The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

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,

Dear have I bought 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

M:C|

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."

X:1

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

R:Air or Jig

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

Z:AK/Fiddler’s Companion

K:D

A | Add dfa | e>f e/d/ dc A/A/ | Add dfa | gec d2 A/A/ | Add dfa |

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

T:Kitty of Oulart

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). USA, southwestern Pa. D Major. Standard tuning. AABB. Source for notated version: Miss Margaret Fisher via the Hoge MS (Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 378, pg. 365.

 


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 Cape Breton fiddlers. Bremner (Scots Reels), c. 1757; pg. 84. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 20. Rounder Records 7037-2, Father Angus Morris – “Traditional Fiddle Music of Cape Breton, vol. 1: Mabou Coal Mines” (2002).

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 London publisher J. Walsh. It is used for a longways country dance, which appears in other collections as the "Merry Hop" (Playford's Dancing Master, vol. 2, 3rd & 4th Ed.) and "Three Case Knives" (Wright's c. 1720, An Extraordinary Collection of Pleasent and Merry Humours). Barnes (English Country Dance Tunes), 1986. Flying Fish FF90564, Bare Necessities ‑ "Take a Dance" (1991).

           

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. USA, Missouri. C Major. Standard tuning. A variation of the once well-known tune in southern Missouri. This version has some similarities to “Texas Gales.” Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997). Rounder 0442, John Hartford – “Hamilton Breakdown” (2001. Learned from Walter Alexander, of Leasburg, Missouri, although Hartford seems to have altered it).

 

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 Knocknaboul, near Ballydesmond. There is also a Knocknaboul Cross north of Knocknagree, however, there is no ‘Knocknabower’. The first two parts are similar to “If I Had Maggie in the Woods,” a polka popularized by the Chieftains. Breathnach (1985) says it is related to “An bhfaca tú mo Shéamaisín?” (did you see my little Jimmy?). Source for notated version: fiddlers Julia Clifford & Denis Murphy (Sliabh Luachra, Ireland) [Breathnach]; Denis Murphy [Ceol]. Breathnach (CRÉ III), 1985; No. 62, pg. 33. Ceol, vol. 2, No. 4, pg. 100 (appears as “The Little Green Cottage”). Cranitch (Irish Fiddle Book), 1996; No. 49, pg. 144. Cranitch (Irish Session Tunes: Red Book), 2000; 49. Mallinson (100 Polkas), 1997; No. 13, pg. 6. Miller & Perron (101 Polkas), 1978; No. 15 (appears as “Knockabower Polka”). Mulvihill (1st Collection), 1996; No. 15 in polka section (appears as untitled tune). Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 2; 21(b). Claddagh Records CC5, Denis Murphy & Julia Clifford ‑ "The Star above the Garter" (1969). Shanachie 340002, Denis Murphy & Julia Clifford ‑ "The Star above the Garter" (A re-release of the 1969 Claddagh album). Topic 12T309, Denis Murphy, Julia Clifford and Padraig O’Keeffe – “Kerry Fiddles” (appears as “The Humours of Ballydesmond). Topic 12T310, The Star of Munster Trio.

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/ | BA AB/A/ |

G2 G>A | Bd de/f/ | gB AB/A/ | G2 GD :||

Gg g2 | fe e/f/g/e/ | dB B/A/G/A/ | BA AB/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 Kerry, Ireland) [Breathnach, Sullivan]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (CRÉ III), 1985; No. 65, pg. 34. Cranitch (Irish Fiddle Book), 1996; No. 50, pg. 144. Cranitch (Irish Session Tunes: Red Book), 2000; 50. Mallinson (100 Polkas), 1997; No. 14, pg. 6. Miller & Perron (101 Polkas), 1978; No. 16 (appears as “Knockabower Polka #2"). Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 132. Moylan (Johnny O’Leary), 1994; No. 281, pg. 161. Sullivan (Session Tunes), vol. 3; No. 46, pg. 19 (appears as “Knocknabower Polka”). Taylor (Music for the Sets: Yellow Book), 1995; pg. 23. Vallely (Learn to Play the Tin Whistle with the Armagh Pipers Club), vol. 2; 21(b). Claddagh Records CC5, Denis Murphy & Julia Clifford ‑ "The Star above the Garter" (1969. Appears as “Knocknabower Polka”). Topic 12T312, John, Julia & Billy Clifford - “The Star of Munster Trio.”

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?

What can we call it? ‘Tis Padraig had played it first

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. Kerry, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 253, pg. 131.

 

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 (Ireland) [Breathnach]; Donegal fiddler Tommy Peoples [Bulmer & Sharpley]. Breathnach (CRE III), 1985; No. 29, pg. 14. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 44. Carlin (Master Collection), 1984; No. 219, pg. 128 (appears as "Baile Na Finne"). O'Neill (Krassen), 1976; pg. 76. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1113, pg. 210. Arhoolie C‑334, Seamus Connolly ‑ "Masters of the Folk Violin" (1989). Green Linnet SIF 1139, “Eileen Ivers” (1994). Outlet Records SOLP 1015, Joe Burke ‑ "Galway's Own" (1971). Michael McGoldrick - "Morning Rory."

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 Ireland), vol. 4, No. 45.

                       

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 Galway to Dublin” (1992. Reissue of 1931 original).

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 London in 1931 by the Ballinakill Ceili Band,

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. Ireland, Sliabh Luachra region of the Cork-Kerry border. A Major. Standard. AABB. Knocknagree is a town between Rathmore and Ballydesmond in the Sliabh Luachra border region. Source for notated version: flute player Art O’Keeffe via accordion player Johnny O’Leary (Sliabh Luachra, Kerry), recorded at a recital at Na Píobairí Uilleann, February, 1981 [Moylan]. Moylan (Johnny O’Leary), 1994; No. 27, pg. 17.

                       

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 ede f2a afa|baf a2f e2d B2A|

B2e ede f2a afa|baf a2f e3 e2d|

B2e ede f2a afa|baf a2f e2d B2A|

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.

 

KNOLE PARK. English, Country Dance Tune (4/4 time). D Major. Standard tuning (fiddle). AABB. Johnson and Barnes both date the tune to 1788; the former prints a contra dance of the same name, c. 1809. The name Knole, Kent, is an Anglo-Saxon one, meaning knoll or hillock. Barnes (English Country Dance Tunes), 1986. Johnson (Twenty‑Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; p. 6.

 

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. Ireland, West Clare. A Dorian. Standard. AABB (Mallinson, Miller & Perron, Mulvihill): AA'BB' (Breathnach, Taylor). The melody is said to be the composition of the great Co. Mayo and New York fiddler John McGrath (1900-1955), who named it "The Bangor Reel" after a seaside resort in County Down (Taylor, 1992), however, this attribution may be erroneous as McGrath is only known to have composed one tune, the “Maid of Mt. Kisco.” It is also associated with West Clare fiddler Martin “Junior” Crehan, so much so that it has sometimes been called “Junior Crehan’s Favorite,” although he did not compose it. The band Planxty recorded it as “Junior Crehan’s Favorite” and did much to popularize the melody. “The Knotted Chord” was recorded as a flute duet in New York in 1937 by John McKenna and Eddie Meehan for Decca Records, as the first of "Bridie Morley's Reels” (reissued on "From Galway to Dublin"), along with the “Hunter’s Purse.” As a result in at least in one publication the melody appears under the title “Bridie Morley.” 

***

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. Clare, Ireland) [Breathnach]; Brendan Mulvihill (Baltimore, Maryland) [Mulvihill]; set dance music recorded at Na Píobairí Uilleann, mid-1980’s [Taylor]. Breathnach (CRÉ II), 1976; No. 229, pg. 119. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 2. Mallinson (Essential), 1995; No. 40, pg. 18. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 30. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 81. Mulvihill (1st Collection), 1986; No. 2, pg. 1. Taylor (Music for the Sets: Yellow Book), 1995; pg. 30.

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]" (USA). Scottish, Dance Tune (2/4 time). G Major. Standard. AABB. Known in Germany as "Krakovienne." In County Donegal, Ireland, this tune (as it appears in Kerr's) was used at house parties to accompany the dance The Berlin Polky (Polka), as remembered by musician Danny O’Donnell. Kerr (Merry Melodies), vol. 1, pg. 46, and vol. 4, No. 419.

 

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 Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), No. 10.

 

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 Northern Wisconsin.

 

KUPPARI EEVA. Finnish, Polka. Kicking Mule KM‑327, "Scartaglen" (1984. Learned from Matt Kirby from Wade Hampton Miller, who learned it on tour in Finland).

 

KYLEBRACK RAMBLER(S). AKA and see “Finbar Dwyer’s Fancy.” Irish, Reel. D Major/Mixolyidan (Cranford, Mulvihill): A Major/Mixolydian (Flaherty). Standard. AABBAAB’B’(Cranford): AABBCC (Flaherty): AA’BB’CC’ (Mulvihill). “Kylebrack Rambler” has been credited to Irish accordion player Finbar Dwyer, who currently resides in England. Editor Paul Cranford (1994) states the title was “Finbar Dwyer’s Fancy” on one of the accordionist’s early (c. 1973) albums, “The Intercontinental,” and that the title “Kylebrack Rambler” came from a recording by another Irish accordionist, P.J. Hernon. A shift to the third position on the fiddle is required when playing the tune. Source for notated version: learned by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, from her father, Robert Stubbert, who had it from a tape of an Irish fiddler [Cranford]; Jim McElhone (County Derry) [Mulvihill]. Cranford (Brenda Stubbert’s Collection), 1994; No. 45, pg. 16. Flaherty (Trip to Sligo), 1990; pg. 19 (appears as “Unknown”). Mulvihill (1st Collection), 1986; No. 138, pg. 37. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton, N.S.) - “In Jig Time!” (1995). Green Linnett GLCD 1137, Altan - "Island Angel" (1993). Green Linnet SIF 3004, Dolores Keane - “Broken Hearted I’ll Wander.” Kells Music 9502, Dervish - “Harmony Hill.” Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

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 (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 82, pg. 82.

 


KYSS VALS. Scandinavian, Waltz. The tune is in the repertoire of Wisconsin Swedish musician Fritz Swenson.

 

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

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