The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

KA

 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

K. C. STOMP. Old‑Time, Breakdown. USA, Tenn. Named for Kansas City, Mo. and popularized by Tennessee fiddler Arthur Smith. County 546‑547, "Fiddlin Arthur Smith and His Dixieliners."

 

KAFOOZALUM. AKA and see "London Bridge [1]," "Will You Go to Sher(r)iff Moor?" Scottish, Highland Schottische. D Major. Standard tuning. AABB. The tune is quite similar to "The Stewart's March" and "London Bridge is Falling Down" family of tunes. The title of from a humorous stage piece called "Ka Foozle-Um" which was written by S. Oxon and published in New York in 1866. The song is a mock-Oriental piece like "Abdulla Bulbul Ameer" which became popular in college songsters of the 1870's and 1880's. Curious, Cazden (1982) points out, since it is so derivative of the Scottish original, is that the melody became known by the American title in Britain in the later 19th century and was so published in Kerr's collection; Peter Kennedy's volume 100 English Folk Dance Tunes (1951) gives the title "London Bridge (Ka-foo-zalum)". Kerr (Merry Melodies), vol. 1; No. 15, pg. 20. “Bob Smith’s Ideal Band, Better than an Orchestra” (1977).

X:1

T:Kafoozalum

M:C

L:1/8

R:Highland Schottische

S:Kerr – Merry Melodies, vol. 1, No. 15  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(a2 a>)g f>g a2|e>fg>f e>f g2|(a2 a>)g f>ga>f|d>ef>d (e2d2):|

|:f>dA>d f>d f2|g>ec>e g>e g2|f>dA>d f>d f2|d>ef>d e2 d2:|

 

KAIL AND KNOCKIT CORN. AKA and see "The Bob of Fettercairn," "Come Kiss With Me, Come Clap With Me," "Had I the Wyte."  Shetland. The title means ‘cabbage and bruised oats’. The ‘k’ is pronounced in the word ‘knockit’ in old tradition in Shetland, according to Tom Anderson, as with most ‘kn-‘ words there. The tune is the Scots’ “Bob o’ Fettercairn,” transplanted to the Shetland idiom.

***

I'll be kissed and du'll be kissed

We'll all be kissed the morn

The best maet that's in the house

Is kail and knockit corn.  (Cooke)

***

Anderson (Haand Me Doon da Fiddle); pg. 43.

 

KAIL POT, THE.  Scottish, Strathspey. D Minor. Standard tuning. AABB. Kail = cabbage. The Kail-pot was a common metal cooking utensil used for a variety of purposes, and was often found hanging over a hearth in the family home. It was often filled with whatever was growing in the kail-yard, from kail to carrots, onions, leeks and cabbage. Sometimes, depending on season and the state of family finances, a lamb shank or cow heel added for flavour, or (in Shetland), a piece of reested (cured, salted) mutton. It was versatile article, however, and in fact ‘kail’ was a term used in 19th century Scotland as a generic term for dinner. Thus, nearly anything could emerge from a kail-pot. This from around 1870: “(The Kail-pot) was formerly in common use…a round iron pan, about ten inches deep and eighteen inches across, with a tight-fitting, convex lid. It was provided with three legs. The Kail-pot, as it was called, was used for cooking pies, and was buried bodily in burning peat…As the lower peats became red-hot, they drew them from underneath and placed them on the top. The Kail-pot may still be seen on a few farms.” Sometimes stirring ministers or clergymen were known as “kail-pot preachers” because they kept the audience in thrall until nightfall, so that the kail was left simmering to the point of burnt in the pot at home. Kerr (Merry Melodies), vol. 3; No. 169, pg. 20.

X:1

T:Kail Pot, The

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 3, No. 169 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Dmin

A|D>EF>G A<A d>e|f>ed>f e<(A A>)^c|d>=cB>A B>AG>F|(3EFG (3AGA F<(D D):|

|:A|d>^cd>e f>ed>e|f>ef>a g<(c c>)e|f>ef>a g>fe>g|(3fed (3^cde d>(D D):|

 

KAISER, THE (An Kaiser). AKA and see "Going to the Well for Water [1]." Irish, Slide (12/8 time). Ireland, West Kerry. D Major (Breathnach, Moylan): G Major (Mac Amhlaoibh & Durham). Standard. AABB (Mac Amhlaoibh & Durham, Moylan): AA'BB (Breathnach). Source for notated version: accordion player Denis Doody (Co. Kerry, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Breathnach (CRE III), 1985; No. 54, pg. 24. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 58, pg. 37 (appears as “Gan Ainm” {untitled}). Moylan (Johnny O’Leary), 1994; No. 134, pg. 78. Mulligan Records LUN 019, Denis Doody ‑ "Denis Doody Kerry Music" (1978). Topic 12T311, John & Julia Clifford - “Humours of Lisheen” (appears untitled). Topic 12T358, “Jackie Daly” (appears as “Going to the Well for Water”).

X:1

T:Going to the Well for Water

T:The Kaiser

R:slide

M:12/8

L:1/8

K:D

A2 f A2 f A2 f fed|B2 g B2 g B2 g gfe|cdc BcB ABA a2 f|

1 g2 e cde d3 dcB:|2ged cde d3 d2 e|:f3 fed efe edc|

d2 d dcB c3 cBA|GBB GBB FAA FAA|EDE e2 d cBc d3:|

 

KAISER WALTZ. AKA – “Kyzer Waltz.” American, Waltz. USA, Missouri. D Major. Standard tuning. AB (Silberberg): AABB (Beisswenger & McCann). Missouri fiddling lore has it that the tune was brought home from World War I, picked up from German sources (hence given the title “Kaiser” in Missouri) by one of the uncles of fiddler Alton Jones [Beisswenger & McCann]. Mark Wilson suspects the story is apocryphal, however, as it has little of German musical style in it, and is, in fact, ‘bluesy’. Sources for notated versions: Pete Martin [Silberberg]; Lonnie Robertson (1908-1981, Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 118. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 79. Caney Mountain CLP-223, Lonnie Robertson – “Fiddle Tunes Ozark Style, vol. 2” (1979. Appears as “Kyzer Waltz”). Rounder CD 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996. Originally recorded 1979). 

           

KAISER’S DEFEAT JIG. Recorded by American fiddler Allan Sisson for Edison in the early 1920’s. Despite the appellation ‘jig’, the tune is a march or polka. It sounds to some ears as a version of the Kerry slide “The Kaiser.” 

                       

KALEVALA, THE (Land of Heroes). Finnish. A traditional melody meant to accompany the national epic poem of Finland, based on the ancient Finnish mythology; "it dates from a time of great antiquity when the Finns and Hungarians were still one people." Dorian Discovery DIS-80103, Helicon - "Horizons" (1992).


 

KALEY AMBER’S. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 38, pg. 14.

 

KANAWHA HORNPIPE. Old‑Time, Hornpipe. USA, W.Va. Named for West Virginia’s Kanawha River, Valley and County. Gennet GE 16646 (78 RPM), The Tweedy Brothers (Wheeling, West Virginia, brothers Harry and George on fiddles, Charles on piano), 1930, unissued.

 

KANAWHA COUNTY RAG. Old-Time. A tune constructed by Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975) from parts of different tunes.  Recorded by him for the Brunswick label on a 78 RPM.

 

KANAWHA MARCH. Old‑Time, March (cut time). USA, West Virginia. D Major {Phillips}: G Major (‘A’ part) & D Major (‘B’ part) {Silberberg}. Standard. One part (Phillips): AB (Silberberg). A local West Virginia tune recorded for the Brunswick label by Kanawha County fiddler Clark Kessinger (1896-1975) in the late 1920's. Sources for notated versions: Clark Kessinger (W.Va.) [Phillips]; Barry Schultz [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 71. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 79.

 

KANE’S JIG. Irish, Double Jig. G Major. Standard. AABBCC. Source for notated version: Ned Connell (Lixnaw, County Kerry) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 24, pg. 69.

 

KANE’S REEL [1]. Irish, Reel. G Major. Standard. AB. “Recorded in England” (Mulvihill). Mulvihill (1st Collection), 1986; No. 236, pg. 64.

 

KANE’S [2] (Ríl Uí Chatháin). AKA and see “Nelson’s Pillar.” Irish, Reel. C Major. Standard. AAB. A County Fermanagh or Tyrone title for the tune collected as “Nelson’s Pillar” in County Leitrim. Also known as “McCanny’s.” “Nelson’s Pillar” is a related tune. Source for notated version: Bernard Bogue (County Tyrone and County Monaghan) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 133(i), pg. 66.

 

KANGAROO JIG. New England, Jig. D Minor. Standard. AABB. Composed by Donna Hinds (now Donna Hebert). Source for notated version: Donna Hebert (Amherst, Mass.) [Fiddler Magazine]. Fiddler Magazine, Vol. 3, No. 1, Spring 1996; pg. 8. Hinds/Hébert (Grumbling Old Woman), 1981; pg. 21. CHCDC045, Donna Hébert - "Chanterelle, French in America."

 

KANSAS CITY BLUES. Old‑Time. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's.

 

KANSAS CITY KITTY. American, Swing Tune (cut time). G Major. Standard. AA'B. Backing chords by Tony Ludiker:

***

G G Edim Edim G G E7 E7
A6 A6 D7 D7 G6 G6 D#7/A# D7/A
G G Edim Edim G G E7 E7
A6 A6 D7 D7 G6 D7 G6 G6
***
B6 B6 B6 B6 E7 E7 E7 E7
A6 A6 A6 A6 D7 D7 Daug Daug
G G Edim Edim G G E7 E7
A6 A6 D7 D7 G6 D7 G6 G6

***

Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 70. Voyager 309, Benny & Jerry Thomasson - "The Weiser Reunion" (1993).

 

KANSAS CITY RAG. Old‑Time, Country Rag. G Major. Standard tuning. The tune was one of  ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Marimac 9038, Dan Gellert & Brad Leftwich - "A Moment in Time." Missouri State Old Time Fiddlers Association 002, Taylor McBaine (b. 1911, Columbia, Mo.) ‑ "Boone County Fiddler." Missouri State Old Time Fiddlers' Association, Pete McMahon - "Kansas City Rag."


 

KANSAS CITY RAILROAD BLUES. Old-Time, Country Blues. C Major ('A' and 'C' parts) & F Major ('B' part). Standard tuning. AA'BA"C. The tune was recorded in the 1920’s on Okeh Records 45178 (78 RPM) by George Walburn and Emmett Heathcox, a fiddle/guitar duo from Atlanta. It was likely composed by Walburn. Source for notated version: Blaine Sprouse [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 72.

 

KANSAS CITY REEL. Old‑Time, Reel. USA, Arkansas. A Major/Mixolydian. Standard or AEae tunings. AB (Silberberg): AA'BB (Phillips). Sources for notated versions: Ron Andrico (Corvalis, Oregon) [Songer]; Ruthie Dornfeld [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 136. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 80. Songer (Portland Collection), 1997; pg. 117. Alcazar Dance Series ALC 202, Sandy Bradley ‑ "Potluck and Dance Tonite!" (1979). County 519, Fiddlin' Bob Larkan & Family ‑ "Echoes of the Ozarks, Vol. 2."

 

KANTARA TO EL 'ARISH. Scottish, Strathspey. Composed by W. Ferguson. Atlantica Music 02 77657 50222 26, Kyle & Lucy MacNeil - “Atlantic Fiddles” (1994). Bara Music Co., The Barra MacNeils - “Rock in the Stream” (1989). Flying Fish FF‑299, The Battlefield Band ‑ "There's a Buzz" (1982).

 

KANTSCHUKOFF REEL. American, Reel. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 27. Ryan’s Mammoth Collection, 1883; pg. 52.

X:1

T:Kantschukoff Reel

M:C|

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

(3EFG | AEcA ecae | fe^de fecA | GEBE dBge | bagf edcB | AEcA ecae |

fe^de bagf | gbeg fa^df | ({f}e)^def e2 :: z2 | EFGA BcdB | Ae^de f2 (ec) |

EFGA BcdB | eaec A2 ({g}a2) | AGBA cBdc | e^dfe gfaf | eafd cABG | Aaec A2 :|

 

KAPLAN WALTZ. Cajun, Waltz. USA, Louisiana. A Major. Standard tuning. AB. See also other versions of the tune by Nathan Abshire ("Valse de Kaplan [1]”) and Don Guillory ("Valse de Kaplan [2]”), as well as Angelas LeJeune's "Valse de Pointe Noire." Source for notated version: Varise Connor (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 190.

 

KAREN CHAISSON’S REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AABB. Composed by pianist and fiddler Kevin Chaisson for his wife, Karen. Source for notated version: Kevin Chaisson (b. 1950, Bear River, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 56.

 

KAREN TWEED’S. AKA and see “Custy’s,” “Siobhán O'Donnell's No.2.” Irish, Jig. A Minor. Standard tuning. AABB. Karen Tweed learned the tune from flute player and singer Siobhán O'Donnell. Karen Tweed’s Irish Choice. Michael McGoldrick - “Morning Rory.”

X:1

T:Karen Tweed's

D:Mary Custy & Eoin O'Neill, With a lot of help from their friends

R:jig

M:6/8

L:1/8

Z:transcribed by Paul de Grae

K:Am

cde AGE|GAB A2 d|eag ecd|eAB AGE|

cde AGE|~G3 Gce|eaa ged|cAG A3 :|

|: a2 a ged|edg edc|A/B/cA GAc|dec deg|

aeg dec|AcA GEE|cde ged|cAG A3 :|


 

KAREN’S FANCY.  American, Reel. G Major. Standard tuning. AABB. Composed by Vermont fiddler Pete Sutherland, in honor of his wife. Sutherland (Bareface), 1984; pg. 24.

 

KAREN'S KITCHEN. American, Schottische. G Minor. Standard tuning. AABBCCDD. Composed by Massachusetts musician David Kaynor. Private collection, A. Kuntz.

 

KAREN’S REEL. Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AA’BB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 167, pg. 47. WS 031703, Wendy MacIsaac – “Timeline” (2003).

 

KAREN’S TUBA.  English, Country Dance Tune (2/2 time). C Major. Standard tuning. AABB. Composed by Colin Hume in 1997. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 69.

 

KÄRIS PERS POLSKA. Swedish, Hambo Tune (3/4 time). D Major. Standard tuning. AA'BB. A hambo is a type of Swedish country dance which has attained some popularity among New England contra dancers. This is the currently the most popular of the hambo tunes. I have a well-circulated photocopy of a text which gives the source as "efter Paul Backstrom, efter Hook Olof." Another ciculated copy is “efter Leif Alpsjö.” Source for notated version: Matt Fichtenbaum [Reiner & Anick]. Kuntz, Private Collection. Thompson (Fiddler's Almanac); pg. 55. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 168 (includes harmony part).

X:1

T:Käris Pers Polska

L:1/8

M:3/4

S:Ashokan Fiddle Camp, 1982

Z:AK/Fiddler’s Companion

K:D

“D”A2 (A>B) A>G|(G>F) (F>D) F>A|d2 (d>e) d>c|”Em”(c>B) (B>G) (E2|”A”e2) (e>f) e>d|

(d>c) (c>A) c>e|a2 (a>b) a>g|”D”f2 (f<d) A2|A2 A>B A>G|G>F F>D F>A|

d2 d>e d>c|“Em”c>B B4|”A”e2 e>f e>d|d>c c>A c>e|a2 (a>f) g>e|”D”d2 d4||

|:”G”[G,2G2B2g2] (e>g) e>g|”D”(f>e) (d<c) d>f|”A”(e>d) (c>A) B>c|”D”(d>e) f/e/f/g/ (a2|

“G”g2) (e>g) e>g|”D”(f>e) (d<c) d>f|”A”(e>d) (c>A) B>c|”D”d2 d4:|

X:2

T:Karis Pers Polska—Harmony

L:1/8

M:3/4

C:Andrew Kuntz

K:D

F2 F>G F>E|E>D D>A, D>F|A2 A>G F>E|E>D B,4|C2 C>D E>F|G2 A2 A>G|

A2 B2 c2|1 d2 d4:|2 F2 F4||

|:B2 G>B G>B|A>G F>A B>d|c>B A>E G2|F4 A2|B2 G>B G>B|A>G F2 B>d|

c>B A>E D>E|D2 D4:|

 

KARO. AKA and see "Roscoe Trillion" (Ga.), "Flop-Eared Mule [1],” "Johnnie (Johnny) Karo";(?). Old‑Time, Breakdown. USA, Texas, Tennessee. D Major. Standard tuning. AABB. A version of the tune more familiarly known as "Flop Eared Mule". It may be named for the Mississippi River town "Cairo,” which sounds like 'kay-row' in pronunciation. One of four tunes recorded by 77 yr. old Tennessee fiddler Uncle Jimmy Thompson for Columbia in 1929; only two, including this one, were released. Source for notated version: Uncle Jimmy Thompson (Texas, Tenn.) [Maloy]. Maloy, The Devil's Box, vol. 9, #3 ‑ Sept. 1, 1975; pg. 55. Columbia 15118 (78 RPM), Uncle Jimmy Thompson. County 542, Uncle Jimmy Thompson ‑ "Nashville, Early String Bands, Vol. 2.”

 

KATE. AKA and see “Countr(e)y Kate,” "Hey for Nothing." English, Jig (9/8 time). England; North‑West and Northumberland. D Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 69. Seattle (William Vickers) {appears as "Hey For Nothing"}.

           

KATE AND DAVY. American, Reel. D Minor. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 58.

X:1

T:Kate and Davy

M:4/4

L:1/8

R:Reel

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:Dmin

cABG AF D2 | FGAB cAAd | cABG AFDe | fdeg fd d2 :|

|: de f2 fagf | ecgc ecgc | de f2 fagf | ecde fd d2 :| 

           

KATE AND JULIE’S FIRST REEL.  Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AABB. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 173, pg. 65.

 

KATE AND ROSE’S. Irish, Reel. D Minor (‘A’ part) & D Mixolydian (‘B’ part). Standard tuning. AABB. The tune is sometimes credited to Irish fiddler Maire Breathnach, who apparently does not claim it. Source for notated version: Kerry Elkin (Massachusetts) [Songer]. Songer (Portland Collection), 1997; pg. 117. Kerry Elkin - “Soir et Matin” (1990).

 

KATE CAULFIELD'S JIG. Irish, Jig. D Major. Standard tuning. AA'B. A possible variant of “Tatter Jack Walsh.” Carlin (Master Collection), 1984; No. 233, pg. 135.

 


KATE DALRYMPLE. AKA and see "New Highland Laddie [1]," "Jinglin' Johnnie." Scottish, Reel or Scottish Measure. A Major. Standard tuning. AAB. Hunter (1979) explains that Kate Dalrymple was a noted beauty, and the subject of a Gainsborough portrait. The melody was first published in 1750 under the title "The New Highland Laddie." Hunter (Fiddle Music of Scotland), 1988; No. 241 (arranged by James Hunter). Kerr (Merry Melodies), Vol. 1; No. 8, pg. 24. Lerwick (The Kilted Fiddler), 1985; pg. 13. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979). “Fiddle Me Jig” (c. 1978). Bob Smith’s Ideal Band – “Better Than an Orchesta” (1977). Bob Smith’s Ideal Band – “Ideal Music” (1977).

X:1

T:Jinglin Johnnie

T:Kate Dalrymple

M:C|

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:A

E | A2(Ac) B2(Bc) | A2(Ac) B2(Bc) | A2 (ag) (fe)dc | B2e2c2 (AE) | A2(Ac) B2(Bc) |

A2(Ac) B2(Bc) | A2(ag) (fe)dc | B2e2c2A || c | e2 (ef) edcd | e2a2e2 (cd) | e2(ef) edcd |

e2 (ag) fedc | d2(fd) c2(ec) | B2(Bc) d2(cB) | A2(ag) fedc | B2e2c2A || E |

AEAc BEGB | AEAc BEGB| A2(ag) fedc | B2(ed) (dc)BA | AEAc BEGB |

AEAc BEGB | A2(ag) fedc | BAGB ABcd || e^def ecAc | e2(af) ecAc | e^def ecAc |

e2(ag) fedc|d2(bd) c2(ac) | B2(Bc) d2(cB) | A2(ag) fedc | B2e2c2A ||

 

KATE GAYNOR'S FANCY. AKA and see "Aisghairm na hAontachta," "The Gurtaglanna Reel," "Roll Her in the Rushes [1]."

 

KATE-KAYLEE BREAKDOWN.  Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AABB. Source Beeler said he had played the tune for as long as he could remember, but had no title. Instead, he called it after his great niece and granddaughter. Source for notated version: Jim Beeler (1938-2004, Old Kissee Mills, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 169.

 

KATE KEARNEY. AKA and see "When the cock crows it is day [3]," "The Big Bow Wow," "The Beardless Boy," "The Dissipated Youth [1]," "Giolla na Scriob," "Seanbhean Chrion an Drantain," "Ta an Coileach ag Fogairt an Lae [2]." Irish, Air or Waltz. G Major. Standard tuning. ABC (O’Neill): AABBCCDD (O’Farrell). The song "Kate Kearney" was written by Lady Morgan, however, the melody previously appeared as "The Beardless Boy" in Bunting (1796) and again in Bunting (1809) as "The Dissipated Youth". Murphy's Irish Airs and Jigs gave the title as “Kate Martin.” O’Farrell (c. 1810) set the tune in 6/8 time. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 132. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Kate Kearney

T:Beardless Boy, The

T:Dissipated Youth, The

M:3/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Waltz

K:G

"Temp di Valse"GE|D2 B,2 D2|G3 A BG|A2 G2 G2|G4 D2|G2 B2 d2|ed cB AG|B2

A2 A2|A4 Bd|

e2 g2 ge|d4 c2|B2 d2 c2|B4 GA|B2 A2 B2|G2 E2 D2|E4 F2|G2 z2||

GE|D2 B,2 D2|D2 B,2 D2|G4 G2|G4 E2|D2 B,2 D2|D2 B,2 D2|A4 A2|A4 d2|

e2 c2 e2|d2 B2 d2|c2 A2 c2|B4 GA|B2 A2 B2|G2 E2 D2|E4 F2|G2 z2||

Bd|g2 d2 d2|e2 d2 BA|GA Bc df|e2 d2 d2|g2 d2 d2|e2 d2 BA|G2 B2 d2|e4 de|

g2 d2 d2|e2 d2 BA|GA Bc df|e2 d2 d2|g2 d2 d2|e2 d2 BA|G2 B2 A2|G2 z2||

 

KATE KEARNEY WALTZ. Irish, Waltz or Air. G Major. Standard tuning. AB (Roche, O'Neill): AABC (Ford). Ford (Traditional Music in America), 1940; pg. 138. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 263, pg. 46. Roche Collection, 1983, vol. 3; No. 166, pg. 58.

X:1

T:Kate Kearney Waltz

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 263

Z:AK/Fiddler’s Companion

K:G

D2 | D2E2G2 | G2A2B2 | A2G2G2 | G4D2 | G2B2d2 | edcBAG |

B2A2A2 | A4 Bd | e2c2e2 | d2B2d2 | c2A2c2 | B4 GA | B2A2B2 |

G2E2D2 | E2G2G2 | G4 || D2 | D2B,2D2 | D2B,2D2 | G6 | G4D2 |

D2B,2D2 | D2B,2D2 | A6 | A4Bd | e3ce2 | d2B2d2 | c3Ac2 |

B2G2A2 | B2A2B2 | G2E2D2 | E6 | G4 ||

 

KATE KELLY'S FANCY (Roga Cait-m Ceallaig). AKA and see "Ho! Awake," "gCeirtlin Snaithe in Aimhreidh," “Killoran’s (Reel) [2],” "Twin Katy's." Irish, Reel. G Major. Standard tuning. AB. Breathnach (1976) finds the first part of “The Doon Reel [1]” related to this tune and “Nellie Donovan,” and to “The Ravelled Hank of Yarn [1].” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1207, pg. 227. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 483, pg. 92.

X:1

T:Kate Kelly’s Fancy

L:1/8

M:C|

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 483

Z:AK/Fiddler’s Companion

K:G

dc|BABc dcAc|BGGB d2 cA|BABc d2 cA d2 cA BG G2|

BABc dcAc|BGGB d2 cA|BABc d2 de|fdcA BG G2||

Fgaf g2 fd|d^cAc d2 de|fgaf g2 fd|dcAc BG G2|fgaf g2 fd|

d^cAc d2 de|fgaf gbag|fdcA BGAc||

 

KATE LAY SLEEPING. AKA and see “Barrack Hill (2),” “Breach of Killiecranky (The), "Kate's Laid in the Hay," “Lass of Killiecrankie (The),” "Round and Round this Green Sugar Tree," "Whitewashed Kate." American, Reel and Air. USA, southwestern Pa. A Dorian. Standard tuning. AB. There are more vocal than instrumental versions of this air which was often used for play-party and shanty ditties, according to Bayard (1981). One of the play-party songs collected in Pennsylvania goes:

***

Say, pretty Belle, has your beau come (x3)

To help us with our dancing?

Yes, he'll come if yous say so (etc.)

Go give him a kiss and bring him in (etc.)

***

A shanty version has:

***

Way hay and up she rises (x3)

Early in the morning.

***

And and Irish one:

***

You are my love in the hay all night (x3)

Till six o'clock in the morning.

***

Sources for notated versions: Harry Wingrove (Westmoreland County, Pa., 1946), Charles Clark (Fayette County, Pa., 1946), Eben Patterson (Allegheny County, Pa., 1930's), Samuel Losch (Juniata County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 251, pgs. 214‑215.

                       

KATE MARTIN. See “Kate Kearney.”

                       

KATE MARTIN’S WALTZ. Scottish, Waltz. G Major. Standard tuning. AABB. Composed by Blair Douglas. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 28.

                                   

KATE McFARLAN. 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, M.M. 1740."


                       

KATE O’BRIEN’S REEL. Irish Reel. D Minor. Kate O’Brien is the fiddler for the northern Irish group Deanta. Sain SCD 1019, Deanta.

                       

KATE OF GARNEVILLA. AKA and see “Ye’re Welcome, Charlie Stewart.” Irish, March. D Major. Standard tuning. AABB. Roche Collection, 1983, vol. 2; No. 344, pg. 61.

                       

KATE'S GOT A WOODEN LEG. Old-Time, Breakdown. The melody has some similarities to "Shortnin' Bread." Marimac 9060, Jim Bowles - "Railroading Through the Rocky Mountains" (1992).

                       

KATE'S GOT THE BELLYACHE. Old-Time, Breakdown. USA, Kentucky. A Mixolydian. ADae tuning. AAB. Jeff Titon (2001) identifies this tune’s provenance as south-eastern Kentucky, exclusively. Source for notated version: Estill Bingham (1899-1990, Pineville, Bell County, Ky. c. 1986), learned from his father, Noah Bingham (b. 1850) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 80, pg. 108.

                       

KATE'S LAID IN THE HAY. AKA and see "Kate Lay Sleeping."

                       


KATHARINE OGGLE/OGIE/OGGY. AKA and see "Catherine Logie," "Katherine Loggy," "Lady Catherine Ogle," "Ketrin Ogie," "Bonny Katherine Oggy." Scottish, Air. A Minor. Standard tuning. AABB. The air was credited to Irish harper Rory dall O'Cahan by William Grattan Flood, the Irish antiquarian in his History of Irish Music. Rory dall spent most of his life in Scotland between 1601 and 1650, known to the court of King James in that country; despite this Flood seems anxious to claim the melody as Irish in origin. Unfortunately, Grattan Flood’s work is so filled with errors that it is hard to credit any unsubstantiated assertions with much veracity. “Katherine Ogle” (there are numerous spelling variations) appears earliest in the Scottish Panmure Manuscript #9454, c. 1675, Seventy Seven Dances, Songs and Scots Airs for the Violin, and was printed under this title in the Appendix (written in 1688) to Playford's Dancing Master of 1686 (a note called it "a new dance"). On the strength of the Playford publication in the Dancing Master, 1686 edition, the English collector Chappell (1859) disputes the claim of Scottish ancestry. Chappell (1859), in fact, takes virulent exception to Stenhouse's scholarship regarding this tune after the latter claimed that the air was Scottish and dated it from the year 1680 (when it was sung by Mr. John Abell at a concert in Stationers' Hall). Chappell found that the only date Abell could possibly have sung it was in 1702, and he states that the earliest printing was in the Appendix to the 7th edition of Playford's Dancing Master of 1686 (where it appears under the title "Lady Catherine Ogle"); Chappell, who claimed many Irish and Scottish airs as English, was evidently unaware of the version in the Panmure Manuscript when he accused Stenhouse of being deliberately misleading regarding its national origin. John Glen (1891 and 1900) also disagrees with Chappell, noting that Chappell's own source, John Playford, published the tune a year before it was mentioned in The Dancing Master's appendix (1688) in Apollo's Banquet (5th edition, 1687) where it is called a "Scotch Tune" in footnotes and in fact appears under the title "A Scotch Tune" only. O’Farrell (c. 1806) also listed the melody as “Scotch.” J.M. Wood (The Popular Songs and Melodies of Scotland, 1887) also concluded it was Scottish, “from internal evidence.” It appears in one of the earliest Scottish fiddler's manuscript repertory books, c. 1705, in the private collection of Frances Collinson (1971). Early Scottish printed versions include the Guthrie Manuscript (c. 1675), the Leyden Manuscript (c. 1692, though not the exact version given by Playford) and it is included in the Gillespie Manuscript of Perth  (1768). Later Scottish printings were in Orpheus Caledonius (1725 and 1733 editions). A popular song to the air was written (or rather reworked) by Thomas D'Urfey in his Pills to Purge Melancholy (1719-20) entitled "Bonny Kathern Loggy." Later versions of the air appear in The Merry Musician; or, A Cure for the Spleen (1716) and Ramsey's The Tea Table Miscellany. Published editions of ballad operas which include the tune are The Quaker’s Opera (1731), Polly (1729), The Beggar’s Wedding (1729), Pattie and Peggie (1730), The Lover’s Opera (1730) and The Highland Fair (1731). Later it was used by the poet Robert Burns as the vehicle for his song "Highland Mary" and appears in the Scots Musical Museum (No. 164).

***

Lady Catherine Ogle was a real personage, who in 1591 married Sir Charles Cavendish of Stoke and Welbeck Abbey (c. 1553-1617), his second wife.  They lived in Bolsover Castle, Derbyshire. She was born around 1570 and was the daughter of Cuthbert Ogle, 7th Lord Ogle, in Northumberland. Catherine inherited the barony of Ogle (she was the 8th Baroness), which then passed into the Cavendish family. The Cavendishes were “new money” of the era, having been minor gentry until Bess of Hardwick (Charles Cavendish’s mother and the countess of Shrewsbury) transformed their fortunes through marriage and the shrewd promotion of her sons, until they were immensely rich. Sir Charles and Catherine are buried in the church of St. Mary in a sepulchral monument that covers the south wall of the Cavendish Chapel at Bolsover.

***

In America the melody appears in the music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. It also appears in the manuscript collection of Captain George Bush, begun in 1779. Bush was a fiddler who was for a time on George Washington’s staff.

***

Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 11. McGibbon (Scots Tunes, book II), c. 1746; pg. 44. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 43, pg. 28. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 94. Flying Fish, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol. 2."

X:1

T:Katrin Ogie

L:1/4

M:4/4

K:Am

F|DGGG|AGG/2A/2c|AGA2|F3/2G/2AF|DGGG|AGGc|ddcA|G2A||\

c|dddA|cccG|AAAG|FGAF|DGGG|AGGc|ddcA|G2A|]

X:2

T:Cathrine Ogie

M:C

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. II (c. 1806) 

Z:AK/Fiddler’s Companion

K:Amin

A>G | E2 A>B A3B | c2 B>A A2 B>c | d3e dB A>B | G3A B2 A>G |

E2 A>B A3B | c>d B>c A2 g>f | e2 d/c/B c>d B>c | A4 e2 :: AB |

c>d e>f g3a | g<e de g2 d>c | B2 g>e dB A>B | G3A (B/4c/2<d) c>B |

c2 (B>A/2B/4) A3E | A>Bc d2 {c/d/}e2 d>c | d>eg>a g<e dB | A4 e2 :|

X:3

T:Katharine Ogie

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, book II, pg. 44  (c. 1746)

Z:AK/Fiddler’s Companion

K:Amin

(A>G) | E2 (A>B) A3B | (c>d)(B>c) A2 (Bd/c/) | d3g (dB)”tr”(A>G) | G3A (G/A/B) “tr”A>G |

E2(A>B) A3B | (c>d)(B>c) A2 (a/g/f) | e2 (dc/B/) (c>d)(B>c) | “tr”A4e2 :: A>B |

(c>d(e>f) g3a | (ge)”tr”(dc) g2 (dc) | B2 (AB) (dB)(AB) | G3A (B/c/d) “tr”c>B | c2”tr”(B>A) A3E |

(A>B)(c>d) ({c/d/}e2) “tr”(d>c) | (de)(g>a) (ge)(dB) | “tr”A4e2 :: (a>g) | e2(a>b) a3b |

(c’/b/c’/)d’/ “tr”(b/a/b/>c’/ a2(bc’) | d’3c’ (b/d’/c’/b/ “tr”a>g | g3a (g/a/b) “tr”a>g | e2(a>b) a3b |

(c’/b/c’/)d’/ (b/a/b/)c’ a2 (a/g/f) | e2(dc/B/) (c/4d/4c/4B/4c/>)d/ (B/4c/4B/4A/4B/>)c/ |”tr”A4e2 :|

AB | c>d (e/d/e/)f/ g3a | (g/a/g/)e/ (g/e/)(d/c/) b2 “tr”d>c | (B/d/e/^f/ g)e (dB)(AB) | G3A (B/c/d) “tr”(c>B) |

(c/4/d/4c/4B/4c/>)d/ (B/4c/4B/4A/4B/>)c/ A3E | (AB) (c/B/c/d/) e2 “tr”dc | (de)(ga) g”tr”(f/e/) (d/f/e/)^G/ | “tr”A4e2 :|

X:4

T:Catherine Ogie

M:2/4

L:1/8

R:March

S:Morison – Highland Airs and Quicksteps, vol. 2, No. 43  (c. 1882)

Z:AK/Fiddler’s Companion

K:Amin

e/d/ |: BA AG/A/ | BA AB/c/ | de/d/ BA/B/ | G>A Be/d/ | BA AG/A/ | BA Ag |

ag/e/ d/e/g/d/ | BA Ae/d/ :| de/^f/ gf/g/ | ae ea | g/^f/e/d/ e/f/g/B/ | G>ABe |

de/^f/ gf/g/ | ae ea | g/^f/e/d/ e/f/g/d/ | BA Ae/^f/ | de/^f/ gf/g/ | ae ea |

g/^f/e/f/ e/f/g/B/ | G>ABe | cB/c/ dc/d/ | e^f/g/ a>f | g/^f/e/d/ e/f/g/B/ | BA A2 ||

X:5

T:Scotch Tune, A

M:C|

L:1/8

B:Playford – Apollo’s Banquet (1687)

Z:AK/Fiddler’s Companion

K:Gmin

D2G2G2(FG)|A2(G2G2)c2|c3d (cA) (GF)|F3G A3 G/F/|D2G2 G3A|

B2G2G2f2|d2 (cd) (fd) (cA)|G4 B3||A|(d=e)(fg) (fe)(dc)|Bcd=e f3c|

A2f2 cA GF|F3G A2GF|D2G2G2 FG|A2G2 f3g|agfd cdcA|G4 B4||

 

KATHARINE-STREET.  English, Jig. G Minor. Standard tuning. AABB. The melody was published by John Walsh in his Second Book of the Compleat Country Dancing Master (London, 1719), and republished in the 1735 and 1749 editions of that work. The title may refer to London’s Katharine Street, “a very large and handsome Street, with good houses, well inhabited chiefly by noted Tradesmen, especially the East side not many Years since built. This Street cometh into the Strand against Somerset Yard Gate. On the West side is a pretty handsome Court, with a Free-Stone Pavement, neatly kept, called Blakes Court, as built by Sir Richard Blake the Owner thereof” (John Strype, A Survey of the Cities of London and Westminster, 1720). There seem to have been several booksellers and print makers in business on Katharine Street. A note the collected works of John Dryden (1631-1700) may provide another clue to the title It seems that the area was the location of a chocolate house, established around 1685 where theatre-goers went after an evening’s performance if they were watching their pocketbooks, for chocolate cost only three-pence. The venue also attracted poor whores who were accustomed to wait there for customers, with introductions managed by the owner of the establishment. If a gentleman had to await one of the women, he did so in an upper room, where there were three mirrors. Katharine Street was an extension of Bridges Street from Exeter Street to the Strand, and has disappeared in modern London. However, Bridges Street has been renamed Catharine Street (Epilogue note, The Works of John Dryden, Vinton A. Dearing, ed., 1997). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 69.

           

KATHERINE BRENNAN'S FAVORITE. AKA and see "Swinging on a Gate." Irish‑American, Hornpipe. G Major. Standard tuning. AABB. The tune, says Andy McGann (who learned it from his fiddle teacher Katherine Brennan), is basically the reel "Swinging on a Gate," slowed and slightly altered. Brennan played it frequently at sessions. Shanachie 29009, "Andy McGann and Paul Brady" (the music is notated in the booklet that comes with the album).

           

KATHERINE OGIE. See “Katharine Oggle.”

           

KATHERINE O'MORE. AKA and see "O'Moore's Fair Daughter," "The Hawk of (Lough Eirne of) Ballyshannon," "Port Athol." Irish, Planxty (2/4 time). F# Minor. Standard tuning. AB. Words to the melody, a reworking of a tune by Rory Dall (O'Cahan), were composed by the blind Irish harper Turlough O'Carolan (1670-1738). See note for "The Hawk of Ballyshannon." Complete Collection of Carolan's Irish Tunes, 1984; No. 134, pg. 95.

           

KATHLEEN ASTHORE. Irish, Air (3/4 time). E Dorian. Standard tuning. AAB. "Noted by Miss Phelan from a piper in Kerry" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 816, pg. 397. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 84-85 (appears as “Cathleen Asthore”).

X:1

T:Cathleen Asthore

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:Edor

B2E2F2 | (BA)BcdB | A2D2F2 | A2D2F2 | B2E2 E>F | (ED)(EF)(GA) |

BABcdB | (BA)(GF)(ED) :| B2e2e2 | e4 fe | d2 (Bc)(dB) | (BA)(GF)(ED) |

B2e2e2 | e4 fe | d2B2 {A/B/}c2 | d4 e2 | fedefd | edcdec | d2 (Bc)(dB) |

BAGFED | B2E2F2 | BABcdB | BAGFED | F2E2E2 ||

           

KATHLEEN LAWRIE’S WEDDING. Irish, Reel. D Major. Standard tuning. ABCD. Composed by County Roscommon flute player Josie McDermott in honor of the wedding of Kathleen Lawrie to Tommy Boyle of County Tyrone. Séamus Connolly (2002), in his note with the tune, says the family of Dr. and Mrs. Robert Lawrie was a center of gravity in the Birmingham, England, Irish music scene. Mrs. Lawrie played fiddle, and daughters Kathleen and Margaret played in the Birmingham Céilí Band with her. Josie McDermott was a frequent visitor to the Lawrie household, as were many other musicians who played Irish traditional music, including Connolly, Paul Brock, Brendan Mulvihill, Catherine McEvoy and Séamus Shannon, and, when Kathleen, a piano and piano accordion player, married the drummer of the band, he composed this reel. See also McDermott’s “A Trip to Birmingham.” Connolly & Martin (Forget Me Not), 2002; pgs. 50-51. Cló Iar-Chonnachta – Marcus Ó Murchú – “Ó Bhéal go Béal.”

 

KATHLEEN MARLE. Irish, Reel. Composed by fiddle player Frank McCollum, of Ballycastle, County Antrim, and named for his daughter. McCollum also composed the well-known hornpipe “Home Ruler.” Compass 7 4287 2, Cathal McConnell – “Long Expectant Comes at Last” (2000).

           

KATHLEEN McMASTER. Canadian, Jig. Canada, Cape Breton. F Major. From the repertoire of Carl MacKenzie.

           

KATHLEEN O’HEHIR. AKA and see “Cathleen Hehir’s.”

                       

KATHLEEN O’HOULIHAN. See “Caitilín Ní Uallacháin.”

                       

KATHLEEN O'MOORE (Caitilin Ni Morda). AKA and see "The Rivers." Irish, Air (3/4 or 6/8 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 110, pg. 20. Roche Collection, 1983, vol. 3; No 166, pg. 58 (paired with "Kate Kearney").

X:1

T:Kathleen O’Moore

M:3/4

L:1/8

R:Air

N:”With Spirit”

S:O’Neill – Music of Ireland (1903), No. 110

Z:AK/Fiddler’s Companion

K:G

D | (G>AG) (GFG) | (A>BA) A2 (G/A/) | (B>cB) (BAG) | (dcB) A2 (G/A/) |

(B>cB) (BAG) | (AcB) A2 (G/A/) | (BG).E .D(dc) | (BG).G G2 || d |

.B.G.B .d.B.d | .e.g.e (dBG) | (BAG) (GFG) | (AFD) D2d | (BGB) (dBd) |

(ege) (dBG) | (BG).E .D(dc) | (BG).G G2 ||

           

KATHLEEN O’SHEA’S.  AKA and see “Ben Hill [2].”

 

KATHLEEN QUINN. AKA and see "Kitty Quinn," "Caitlin Ni Chuinn."

           

KATHLEEN’S FAVOURITE (JIG) [1].  Irish, Jig. Composed by the late fiddler Seán Ryan (c. 1985). Ryan (Seán Ryan’s Dream), 25.

 

KATHLEEN’S FAVOURITE (JIG) [2].  Canadian, Jig. Canada, Cape Breton. F Major. Standard tuning. The MacEachern Collection, vol. 1. Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

 

KATHLEEN'S FIDDLE. AKA and see “Ballyket Courthouse,” "Barry's Fancy," “The Clogger’s Quilt,” “Corry Hilly,” “Larry Redican’s [5],” “Larry Redigan’s,” "Micho Russell's Favorite [1]," “Paddy Finlay’s,” "Rattigan's Reel [1]," "St. Andrew's" "The Swallow [2]." Irish, Reel. F Major. Standard tuning. AB. Source for notated version: Bronx-born fiddler Andy McGann (1928-2004, New York) [Miller & Perron]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 54. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 79. Shaskeen Records OS‑360, Andy McGann, Felix Dolan, Joe Burke ‑ "A Tribute to Michael Coleman" (c. 1965).

           

KATHLEEN’S JIG.  Canadian, Jig. Canada, Cape Breton. Composed by Cape Breton fiddler Dan Hughie MacEachern. Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

 

KATHLEEN’S POLKA. Irish, Polka. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002).

 

KATHLEEN'S WALTZ. AKA and see "Valse a Kathleen."

           

KATHY'S REEL. AKA and see "Carty's Reel."

 

KATIE ANN CAMERON’S.  Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 229, pg. 85.

           


KATIE BAIRDIE. AKA and see “Kette Bairdie,” “Simon Brodie.” Scottish, Air. The title and tune appear in one of the earliest Scottish fiddlers’ MS repertory books, c. 1705, in the private collection of Francis Collinson (1966).

                       

KATIE BAR THE DOOR. Old-Time, Breakdown. D Major. Standard tuning. AB. From the playing of Roscoe Parrish. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 81.

                       

KATIE FARRELL’S. Irish, Jig. E Dorian. Standard tuning. AABB’. Composed by Houston flute and tin whistle player Larry Mallette. Black (Music’s the Very Best Thing), 1996; No. 101, pg. 52.

X:1

T: Katie Farrell's

C: L. Mallette

Q: 300

R: jig

M: 6/8

Z: Transcribed by Bill Black

L: 1/8

K: Em

BGE EGB | AFD DFA | BGE EGB | e2 f gfe |

dBG DGB | AFD DFA | B2 A Bcd | efg e3 :|

e2 f edB | GAB AFD | E2 F GAB | cBA B2 d |

e2 f edB | GAB AFD |1 E2 F G2 B | AFD E2 d :|

|2 GFE AGF | BFD E3 ||

           

KATIE FLANIGAN. Irish, Double Jig. D Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 197, pg. 22.

X:1

T:Katie Flanigan

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 197  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

Add dcd|g2f efg|afd def|ged cBA|Add dcd|

g2f efg|fed ABc|e3 d3::afa bgb|agf fed|geg fdf|

efe dcB|Add dcd|g2f efg|fed ABc|(d3 d3):|

           

KATIE HILL. See "Katy Hill."

           

KATIE JONES. See “Katy Jones.”

                       

KATIE MOLONEY’S POLKA. Irish, Polka. G Major. Standard tuning. AABB. Recorded by Doolin, County Clare, tin whistle player Micho Russell.

X:1

T:Katie Moloney's Polka

M:4/4

L:1/4

R:Polka

K:G

DBBB|DAA2|DB B/2A/2G/2A/2|BddZ|DBB2|DAA2|

GB/2A/2 GA|1 G2GF/2E/2:|2G2GZ|:

gd B/2A/2G/2A/2|Bdd2|gd B/2A/2G/2A/2|BAA2|

gdB/2A/2G/2A/2|Bdge|dBAB|G2GZ:|

         

KATIE SLOAN. Irish, Double Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 217, pg. 24.

X:1

T:Katie Sloan

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 217  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d2B c2A | BAG GFE | DEF GAB | c2B ABc | d2B c2A | BAG GFE |

DEF GAB | cAF G3 :: d2B e2c | def gdB | cde dcB |

ABG FED | d2B e2c | def gdB | A^ce gfe | ded =cBA :|

         

KATIE TAYLOR.  AKA and see “Little Katie Taylor,” “Paddy Taylor’s (Reel) [3].” Irish, Reel. D Major. Standard tuning. AABB. Composed by London-based flute player Paddy Taylor (1912-1976, originally from County Limerick), named for his daughter. Similarities (especially in the first part) with flute player Josie McDermott’s “Lansdowne Lass,” and with “The Slate Roof” in Martin Mulvihill’s 1986 collection. The melody appears in Bulmer and Sharpley’s Music from Ireland, vol. IV (c. mid-1970’s) under the title “Mick O’Connor’s” (the name of their source, who actually had the tune from the composer, Paddy Taylor). Bulmer & Sharpley (Music from Ireland), vol. 3. Altan – “Horse with a Heart” (4th reel of “Curlew” set).

X:1

T:Katie Taylor

M:C

L:1/8

R:Reel

K:D

|:D2FA GEFE | FDFA d2fa | geag efdc | AG~G2 EFGE | D2FA GEFE | FDFA d2ef |

geag ed(3Bcd |1 eddc dBAF :|2 eddc d2ag|: fdfa g2ag | fdfa ga({b}a)g | fd=cA BG~G2 |
AB (3cBA dcAG | fdfa g2 ag | fdfa g2ag | fd=cA BG~G2 |1 AB (3cBA d2ag :|2 AB (3cBA dBAF ||

 

KATIE TROTTER. AKA and see “Miss Katty Trotter.” Scottish (originally), Canadian; Reel. Canada, Cape Breton. G Major. Standard tuning. AAB. Composed by Robert ‘Red Rob’ MacIntosh originally published under the title “Miss Ketty Trotter” in Neil Steart’s c. 1765 collection. The tune was in the repertoire of Cape Breton fiddler Dave MacIsaac. Cranford (Jerry Holland’s), 1995; No. 165, pg. 47. Fiddlesticks Cass., Jerry Holland - “A Session with Jerry Holland” (1990).

         

KATIE, WILL YE MARRY?  Scottish, Strathspey. G Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 148, pg. 89.

         

KATIE WITH THE BUCKLES. American, Reel?. USA, southwestern Pa. F Major. Standard tuning. AB. This rhyme was collected with the tune in Pennsylvania:

***

Long folks, short folks, have ye heerd the news?

I'm goin' to marry Katie with the buckles on her shoes.

Ha! Ho! Never could refuse‑‑

I'm goin' to marry Katie with the buckles on her shoes.

***

Source for notated version: Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 7, pg. 19.

         

KATIE’S DONKEY.  AKA and see “Father Fielding’s Favorite.”

 


KATIE'S FANCY (Roga Caitilin). AKA and see “Humors of Cork [2].” Irish, Double Jig. G Major. Standard tuning. AABBCC. Nicholas Carolan (1997), in his biography of collector and compiler Captain Francis O’Neill, reviewed notes on how O’Neill said he happened to acquire this tune (which O’Neill briefly relates in Irish Folk Music, pg. 94-95), which he got from a Mr. Gillan, originally from County Longford, and then a retired businessman living in Chicago. It seems that Gillan was visiting his boyhood home in Ireland when he heard of a celebrated fiddler nearby, a Mr. Kennedy, who lived on a farm outside Ballinamore, County Leitrim. Kennedy himself had the tune from a travelling flute player, whom he overheard playing it in the street, though, by the time Kennedy caught up with him he had gone on to other tunes.  Kennedy eventually had to go to the flute player’s lodgings and pay 4 pence to the fluter for the manuscript. Gillan obtained the tune from Kennedy, though when he returned to Chicago he kept the tune closely guarded, only allowing it to be played on special occasions for particular friends. Knowing of the existence of the tune, Chief O’Neill contrived with Gillan’s daughter who agreed to help him obtain it, and while O’Neill engaged Gillan in conversation, the daughter slipped upstairs and copied the melody, which she later gave to O’Neill. O’Neill made sure the tune was distributed to the Chicago Irish musical community, where it became quite popular. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 139, pg. 80. O'Neill (Krassen), 1976; pg. 21. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 762, pg. 142. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 46, pg. 24.

X:1

T:Katie’s Fancy

M:6/8

L:1/8

R:Jig

W:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 46

Z:AK/Fiddler’s Companion

K:G

G/E/|DEF G2A|Bgf efg|dBG FGA|BGB AFD|DEF G2A|Bgf efg|dBG FGA|BGG G2:|

|:d|gfe agf|gfe dBG|gfe dcB|AGA BGE|DEF G2A|Bgf efg|dBG FGA|BGG G2:|

|:d|dgf gab|eag fed|bag fag|fge d2d|ece gfe|dec Bcd|cAF DFA|BGG G2:|

         

KATIE’S GHOST. Irish, Reel. E Minor. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, inspired by the pale night-time lighting on the statue outside the Falmouth library of the woman who composed the song “America the Beautiful”--”from the window of a pub across the street it looked ghostly enough to scare the bejayzus out of a young friend of ours recently.” Black (Music’s the Very Best Thing), 1996; No. 316, pg. 169.

X:1

T: Katie's Ghost

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Edor

D | E2 GE BEGE | FAdB AFED | E2 GE BEGE | FADF E3 D |

E2 GE BEGE | FABd ABdf | ge (3ede dB (3BAB | ABGF E3 :|

D |: G2 BG dG B2 | edef gedB | G2 BG dG B2 | FAAB dBAB |

G2 BG dGBd | edef gfga | bgaf gedB | GBAF GFED :|

         

KATIE’S NEW (WALTZ).  English (?), Waltz. A Major. Standard tuning. AABC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 138, pg. 34.

 

KATIE'S RAMBLES. AKA ‑ "The Heart of My Kitty." See also "Katy's Rambles" for a minor key version. Irish, English; Jig. D Mixolydian/D Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol.2, 1954; pg. 41. Raven (English Country Dance Tunes), 1984; pg. 106. Sannella, Balance and Swing (CDSS). F&W Records 1, "F&W String Band."

X:1

T:Katie’s Rambles

L:1/8

M:6/8

K:D

A|A2d =cBA|def gag|fed cBA|GFG AFD|A2d =cBA|

def gag|fed cBA|Adc d2:|

|:A|dfa dfa|dfa agf|=ceg ceg|=ceg gfe|fef gfg|aga bag|fed cBA|Adc d2:|

 

KATIE’S REEL. Irish, Reel. Green Linnet SIF 1126, “Deanta” (appears as second tune of “Flight of the Termites” set).

X:1

T:Katie's Reel

T:efter Deanta

C:Kate O'Brien

D:Deanta 1st

M:4/4

L:1/8

Z:Transcribed by Dan Gjøske Petersen

R:Reel

K:DMin

DEDC A,2A,=B,|C3D E2FG|Ad (3ddd AGFG|Addc d3e|

f2fe dfed|eaag a3g|f2fe dcAG|1F2EF D2DC:|2F2EF D2DB||

Ad (3ddd fedf|eaag a3g|f2fe dcAG|F2FD E2(3FGA|

Ad (3ddd fedf|eaag a3g|f2fe dcAG|D2EF D2DB||

Ad (3ddd fedf|eaag a3g|f2fe dcAG|F2FD E2(3FGA|

Ad (3ddd fedf|eaag a3b|a3g f3e|Addc d2AF||

                   

KATTY AT HER WHEEL. Irish, Air (3/4 time). E Dorian. Standard tuning. One part. Source for notated version: Mr. James O'Sullivan, Bunaneer National School near Kenmare: 1872 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 212, pg. 104.

                   

KATTY IN THE LANE. See “Kitty in the Lane.”

                   

KATTY MAGEE. See “Kitty McGee.”

                   

KATTY/KITTY NOWLAN [1] (Caitilin Ni Nuallain). AKA and see “Cailtlin Ni Uallachain.” Irish, Air (3/4 time, "tenderly"). D Minor. Standard tuning. AB. Source for notated version: “From Paddy Coneely” the Galway piper [Stanford/Petrie]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 399, pg. 69. Stanford/Petrie (Complete Collection), 1905; No. 481, pg. 121.

X:1

T:Katty Nowlan [1]

M:3/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 399

Z:AK/Fiddler’s Companion

K:D Minor

Af>e|d2A2 GB|AF D>E FG|A2f2 e>f|d3 fef|

d2A2 G>B|AF D>E FG|A2d2 ^c/d/e/c/|d3||

d/e/fg|a3 gfe|g3 fed|f2 f2 (3f/e/d/ (3c/A/G/|

A3 BAG|F>E FGA=B|cd A3 A|cd f2 e/d/^c/e/|d3||

 


KATTY NOWLAN [2] (Caitilin Ni Nuallain). Irish, Air (3/4 time, "tenderly"). D Minor (O’Neill): C Minor (Stanford/Petrie). Standard tuning. AB. Very similar to version #1. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 400, pg. 69. Stanford/Petrie (Complete Collection), 1905; No. 482, pg. 122.

X:1

T:Katty Nowlan [2]

M:3/4

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 400

Z:AK/Fiddler’s Companion

K:Dmin

f>e|d2A2G2|{G}F>E DEFG|A2 fed^c|{c}d4 fe|d2A2G2|{G}F>E DEFG|A2 fde^c|{e}d4||

d>e|f>ga2 gf|e>f g2 ag|f>ed2 e>^c|A4 fe|d2A2G2|{G}F>E DEFG|A2 fde^c|{e}d4||

 

KATTY QUIN. Irish, Air. The tune is a close variant of "Whish, Cat From Under the Table."

 

KATY DID [1]. AKA and see "Take Me Back to Georgia." Old‑Time, Breakdown. USA; north Georgia, northeast Alabama. C Major ('A' part), A Aeolian ('B' part). Standard tuning. AAB (Silberberg): AABB (Brody, Reiner & Anick): AA'BB' (Phillips). A tune by this name was mentioned in reports (1926‑31) of the De Kalb County (northeast Alabama) Annual (Fiddlers') Convention (Cauthen, 1990). In the 'B' part the 'E' chord played during the accompaniment may be either major or minor. North Georgia fiddler Lowe Stokes recorded the tune in this third session, in 1929, with guitarist Mike Whitten. Stokes’ “Katy Did” was backed with “Take Me Back to Georgia,” and some confusion of titles existed because many labels were reversed on the 78 RPM record; thus some fiddlers called “Katy Did” by “Take Me Back to Georgia.” Fiddlin’ John Carson used the minor mode ‘B’ part music as part of his recording of “Billy in the Lowland.” Stokes 1929 “Katy Did” also goes by the title “Gray Eagle.”  Sources for notated versions: Lowe Stokes (north Ga.) [Brody, Phillips]; Howie Meltzer [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 154. Phillips (Traditional American Fiddle Tunes), 1994; pg. 130. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 112. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 82. County 514, Lowe Stokes‑ "Hell Broke Loose in Georgia" (Orig. rec. 1929). Document 8045, “Lowe Stokes, vol. 1: 1927-1930” (reissue).

 

KATY DID [2]. AKA and see “Ladies in the Ballroom [2]," "Take Me Back to Georgia," "Rattlesnake Bit the Baby." Old‑Time, Breakdown. USA, Va. Not Lowe Stokes' "Katy Did" but a version of his "Take Me Back to Georgia," recorded in 1929. Composition for this tune credited to Sonny Miller. County 705, Sonny Miller ‑ "Virginia Breakdown."

                   

KATY DID WALTZ. American, Waltz. G Major. Standard tuning. AA'BA. Source for notated version: Vassar Clements [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 271.

                   

KATY FETCH THE SOAP HOME. Old-Time, Breakdown. USA, Kentucky. A Major. AEae tuning. AABB. Jeff Titon (2001) identifies Bingham (1899-1990) as the sole source for this tune. Source for notated version: Estill Bingham (Pineville, Bell County, Ky., 1989), learned from his father, Noah Bingham (b. 1850) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 81, pg. 108.

                   


KATY HILL [1]. AKA and see “Trap Hill Tune.” Old‑Time, Bluegrass; Breakdown. USA; Virginia, West Virginia, Tennessee, northeast Alabama, Missouri, Nebraska. G Major. Standard tuning. AABB (Christeson, Lowinger, Phillips): AB (Brody): ABC (Beisswenger & McCann). The melody has widespread currency among American fiddlers in the South and Midwest. North Carolina fiddler Tommy Jarrell told an interviewer in 1982 he thought the melody derived from "Piney Woods Gal," and that "Sally Johnson" was in turn derived from "Katy Hill": "There's three tunes played just about like that, right there" (Peter Anick, "An Afternoon with Tommy Jarrell," Fiddler Magazine, Spring 1995). Mark Wilson (in liner notes to Dwight Lamb’s 2005 Rounder album “Hell Agin the Barn Door”) says that older versions of  “Katy Hill” and its identical twin, “Sally Johnson,” only had a rough affinity in the high (second) strain, and “originally possessed completely different identities.” Wilson thinks the simplification of the melody stemmed from fiddlers on the Grand Ole Opry, who used “Sally Johnson” and “Katy Hill” as vehicles to demonstrate performance skills at ever-faster tempos, as the ‘hoedown’ genre became increasingly distanced from its original function as an accompaniment to dancing. Occasionally fiddlers will play the tune in four parts, as does Iowa fiddler Lamb and the late Jim Herd, originally from Missouri, which Wilson believes reflects both the older and newer versions of the tune.

***

“Katy Hill” was popularized by Tennessee's Fiddlin' Arthur Smith, and Kentucky mandolinist Bill Monroe (who recorded it in 1940), but it was also known as a signature tune of north Georgia fiddler Lowe Stokes (1898-1983), who recorded it in 1928 along with Riley Puckett and Fate Norris (Meade). Stokes recalled his father playing the tune but he actually learned it from Alabama fiddler Joe Lee (b. 1883, Etowah County, Alabama), a man who influenced that generation of north Georgia fiddlers including the great Clayton McMichen. Lee was, Stokes declared in an interview printed in 1982 (in Tony Russell’s Old Time Music), the "best old time fiddler I ever heard, but he couldn't win a prize to save his life," due to the degree of the performance anxiety he suffered from when on stage. The tune was listed in reports (1926‑31) of the De Kalb County (northeast Alabama) Annual (Fiddlers') Convention (Cauthen, 1990), and it was in the repertoire of West Virginia fiddler Edden Hammons. The earliest recording of “Katy Hill” was by Ellen Sisson in 1925 (Gus Meade), followed by Bill Chitwood (1927).

***

Randolph County, West Virginia, fiddler Woody Simmons (b. 1911) told his version of the tale of the great bluegrass fiddler Chubby Wise’s audition with Bill Monroe to Goldenseal magazine in 1979. Wise, who lived in Florida, heard on Saturday night that Monroe’s regular fiddler, Big Howdy Forrester, was going to be inducted into the army on Monday.  He drove to Nashville that night, sought out Monroe’s venue, and asked to see the bandleader. He was shown in back behind a curtain and there was Monroe:

***

He went in there and asked…’I hear you need a fiddle player.’ Bill said, ‘Yes I do.’ Said, ‘Can you play?’ Said, ‘Yes.’ Said, ‘How about playing me a hoedown.’ He said, ‘All right.’ Said he played Katy Hill.  Monroe said to him, he said, ‘How about playing one of my songs that I sing, and let me sing and  you play it.’ And he said he done Footprints in the Snow. Bill said, ‘Where’s your clothes at?’ So he fiddled for him for several years”  (Mountains of Music, John Lilly ed., 1999, pg. 23).

***

Related melodies are “Bay Rooster,” "Going Around the World," “My Love is Fair and Handsome,” and "Sally Johnson [1]." Sources for notated versions: Alan Block [Phillips]: Bob Walters (Burt County, Nebraska) [Christeson]: Kenny Baker [Brody, Phillips]; Roger Fountain (b. 1948, Pinevill, Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 33. Brody (Fiddler’s Fakebook), 1983; pg. 154. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 100. Lowinger (Bluegrass Fiddle), 1974; pg. 20. Phillips (Fiddlecase Tunebook), 1989; pg. 25. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 130. Caney Mountain Records CEP 213 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. CMH 6237, Paul Warren‑ "America's Greatest Breakdown Player." Columbia 15620‑D (78 RPM), 1930, Lowe Stokes (North Georgia). County 538, Charlie Monroe‑ "On the Noonday Jamboree‑ 1944" (appears as "Going Around the World"). County 745, John Ashby (Va.) ‑ "Down on Ashby's Farm." County 750, Kenny Baker‑ "Grassy Fiddle Tunes." Document 8045, “Lowe Stokes, vol. 1: 1927-1930” (reissue. Appears as “Sally Johnson”). Heritage XXIV, Smokey Valley Boys ‑ "Music of North Carolina" (Brandywine, 1978). Heritage XXXIII, The Puryear Brothers Band ‑ "Visits" (1981. Learned from the Ithaca, N.Y., Correct Tone String Band). RCA Camden CAL‑719, Bill Monroe‑ "The Father of Bluegrass Music." Rounder 0089, Oscar and Eugene Wright ‑ "Old‑Time Fiddle and Guitar Music from West Virginia" (learned from Fiddlin' Arthur Smith). Rounder CD 0371, Mac Benford & the Woodshed All-Stars - “Willow” (1996). Voyager 301, Bill Long‑ "Fiddle Jam Session." Voyager 340, Jim Herd - "Old Time Ozark Fiddling." Edden Hammons Collection, Disc 2.

See also listing at:

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

X:1

T:Katy Hill [1]

M:2/4

L:1/16

Q:122

C:Trad.

R:Reel

A:Missouri

D:As recorded by Cyril Stinnett on his album "Cyril Stinnett Plays His

D:Favorite Old Time Tunes.'

Z:B. Shull, trans.; R.P. LaVaque, ABC

K:G

d2-|:d2g(a bg)a(g|eg)d(g ea)ge|d(eg)(a bg)a(g|e)d-[dg][eg]- [d3g3]e-|!

gdg(a bg)a(g|eg)d(g ef)g(a|ge)d(B A)(GEG)|(DE)GB A([GB][G2B2]):|!

|:[G3B3]G A(GE)(F|G)(AB)d e(fge)|(dB)GB A(GE)(G|DE)GB A[GB][G2B2]|!

[G3B3]G A(GE)(F|G)(AB)d e(fga)|(ge)d(B A)(GE)G|(DE)GB A([GB][G2B2]:|!

[G3B3]G A(GE)(F|G)(AB)d e(fga)|(ge)d(B A)(GE)G|(DE)GB A(FG2:|!

 

KATY HILL [2]. Old-Time, Breakdown. G Major. Standard tuning. ABB (Phillips): ABC (Silberberg). Source for notated version: Joe Greene [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 131. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 81. County 722, Joe Greene‑ "Joe Greene's Fiddle Album." 

 

KATY HILL [3]. Old-Time, Breakdown. USA, North Carolina. G Major. Standard tuning. AABB. Source for notated version: Manco Snead (N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 131.

 

KATY IS WAITING. Irish, Jig. E Dorian. Standard tuning. AABB. Related to the "Hillside" group of tunes, according to musicologist the late Sam Bayard (See Bayard's note for "Hillside"). It is a variant of “Hills of Glenorchy [1]” and “Trip to Galway.” See also the related “Rattle the Quilt.” Composition credited to Jas. Hand in Cole's 1000. Cole (1000 Fiddle Tunes), 1940; pg. 54. Kerr (Merry Melodies), Vol. 2; No. 301, pg. 33. Ryan’s Mammoth Collection, 1883; pg. 83. Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.”

X:1

T:Katy is Waiting

M:6/8

L:1/8

S:Patrick Street / Cornerboys

R:jig

K:EDor

"Em" BEE cEE|BAF BAF| "D" D2 D FDF|A2 B AFD| "Em" BEE  c

EE |BAF BAF  |  "D" ABc  dBF  | "Bm" FED  "Em" E3  :|:

"Em" ~e2 e  efg  |  fed  e2 A  | "D" ABc  d2 d  |  ABc  dAF  | "Em" ~e2e  efg  |fed  edB  |

"D" dcd  BAF  | "Bm"  BAF "Em" E3  :||

                   

KATY JONES REEL. Irish, Reel. Recorded source Quinn diddled a few verses with the tune:

***

Oh she kicked me and she battered me.
She nearly broke my bones.

So that's the way she tattered me

My darling Katie Jones
***
Oh there was a little girl
And she lived in Mullingar,
And she lifted up her petticoat
A-la-la-la-la-la

***

See also the American variants under the titles “Colonel Crocket,” “Jenny on the Railroad,” “The Route.” Topic TSCD606, Frank Quinn (et al) – “Round the House and Mind the Dresser: Irish Country-House Dance Music” (reissue).

                   

KATY WENT FISHING WITH HER HOOK AND LINE. AKA and see “Hook and Line,” “Shout Lulu.” Old-Time, Breakdown. Fiddled by Hobart Smith on Alex Lomax’s “Southern Journey, Vol. 1: Voices from the American South” (Rounder Records).

                   

KATYDID WALTZ. Old-Time, Waltz. Voyager 340, Jim Herd - "Back Porch Symphony."

                   


KATY'S RAMBLES. AKA and see “Clancy’s Jig.” See also "Katie's Rambles" for a major/modal key version. Irish?, Jig, American; D Minor. Standard. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 55. Ford (Traditional Music in America), 1940; pg. 111. Ryan’s Mammoth Collection, 1883; pg. 84. White’s Unique Collection, 1896; No. 28, pg. 5.

X: 1

T:Katy’s Rambles

M:6/8

L:1/8

R:Jig

S:White’s Unique Collection (1896), No. 28

Z:AK/Fiddler’s Companion

K:D Minor

A2d (cB).A | fga gec | ded cAF | GFG AFD | A2d (cB).A | fga gec |

ded cAG | Ad^c d2z ::  fad fad | fga agf | egc egc | efg gfe | fga gab |

afd ecA | fed cAG | Ad^c d2z :|

 

KAUHAUAN POLKKA. AKA and see "Finn Polka."

 

KAW RIVER. Old‑Time, Texas Style. USA, Texas. D Major. Standard tuning. AA'BB (Brody): AA'BB'A"A"BB' (Phillips). The Kaw River is another name for the Kansas River, once navigated by steamboats. Before that however, the river needed to be forded or crossed by boat. The ill-fated Donner party crossed the Kaw twice in 1846 on their journey on the Oregon Trail, as remembered by one of the members of the wagon train: "The wagons were hauled as near the boat-landing as they could be by the teams, and then with their loads in them were lifted and pushed into the boats by the united strength of the men. By hard and unremitting toil the ... wagons ... were safely transported to the other side; and all our oxen, horses, and loose stock swam over, .... The fee for ferriage, per wagon, was one dollar. Two boats are employed, and they are large enough to transport two wagons each trip. The are pushed across the stream with long poles handled by Indians." The Indians were from the Kaw tribe. Sources for notated versions: Norman Soloman (Texas) [Brody]; Tim O'Brien [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 155. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 131. County 707, Norman Soloman‑ "Texas Fiddle Favorites." Biscuit City 1317, Tim O'Brien‑ "Guess Who's in Town."

 

KAY AND SARAH’S. Canadian, Jig. Canada, Cape Breton. A Major (‘A’ part) & E Major (‘B’ part). Standard tuning. AABB’. Composed by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 94, pg. 34.

 

KAY GIRROIR.  Canadian, Reel. Canada, Cape Breton. B Dorian. Standard tuning. AABB. Composed by piano player Joey Beaton of the famed Beaton family of Mabou, who for generations have been among Cape Breton’s most influential musicians and composers. Cranford (Jerry Holland: The Second Collection), 2000; No. 70, pg. 29. Jerry Holland – “Master Cape Breton Fiddler” (1982). Green Linnet , Patrick Street – “Streetlife” (2003).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

KAY MACDOUGALL G(O)UTHRO.  Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB. Composed in the 1970’s by John MacDougall, “the most prolific composer in Cape Breton history,” reputed to have penned some 25,000 tunes. “Kay MacDougall Guthro” has circulation in Cape Breton and even among some musicians Ireland. Cranford (Jerry Holland: The Second Collection), 2000; No. 288, pg. 103. 

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

 

 

KAY'S HORNPIPE. AKA and see "The Colosseum."

 

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

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