DOWN TO
LIMERICK. Irish, Slip Jig. Green Linnett GLCD 1155, Martin Hayes - “Under the Moon”
(1995). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule –
“Traditional Music of Ireland” (1995).
KITTY COME OVER (Tar A Leir/Leit A Caitilin). AKA and see “The Cow that Ate the Blanket
[1],” “The Noonday Feast.” Irish, Double
Jig. G Major. Standard tuning. AABB. See also the related “Castle Donovan [1].” O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 778, pg. 145. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 55, pg. 26. Green Linnet SIF3040, De
Dannan - "Ballroom" (1987. Learned from a 1928 recording of Co. Mayo
melodeon player Frank Murphy, who recorded it in New York.)
X:1
T:Kitty Come Over
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No. 55
Z:AK/Fiddler’s Companion
K:G
c|BcA BGE|GAG GBd|efg ded|BAA
A2c|BcA BGE|GAG GBd|efg dec|BGG G2:|
|:f|gfg efg|fag fed|gfg efd|eAA
A2c|BdA BGE|GAG GBd|efg dec|BGG G2:|
KITTY FISHER. English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB.
Kidson (1890) identifies this air, from Thompson
& Son's Twenty-Four Country Dances for 1760, as named for a
"notorious" lady who died in 1771. The tune also appears in
Thompson’s Compleat Collection of 200
Favourtie Country Dances, vol. 2 (1765, pg. 29), David Rutherford’s Compleat Collection of 200 Country Dances,
vol. 2, (c. 1760), and a few musicians’ manuscript copybooks, such as that of
Thomas Hammersley (England, c. 1790) and Daniel Aborn/William F. Magee
(America, c. 1790). Catherine Maria (‘Kitty’) Fisher actually died in 1767 and
was one of the most renowned courtesans in London. She was an accomplished horsewoman and was known for her bravery
and wit. Giacomo Casanova visited London in the 1760’s and met Fisher, and
wrote:
***
…the illustrious Kitty Fisher, who was just
beginning to be fashionable. She was
magnificently dressed, and it is no
exaggeration to say that she had on diamonds
worth five hundred thousand francs. Goudar told
me that if I liked I might have
her then and there for ten guineas. I did not
care to do so, however, for, though
charming, she could only speak English, and I
liked to have all my senses, including
that of hearing, gratified. When she had gone,
Mrs. Wells told us that Kitty had
eaten a bank-note for a thousand guineas, on a
slice of bread and butter, that
very day. The note was a present from Sir
Akins, brother of the fair Mrs. Pitt. I
do not know whether the bank thanked Kitty for
the present she had made it. [London and Moscow: The English, Jacques Casanova de Seingalt]
***
A year
before her death she married John Norris son of the M.P. for Rye, and, in the
short time before her death she became known for her charity to the locals
around Hemsted, her husband’s family seat. Her untimely demise was said to have
been the result of poisoning by lead-based cosmetics (as was Maria Gunning –
see note for “Miss
Gunning’s Fancy (Reel)”), although some attribute it to smallpox. Kitty’s
portrait was painted by a number of accomplished period painters, including
Joshua Reynolds (“Kitty Fisher” c. 1763-64),
Nathaniel Hone, Philip Mercer and James Northcote. Kitty was also mentioned in
the nursery rhyme:
***
Lucy Locket lost a pocket,
Kitty Fisher found it;
But ne’er a penny was there in’t,
Except the binding round it.
***
See note
for “Yankee Doodle” for more on
this tune. Kidson (Old English Country
Dances), 1890; pg. 10. Plain Brown Tune Book, 1997; pg. 28.
X:1
T:Kitty
Fisher
M:2/4
L:1/8
S:Thompson
– Twenty-Four Country Dances for 1760
K:G
G/A/B/c/ dB|Gg g2|G/A/B/c/ dB|FA A2|G/A/B/c/ dB|Ggge|fde^c|d2 D2:|
|:d/e/f/g/ a=c|Bg g2|G/A/B/c/ dG|FA A2|G/A/B/c/
dG|Ggge|dBcA|G2G2:|
KITTY GOES A MILKING. See “Kitty’s Gone a Milking.”
KITTY GONE A MILKING. AKA and see “Kitty’s Gone a Milking.”
KITTY GORDON'S. Irish, Reel. Ireland, northern Ireland. D Mixolydian/Major. Standard
tuning. AB. See also the related “Early Rising.”
Source for notated version: fiddler Peter Turbit [Feldman & O’Doherty].
Feldman & O’Doherty (The Northern
Fiddler), 1979; pg. 238.
KITTY
GOT A CLINKING (COMING FROM THE RACES) [1] {Caitin Ag Teact O'n Reata}. AKA and see "Boil the Kettle Early,"
"The Brown Red Girl," "Coming From the Races,"
"The Connachtman's
Rambles [1]," “Dunguaire Castle,” "The Kilfinane Reel," "The Ladies Tight Dress," "The
Ladies Top Dress," "The
Lady on the Railroad," "The
Listowel Lasses," "Love
Among the Roses," "Maureen
Playboy," "McCaffrey's Reel,"
"Old Molly Ahern,"
"The Piper's Lass," "Punch for the Ladies [2],"
"The Railway Station,"
"The Rathkeale Hunt," "Rolling on the Ryegrass,"
"Roll her on the banks," "The
Telegraph," "The Shannon
Breeze [1]," "What
the Devil ails you [2]" Irish, Reel and Fling. D Major. Standard
tuning. AB. Closely related to the Lowland Scots tune “High Road to Linton.” Regarding the
title, Seamus Ennis was once asked what it meant, and supposedly replied that
clinking was "an intimate act of warm affection.” Philippe Varlet finds
that as a fling the melody was recorded by the Philadelphia group Four
Provinces Orchestra in the 1920's (under the title "Coming From the
Races”). Sometimes the parts are reversed from O’Neill’s printing, especially
in fling versions. Mitchell (Dance Music
of Willie Clancy), 1976/1993; No. 146, pg. 115 (appears as “Fling No.
1"). O'Neill (O’Neill’s Irish Music),
1915/1987; No. 299, pg. 149. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 605, pg. 110.
Claddagh CC 11, Willie Clancy - “The Drones and the
Chanter.” Claddagh CC 32 & CC 39, Willie Clancy - “The Pipering of Willie
Clancy” (two versions, a single jig and a fling). Lochshore CDLDL 1215, Craob
Rua - “The More That’s Said the Less the Better” (1992).
X:1
T:Kitty Got a Clinking Coming from
the Races
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
605
Z:AK/Fiddler’s Companion
K:D
AG|FDFA d2 dc|BABc d2d2|FAAB d2
dB|ABAF E2D2|FDFA d2 dc|BABc d2d2|
FAAd BcdB|AFDF E2D2|FAAd BGGB AFFA
GE E2|FAAd BGGB|AFDF E2D2|
FAAd BGGB|AFFA GE E2|FAAd BcdB|AFDF
E2D2||
X:2
T:Kitty Got a Clinking
T:High Road to Linton, The
S:Craobh Rua
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
FDFA d2 dA | BABc d2 d2 | FDFA d2 dA | (3Bcd AF E2 D2 :|
FAAd BGGB | AFFA BEEG | FAAd BGGB | AFDF
E2 D2 |
FAAd BGGB | AFFA BEEG | FAAd BcdB | AFDF
E2 D2 |]
KITTY GOT A CLINKING
[2]. AKA and see “Cuddle in a Boasie,” "The High Road to Linton,” "High Way to Linton," “Highway to Linton,” “Jenny’s Gone to Linton,” “Kitty Got
a Clinking coming from the Races,” "The
Leinster Highroad." Irish, Reel. A different tune than “Kitty Got a
Clinking [1]."
KITTY
GOT A CLINKING COMING TO/FROM THE FAIR. AKA and see “Munster Bacon.” Irish, Single Jig. D Major.
Standard. AA’BB’. Claddagh 4CC 32, Willie Clancy –
“The Pipering of Willie Clancy, vol. 1” (1980).
X:1
T:Kitty Got a Clinking Coming to the
Fair
M:6/8
L:1/8
R:jig
D:Brian Finnegan: When the Party's
Over
K:D
~A3 DFA|dfe d2A|~B3 dAF|~G3 EFG|~A3
dcA|~B3 efg|
faf gfe|1 dfe d2B:|2 dfe d2a||:afd
dfa|bag a2g|~f3 fed|
cAA A2G|Fdd cee|dff efg|faf gfe|1
dfe d2a:|2 dfe d2B||
KITTY IN THE FOG. AKA and see "The Kitten and the
Frog," "County Down [1]." American, March (6/8 time). USA,
southwestern Pa. A Dorian. Standard tuning. AB. A fife band tune also known to
fiddlers, collected in southwestern Pa. The tune, according to Bayard (1981),
belongs to a rather etherial and unnamed but originally Irish tune family whose
members include "Young Tom Ennis,"
"The Banks of Lough Gowna
," "The Stonecutter's Jig,"
"One Bottle More [2],"
"The Rambler From Clare
[1]," "The Mug of Brown
Ale [2]," "The Ball
(Humours) of Ballynafeidh," and other, usually floating, titles. The
sets of the family usually stray in either the first or second parts and
"always seem to be diverging off into other pieces" (pg. 530).
Sources for notated versions: Hiram Horner (fifer from Westmoreland and Fayette
Counties, Pa., 1960), George McCune (Indiana County, Pa., 1944), Hiram White
(elderly fiddler from Greene County, Pa., 1930's), John Tustin (fiddler from
Greene County, Pa., 1944) [Bayard]. Bayard (Dance
to the Fiddle), 1981; No. 601A‑E, pgs. 528‑530.
KITTY IN THE LANE [1] (“Caitilin San Sraidin” or “Cití sa Bhóithrín”). AKA and see "P.J. Conlon's," "The Ballinafad Reel [1],"
"Lower Ormond." Irish, Reel.
D Mixolydian/D Major (Cole, Kerr, O’Neill): D Dorian (Plain Brown).
Standard tuning. AB (Cole, O'Neill): AAB (Breathnach, Kerr, Plain Brown).
As “Katty in the Lane” the title appears in a list of tunes in his repertoire
brought by Philip Goodman, the last professional and traditional piper in
Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). See
also related tunes “Over the
Bridge to Peggy [1],” "Jenny
Picking Cockles"/"Take
Her Out and Air Her" and "The
Sailor's Jacket"/"Come to
your Tay." Sources for notated versions: a c. 1847 music manuscript by
Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown];
fiddler Paddy Fahey (Kilconnell, east County Galway) [Breathnach]. Breathnach (CRÉ V), 1999; No. 115, pg. 59. Cole (1000 Fiddle Tunes), 1940; pg. 50. Kerr (Merry Melodies), vol. 1; No. 8, pg. 34.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 796, pg. 138. Plain Brown Tune Book, 1997; pg.
52. Ryan’s Mammoth Collection, 1883;
pg. 79. Green Linnet Records SIF 1058, Matt Molloy
& Sean Keane ‑ "Contentment is Wealth" (1985).
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Kitty in the Lane [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
796
Z:AK/Fiddler’s Companion
K:Dmix
dcAB cBcA|GEDE c2 Bc|dcAB cBcA|GEcE
ED D2|dcAB cBcA|GEDE c2 Bc|
dcAB cded|cAGE ED D2||Addg f2
ed|cdef gfgA|Addg fged|
cdeg fddc|Addg f2 ed|cdef g2 fg|afge
fded|cAGE ED D2||
KITTY IN THE LANE [2]. Irish, Reel. Ireland, County Donegal. A Major. Standard. ABB’. Source
for notated version: fiddler and storyteller Con Cassidy (County Donegal)
[Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 153.
KITTY IN THE LANE [3]. Irish, Barndance. Ireland, County Donegal. G Major. Standard.
AA’BA’A’’CC. The second part is in ¾ time. Teelin, County Donegal, fiddler Con
Cassidy had the tune from “an old lady from above,” originally from “across the
water” from the parish of Kilcar, and who lilted the melody in front of the
fire when she was feeling good [Feldman & O’Doherty]. Source for notated
version: fiddler John Doherty
(1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty
(The Northern Fiddler), 1979; pg. 93.
KITTY IN THE LANE [4]. AKA and see “Lillies in/of
the Field.” Irish, Reel.
KITTY LIE OVER NEXT TO
THE WALL. AKA and see “The Frost is All
Over,” “Patsy McCann’s,” “Paddy’s Return [1].” Irish, Slide. D
Major. Standard tuning. AABB. It has been suggested that this title helps the
musician to remember the rhythm of the tune. The title comes from lyrics sung
to this tune generally going by the title “The Frost is all Over” or “The
Praties are dug (and the frost is all over).” Confusingly, these lyric sets
were sung to a few different tunes (see “Frost is all over [1]” for more on
this), and the melodies were of often called by portions of these titles. For
example, these lyrics were inserted into the jig “The Praties are dug” by
Johnny Moynihan of the band De Dannan:
***
The praties are dug and the frost is all over, Kitty lie over close to
the wall.
***
from which
this tune takes its title. However, in this case the melody itself is in the
“Paddy’s Return [1]” family.
X:1
T:Kitty Lie
Over
M:6/8
L:1/8
R:Jig
S:Mick
O’Brien
K:D
d2B|AFD
DFA|Add B2A|ABA ~F3|GFG EFG|AFD DFA|
Add B2A|ABA
F2E|1 EDD :|2 EDD D2||e|fdd ede|fdd d2e|
fdd def|g2e
efg|afd B2A|AdF G2B|ABA F2E|EDD D2:|
KITTY LINNANE’S
FAVOURITE. AKA and see “Kilfenora Reel [6],” “Tierney’s.” Irish, Reel. D Major. Standard tuning.
AA’B. The Kilfenora Ceili Band recorded the tune on a 78 RPM under the title
“Tierney’s.” Treoir, 1979.
X:1
T: Kilfenora Reel
T:Kitty Linnane’s Favourite
L:1/8
M:4/4
Z:Transcribed by Pat Higgins.
K:D
|d3A BAFB|A2FD EDEF|D2FA
BAFB|(1)ABde f3e:|(2)ABde fdd2||
|f3a gfed|(3Bcd ef g2fe|f3a
g2fg|a2ge fddc|
dfaf gfed|cABc defg|a2ge fded|cdeg
fdec|
KITTY LOSTY'S REEL (Seisd/Cor Caitin Ni Losglaide). AKA and see “Queen of May [2].” Irish, Reel. E Dorian.
Standard tuning. AAB (O'Neill/1850): AABB' (O'Neill/Krassen). The 'B' part of
the tune is almost exactly note-for-note the same as the 'B' part of "The Tap Room" (a member of the “Hopetoun House” family of tunes) though
the 'A' parts have little in common. Source for notated version: Chicago
police patrolman, piper and flute player John Ennis, originally from County
Kildare [O’Neill]. O'Neill
(Krassen), 1976; pg. 100. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1221, pg. 230. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 498, pg. 95.
X:1
T:Kitty Losty’s Reel
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
498
Z:AK/Fiddler’s Companion
K:Emin
d^cdf e2
dB|AD (3FED FA A2|Bddf edB^c|dBAF BE E2:|
Beef gfge|defg afdf|edef g2 fe|dBAF
BE E2|Beef gfge|defg afdf|
g/a/g/f/ge f/g/f/e/fe|dBAF BE E2||
KITTY MAGEE. See "Kitty McGee."
KITTY MAGENNIS. Irish, Air or Planxty (3/4 time). G Dorian. Standard tuning. AB.
Composed by blind Irish harper Turlough O'Carolan (1670-1738). Complete Collection of Carolan's Irish Tunes,
1984; No. 94, pg. 73.
KITTY
McGEE/MAGEE (Caitilin Ni
Micaeda). AKA –
“Katty Magee.” AKA and see "Picking
of/Up Sticks." Irish, New England; Jig. D Major (most versions): B
Flat Major (Stanford/Petrie). Standard tuning. AB (Stanford/Petrie): AABB (most
versions). Sources for notated versions: Janet Foster [Spandaro]; Pete
Sutherland with the Arm and Hammer String Band [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 161. S.
Johnson (The Kitchen Musician No. 6: Jigs),
1982 (revised 1991, 2001); pg. 7. Levey (Dance
Music of Ireland, 2nd Collection), 1873; No. 7, pg. 3 (appears
as “Katty Magee”). Miller & Perron (New
England Fiddlers Repertoire), 1983; No. 3. O'Neill (Krassen), 1976; pg. 72.
O'Neill (1850), 1979; No. 716, pg. 133. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 369.
Sannella, Balance and Swing (CDSS).
Songer (Portland Collection), 1997;
pg. 120. Spandaro (10 Cents a Dance),
1980; pg. 24. Stanford/Petrie (Complete
Collection), 1905; No. 513, pg. 130. Sweet (Fifer’s Delight), 1964/1981; pg. 31.
F&W Records 6, Fireside String Band‑ "Square Dance Tunes for a
Yankee Caller." "Front Hall 03, Dudley Laufman‑ "Swinging
on a Gate." The Kicking Mule 216, Arm and Hammer String Band‑
"New England Contra Dance Music."
T:Kitty McGee
M:6/8
L:1/8
R:Jig
K:D
d2d AFA | d3 efg | f2d e2d | cec ABc | d2d AFA | d3 efg | f2d e2c | ddd d2A :|
|:
d2f agf | e2f g3 | f2d e2d | cec A3 | aaa g2f | e2f g3 | f2d e2c | ddd d2A :|
KITTY MOONEY. Irish, Jig. F Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 2; No. 273, pg. 30.
X:1
T:Kitty Mooney
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 2, No. 273
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:F
(3c/d/e/|f2F F2F|F2F F2G|A2B cBA|d3
cde|f2F F2F|F2F F2G|A2G F2E|(D3 D2) (3c/d/e/|
f2F F2F|F2F F2G|A2B cBA|d3 cde|f2F
F2F|F2F F2G|A2G F2E|(D3D2)||
c|d2c d2e|f2g f2e|d2c d2e|f3
(f2g)|a2f g2e|fed c2A|cde fcA|G3 (GAG)|(F3 f)Ac|
(d3 d)ef|cdc cBA|AGG GAG|(F3
F)Ac|(d3 d)ef|cdc BAG|GFF F2||
KITTY MY DEAR. Irish, Air (3/4 time). D Major. Standard tuning. One part. Roche Collection, 1983, vol. 1; No.
71, pg. 34.
KITTY NOWLAN. AKA and see "Cailtlin
Ni Uallachain."
KITTY O'BRIEN. AKA and see "Planxty
Kitty O'Brien."
KITTY O'CONNOR. Irish, March. This popular march was the vehicle for a special dance of
the same name in northwest Donegal. Green Linnet
SIF-1095, Altan - "Horse with a Heart" (1989. Learned from Paula
Doohan of Gort a'Choirce).
KITTY O’DWYER. AKA and see “Cait Ni Dhuibhir.”
KITTY OF BALLINAMORE. AKA and see "Father Jack
Walsh," "Tatter Jack Walsh."
KITTY OF COLERAINE (Caitilin Ua Cuilratain). AKA and see “Belle of the Kitchen [1],” “New York Jig [3],” “Paddy’s Resource [1],” “The Rover [2].” Irish, Air (6/8 time,
"gaily"). D Major (O’Farrell, O’Neill): C Major (Howe). Standard
tuning. AB (O’Farrell, O’Neill): AABA (Howe). "The Road to Skye" is a very closely
related tune, and in fact Coleraine, in Northern Ireland is just across the
straits from the Western Isles of Scotland, including Skye. The song is known
as an Ulster folksong.
***
Words set to the tune (collected in
County Derry) begin:
***
As beautiful Kitty one
morning was tripping,
With a pitcher of milk
from the fair of Coleraine,
When she saw him she
stumbled, the pitcher it tumbled,
And all the sweet
buttermilk watered the plain.
Oh! What shall I do
now, 'twas looking at you now,
Sure, sure, such a
pitcher I'll ne'er meet again.
'Twas the pride of my
dairy, Oh, Barney McCleary,
You're sent as a
plague on the girls of Coleraine.
***
Thomas
Moore used the melody for his song “Omens” in Irish Melodies (1807). The melody appears in the 1840 music
manuscript collection of John Rook, from the Wigton area of Cumbria. Howe (Complete Preceptor for the Accordeon),
1843; pg. 11. O’Farrell (Pocket Companion, vol IV), c. 1810; pg. 117. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 152, pg. 27.
X:1
T:Kitty of Coleraine
M:6/8
L:1/8
R:Air
N:”Gaily”
S:O’Neill – Music of Ireland (1903), No. 152
Z:AK/Fiddler’s Companion
K:D
A/G/|FAd dfa|eg/f/e/d/ ceA|dfa
dgb|b/a/g/f/e/d/ fe A/G/|
FAd dfa|eg/f/e/d/ ceA|dfa
dgb|A>Bc d2||f/g/|afd ecA|afd ecA|afd f/e/d/c/B/A/|
Ba^g a2
A/G/|FAd dfa|eg/f/e/d/ ceA|dfa dgb|A>Bc d2||
X:2
T:Kitty of Coleraine
M:6/8
L:1/8
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:D
e>fd dcA | dfa dgb | A>Bc d2 || f/g/ | afd ecA | afd ecA | aec Bdf |
cdB A2 A/G/ | FAd dfa | e>f e/d/ dcA | dfa dgb | ABc d2 ||
X:3
T:Kitty of Coleraine
M:6/8
L:1/8
R:Jig
S:John Rook manuscript (1840, Cumbria)
K:D
A|Add dfa|e>f e/d/ dc A/A/|Add dfa|gec d2 A/A/|Add dfa|
e>fd dBG|dfa dgb|ABc {e}d2||a|afd ecA|afd ecA|aec Bdf|
cdB A2 A/G/|FAd dfa|e/f/g/f/e/d/ dcA|dfa dgb|ABc d2||
KITTY OF OULART (Caitilin Ua Uball-Gort). AKA and see "Donnybrook Boy" “Friendly Jack,” “Jackson’s Frolic,” “The Mulberry Bush.” Irish, Slide or Double
Jig. F Major (Cole): D Major (O'Neill). Standard tuning. AABB (Cole, Ryan,
White): AABBCC (O'Neill). Oulart Hill, east County Wexford, is the site of a
rebel victory over the hated North Cork Militia sent out from Wexford town to
disperse them during the Rising of 1798. The town of Oulart lies nearby.
Interestingly, the Wexford rebels spoke English, while the North Cork Militia
was largely Irish Gaelic speaking. See note for “Jackson’s Frolic.” Cole (1000 Fiddle Tunes), 1940; pg. 75.
O'Neill (Krassen), 1976; pg. 68. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1090, pg. 205. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 284, pg. 62. Ryan’s Mammoth Collection, 1883; pg.
108. White’s Unique Collection, 1896;
No. 21, pg. 4.
X:1
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 284
Z:AK/Fiddler’s Companion
K:D
A/G/ | FAD FED | FAD FED | GBG FAF |
EFE EFG | FAD FED |
FAD FED | dcB AFA | DED D2 :: A |
d2e f2d | edB BAF | ABA Abd |
efd edB | d2e f2d | edB BAF | dcB
AFA | DED D2 :: A | d>cd efg | fed cBA |
B<dB AFD |
EFE E2A | d>cd efg | fed cBA | B<dB AFA | DED D2 :|
KITTY O'HARA (Caitilin Ni Eagra). Irish, Air (3/4 time, "tenderly"). G
Major. Standard tuning. AB (O'Sullivan/Bunting): ABB' (O'Neill). Source for
notated version: the index to the Irish collector Edward Bunting's 1840
collection notes the melody was collected at Castlebar in 1802. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 183, pg. 32. O'Sullivan/Bunting,
1983; No. 39, pgs. 60-61.
X:1
T:Kitty O’Hara
M:3/4
L:1/8
R:Air
N:”Tenderly”
S:O’Neill – Music of Ireland (1903), No. 183
Z:AK/Fiddler’s Companion
K:G
{A}G>E|Dz Ez G/4A/2<B|cz Bz
Az|G2 G>AB>G|E2 {F/E/}D2D2|E2G2 G/4A/2<B|
cz cz d>B|G2 G>A B>c|A2
Gz||D>E|=F2 F>A G>^F|E2E2 D>E|G2 G>AB>G|
E2 Dz B>c|1 dz d2 e>d|cz c2
d>c|B2 G>A B>G|A2 Gz:|2 dz d2 e>d|cz {D/F/A/}c2 d>c|
B2 G>A B>G|A2 Gz||
KITTY O’HEA. Irish, Air (9/8 time). Ireland, Co. Donegal. E Mixolydian. Standard
tuning. AAB. Source for notated version: a Donegal tune “From Mr. Allingham”
(of Donegal Town, Donegal, d. 1889)[Stanford/Petrie]. Caoimhin Mac Aoidh (1994)
identifies the source as William Allingham of Donegal, who contributed several
airs to the Petrie collection. While the tune was used as the melody for a rare
broadsheet ballad by Allingham, Mac Aoidh states it makes a very nice slip jig.
Stanford/Petrie (Complete Collection),
1905; No. 512, pg. 129.
X:1
T:Kitty O’Hea
M:9/8
L:1/8
S:Stanford/Petrie (1905), No. 512
Z:AK/Fiddler’s Companion
K:E
Bee Bc=d cBA | Bee Bc=d c2B | Bee
Bc=d cBA | BAB EFA B3 :|
|| EFA B2c =d3 | EBB AGF G2E | EFA
B2c =d3 | EBB AGF E3 ||
KITTY O'LYNN. AKA ‑ "Biddy of Sligo."
English, Jig. D Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 37. Raven (English Country Dance Tunes), 1984; pg.
101.
X:1
T:Kitty O’Lynn
L:1/8
M:6/8
K:D
f/e/|dAA AFA|BGB A2f/e/|dAA AFA|g3 f2e|dAA AFA|BGB A2f|aba gfe|fdd d2:|
|:a/g/|f/g/aa
b2a|f/g/aa b2a|f/g/aa faa|e2f gfe|f/g/aa b2a|f/g/aa b2a|gfg eag|fdd d2:|
KITTY O'NEILL [1]. Irish, Air (4/4 time). A Minor. Standard tuning. AABB. Source for
notated version: "...given to (the collector) Forde by Mr. T.S. Head of
Cork" (Joyce). Joyce (Old Irish Folk
Music and Songs), 1909; No. 503, pg. 275.
KITTY O'NEILL [2] (Caitilin Ni Niall). Irish, Air (4/4 time). D Minor. Standard
tuning. AB. O'Neill (Music of Ireland:
1850 Melodies), 1903; No. 77, pg. 14.
KITTY
O'NEILL [3]. AKA and see "Old Time (Straight Jig) [2],"
"Away Back," "Snapping Jig." AKA – “Kitty O’Neil.”
Irish, Reel. A Major. Standard tuning. AABB. The first part of the tune appears
in the West Texas "Jack of
Diamonds." New York musician and writer Don Meade attributes the tune
to stage fiddler Jimmy Norton (who has some tunes bearing his name in Ryan’s Mammmoth Collection). See note
for “Kitty O’Neill’s Champion” for information regarding herself. Source for
notated version: the 1938 typewritten manuscript from New Hampshire musician
John Taggart (1854-1943), entitled “Recollections of a Busy Life” (New
Hampshire Historical Society, Concord, N.H.). Taggart wrote in his ms. that the
tunes “were all taught me during my boyhood days in Sharon (N.H.), by the
various fiddlers in that vicinity” [Miller]. Miller points out that Sharon is
in “the heart of the Monadnock Region of southwestern New Hampshire, where
fiddlers and contra dances abound to this day” (pref. iv) [Miller]. Bayard (Hill Country Tunes), 1944; No. 53 (the
second part of an untitled quadrille). Bayard (Dance to the Fiddle), 1981; No. 285 (first part of "The Saratoga Hornpipe"), pg.
238. Christeson (Old Time Fiddlers
Repertory, vol. 1), 1973; No. 37 (the first part of an untitled
"breakdown"), pg. 28 and No. 23 ("Duncan's Reel"), pg. 18.
Ford (Traditional Music in America),
1940; pg. 82. Harding's All‑Round
Collection, 1905 & 1932; No. 138 (appears as "Old Time Straight
Jig"). Howe (1000 Jigs and
Reels), c. 1867; pg. 50 (appears as “Kitty O’Neil Jig”). Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 28 (appears as "Away Back").
Miller (Fiddler’s Throne), 2004; No.
187, pg. 118 (appears as “Kitty O’Neil”).
White’s Unique Collection, 1896; No. 2, pg. 1. N.H. Fiddler’s Union, Miller & Peery
– “The Music of John Taggart” (1989).
X:1
T:Kitty
O’Neil [3]
M:2/4
L:1/8
R:Sand Jig
S:White’s Unique Collection (1896), No. 2
Z:AK/Fiddler’s Companion
K:A
(aga).A | f/>e/d/>f/ e/>c/A | (B^AB)(E | E/>)A/G/>B/ A(c/>e/) |
(aga).A | f/>e/d/>f/ e/>c/A | (B^AB)(E | E/>)A/G/>B/ A z :|
|: (Aa) c>d | (Bb) B>c | d/>e/f/>g/ a(g/f/) | e/>d/c/>B/ cA |
(Aa) c>d | (Bb) B>c | d/>c/d/>e/
f/>g/a/>f/ | (3e/f/e/ (3d/c/B/ A2 :|
KITTY O'NEILL [4]. AKA and see “Johnny Cronin’s Fancy,” “Johnny Cronin’s Reel,” “Cronin’s Reel [1].” Irish, Reel. G Major. Standard tuning. AA’BB’. No relation to “Kitty O’Neill [3].” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 204.
X:1
T:Kitty O'Neill [4]
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:G
BA|:G2 DG E2 DE|GFGA Bd d2|edcB cBAF|1 GBAG E2 DE :|2 GBAF G2 z2 |
|:Bdde d2 BA|Bddf ef g2|1Bdde d2 B2|cABG EG D2:|2 gfge d2 B2
| cABG EG G2 ||
KITTY
O'NEILL'S CHAMPION. AKA and see “Kitty O’Shea’s.” American, Dance Tune (2/4 time). A
Major. Standard tuning. AABBCDDEEFFGG. Despite being called a hornpipe by some
modern sources, the tune is classified as a 'jig' in Ryan’s/Cole’s, a listing
that refers to a style of old‑time banjo tune, a ‘sand jig’ and not the
Irish jig. The sand jig, according to New York researcher, musician and writer
Don Meade (Fiddler Magazine, Vol. 8,
No. 1, Spring 2001) is a syncopated dance in schottische tempo performed as a
series of hard-soled shuffles on a sand-strewn stage. The 'E' and 'F' parts of
“Kitty O’Neill’s Champion” belong to a tune called the "Mechanics' Hall Jig" (in Ryan),
and the 'B' part is similar to 'B' part in "Phil Issac's Jig." The 5th
(‘E’) part also resembles the first part of Ryan’s “Bird on the Wing.”
***
Meade finds that Kitty O’Neil
(1852?-1893) was born Catherine Connolly, and was a celebrated stage dancer in
the latter 19th century. She has been called ‘the first American
clog dancer’, performing primarily in New York in variety theaters on Broadway
and the Bowery, but often in Boston as well. She often appeared in shows
produced by the renowned entertainers Tony Pastor and Ned Harrigan. In addition
to her prowess at Irish reels and Lancashire clog dances, Kitty specialized in
dancing the sand jig. There are some minor similarities with the Lewis Brothers
old-time tune “Bull at the Wagon.”
The tune was revived, says Meade, by Donegal fiddler Tommy Peoples in the
1970’s (under the title “Kitty O’Shea’s”), and has since been recorded by Kevin
Burke and others. Perhaps the earliest recording is from 1913 by violinist
Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine
immigrated to the United States in 1888, and by 1890 had established himself as
“instructor on violin” in Evanston, Illinois; by 1910 he had removed to
Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul
Gifford). Cole (1000 Fiddle Tunes),
1940; pg. 80. Ryan’s Mammoth Collection,
1883; pg. 112.
X:1
T:Kitty O’Neill’s Champion
M:C|
L:1/8
R:”Sand Jig”
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
c2^B2~c2B2 | {d}(c>^B)c>f
e>cA>c | ~B2^A2~B2A2 | B>ag>f e>dc>B | ~c2^B2~c2B2 |
{d}c>^Bc>f e>cA>c |
~B2^A2B2=a2 | (3gfe (3dcB A2z2 :: c2{c}a2”tr”e4 {B/c/} |
d2{d}b2B3c | (d>.e)f>g
({b}a>)ga>f | (3efe (3dcB c2A2 | c2{c}a2”tr”c4{B/c/} |
d2{d}b2B3c | d>ef>g
a>ga>f | (3e3fe (3dcB A2z2 :| cfza (f>.e)d>c | cfza f>ed>c |
cfza f>ef>g | a>ec>A
B>cA2 | cfza (f>.e)d>c | cfza f>ed>c | cfza f>ef>g |
a>ec>A B>cA2 ||
|: A,CaE A3d | c>Ac>e f>gaz
| A,CzE A3d | c>BA>c B>^A Bz | A,CzE A3d | c>Ac>e f>gaz |
(3.g.f.e (3fed (3edc (3dcB | (3cBA
(3BAG A2z2 :: (e2^e2) (f4 | f>)ec>A (E4 | E2)^E2 (F4 |
E>)d(c>.B) (A>.E)(A>.c)
| (e2^e2) (f4 | f>)ec>A (E4 | E2)^E2 (F4 | E>)dc>B A2z2 :|
|: (E>c)”tr”c2 (E>c)”tr”c2 |
(E>c)zc c>BA>c | (B>g)”tr”g2 (B>g)”tr”g2 | (B>g)zg
g>fd>B |
(E>c)”tr”c2 (E>c)”tr”c2 |
(E>c)zc c>BA>c | (B>g)zg b3a |1 (3gfe (3dcB A2z2 :|2 (3gfe (3dcB A2
||
|: (c>.d) | eczf eczf | ecza ecze
| (f>.g)f>e d>cB>A | B>AG>F E2 c>d | eczf eczf | ecza ecze
|
f>gf>e d>cB>A |1
G>AB>G A2 :|2 G>AB>G A2z2 ||
KITTY O’SHEA’S. AKA and see “Kitty O’Neill’s
Champion.” Irish, Hornpipe. A Major. From Donegal fiddler Tommy Peoples.
Originally “Kitty O’Neill’s Champion,” somehow misnamed as “Kitty O’Shea’s.” Shanachie 79044, Tommy Peoples - "The Iron Man"
(played in seven parts).
X:1
T:Kitty O'Shea
R:hornpipe
S:Tommy Peoples
M:C|
L:1/8
K:A
~c3B ~c3B|cBcf ecAc|~B3A ~B3A|Bagf
(3efe (3dcB|~c3B ~c3B|cBcf ecAc|\
~B3A ~B3a|(3gfe (3dcB A4::~c3a
~c3A|d2b2 B3c|defg agaf|(3efe (3dcB c2A2|\
c2a2 ~c3A|d2b2 B3 c|defg agaf|(3efe
(3dcB A4::cffa fedc|cfff fedc|cffa fefg|\
aecA BcA2::A,C2E A3d|cAce fg
a2|~A,2CE A3d|cBAc B4|A,C2E A3d|cAce fgaa|\
(3gfe (3fed (3edc (3dcB|(3cBA (3BAG
A4::e2=f2 ^f3a|fecA E4|E2=F2 ^F3E|\
EdcB AEAc|e2=f2 ^f3a|fecA E4|E2=F2
^F3E|EdcB A4::Eccc ccEc|EccE cBAc|\
Bggg BggB|ggBg gfdB|Eccc EcEc|Eccc
cBAc|Bggg gbba|(3gfe (3dcB A4::ec2f ec2e|\
Aeaf ecce|~f3e dcBA|BAGF E2cd|ec2f
ec2e|Aeaf ecce|~f3e dcBA|GABG A4:|
KITTY PUSS. AKA and see "Hop
Up, Kitty Puss [1]," "Black
Eyed Susie [1]," “Possum
Up a Simmon Tree [1],” "Puncheon
Camp(s)," "Tucker's Old
Barn [1]," "Old Time
Mockingbird." Old‑Time, Breakdown. USA; northeast Kentucky,
Tennessee. G Major (OTH/Thomas): D Major (Phillips). Standard tuning. ABB'. A
somewhat archaic sounding American fiddle tune.
***
Hop up, Kitty Puss, hop up higher,
Hop up, Kitty Puss, your tail's in the fire.
***
Poor little Kitty Puss, poor little feller,
Poor little Kitty Puss, died in the celler.
***
Sources for notated versions:
learned by Buddy Thomas (Ky.) from his grandfather, via the whistling of his
mother [Old‑Time Herald]; Charlie Acuff (Tenn.) [Phillips]. Old‑Time Herald, Fall 1992, pg.
31. Phillips (Traditional American Fiddle
Tunes), 1994; pg. 133. CA-01, Charlie Acuff -
"Left Handed Fiddler" (1990. This privately issued cassette was
recorded by 70 year old fiddler Acuff, from Alcoa, Tennessee). County 788,
Clyde Davenport (Monticello, Ky.) ‑ "Clydeoscope: Rare and Beautiful
Tunes from the Cumberland Plateau" (1986. Learned from an old time fiddler
from Rock Creek, Tennessee, by the name of Will Phipps, who was buried with his
fiddle in his coffin). Rounder 0032, Buddy Thomas (Northeast Ky.) ‑
"Kitty Puss: Old‑Time Fiddle Music From Ky." Rounder 0320, Bob
Carlin & John Hartford - "The Fun of Open Discussion" (learned
from fiddler Charlie Acuff).
KITTY QUINN (Caitilin Ni Cuinn). AKA - "Kathleen Quinn." Irish, Air
(6/8 time). D Major. Standard. AABB. O'Sullivan (1983) finds no other versions
of the tune extent, though notes there are some similarities between this air
and Bunting's version of "Huis the Cat." O'Neill's version seems to
be taken from Bunting. Source for notated version: the index to the Irish
Collector Edward Bunting's 1840 collection states the piece was noted from the
harper Charles Byrne in 1802. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 163, pg. 28. O'Sullivan/Bunting, 1983; No. 88, pgs. 132-133.
X:1
T:Kitty Quinn
M:6/8
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland
(1903), No. 163
Z:AK/Fiddler’s Companion
K:D
A | (ABd)
(.d2.d) | (edc) (.d2.d) | (.e2.e) ede | fdB B2g | (fa).f g2e |
(fa)f g2e |
dAd (f2e) | dBA A2 :: A | (ABc) (dcd) | (Bcd) (ede) |
(ABc) (.d2.e)
| fdB B2g | (fa).f g2e | (fa).f g2e | dAd (f2e) | dBA A2 :|
KITTY ROBERTSON. AKA and see “Kitty Clyde’s,” “Miss Besty Robertson.”
Scottish, Reel. G Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 4; No. 108, pg. 14.
X:1
T:Kitty Robertson
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 108 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
B|d2 (gd) BGdB|AacB cedc|BGag
fdef|gfgd ecdB|cAdc BGG:||
c|BGDG EGDG|ABcB cedc|BGDG EGce|dBcA
BGGc|
(B/A/G) (DG) EGDG|ABcB cedc|BdgB
ceag|fdef gG G||
KITTY SCOTT. Scottish. This early 17th century composition is the work of Harry
(the) Scott, a Scottish harper living in Ireland, whose two brothers, John and
Rory, were also celebrated harpers. (See note for "Rory Dall" for a instance of
an Irish (Ulster) harper who lived and composed mostly in Scotland.)
KITTY SEAN’S (BARNDANCE).
Irish, Barndance. Ireland, County Donegal. G Major. Standard tuning. AABB.
Picked up by Dermot McLaughlin and other Donegal fiddlers from the lilting of
the elderly (and very hospitable) Kitty Sean Cunningham, of Teelin, Donegal, a
lover of dance and traditional music and a resource for the area’s older
traditional repertoire.
X:1
T:Kitty Sean’s Barndance
M:4/4
L:1/8
R:Barndance
S:Dermot McLaughlin (Catskills Irish
Arts Week, 2004)
Z:AK/Fiddler’s Companion
K:G
Bc | d<g dB GBDG | F2E2E2 AB |
cdcA FDFA | d>d ^c/d/e d2 Bc |
d<g dB GBDG | F2E2E2 AB | cBcA
FDEF |1 G2B2B2 :|2 G2B2 GBAG ||
|: F2 {G}FE FAcA | G2 {A}GF GABc |
dAFA (3ded (3cdc | BcBA B2AG |
F2 {G}FE FAcA | G2 {A}GF GABc |
KITTY SHARPE'S
CHAMPION (JIG). American, Dance Tune (cut time). G
Major ('A' & 'B' parts), C Major ('C' part) & E Minor or G Major ('D'
part). Standard. AABBCCDDEE (Cole): AA'BB'CC'DE. The first part is similar to
"Inimitable Reel." The tune
is labled a 'jig,' referring to a type of syncopated old time banjo tune rather
than the more familiar Irish 6/8 jig. New York musician, researcher and writer
Don Meade identifies Kitty Sharpe, like Kitty O’Neil, as a ‘Bowery hoofer’—a
variety stage dancer of some fame in 19th century New York City. He
suggests that the tune was “composed by the same hand that authored ‘Kitty
O’Neill’s Champion.’” Cole (1000 Fiddle
Tunes), 1940; pg. 84. Kerr (Merry
Melodies), vol. 2; no. 426, pg. 48. Ryan’s
Mammoth Collection, 1883; pg. 84.
X:1
T:Kitty Sharpe’s Champion
M:C|
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
(3DEF | G2D2 “tr”(E2D2) |
G>FG>A (Bd)zd | e>dc>B c>BA>G | F>GA>B “tr”c2 B>A |
G2D2”tr”(E2D2) | G>FG>A (Bd)zd
| e>dc>B c>BA>G | F>GA>B G2 :: G2 | (Bd)ze d>BA>G |
(Bd)zd b2g2 | (Bd)ze d>BA>G |
F>GA>B “tr”c2B>A | (Bd)ze d>BA>G | (Bd)zd b2g2 |
(Bd)ze d>BA>G | F>GA>B
G2 :: G2 | G>e^d>e “tr”c4 |
G>e^d>e “tr”g4 | G>g^f>g a>ge>c |
d2({^f}g2) ({f}g2) ({f}g2) |
G>e^d>e “tr”c4 | G>e^d>e g4 | G>g^f>g b>af>d | (3cef
(3gab c’2 :|
|: B2 | e4^d4 | ({f}e>)^de>f
g>a g2 | d4^c4 | ({e}d>)^cd>e f>ga>f | e4^d4 |
({f}e>)^de>f g>fg>a |
(bg)zg g>dB>G |
({B}A>)GA>B G2 :: (3DEF | (3GFE (3DEF (3GFE (3DEF | G>BA>c
B>dc>A |
(3GFE (3DEF (3GFE (3DEF |
G>BA>G F>DE>F | (3GFE (3DEF (3GFE (3DEF |
G>BA>c B>de>f |
g>de>c d>Bc>A | B>GA>F G2 :|
KITTY THE RAG, I'M IN
LOVE WITH YOU. AKA and see "The Church Hill [2]."
KITTY TIRRELL'S. Irish, Jig. B Flat Major. Standard. AABB. Not “Kitty Tyrrell.” Cole (1000 Fiddle Tunes), 1940; pg. 64. Ryan’s Mammoth Collection, 1883; pg. 93.
X:1
T:Kitty Tirrell’s
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Bb
F | ({G}F)=EF GAB | Bc(d d)FE | DFB
({c}B)AB | cgf ecA | ({G}F)=EF GAB |
B2(F F)DE | FdB ({B)A)GA | BFd B2 ::
B | BcB AG^F | AG^F G2=F |
GFF FGE | DFB FFE | ({G}F)=EF GA(B |
B)cd FDE | F(ec) AGA | BFd B2 :|
KITTY TYRRELL [1] (Caitlin Triall). AKA and see "Ketty Terrol" (Scots), “Kitty Tyrrel.”
AKA ‑ "O Blame Not the Bard." Irish, Air (6/4 time). G Major
(O’Farrell, Roche): E Flat Major (Gow). Standard. AB (Roche): AAB (O’Farrell):
AABB (Gow, O’Farrell). The melody appears in Cooke’s Selection of Twenty-one Favourite Original Irish Airs arranged for
Pianoforte, Violin or Flute (Dublin, 1793), and also in Bunting’s Ancient Irish Music of 1796 (the latter
volume consists of 66 airs collected mostly from musicians at the Belfast Harp
Festival of 1792). It also appears in O’Farrell’s collection Pocket Companion for the Irish or Union
Pipes. O’Farrell (Collection of
National Irish Music for the Union Pipes), 1804; pg. 17 (appears as
“Cathleen Threel or Kitty Tyrrell”). Gow (Complete
Repository), Book 2, 1802; pg. 8. O’Farrell (Pocket Companion, vol. 1); c. 1805; pg. 70 (appears as “Kitty
Tirrell”). Roche Collection, 1983, Vol. 1; No. 48, pg. 24.
X:1
T:Kitty Tyrrell [1]
M:3/4
L:1/8
R:Air
S:Gow – 2nd Repository (1802)
Z:AK/Fiddler’s Companion
K:Eb
E>C|(B,2C2)E2|~E4
EF|(G2e2)d2|{d}c4 (de)|(cB) (AG) (FE)|E4 EF|
~G2 (AG)(FE)|C4 E>C|B,2C2E2|E4
EF|(G2e2)d2|{d}c4 (de)|(cB) (AG) (FE)|
(E2C2) (E/F/)G|{G}F2E2E2|E4:|
|:(B/c/d)|(e2d2)e2|c2d2e2|f2 (ed) c>B|B4 (B/c/d)|(e2d2)e2|B2 (cB) (AG)|
G2 (3EFG (3GFE|C4 E>C|(B,2C2)E2|E4 EF|(G2e2)d2|{d}c4 (de)|
(cB)
(AG) ~(F>E)|E2C2 (E/F/G)|{G}F2E2E2|E4:|
X:2
T:Cathleen Threel or Kitty Tyrrell
M:3/4
L:1/8
R:Air
S:O’Farrell
– National Irish Music for the Union Pipes (1804)
Z:AK/Fiddler’s
Companion
K:G
GE | D2E2G2
| G3A B2 | g2f2g2 | “tr”e4 g>f | (ed)(cB)(AG) | G4 A2 | B2 cB AG |
“tr”E4D2 |
D2E2G2 | G3A B2 | g2f2g2 | “tr”e4 g>f | (ed)(cB)(AG) | “tr”G4 A2 | B2G2
G>A |
G4 :| de/f/
| g2f2g2 | “tr”e4 fg | a2 gfed | d4 gf | (ed)(cB)(AG) | G4A2 | B2 cBAG | E4 DE
|
D2E2G2 |
G3AB2 | (ga)(ba)(gf) | e4 gf | (ed)(cB)(AG) | G4 A2 {GA} B2G2 GA | G4 ||
KITTY TYRELL [2]. AKA and see "Caitlin
Tirial."
KITTY WALTZ. Old-Time, Waltz. Document 8040, “The Hill
Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in
Chronological Order, Vol. 2” (reissue).
KITTY WANTS A SOLDIER. AKA and see “Knocknaboul Polka [1]."
Irish, Polka. This title for the tune is from Maurice O’Keeffe.
KITTY WELLS. Old-Time. Document 8040, “The Hill Billies/Al
Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order,
vol. 2” (reissue).
KITTY, WILL YOU MARRY
ME? Irish, Air (4/4 time). D Major.
Standard tuning. One part. "I write this from memory, with one verse of a
song I heard sung to it:‑‑
***
Oh, Kitty, will you marry me? or Kitty I will die;
Then Kitty, you'll be fretting for your loving little boy
Oh, Kitty, can't you tell me will you marry me at all;
Or else I'll surely go to sleep inside the churchyard wall. (Joyce)
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 69, pg. 37.
X:1
T:Kitty will you marry me?
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:D
g|fgec dcA>g|fdec d3e|fged
cAAG|EFGE D3E|FGAB =cAAG|
Addd d3e|fged cAAG|EFGE D3||
KITTY’S FANCY. AKA and see “Prosinias
Ó Maonaigh No. 1.” Irish, Mazurka.
KITTY'S GONE A-MILKING. AKA - “Kitty Goes a-Milking.” Irish, Reel. G Major. Standard tuning. AB
(O’Malley, Tubridy): AAB (Harker/Rafferty, Stanford/Petrie): AABB (Mulvihill):
AABB’ (Mitchell). The tune was included in a three-tune medley famously
recorded on a 78 RPM disk by County Meath fiddler Frank O’Higgins, featured on
early Irish radio broadcasts. Sources for notated versions: piper Willie Clancy
(1918-1973, Miltown Malbay, west Clare) [Mitchell]; Frank McCollam
(Ballycastle, County Antrim) [Mulvihill]; Frank O’Higgins [Bulmer &
Sharpley]; from a recording of Paddy Canney and P.J. Hayes [O’Malley]. Bulmer
& Sharpley (Music from Ireland),
1974, vol. 1, No. 25. Harker (300 Tunes
from Mike Rafferty), 2005; No. 2, pg. 1. Mitchell (Dance Music of Willie Clancy), 1976/1993; No. 31, pg. 45. Mulvihill
(1st Collection), 1986;
No. 99, pg. 26. O’Malley (Luke O’Malley’s
Collection of Irish Music, vol. 1), 1976; No. 46, pg. 23. Stanford/Petrie (Complete Collection), 1905; No. 444, pg.
112. Tubridy (Irish Traditional Music,
Book Two), 1999; pg. 26. Claddagh 4CC 39, “The
Pipering of Willie Clancy vol. 2” (1983). Philo 1051, Boys of the Lough ‑
"Good Friends, Good Music" (1977). “The Chieftains #1.” Shanachie
79093, Paddy Glackin & Robbie Hannan – “The Whirlwind” (1995).).
X:1
T:Kitty gone a milking?
M:4/4
L:1/8
R:reel
K:G
dG(3GGG d2cA|dG(3GGG FGAc|dG(3GGG
d2eg|fdcA GABc|dG(3GGG d2cA|
dG(3GGG FGAc|dG(3GGG d2eg|fdcA
GABc||dg‑~g2 ag‑~g2|dg‑~g2 d2cA|
dg‑~g2 ag‑~g2|dcAB c2
Bc|dg‑~g2 ag‑~g2|dg‑~g2d2Bc|defg abag|fdcA GABc||
X:2
T:Kitty gone a milking
M:C
L:1/8
S:Stanford/Petrie (1905), No. 444
Z:AK/Fiddler’s Companion
K:G
Bc | dG G2 d2 cA | dGAG FGAc | dG G2
d^cde | fdcA G2 :|
Bc | dgga bgag | dg g2 d2 cA | dgga
bgag | fdcA GABc |
dgga bgag | dg g2 d2 cA | dg ag fd
ec | decA G2 ||
KITTY'S GOT A BABY-O. AKA and see "Fine
Times at Our House [1]."
KITTY'S RAMBLE{S} (Triallta Caitilin). AKA and see "Kitty's Rambles to Youghal," “Hag with the Keg on Her
Shoulder.” "The
Heart of My Kitty Still Warms to Me," "The Heart of My Kitty for
Me," "Dan the Cobbler,"
"Ladies Triumph [3]," "Rambles of Kitty," "Murray's Maggot," "I'm a Man in Myself
Like Oliver's Bull," "Strop
the Razor [1]," "Young Ettie
Lee," "Linehan's
Rambles," "An Chailleach is a Ceag ar a Gualainn." Irish,
Double Jig. D Major (Allan, Levy): D Major/Mixolydian (Breathnach, Kerr,
O'Neill {all versions}, Taylor): D Minor (Haverty, O'Farrell). Standard tuning.
AAB (Kerr): AABB (Allan’s, Breathnach, O’Farrell, O'Neill/Krassen & 1915):
AABBCC (Taylor): AABBCCDD (O'Neill/1850 & 1001). A simpler, two-part
version of the tune is known as “Dan the Cobbler” and “The Ladies Triumph.” Set
as an air, it is called “The Heart of My Kitty for Me” in O’Neill’s Waifs and Strays (No. 65). Joyce’s
two-strain “I’m a man in myself like Oliver’s Bull” is also a version and can
be found in his 1909 publication Old
Irish Folk Music and Song. See also the second part of “The Cobbler” in Allen’s Irish Fiddler. “Fanning’s”
is a related jig. Source for notated version: flute and whistle player Micko
Russell (Doolin, Co. Clare, Ireland) [Breathnach]. Allan's Irish Fiddler, No. 28, pg. 7. Breathnach (CRÉ II), 1976; No. 36, pg. 21. Feldman
& O’Doherty (The Northern Fiddler),
1976; No. 100c (appears as untitled jig). Haverty (One Hundred Irish Airs), 2nd
series, 1859. Kerr (Merry Melodies),
vol. 1; No. 40, pg. 39. Levy (Dance Music
of Ireland), 1858. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg.
33 (appears as “Kitty’s Rambles to Youghall”). O'Neill (Krassen), 1976; pg. 60.
O'Neill (O’Neill’s Irish Music),
1915/1987; No. 155, pg. 88. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1043, pg. 195. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 5, pg. 17. Taylor
(Where’s the Crack?), 1989; pg. 22. Topic TSCD 602, Frank Lee’s Tara Ceilidh Band – “Irish Dance
Music” (1995. A reissue of the original 1932 recording).
X:1
T:Kitty’s Rambles
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No. 5
Z:AK/Fiddler’s Companion
K:D
G|FED =cBA|dcd efg|fed =cAF|GAF
GFE|FED =c2A|dcd efg|fed =cAG|Adc d2:|
|:A|dfa dfa|dfa afd|=ceg ceg|=ceg
gfe|fef gfg|afa gfe|fed =cAG|Adc d2:|
|:e|fgf efe|ded =cAG|FGF EFE|DED
GED|AGA =cAG|dcd efg|fed =cAG|Adc d2:|
|:f/g/|afd dcd|dfa agf|ge=c cBc|e=ce
gfe|fdf gdg|agf efg|fed =cAG|Adc d2:|
X:2
T:Kitty’s
Rambles to Youghall
M:6/8
L:1/8
R:Jig
S:O’Farrell
– Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:Dmin
D | AGF c2A
| def geg | fed cAF | GBA/G/ FDD | A2D c2A | def geg |
fed cAG |
Adc d2 :: A | dfa dfa | dfa afd | ceg ceg | ceg gfe | fdd gdd |
aba gfe | fed cAG | Adc d2 :|
KITTY'S RAMBLES TO
YOUGHAL. AKA and see "Kitty's Rambles."
KITTY'S WEDDING [1] (Banais Caitilin). AKA and see "Belle of Lexington," "Belle Election," “The Hauling Home,” “Killarney Wonder [2],” “Mrs. Smith’s Reel,” "Smith's Delight." Irish, Hornpipe; American, Reel. USA, West
Virginia. D Major. Standard tuning. AABB (Mallinson, Phillips, O’Neill, Taylor,
Tubridy): AA’BB’ (Moylan). The first half of this tune appears in Bayard (1981)
as the first parts of an untitled "Square Dance" (No. 537, pg. 477‑478)
and "Sugar in the Gourd" (No. 355, pg. 354; a floating title). See
also note for “Smith’s Reel” for more.
Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra
region of the Cork-Kerry border) [Moylan]; William Franklin George (W.Va.)
[Phillips]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s
[Taylor]. Mallinson (Enduring), 1995;
No. 81, pg. 34. Moylan (Johnny O’Leary),
1994; No. 284, pgs. 162-163. O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 335, pg. 165. O'Neill (Krassen), 1976; pg.
175. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1602, pg.
297. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 846, pg. 146. Peoples (Fifty Irish Fiddle Tunes), 1986; 27.
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 133. Taylor (Music
for the Sets: Yellow Book), 1995; pg. 24. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 14. John Whelan (et al) – “The
Big Squeeze.”
X:1
T:Kitty’s Wedding
M:C|
L:1/8
R:Hornpipe
B:O’Neill (DMI)
K:D
fe | d2 Bd A2 FA | BAFA D2 ED | B,DA,D DFBF | AFDF E2fe |
d2Bd A2FA | BAFA D2 ED | B,DA,D DFBA | FAEF D2 :|
|: fg | afed bafd | Adfd edBd | DFAd Fade | fadf e2 fg | afed bafd |
Adfd
edBd | DFAd FAdf | eABc d2 :|
KITTY'S WEDDING [2]. AKA and see “The Big
Ship come over the Bay,” “The
Bouchaleen Buidhe,” “The Maidens
of Tir Eoghain,” “McArdle’s Fancy,”
“Off to Donnybrook,” “Out on the Ocean [2],” “Paddy the Dandy [1],” “Pride of Leinster,” “Ships in Full Sail,” “The Three Little Drummers [2].”
Irish, Jig. A Major. Standard tuning. ABBCCDD. Source for notated version:
accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry
border) [Moylan]. Moylan (Johnny O’Leary),
1994; No. 193, pgs. 111-112. Green Linnet SIF 1075,
John Whelan & Eileen Ivers - "Fresh Takes" (1987. Learned fron
Sean Smyth, Straide, Co. Mayo). Shanachie 79018 De Dannann - “Star Spangled
Molly” (1981).
KITTY'S WISHES. AKA and see “Birds in the
Bushes,” “The Bright Star
of Munster,” “The Eight O’Clock
Train,” "The Star of Munster."
Irish, Reel. A Dorian (‘A’ part) & A Mixolydian/Dorian (‘B’ part). Standard
tuning. AB. Source for notated version: “From Mr. MacDowell, Dec., 1859"
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 514, pg. 130.
X:1
T:Kitty’s Wishes
M:C
L:1/8
N:”Allegro moderato”
S:Stanford/Petrie (1905), No. 514
Z:AK/Fiddler’s Companion
K:Amin
e>d | cBAc BAGB | AGE(^F G)GED |
EAAB {d}cBcd | eaa^f gfed |
cBAc BAGB | AGE^F GGED | EAAB
{d}cBc(f | e)(dc)B A2 ||
(3e^f^g | a2 {b}a^g ag (3e^f^g | a2
{b}a^g ag e^f | g2 {a}g^f gdBd |
g2 ga ga (3e^f^g | a2 a^g aged |
e=g^fa gfge | de^fg abaf | gedB A2 ||
KIVLEMOYANE CYCLE. Norwegian, Lydarslattar. These virtuoso traditional pieces played by
hardranger fiddlers are based on one of the oldest melodies in the whole
repertory, while the attached legend is also ancient. The pieces are
catagorized as 'lydarslattar,' a tune meant for listening (as opposed to
dancing) purposes, and consist of a ganger and two springars. Together, they
relate the story of three sisters who lived in the mountains and performed on
their instruments on the Sabbath. They played so skillfully and pleasingly that
people attending church paused to listen, whereupon the priest discerning what
was happening and in a pious rage, came outside and called the wrath of God
upon them, turning them into stone. The pieces are very difficult, and
mastering them is the mark of an accomplished hardranger fiddler. (Hopkins,
1986).
KLFY WALTZ. Cajun, Waltz. USA, southwestern Louisiana. G Major. Standard tuning.
One part. KLFY are the call letters of a television and radio station
broadcasting out of Lafayette, Louisiana, which hosted Cajun musicians. A
related song is Chester "Pee Wee" Broussard's "Valse de Lafayette." Source for
notated version: Aldus Roger, Phillip Alleman (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 394-395. La Louisiane Records LL-LP122, Aldus Roger.
KNAPP HALLING. Norwegian, Halling. A relatively easy tune composed by Jon Rosenlid,
principal teacher of the speleman (master fiddler) Finn Vabo (Bergen, West
Norway), used for students learning the Hardanger fiddle.
KNEBSWORTH PLACE.
English, Jig. G Major. Standard tuning. AABB. The melody (as “Knebworth
Place”) fist appears in John Johnson’s Choice Collection of 200 Favourite
Country Dances, vol. 5 (London, 1750). Knebworth Place is a stately manor
in Hertfordshire, and was the seat of Lord Lytton. In modern times its grounds
have been the venue for a number of rock concerts, attended by tens of thousands.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 168.
X:1
T:Knebsworth Place
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
d|efg f2e|d2c Bcd|cde dcB|ABA A2d|efg f2e|d2c Bcd|cde dcB|”tr”A3 G2:|
|:c|B2G
GBG|GBG dBG|c2A ABA|ABA ecA|B2G GBG|GBG dcB|cde dcB|”tr”A3 G2:||
KNEEBUCKLE, THE (An Bucla-Gluine). Irish, Double Jig. A Mixolydian.
Standard tuning. AABB. Source for notated version: Abram Sweetman Beamish, a
native of the adjoining parish to that of Caheragh, County Cork, where Francis
O’Neill was born. Although O’Neill got seven tunes from Beamish, only the “Fairhaired Boy” and “Tie the Bonnet” were previously known to
him despite their common place of origin [O’Neill]. O'Neill (Krassen), 1976;
pg. 43. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 927,
pg. 172. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 160, pg. 41.
X:1
T:Kneebuckle, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
160
Z:AK/Fiddler’s Companion
K:Amix
e|eAA eAA|efe edB|eAA ege|dBA A2
c/d/|eAA eAA|efe edB|def gfe|dBA A2:|
|:a|afa geg|fdf ecA|afa geg|dcB
A2a|afa geg|fdf ecA|def gfe|dBA A2:|
KNICKERBOCKER REEL. AKA and see “">Hop High Ladies.”
KNICKLE SCHOTTISCHE. American, Schottische. G Major. Standard tuning. AB. Ruth (Pioneer Western Folk Tunes), 1948; No. 95, pg. 34.
T:Knickle Schottische
M:4/4
L:1/8
R:Schottische
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:G
d2B2 B>AG>B|d2 B>d c>BA>B|c2A2 D>FA>B|c2B2 B>AG>B|
d2B2 B>AG>B|d2 B>d c>B A2|f>gf>e d>cB>A|G2 g2 g>fg>a||
b2d2 d>^cd>^d|e2A2 A>B A2|f>gf>e d>=cB>A|G2g2 g>fg>a|
b2d2
d>^cd>^d|e2A2 A>B A2|f2 g>e d>cB>A|G2 g2g2 z2||
KNIGHT ON THE ROAD, THE. Irish, Air (4/4 time). F Major. Standard tuning. One part. This pentatonic song, a variant of the English ballad "The False Knight on the Road," is still sung in County Tyrone to a variant of "The Uist Tramping Song" (Séan Ó Boyle, 1976). Source for notated version: Frank Quinn (Coalisland, County Tyrone) [Ó Boyle]. Ó Boyle (The Irish Song Tradition), 1976; pg. 66.
KNIGHT OF ST. PATRICK LANCERS [Part 1]. Irish, Lancers Set. O’Neill (1922) notes: “Among the mass of his father's manuscript music which Sergt. James O'Neill brought from Belfast in his youth, was a copy of "The Knight of St. Patrick Lancers". Many of the original tunes of which it was composed having been subjected to alteration in the process of its arrangement, its publication in that form in the O'Neill Collections was then not favorably considered. Since the appearance of Dr. Joyce's Old Irish Folk Music and Songs in 1909, the composition has assumed new interest. In a note to a ‘Reel’, page 63, the learned author remarks: I find a setting different from mine in a single obscure publication The Knight of St. Patrick Lancers, long since out of print. Dr. Joyce's unnamed ‘Reel’ it may be added is the well known "Bonnie Kate". Taking all things into consideration The Knight of St. Patrick Lancers cannot be out of place in a collection of Waifs and Strays of Gaelic Melody.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 81-A.
X:1
T:Knight of St. Patrick Lancers (#81-A)
M:6/8
L:1/8
S:Sergt. James O'Neill manuscripts
K:D
(3A/2B/2c/2|d>ed def|a>ba afd|e>fe fdc|B>cB B2 A|!
d>ed def|a>ba afd|{f}e>de fdA|[D2B2] [Gc] [F2d2] z||!
abc' d'2 b|c'2 a baf|abc' d'2 b|c'ba b2 c'/2d'/2|!
d>ed def|a>ba afd|{f}e>de fdA|[D2B2] [Gc] [F2d2]||!
K:G
(3d/2e/2f/2|[B3d3g3] [B3g3b3]|{b}a>ga bge|ded g2 e'|d'c'b a2 g|!
[B3d3g3] [B3g3b3]|{b}a>ga bge|d>ed dd'>c'|bgg g2||!
K:D
M:2/4
L:1/8
d/2d/2d/2d/2 d2|e/2e/2e/2e/2 e2|dd' c'b|ag fe|!
d/2d/2d/2d/2 d{^c'}d'|e/2e/2e/2e/2 e{^a}b|d{g}a c{g}a|d z d' A||!
2 f>d|ge dc|df a>b|a2 f>a|!
ag eg|gf df|ge dc|d3 a|!
a>g fg|ad' c'b|ag fg|a2 c'd'|!
d'2 bd'|d' c'2 a|c'b a^g|a2 c'/4b/4a/4=g/4f/4e/4||!
f/4e/4|dB BB|FB BB|cA A/2B/2c/2d/2|e2 dc|!
dB BB|FB BB|cA A/2B/2c/2d/2|e2 dc|!
db ba|bf fe|fb ba|b3 b/2c'/2|!
d'b c'^a|bf fe/2d/2|cA A/2B/2c/2d/2|e2 dc||
KNIGHT OF ST. PATRICK LANCERS [Part 2]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 81-B.
X:1
T:Knight of St. Patrick Lancers
M:6/8
L:1/8
Z:Paul Kinder
S:CONTINUATION OF #81-A
K:D
f/2g/2|afd B2 d|A2 A A2 B|d2 d {f}e>de|f3 e2 f/2g/2|!
afd B2 d|A2 A A2 B|d2 f {f}e>de|d3 d z||!
A|d2 d f2 a|b2 b a2 g|f2 d dfa|b2 c' d'2 d|!
d>ed dfa|bc'd' a2 b|g2 a f2 g|e3-e2||!
K:G
b|bgb b>^c'd'|afa a>^c'd'|g>fg eag|fdd d2 d|!
ece e>fg|d>Bd def|{a}gfg ad'c'|bgg g2||!
B|e3 gfe|fb>b b2 a|gfe {g}fe^d|efg B2 B|!
e3 gfe|fb>b b2 a|g>fe f>e^d|e3-e z B/2A/2||!
G>AG GBd|ceg g2 f/2e/2|d>cB AGA|B3-B2 B/2A/2|!
G>AG GBd|ceg g2 f/2e/2|dgB AGA|G3-G z||!
B|e3 gfe|fbb b2 a|gfe fe^d|efg B2 B|!
e3 gfe|fbb b2 a|g>fe fe^d|e3-e z|!
d'/2c'/2|b2 g a2 f|g2 e deg|[d3f3a3] [d3f3a3]|[d3f3a3] [d2d'2] c'|!
[B2b2] g [A2a2] f|[G2g2] e d2 e|g3 g3|[B3d3g3]-[B2d2g2]||!
KNIGHT OF ST. PATRICK LANCERS [Part 3]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 81-C.
X:1
T:Knight of St. Patrick Lancers
M:6/8
L:1/8
Z:Paul Kinder
S:CONTINUATION FROM #81-B
K:G
B|e3 gfe|fb>b b2 a|g>fe fe^d|efg B2 B|!
e3 gfe|fbb b2 a|gfe fe^d|e3-e z|!
d'/2c'/2|ged g2 g|g3-g2 b|age a2 a|a3-abc'|!
d'>c'b d'>c'b|gfe d2 b/2a/2|ged g2 g|g3-g2||!
B|e3 gfe|fb>b b2 a|gfe {g}fe^d|efg B2 B|!
e3 gfe|fbb b2 a|g>fe fe^d|e3-e z||!
e|dGG AGG|dGG Gge|d>cB BAG|FAA A2 B/2c/2|!
dGG AGG|dGG e2 d/2c/2|B>cd def|gGG G2||!
K:D
M:2/4
L:1/16
dB|AFdB ABAF|DFAF E2 EB|AFAd BGBd|cABc dcdB|!
AFdB ABAF|DFAF E2EB|AFAd BGBd|cABc defg||!
a2fd fafd|fafd e2ef|gfef gbag|fedc defg|!
a2fd fafd|fafd e2ef|gfef gbag|fedc d2||!
K:G
M:6/8
L:1/8
(3d/2e/2f/2|g>ag gdB|d>ed def|g>ag gdB|A>aa a2 b|!
g>ag gdB|d>ed d'2 c'|b>ab ged|egg g2||!
(3b/2a/2g/2|gbd' d'bg|faa a2 (3a/2g/2f/2|gbd' d'bg|b2 a a2 (3a/2g/2f/2|!
gbd' d'bg|faa a2 c'|bab ged|egg g2||!
KNIGHT OF ST. PATRICK LANCERS [Part 4]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 81-D.
X:1
T:Knight of St. Patrick Lancers
M:6/8
L:1/8
Z:Paul Kinder
S:CONTINUATION FROM #81-C
K:G
(3d/2e/2f/2|gdB gdB|d>ed d2 (3d/2e/2f/2|gdB gfg|faa a2 (3d/2e/2f/2|!
gdB gdB|ded d'2 c'|bab ged|egg g2||!
K:D
f/2e/2|d2 B B>cB|A2 A A2 A|B2 B B>cB|g3 f2 e|!
d2 B B>cB|A2 A A2 c|B>cd ecA|d3-d z||!
A|d2 e f2 g|aba a2 f|d2 e f2 g|a3 f2 a|!
bab a2 f|g>ag f2 e|d2 B BcB|g3 f2 e||!
a|d'd'a b2 a|d'2 a b2 a|f2 d g2 e|f2 d g2 e|!
f>ga B>cd|e>fd c>BA|B>cd ecA|d3-d z||!
a/2g/2|f2 f fga|b g2 z gf|e2 e efg|a f2 z2 a|!
g2 d B2 g|e2 cA2 a|f2 d {e}dcd|f2 e z2||!
A|f>ff f2 d|g>gg gfg|a>ba agf|e3 d zz|!
f>ff f2 d|g>gg gfg|a>ba agf|e3 d2
KNIGHT OF ST. PATRICK LANCERS [Part 5]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 81-E.
X:1
T:Knight of St. Patrick Lancers
M:2/4
L:1/16
Z:Paul Kinder
S:CONTINUATION FROM #81-D
K:A
edcB|A2(3cBA eA(3cBA|eAaA gAfA|eA(3cBA eAfA|BEcE dEBE|!
A2(3cBA eA(3cBA|eAaA gAfA|efec eaec|BABc A2 z2|!
E2(3GFE BE(3GFE|BEdE cEBE|A2(3cBA eA(3cBA|eAaA gAfA|!
efec
agaf|efec agaf|ecag fedc|BAGF EFGE||
KNIGHTS OF THE GARTER.
English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB.
The melody was originally published in Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773). Along with several other tunes from the
Thompson’s 1773 collection, it was entered into the 1840 music copybook
collection of Cumbrian musician John Rook. The Knights of the Garter is a noble
order founded by King Edward III in 1348 and survive today as the highest order
of British honors. Membership is limited to the soverign, the heir, and
twenty-four companions. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 3), 1773; No. 148.
X:1
T:Knights of the Garter
M:2/4
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
G>A
B2|A>B c2|BA/G/ AG/F/|G[DG][B,d][G,g]|G>A B2|A>B c2|B/c/d?B/
A/B/c/A/|G2 [G,2G2]:|
|:B>c d2|c>d e2|B>c dc/B/|cAfa|B>c d2|c>d e2|B/c/d?B/
A/B/c/A/|G2 [G,2G2]:||
KNIGHTS OF ST. PATRICK, THE. AKA
and see “The King of the
Pipers [4],” “Limestone Quarry.”
Irish, Double Jig. D Major. Standard tuning. ABB’ (Feldman & O’Doherty):
AABB (Feldman & O’Doherty/Simon Doherty): AABB’ (Harker/Rafferty,
Mallinson). The Order of St. Patrick was founded in 1783 by King George III, as
a counterpart of the English Order of the Garter and the Scottish Order of the
Thistle. It lasted until the establishment of the Irish Free State in 1922. In
1907 the “Irish Crown Jewels,” really the insignia of the Order, were stolen
from Dublin Casle shortly before a visit by England’s King Edward VIII, the
soverign of the order. They have never been found. The tune was attributed to
Co. Mayo and New York fiddler John McGrath (1900-1955) by his nephew, Vincent
McGrath or Drogheda, however, it appears that the tune is much older. See also
Luke O’Malley’s version of “Larry O’Gaff [3]”
which seems to incorporate the second part of “Knight’s of St. Patrick.”
Sources for notated versions: fiddler Jimmy McHugh [Bulmer & Sharpley]; fiddler
John Doherty (1895-1980,
County Donegal) [Feldman & O’Doherty]; fiddler Simon Doherty (John’s
brother, County Donegal) [Feldman & O’Doherty]; New Jersey flute player
Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Bulmer &
Sharpley (Music from Ireland), 1974,
vol. 1, No. 57. Feldman & O’Doherty (Northern
Fiddler), 1979; pg. 59. Feldman & O’Doherty (Northern Fiddler), 1979; pgs. 59 & 100. Harker (300 Tunes from Mike Rafferty), 2005; No.
217, pg. 67. Mallinson (Enduring),
1995; No. 52, pg. 23. Cló Iar-Chonnachta CICD 161,
Chris Droney – “Down from Bell Harbour” (2005). Green Linnet SIF 3077, John
Doherty – “Bundle and Go” (originally recorded for Topic Records).
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: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
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
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||
KNISELEY'S QUICKSTEP. American, March (2/4 time).
KNIT THE POCKY. AKA and see “Lady
Macintoshe’s Reel [2].” Scottish, Reel. D Minor (Glen): D Dorian (Bremner).
Standard tuning. AAB. John Glen (1891) finds the earliest printing of the tune
in Robert Bremner's 1757 collection,
although another early version appears in Angus
Cumming’s collection set as a four-part strathspey called “Lady McIntosh’s Reel.” ‘Pocky’
commonly refers to a bag (esp. a beggar’s bag for collecting meal), a hat or a
hood, and has been used to mean a fishing net. According to Chamber’s Scots Dictionary, knit was sometimes
used to mean ‘overfill’ or ‘burst’, thus the title may mean ‘burst the bag’.
Paul Cranford notes that a more ornate strathspey version was played by early
20th century
X:1
T:Knit the Pocky
M:C|
L:1/8
R:Reel
S:Glen Collection, vol. 1
(1891)
Z:AK/Fiddler’s Companion
K:D Minor
D(dd)^c defd|cBAG FGEC|D(dd)^c
d>ef>g|ed^ce d/d/d d2:|
defg afdg|e>dcg ecge|defg
afdg|ecge d/d/d d2|defg a>fdg|
e>dcg ecge|defg afgf|ecge d/d/d
d2||
KNITTER’S JIG. English, Jig. D Major. Standard
tuning. AABBCC. A modern compostion by Pat Disque Wexelblat. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 100 (appears as “Picking Up Stitches”,
the name of a country dance by Fried de Metz Herman set to the tune).
KNITTING THE FOG. Irish, Reel. D Major. Standard tuning. AABB.
X:1
T:Knitting the Fog
R:Reel
C:Darach de Brun
M:4/4
K:D
defd BAFB|ADFA BAFE|DF ~F2 DEFA|dBAF
~B3 c|
defd BAFB|ADFA BABc|df ~f2 afef|dBBA
~B3 c:|
dBBA Bffd|eefe defa|bafe dFAd|Bcdf
~e3f|
dBBA Bffd|eefe defa|bafe dfeg|fBBA
~B3c:|
KNIVES AND FORKS. English, Country Dance Tune (3/2 time). G Major. Standard tuning. AABB.
This upbeat melody dates to 1719 where it appears in the Second Book of the Compleat Country Dancing Master by
KNOCK ALONG JOHN. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954. It is perhaps the same as "Walk Along John,"
"Run Along John," and/or "Hop Along John."
KNOCK AROUND THE KITCHEN (Till the Cook Comes
In). See "Knocking Around the Khe Kitchen"
and note for “Cuttin’ at the
Pint/Point.” Rounder 0437, Jim Herd – “Traditional Fiddle Music of the Ozarks,
Vol. 3: Down in the Border Counties.”
KNOCK HIM DOWN SUSIE. Scottish, Reel. D Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 4; No. 77, pg. 11.
X:1
T:Knock Him Down Susie
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 77
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
B|AFDF EFGB|AFDF AddB|AFDF EFGA|AFdF
(Ad) d:|
||A|dfeg fdcA|dfeg faaf|gefd
ecBA|(B/c/d) (AF) AddA|dfeg fdcA|
dfeg faaf|(3gab (3fga (3efd
(3cBA|(3Bcd (3AGF (A<d) d ||
KNOCK ON THE DOOR, THE. AKA and see “The Convenience,” “McDonagh’s.”
KNOCKABOWER POLKA [1]. AKA and see “Knocknaboul
Polka [1]."
KNOCKABOWER POLKA [2]. AKA and see “Knocknaboul
Polka [2]."
KNOCKANDO HOUSE. Scottish, Strathspey. D Major. Standard tuning. AAB. Composed by William Marshall (1748-1833). It was
thought by Collinson (1966) to be one of Marshall's best compositions, while Emmerson
(1971) deems it "particularly celebrated.” Knockando house is a late 18th
century house overlooking the River Spey and Ballintomb Burn. It was occupied
in Marshall’s time by Captain Shanks of the Royal Navy. Marshall, Fiddlecase Edition, 1978; 1822
Collection, pg. 34. Stewart-Robertson (The
Athole Collection), 1884; pg. 127.
X:1
T:Knockando House
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:D
F|D/D/D D>B A>F A<B|D/D/D D>B A>F E<F|D/D/D D<B A>Bd>e| f>de<f F<d E:|
B|A>Fd>F A>Fd>F|AF/F/ d>F B/A/G/F/ E>F|A>Fd>F A>Bd>e|
f>d
e<f F<d E>B|A>Fd>F A>Fd>F|AF/F/ d>F B/A/G/F/
E>F|A>Fd>F A>Bd>e| f>d e<f F<d E||
KNOCKANDOE'S REEL. Scottish, Strathspey. D Major. Standard tuning. AB. John Glen (1891)
finds the earliest printing of the tune in Angus
Cumming's 1780 collection (pg. 8). McGlashan (A Collection of Reels), c. 1786; pg. 14 (appears as “Knockande’s
Reel”).
X:1
T:Knockandoe’s Reel
M:C|
L:1/8
R:Strathspey
S:McGlashan – Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:D
F|D/D/D D>B A>FAB|D/D/D D>B AFE>F|D/D/D D>B A>Bd>e|f>d
e<f F<d EF|
D/D/D D>B A>FA>B|D/D/D
D>B A>FE>F|D/D/D D>B A>Bd>e|f>de>f F<d E||
B|A>Fd>F A>Fd>F|A/F/F dF
B/A/G/F/ EF|A>Fd>F A>Bd>e|f>d e<f F<d E>F|
A>Fd>F A>Fd>F|A/F/F
d>F B/A/G/F/ EF|A>Fd>F A>Bd>e|f>d e<f F<d E||
KNOCKAWHINNA, THE. Irish,
Jig. G Major (‘A’ and ‘C’ parts) & D Major (‘B’ part). Standard tuning
(fiddle). AABB’CC’. Composed by concertina and piano-accordion player Micheál Ó
hEidhin in honor of Knochawhinna, near Rockchapel, County Cork, which Séamus
Connolly says was a well known area for Irish traditional music. Ó hEidhin
composed the melody when a student at University College Cork, and graduated to
a career in music academia, teaching and promoting Irish traditional music. The
jig was first recorded by the Siamsa Céilí Band and is sometimes called by that
name (“The Siamsa Jig”). Marty Fahey, Brendan Bulger and Kathleen Gavin recorded
the tune as “The Galway Jig” on their album “From House to House.” Connolly
& Martin (Forget Me Not), 2002;
pp. 54-55. Cló Iar-Chonnachta CICD 173, Brian Conway –
“Consider the Source” (2008. Learned from his niece, fiddler Maeve Flanagan).
KNOCKBRIDE. Irish, Reel. D Major/Mixolydian. Standard tuning (fiddle). AABB.
Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy
(1898-1988). The Reavy family lived mid-way between Knockbride and Maudabawn
Chapels in County Cavan, according to Reavy’s son Joe, who said “they had the
luxury of attending both...and did.” Reavy (The
Collected Compositions of Ed Reavy), No. 24, p. 25.
X:1
T:KnockBride
M:2/2
L:1/8
C:Ed Reavy
R:Reel
N:The Reavys lived half way between
Knockbride and Maudabawn
N:chapels. They had the luxury of attending either. And they did.
Z:Joe Reavy
K:D
c | d2 cd fdAB | cBcd dAGA | d^cAB [E2=c2] AG | FGAB cAGA |
d^cde =fdec | dcAF GE=CE | DEFG (3ABA GE | =FDEC D3 :|| c |
defg ad (3ddd | adfd adfB | =cdef gc (3ccc | g=cec gcec | defg (3agf (3gfe |
fdec
dcAG | FGAB cBAF | GECE D3 :||
KNOCKFIERNA. Irish, Slow Air (3/4 time). D Minor. Standard tuning. One part.
"Taken down about 1851 from the singing of Joe Martin of Kilfinane Co. Limerick.
Knockfierna, a well known fairy hill rising from the great Limerick plain, on
the summit of which the fairy king Donn Fierna has his palace" (Joyce).
Joyce (Old Irish Folk Music and Song),
1909; No. 31, pg. 18.
X:1
T:Knockfierna
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:”Slow”
K:Dmin
A=Bc|d2 cAGE|D2D2 DE|F2E2
E>D|D2C2 AG|A2 d2 d>e|
f2 edce|D2 AGA=B|c4 AG|A2d2 de|f2
edce|d>cAGFG|
A=Bcdec|d2A2 AG|A=BcBAG|F2
EDC>E|D4||
KNOCKING AND SCRATCHING.
English, Country Dance Tune (cut time). E Flat Major. Standard tuning.
AABBCC. The melody is unique to London publisher Charles and Samuel Thompson’s
1765 country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 139.
X:139
T:Knocking and Scratching
M:C|
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn
Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Eb
E2B2 (eB)(cG)|(AF)(GA) D2B,2|(Bc)(de) (fg)(ab)|gdec BA G2|ABcd ecBG|AGFE {E}D2d2|
ecBG cAGF|BGAF E4::B2e2 bgaf|gedc B2 AG|ABcd efga|(g/a/b)ag {g}f3g|
b(g/a/b)g a(f/g/a)f|g(e/f/g)e B3d|e(c/d/e)c B(G/A/B)G|AFBG E4::B,EGE B,EGE|cAGF EDCB,|
Bege
Bege|bgaf edcB|bg2b af2a|gdec B3d|e B2G cA2 F|(3edc BG E4:||
KNOCKING AROUND THE KITCHEN.
Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AA’BAACC’.
A ‘crooked’ (irregular measured) tune from the playing of Jim Herd (1919-2002),
born in Eastview, Missouri. Herd moved to Washington State in 1951, but
retained his Missouri style, learned from listening to Lonnie Robertson and
other fiddlers. The title (but not the music), is a variant of other similar
titles (see “Hanging Around
the Kitchen (‘till the Cook Comes Home),” “If You Can’t Stand the Heat, Get
Out of the Kitchen” (Dean Johnston) and "Wait in the
Kitchen (Till the Cook Comes In)," tunes that are themselves
melodically related to “Redman’s Reel,”
"Richmond Cotillion,"
"Run Them Coons in the
Ground," "Jackson's
Breakdown," "Old Richmond.").
Herd’s “Knocking Around the Kitchen” is melodically related to “Cuttin’ at the Pint/Point.” An
early recording of the tune is by Jess Hillard on 78 RPM in 1933. Source for
notated version: Jim Herd [Beisswenger & McCann]. Beisswenger & McCann
(Ozark Fiddle Music), 2008; pg. 56. Rounder
CD0437, Jim Herd – “Traditional Fiddle Music of the Ozarks, vol. 3” (2000.
Various artists).
KNOCKING AT/ON THE
DOOR [1]. AKA and see "Fat Meat and Dumplings."
Old‑Time, Breakdown. USA; Arkansas, Missouri. C Major. Standard tuning.
AABB. The tune was recorded for the Library of Congress by
musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the
1920's. The tune was popular in southern Missouri at one time. John Hartford
(see version #2, below) and Gene Goforth both learned the tune from Walter
Alexander, of Leasburg, Missiouri, though Hartford altered it. Source for
notated version: Cyril Stinnett (Oregon, Missouri) [Christeson]. R.P.
Christeson (Old Time Fiddlers Repertory,
vol. 2), 1984; pg. 44.
KNOCKIN’ AT YOUR DOOR [2]. AKA and see “Texas Gales.” Old-Time, Breakdown.
KNOCKING HORNPIPE. American, Walk Round (4/4 time). G Major. Standard tuning. AA'BB'. From
the title, probably associated with blackface minstrelsy, in the mode of such songs as “Who’s Dat Knockin (at the Hen-House
Door).” Kerr (Merry Melodies), vol.
2; No. 401, pg. 45.
X:1
T:Knocking Hornpipe
M:C
L:1/8
S:Kerr – Merry Melodies, vol. 2, No. 401 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
(Bc)|(de)(dB) c2 (Bc)|dedB A2
(Bc)|dedB cBcA|1 G2A2B2:|2 G2 [B2g2][B2g2]||
|:(GB)|d2d2 cBce|d2 (3G,G,G, G,2
(Bc)|dedB cBcA|1 G2A2 B2 (Bc):|2 G2 [B2g2][B2g2]||
KNOCKNABOUL POLKA [1], THE (Polca Chnoc na bPoll). AKA and see “Din Tarrant’s [5],” “Glen Cottage
Polka,” “The Humours of
Ballydesmond,” “Kitty Wants a Soldier,”
“Knocknabower Polka,” “The Little Green Cottage,” “The Scartaglen Polka [1].” Irish, Polka.
G Major. Standard tuning. AABBCC (Cranitch, Miller & Perron): AA'BB'CC
(Breathnach). Along with “Knocknaboul Polka” [2], the pair are often played
together and called the “Knocnaboul Polkas.” The name is sometimes seen as
“Knocknabower,” though this is a misspelling of the west Kerry town of
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:The Knocknabower Polka # 1
T:The Humours of Ballydesmond
T:The Scartaglen Polka
M:2/4
L:1/8
Q:280
R:polka
Z:Philippe
Varlet
K:G
G2 G>A | Bd de/f/ | gB B/A/G/A/ |
G2 G>A | Bd de/f/ | gB AB/A/ | G2
GD :||
Gg g2 | fe e/f/g/e/ | dB B/A/G/A/ |
Gg g2 | fe e/f/g/e/ | dB AB/A/ |1 G2
GD :|2 G2 GB/d/ ||
g2 a2 | ab ba | g2 ag/a/ | ab ba |
ge e/f/g/e/ | dB g/a/g/e/ | dB AB/A/
|1 G2 GB/d/ :|2 G2 GD ||
KNOCKNABOUL (POLKA)
[2], THE (Polca Chnoc na
bPoll). AKA and
see “Ask our Dan,” “Knocknabower [2],” “Liam Browne’s,” “The Sneem Polka.” Irish, Polka. G Major.
Standard tuning. AABBCC. The alternate title “Knocknabower” is from a mis-print
on the influential “Star Above the Garter” recording, and unfourtunatley has
gained some currency at the expense of the correct title, “Knocknaboul.”
Sources for notated versions: fiddlers Julia Clifford & Denis
Murphy (east
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:The Knocknabower Polka No. 2
T:The Knocknaboul Polka
T:The Sneem Polka
M:2/4
L:1/8
Q:280
R:polka
Z:Philippe Varlet
K:G
GB B/c/B/A/ | GB B>G | FA AD | FA
D2 |
GB B/c/B/A/ | GB d>e | fd cA |1
G2 GD :|2 G2 G2 ||
g2 g>f | ga ag | fd de | fg af |
g2 g>f | ga a>g | fd cA |1 G2
G2 :|2 G2 GA ||
B2 cB/c/ | dc AG | F>E FD | FG Ac
|
B2 cB/c/ | dc Ag | fd cA |1 G2 GA
:|2 G2 GD ||
KNOCKNABOUL SLIDE, THE. Irish, Slide (12/8 time). G Major. Standard
tuning. AA’BB’. The title comes from Johnny O’Leary who said:
***
Well, no doubt, ‘tis O’Keeffe’s. What can we do?
for myself and Denis (Murphy). Over in Jack Lyons’s,
and he gave it to Seamus Ennis the same way. ‘Tis
he--’tis Patraig gave ws the most of them, you know.
Could we christen it something else? Call it ‘The
Knocknaboul Slide’ [Moylan]
***
Source for notated version:
attributed to west Kerry fiddler Padraig O’Keeffe by accordion player Johnny
O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Moylan (Johnny O’Leary), 1994; No. 289, pg. 167.
KNOCKNABOWER POLKA [1]. AKA and see “Din Tarrant’s [5],”
“Glen Cottage Polka,” “The
Humours of Ballydesmond,” “Knocknaboul
Polka [1],” “The Little Green
Cottage,” “The Scartaglen Polka [1].”
KNOCKNABOWER POLKA [2]. AKA and see “Ask our Dan,” “Knocknaboul Polka [2],” “Liam Browne’s.”
KNOCKNABOWL REEL, THE (Cnoc na bPoll). Irish, Reel. E Dorian (?). Standard. AB.
Source for notated version: fiddler Denis Murphy, 1967 (Gneeveguilla, Co.
KNOCKNAGOW (JIG) [1] ("Cnoc-Na-Gaba" or "Cnoc na
nGaibhne").
Irish, Double Jig. A Dorian ('A', 'B', and 'C' parts) & A Major ('D' part).
Standard. AABB (Breathnach): AABBCCDD (Carlin, O'Neill). Breathnach prints
“Knocknagow” as two separate tunes, versus O’Neill’s four part tune. The modern
version, probably popularized by accordion player Joe Burke, differs from O’Neill
toward a more dorian mode setting. Sources for notated versions: accordion
player Joe Burke (
X:1
T:Knocknagow
M:6/8
L:1/8
R:jig
Z:transcribed by Jürgen Gier
K:ADor
EAB ~c3|EGF GAB|EAB ~c3|dcd ecA|\
EAB ~c3|EGF GAB|eag edB|1cAA
A3:|2cAA A2B|:\
Aab ~a3|ede ~g3|Aab aec|def gdB|\
Gab ~a3|ede ~g3|e=fe dcB|1cAA
A2B:|2cAA A2c|:\
ece dcB|cAF ECE|AGA ~c3|dcd Bcd|\
dfe dcB|cAF ECE|Ace aed|1cAA
A2c:|2cAA A2^c/d/|:\
K:AMix
eaf gfg|a2f ecA|dfa ecA|dBB Bcd|ecA
fdB|\
~a3 ecA|1df^g aed|cAA A2c/d/:|2d=f^g
aed|=cAA A3|]
X:2
T:Knocknagow
M:6/8
L:1/8
R:Jig
Z:Philippe Varlet
K:G
EAB ~c3 | EGG GED | EAB cBc | d^cd e=cA |
EAB ~c3 | EGG GAB | Eag edB |1 cA^G A2=G :|2 cA^G A2B ||
Aab ~a3 | ede gdB | Aaa ae^c | def gdB |
Aab ~a3 | ede gfg | e=fe dcB |1cA^G A2B :|2 cA^G A^cd ||
K:D
edc dcB | cAF ~E3 | AEA cec | dcd Bcd |
edc dcB | cAF ~E3 | Ace aed | cA^G Acd |
edc dcB | cAF ECE |A,CE Ace | dcd Bcd |
edc dcB | cAF ~E3 | Ace aed | cA^G A2B ||
Aaf ~g2e | ^gaf ecA | ~d3 cec | dcd Bcd |
ec/B/A fd/c/B | ~^g2a ecA | df^g aed |1 cA^G A2B:|2 cA^G A2=G ||
KNOCKNAGOW (JIG) [2]. Irish, Jig. Source for notated version: Donegal fiddler Tommy Peoples
[Bulmer & Sharpley]. Bulmer & Sharpley (Music from
KNOCKNAGOW (REEL). AKA and see "Baile na Finne,” “Irish Molly,” “My Love is Far Away,” “Scotch Mary.” Irish, Reel. A Dorian. Standard.
AABB. The tune is better known in modern times as “Scotch Mary.” Rounder CD 1087, Ballinakill Ceilidhe Band – “From
X:1
T:Knocknagow
M:C|
L:1/8
R:reel
Z:transcribed by Tracy Kingsley
Z:From the magazine Treoir (which
issue?) who reports:
Z:Recorded in
Z:together with The Fowling Piece
(aka The Templehouse Reel)
K:Ador
AB|cE E2 cded|cE E2 G2 AB|cE E2
cded|cABG A2 AB|
cE E2 cded|cE E2 G2 AB|c2 cB
cded|cABG A2 :|
Bd|eaag efed|cdef g2 fg|eaag
efed|cABG A2 Bd|
|eaag efed|(3Bcd ef g2 fg|afge
fded|cABG A2 :|
KNOCKNAGREE POLKA, THE. Irish, Polka.
KNOCKNAGREE REEL. AKA and see “Miss Lyon’s
Fancy,” “Sonny Brogan’s
Favorite,” “Up Agains the
Boughalanus.”
KNOCKNAGREE SLIDE, THE. AKA and see “Cuz Teahan’s Favorite.” Irish,
Slide. Played by the Templehouse Ceili Band (who paired it with “Going to the
Well”). Gael-Linn CEF 092, “Julia and Billy Clifford.”
X:1
T:Knocknagree Slide
M:12/8
L:1/8
Q:240
R:Slide
K:Edor
efe B2A GFE B2E|FED A2D d2D A3|
efe B2A GFE B2E|FED F2A F2E E3:||
B2e
B2e
B2e
fgf ~f2e efe B2A|FED F2A F2E E3||
KNOCKTORAN FAIR. Irish, Fling. D Major. Standard tuning (fiddle). AAB. Roche Collection, 1983, vol. 2; No. 287,
p. 36.
KNOT IN THE CHORD,
THE. See “Knotted Chord.”
KNOT ON THE CHORD, THE. See “Knotted Chord.”
KNOTTED CORD [1] (An Corda Snaidhmthe). AKA and see "The Bangor Reel," “Bridie Morley's,” “Cronin’s (Reel) [2],” “Indian on the Rock,” “Junior Creehan’s (Favorite),”
“The Knot in the Chord.” Irish, Reel.
***
Although it is not known exactly
what knotted chord might be referred to in the title, there is an Irish folk
usage of such an item as a cure for worms. It was known as cleas na péiste, and “involved putting nine knots on a string and
then ripping the knots one by one, hitting the calf on its back with the string
each time” (Hickey, Stone Mad for Music,
1999).
***
Sources for notated versions:
fiddler Jim Mulqueeny, 1966 (Kilfenora, Co.
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Knotted Cord, The (Junior
Crehan's)
C:Traditional
Z:transcribed by Dan Mozell
M:C
K:ADor
A3 B AEEE | A2 Bd edBA | G2GA GEDE |
G2 BG dGBG |
A3 B AEEE | A2 (3B^cd edBA | GABd
efge |[1 dBGA BAAG :|[2 dBGA BA A2
|: eaaa eaaa | eaab aged | eggg eggg
| eggf gedg |
eaaa eaaa | eaab aged | BABd gaba
|[1 gedB BA A2 :|[2 gedB BedB ||
KNOTTED CHORD [2], THE. AKA – “Knotted Cord.” AKA and see “All Around the World,” “Cooley’s (Reel) [2],” “The Connemara Rake,” “Doherty’s (Reel) [2],” “Grehan’s,” “John Doherty’s Reel [1],” “Johnny Doherty’s Reel [1],”
“Jolly Beggar [2],” “Matt Molloy's [1].
KNOWLES’ (Ballater). Scottish, Hornpipe. A Major. Standard. AABB. Composed by the
great Scots fiddler-composer J. Scott Skinner
(1843-1927), who called it a “hornpipe study”. Skinner (Harp and Claymore), 1904; pg. 132.
X:1
T:Knowles’
M:2/4
L:1/8
R:Hornpipe
C:J. Scott Skinner (1843-1927)
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
E/>D/ | (C/>E/A/>)C/
(D/>F/B/>)A/ | G/>E/F/>G/ AB/>c/ | d/>e/f/>g/
a/>e/d/>c/ | B/>A/G/>A/ BE/>D/ |
C/>(E/A/>)(C/
D/>)(F/B/>)(A/ | G/>)(E/F/>)(G/ A).B/>.c/ | d/>e/f/>g/
(3a/g/f/ (3e/f/d/ | cAA :|
|: e | a/>g/f/>e/
d/>c/B/>A/ | F/>B/^A/>c/ Bf | b/>^a/b/>=a/ g/>f/e/>d/ |
c/>e/^d/>/f/ e (3.e/.f/.g/ |
a/>c’/e’/>c’/ (3a/e/c/
(3A/E/C/ | ({E}D/>)(C/D/>)(E/ F/>)(^A/B/>)(c/ | d/>)(e/f/>)g/
(3a/g/f/ (3e/f/g/ | (3a/e/d/ (3c/d/B/ A :|
KNOXVILLE RAG [1]. Old‑Time,
Breakdown. USA; Ky., Missouri. D Major. Standard. AABB (Phillips): AABBCC
(Christeson). Knoxville, Tennessee, commemorates an American hero of the
Revolution, Henry Knox. Source for notated version: Frank Reed (Randolph
County, Missouri) [Christeson, Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 45. Phillips (Traditional American Fiddle Tunes, vol.
1), 1994; pg. 133. Carryon Records 002, "Ace Weems & the Fat Meat Boys."
Gennett 6760 (78 RPM), Burnett and Rutherford (1928). Marimac 9054, The Ill-Mo
Boys - "Fine as Frog Hair" (1995). Morning Star 45004, Taylor,
Burnett & Moore - "Wish I Had My Time Again." Rounder 1004,
"Ramblin' Reckless Hobo; the Songs of Burnett and Rutherford."
KNOXVILLE RAG [2]. Old-Time, Country Rag. C Major. Standard
tuning. AA'B. Source for notated version: Ralph Troxell [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 73.
KNUCKLE DOWN. AKA and see "The
Flowers of Edinburgh." English. The title comes from the village of
Bampton, Oxfordshire, England, and is the alternate title for a morris dance to
the well‑known tune "Flowers of Edinburgh."
KNUTSFORD HEATH. AKA and see “Altringham Round.”
KNUTSFORD RACES. English, Schottische or Reel. England, North‑West. A Major. Standard tuning. AABBCCDD. Knutsford Races took place on Knutsford Heath, Cheshire, a horse-racing ground for some 200 years, until 1873. It was thought the races did not begin until the 1720’s, however, Sir Thomas Mainwaring wrote in his diary for June 22nd, 1679:
***
At Knutsford Heath my cousin Mainwaring of Kermincham beat my cousin
Marbury and won the plate with his horse.
***
The Knutsford Races were still going
strong in 1819, when the Macclesfield
Courier reported:
***
The races were very numerously and fashionable attended; among the
company observed were
The Earl of Stamford, The Earl ofWilton, Lord Grey, Sir John Leicester,
Sir Thomas Stanley,
Sir Harry Mainwaring (most of these gentlemen had horses in the
races)…from the respectable
manner in which the meeting is supported it is expected to become the
most fashionable in the kingdom.
***
The same paper noted in 1832 that
the races had also attracted less desirable elements: “The number of gamblers,
swindlers and pickpockets at the late Knutsford Races amounted, it is said, to
about 1,000.”
***
The melody first appears in
Preston’s Twenty Four Country Dances for
the Year 1798 (London). Knowles (Northern
Frisk), 1988; No. 8.
X:1
T:Knutsford Races
M:4/4
L:1/8
S:Preston’s Twenty Four Country Dances for the Year 1798 (London)
K:A
E|A2cA eAcA|EAcA B2Bc|(3AAA cA
eAcA|FdcB A3:|
|:g|aefd ecBA|aefb g2 (3efg|aefd
ecBA|FdcB A2:|
|:E|AEFE AEFE|DFCE B,2B,2|AEFE
AEFE|FdcB A3:|
|:B|cdec acec|fdec B2Bd|cdec
fdec|FdcB A3:|
KOEHLER’S HORNPIPE. See “Kohler’s Hornpipe.”
KOEPOORT GALLIARD, THE. Dutch (?),
Galliard (3/2 time). D Minor. Standard tuning (fiddle). AABB. English
collector, musician, choreographer and teacher Pat Shaw wrote a dance to this
tune. Barnes (English Country Dance Tunes,
vol. 2), 2005; p. 70.
KOHLER’S HORNPIPE. AKA - “Koehler’s Hornpipe.” AKA and see “Laybourn’s Hornpipe.” Scottish,
Hornpipe. C Major. Standard. AABB. The tune was first printed as an untitled
hornpipe in Kohler’s Violin Repository
(Edinburgh, 1881-5), in which is contained a number of hornpipes. The melody
supposedly was popularized in modern times by Alisdair Fraser and Jody Stecher,
although fiddler Eileen Ivers called the tune “Pachelbel’s Frolics” due to its
similarity to the famous cannon by Austrian composer Johann Pachelbel.” It is
also quite popular on Cape Breton and Prince Edward Island as “Kohler’s
Hornpipe” or “Laybourn’s Hornpipe,” and is sometimes played as a reel. Paul
Burgess writes with the finding that “Kohler’s Hornpipe” is actually a versin
of “Savage Hornpipe” (which
predates Kohler), transposed from Bb to the key of C. Source for notated version: Paul MacDonald (b.
1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; p. 119.
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:Kohler’s Hornpipe
M:C
L:1/8
R:Hornpipe
Q:230
K:C
G2|"C"c2cB
cdef|"C"g^fga "C7"gedc|"F"A^GAB
cdcA|"C"GEcA "C7"GECE|!
"F"FEFG
AGAB|"C"cBcd "A7"egag|"Dm"fedc
"F"Ac"G7"Bd|"C"eccB c2:|!
|:g2|"C"egcg
egcg|"G"dgBg dgBg|"Am"ceAe ceAe|"Em"GcEc
"C7"GcEc|!
"F"FEFG AGAB|"C"cBcd
"A7"egag|"Dm"fedc
"F"Ac"G7"Bd|"C"eccB c2:|]
KOKAR ENGELSKA. Finnish version of "Soldier's
Joy."
KOLINDA.
AKA and see "Madame Young."
KRAKOVIAK. AKA and see "Krakovienne," "Cracovienne (Quickstep),"
"Jacket Trimmed in Blue,"
"Bonnet Trimmed in Blue,"
"Walk Jawbone [2]" (
KRAKOVIENNE. AKA and see "Cracovienne,"
"Kracoviak." German. Composed around 1842‑50,
according to a note in Boehme. Boehme, ; No. 264, pg. 166.
KRAMAR (BITNAR). AKA and see "Old Greene County," "Bittner," "Twelfth Virginia," "Old Wilkinsburg March,"
"Mount Pleasant," "Old Number Two." American, Reel or
March. USA, southwestern Pa. D Major. Standard. ABC. Bayard (1981) found this
tune to be exclusive to southwestern Pa., and known to both fiddlers and
fifers. The title "Bitnar" or "Bittner" comes from once
famous old fifer Andreas Bittner, from whom other fifers had the tune or
associated it with him. "Kramar" may simply be a mishearing of
"Bittner." Source for notated version: Mount Pleasant (fife) Tablatures
(Pa., 1950's) [Bayard]. Bayard (Dance to
the Fiddle), 1981; No. 387C, pg. 369.
KREBBEL GIANT'S DANCE FROM BRABANT. Flemish. "It seems that many
small villages in Flanders (and in other parts of Europe, no doubt) prepared a
song or tune, well‑known to the inhabitants, that would be communally
performed to entice any attacking giant to dance and thereby wear him (or her)
self out (John McCutcheon)." Rounder 0216, John
McCutcheon ‑ "Step by Step" (1986).
KREGG’S PIPES. AKA and see "Greig's Pipes."
KRIDEN FAIR. English, Jig. England, Northumberland. D Major. Standard. AABB. Seattle
(William Vickers), 1987, Part 2; No.
216.
KRUGER’S. Irish, Jig. Composed by the
late
KU KLUX OVER THE HILL. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
KUKAVICA. Croation. A folk melody popular with the ethnic Croation population in
Northern Wisconsin.
KUKKA SE SAUNA LEMITHA. Finnish. A folk melody popular with the ethnic Finnish population in
KUPPARI EEVA. Finnish, Polka. Kicking Mule KM‑327,
"Scartaglen" (1984. Learned from Matt Kirby from Wade Hampton Miller,
who learned it on tour in
KYLEBRACK RAMBLER(S). AKA and see “Finbar
Dwyer’s Fancy.” Irish, Reel. D Major/Mixolyidan (
X:1
T:The Kylebrack Rambler
C:Finbar Dwyer
R:Reel
M:4/4
K:DMix
DA,~A,2 D2FE | DA,~A,2 CA,G,2 |
DA,~A,2 D2DE | FGAF G2FG|\
Ad~d2 dcAB | c2Bc GECE | DCA,C D2DE
| FGAF D4 ::\
A2GA FDD2 | d2Ad FdAd | c2Gc EcGc | cded
cAGc |\
defe d2AB | c2Bc EcGc | G2ED CDEG |
cAGE D4::\
ADD2 A,DD2 | d2de dcAB | c2Bd cAGE
|1 CcBd cAGc :|2 CEGE D4|]
KYLEMORE, THE. Irish, Jig. G Major. Standard. AABB. Source
for notated version: Brendan Mulvihill (
KYSS VALS. Scandinavian, Waltz. The tune is in the
repertoire of Wisconsin Swedish musician Fritz Swenson.
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