The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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[COMMENT1] [COMMENT2] 

KEA - KEM

 

 

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]

 

 

 

KEABOG.  Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 91.

X:1

T:Keabog

M:C

L:1/8

R:Strathspey\

N:”Slowly”

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

c<ff>g ({f/g/}a>)f f2 | {^d}[e2e2] B>e G>B E>e | c<f({a/f/^e/}f>)g | ({f/g/}a>)gf>d | .c/.B/.A .G/.F/.^E F2 FG :|

{G}[A2A2] E>D C<E A>f | e>A f>A G<B({c/B/^A/}B>)g | ({g}a2) e>d (c/d/e) A>G | F>A G/A/B ({G}A2) AG |

{G}[A2A2] E>D C<E A>f | e>A f>A G<B~B>g | a/g/a e/f/g (3aed (3cBA | (3GFE (3dcB ({G}A2)A z ||

                     

KEACH I' THE CREEL, THE. English, Air (2/4 time). England, Northumberland. D Major. Standard. One part. "This old and very humorous ballad has long been a favourite on both sides of the Border, but had never appeared in print till about 1845, when a Northumbrian gentleman printed a few copies for private circulation, from which the above was taken. In former days, in the rural districts of Northumberland, courtship was secretly conducted; and often the only place of meeting was the 'maiden's bower'. A better state of things now generally prevails" (Bruce & Stokoe). The word keach or keech also means ‘excrement’ in Ulster and Scotland, as well as ‘lift’ or ‘hoist’.

***

A fair young May went up the street,

Some white fish for to buy,

And a bonny clerk's fa'n in luve wi' her,

An' he's followed her by and by.

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 82‑84.

X:1

T:Keach I’ the Creel, The

M:2/4

L:1/8

R:Air

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:D

(D/E/)|Fd cd|BA AA|Fd cd|B3 D/E/|F/F/d cd|BB/A/ FD/E/|

F/F/D B,C|D>E F>E|F/F/D B,C|D3||

 

KEADUE POLKA. AKA and see “John Ryan’s Polka,” “Sean Ryan’s Polka.” Irish, Polka. Keadue is in north Co. Roscommon and is called Ce/ideadh in Irish Gaelic. The village lies about a mile from Kilronan cemetery in which is buried the remains of the great Irish harper O Carolan (1670-1738). “Sean Ryan’s Polka” was coined “Keadue Polka” on Josie McDermott’s recording “Darby’s Farewell” and, as Josie had no name for it, the melody was called by the name of the nearby village.

X:1

T:Keadue Polka

M:2/4

L:1/16

R:polka

K:D

|d2d2 BcdB | A2F2 A2F2 | d2d2 BcdB | A2F2 E2D2 |

d2d2 BcdB | A2F2 A2 de | f2d2 e2c2 | d4 d4:|

|f2d2 d2 ef | g2f2 e2 de| f2d2 a2d2 | fedf abag | f2d2 d2 ef |

g2f2 e2 de | f2d2 e2c2 | d4 d4 :|

                               

KEADY PIPER. AKA and see “Bonny Bunch of Ferns.”

                                   


KEAN O'HARA [1]. AKA and see "O'Hara's Cup" (Cupan Ui hEaghra). Irish, Air or Planxty (3/4 time). C Major (Complete Collection...): D Major (Joyce). Standard. One part. Composed by Turlough O'Carolan. "The Irish words of this song, composed by Carolan in honour of his friend Kean O'Hara of Nymphsfield, Co. Sligo, will be found in Hardiman's Irish Minstrelsy, Vol. I., p. 64; and in Edward Walsh's Irish Popular Songs, p. 70" (Joyce). Source for notated version: partly from John Windele, "the distinguished Cork archaeologist (d. 1865), and P. Carey, a piper of the Co. Cork, via Forde (Joyce). Complete Collection of Carolan's Irish Tunes, 1984; No. 130, pg. 93. Joyce (Old Irish Folk Music and Songs), 1909; No. 685, pg. 342. Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993).

X:1

T:Kean O’Hara [1]

T:O’Hara’s Cup

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D

F>E | D2F2A2 | BAGFED | D2d2 de | d4 dB | A2B2d2 | e2d2 ef | fedcBA | B4 (3ABc |

d2 c2 dc | B3 cdB | AFDFAF | E4 FA | BcdBAF | BAGFED | E2D2 D>E |

D4 (3ABc | dfedcB | cedcBA | BcdBAF | E4 FA | BceBAF | BAGFED | E2D2 D>E | D4 ||

 

KEAN O'HARA [2]. Irish, Planxty (3/4 time). A Major. Standard. AABB. Composed by Turlough O'Carolan. Complete Collection of Carolan's Irish Tunes, 1984; No.131, pg. 94.

 

KEAN O'HARA [3]. Irish, Planxty (3/4 time). G Major. Standard. One part. The tune is attributed to blind Irish harper Turlough O'Carolan (1670-1738), thought Donal O’Sullivan, in his definitive work on the bard could find no incontrovertable evidence of its origin. Complete Collection of Carolan's Irish Tunes, 1984; No. 132, pg. 94.

                   

KEBBLEWORTH HALL. English, Minuet (6/8 time). D Major. Standard. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 208.

                   

KEEFE'S (SLIDE). Irish, Slide (12/8 time). C Major. Standard. AABB. Taylor (Where’s the Crack?), 1989; pg. 31.

                   

KEEGAN’S. Irish, Double Jig. G Major. Standard. AABB. The title refers perhaps to button accordion player Kevin Keegan, of San Francisco, a sometime playing partner of Joe Cooley’s. The San Francisco CCE branch is named in their honor. Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 73, pg. 80.                  

                     

KEEGAN’S WALTZ. Irish, Waltz. The tune is from the playing of San Francisco button accordion player Kevin Keegan, who paired the tune with a jig also bearing his name. Kicking Mule Records, Cathie Whitesides – “Gems of Irish and Cape Breton Scottish Fiddling” (1983).

                   

KEEL CRANKE. AKA and see "Killicrankie."

                   


KEEL ROW, THE. AKA and see "The Boatie Rows," "Drops of Brandy," “Johnny When You Die [2],” "Lake St. Jean Gallope,” "Michael's Reel," "Smiling Polly," "Twin Sisters [4]." English, Irish, Scottish, American; Air, Reel, Highland or (Highland) Schottische, Highland Fling. England, Northumberland. Ireland, Donegal. G Major (Cole, Hall & Stafford, Kennedy, Kidson, Raven, Stokoe, Sweet, Trim, Tubridy, White): A Major (Athole, Kerr, Mulvihill, Roche, Surenne). Standard. AB (Raven, Roche, Surenne, Tubridy): AABB (Cole, Kerr, Kidson, Mulvihill, Sweet, Trim, White): AABB' (Athole): ABC (Stokoe). Stokoe and Bruce (1882) devote a note to the tune claiming Northumbrian authorship for "The Keel Row," an extremely popular tune in its time (in both Scotland and Northumberland) and "the best known and most popular of all Northumbrian lyrics." He refutes assertions that the tune is Scotch (to whom it is often credited), citing the following: 1) the 'keel' is a vessel which is only known on the rivers Tyne and Wear {Kidson points out however that 'keel' is an old Saxon word and has been used in Scotland as well as Newcastle}; 2) In the collection of the Society of Antiquaries of Newcastle is a MS Book of Tunes, dated 1774, in which the tune appeared exactly as it did in Stoke's time; 3) Joseph Ritson, once a celebrated antiquary, included it in his collection of old songs, 'The Northumberland Garland,' published 1793 (a garland is a of eight to sixteen tunes). Stokoe and Bruce point out that these dates are anterior to the appearance of the song in any Scottish collection, having found that Cromek inserted it in his Remains of Nithsdale and Galloway Song, 1810, where it is labelled a "popular bridal tune in Scotland" and set to a Jacobite song called "As I came down the Cannongate." (Stokoe also says that Allan Cunningham, in his 'Songs of Scotland,' 1825, asserts that Cromek's version is imperfect, "and gives another, which is simply a protracted paraphrase of the original song, with the word 'keel' entirely omitted {except in the title}, the word 'shallop' being substituted"--Kidson sees this same song as a copy of the older Jacobite lyric). Though taking no sides in the debate, Kidson (1890) does find the melody under the "Keel Row" title in an early Scottish edition which predates the Northumbrian printings, in Neil Stewart's c. 1770 A Collection of favourite Scots' Tunes, with Variations for the Violoncello or Harpsichord, by the late Charles McLean, and other eminent masters (Edinburgh).

***

As I cam thro' Sandgate, thro' Sandgate, thro' Sandgate;

As I cam thro' Sandgate I heard a lassie sing:

Weel may the keel row, the keel row, the keel row;

Weel may the keel row that my laddie's (truelove's) in.

Weel may the keel row, &c. (Stokoe)

***

Emmerson (1971) believes the tune to have been composed on and for the Northumbrian smallpipes, and Shield's famous variations on "Keel Row," composed for the instrument, are given by Hall & Stafford.

***

Bayard (1981) dates the tune from the 18th century, while Chappell (1859) finds the earliest form of it in Thompson's 200 Country Dances of 1765 where it appears as "Smiling Polly," though Kidson (1890) believes the earliest form of the tune to be "Yorkshire Lad," found in Johnson's Country Dances of 1748. Bayard concludes the identifying musical characteristic centers around one (first) strain which typically occurs in most variants, but the second strain not infrequently differs. Kidson earlier appears to have come to the same conclusion for he gives four settings of the tune from the mid-18th century, all different in the 'B' part (i.e. "Yorkshire Lad," "Smiling Polly," "Dumb Glutton" "Well May the Keel Row"--he also notes other tunes could well have been included in this comparison such as "Shamboy Breeches" and "Charlie is at Edinburgh"). This perhaps goes to explaining Cunningham's insistence that an "imperfect" version had been collected by Cromek‑‑it was probably no less worthy, only a different strain. Bayard collected a version from Pennsylvania fifers, to whom it was well known in the mid‑twentieth century.

***

Chris Bartram (Devon, England) maintains that while the words to “The Keel Row” are from the North‑East of England the tune is actually widespread throughout the whole island of Great Britain, and he suggests the ‘modern’ prevalence of the 'Keel Row' words is largely due to mid-20th century commercial recordings and early media broadcasts. Outside of Northumberland alternate ditties were sung, such as (from southern England, courtesy of Mr. Bartram):

***

The cat caught the measles, the measles, the measles,

The cat caught the measles, the measles caught the cat.

***

In the Norfolk area of southern England, the “Keel Row” was paired with two other schottisches, “Washing Day” and “Old Mrs. Huddledee”; concertina player Scan Tester (1887-1972) and fiddler Walter Bulwer (1888-c. 1972) both independently knew the medley. In addition to morris and English country dancing the tune is often associated with the broomstick dance in southern England, a dance which is still occasionally performed in pubs at Yuletide. The Scots usually play the tune as a schottische, while in Ireland it is found as a barn dance.

***

Anne Lederman, in her article on “Fiddling” in the Encyclopedia of Music in Canada (1992), remarks that the “Keel Row” was the vehicle for the Broom Dance, popular in the 18th and 19th century Canadian fur-trade.

***

“The Keel Row” has been arranged by classical composers Claude Debussy and Eric Satie.

***

Sources for notated versions: Hirman Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) and Frank King (fifer from Westmoreland County, Pa., 1960) [Bayard]; “old highland fling, learned from my mother” [Mulvihill]. Bayard (Dance to the Fiddle), 1981; No. 321A‑B, pgs. 280‑1. Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 185. Cole  (1000 Fiddle Tunes), 1940; pg. 23. Ford (Traditional Music in America), 1940; pg. 67 (appears as "Twin Sisters"). Gow (Vocal Melodies of Scotland), 2nd ed., 1822; pg. 20.  Hall & Stafford (Charlton Memorial Tune Book), 1974; pgs. 24‑25. Jarman (Old Time Fiddlin’ Tunes) 1951; No. or pg. 33. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 42, pg. 21. Kerr (Merry Melodies), vol. 1; No. 3, pg. 19 and vol. 3, No. 94, pg. 12. Kidson (Old English Country Dances), 1890; pg. 19. Mulvihill (1st Collection), 1986; No. 13, pg. 121. Raven (English Country Dance Tunes), 1984; pg. 174. Roche Collection, 1983, Vol. 1; No. 198, pg. 75. Ryan’s Mammoth Collection, 1883; pg. 47. Saar, 1932; No. 19. Smith (Scottish Minstrel), 1820‑24; Vol. 5, pg. 74. Stewart-Robertson (The Athole Collection), 1884; pg. 11. Stokoe & Bruce (Nortumbrian Minstrelsy), 1882; pgs. 138‑139. Surenne (Dance Music of Scotland), 1852; pg. 144. Sweet (Fifer’s Delight), 1964/1981; pg. 58. Trim (Thomas Hardy), 1990; No. 60 (Schottishe). Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 12. White's Excelsior Collection, 1907; pg. 27. White’s Unique Collection, 1896; No. 53, pg. 10.   Topic TSCD607, Billy Cooper, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources  (Keyword Search for “Keel Row”)

Alan Ng’s Irishtune.info

X:1

T:Keel Row

M:C|

L:1/8

S:Reel

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

Z:AK/Fiddler’s Companion

K:A

e/d/|cA A/A/A d2 Bd|c2 A>c BGEe|cA A/A/A d2 B>d|cABG A2A:|

|:ceea f2 (ed|cAAc BGEe|1 ceea f2 (e>d|cABG A2a:|2 ce e(f/g/ aefd|cABG A2A||

X:2

T:Keel Row, The

L:1/8

M:2/4

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

c|B2 G>B|c2 A>c|B2 G>B|(AF) Dc|B2 G>B|c2 A>c|B>G A>F|G3||

z|(B>d d>g|e2 d>c|B2 G>B|(AF) D2|(B>d) d>g|e2 d>c|(B>G) A>F|G3||

c|B2 G>B|c2 A>c|B2 G>B|(AF) D2|B2 G>B|c2 A>c|(B>G) A>F|G3||

X:3

T:Keel Row

M:4/4

L:1/8

R:Fling

O:Irish

K:G

c|B2 G>B|c2 A>c|B2 G>B|AF Dc|B2 G>B|c2 A>c|B>G A>F|G3||

B>d d>g|e2 d>c|B2 G>B|AF D2|B>d d>g|e2 d>c|B>G A>F|G3||

                   

KEELAGHAN’S MANTA. Irish, Reel. F Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 46.

                   

KEELE CRANKE. Scottish. Perhaps "Killiecrankie" or "Kilicrankie." Appears in Henry Playford's 1700 collection of Scottish dance music.

 

KEELMAN, THE. English. England, Northumberland. The timing of the tune is unusual. Keelmen worked the River Tyne, which separates County Durham and County Northumberland for much of its course, loading and unloading larger boats anchored in the center of the river for local business, and formed a distinct community in the Sandgate area of Newcastle. Highly skilled boatman, one of their prime jobs in the 19th century was to move coal from the riverside to ships waiting in the Tyne. With the onset of the Industrial Revolution in the nineteenth century and the development of coal staithes as an alternative method of loading collier ships, the Keel men's trade gradually declined until it became virtually non-existent. Flying Fish FF‑250, The Battlefield Band ‑ "Home is Where the Van Is" (1981).

         

KEELMAN OWER LAND, THE. English, Jig. England, Northumberland. G Major. Standard tuning. AABBCC. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 165.

X:1

T:Keelman Ower Land, The

M:6/8

L:1/8

R:Jig

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

d(3c/B/A/G d2g|d(3c/B/A/G d2g|ecA gcA|ecA efg|dBG GAB|

Bge dBG|A/B/c/B/A B/c/d/c/B|e2d efg:|

|:ddg ddg|ddg dcB|eea eea|eea edc|ddg ddg|Gge dBG|

A/B/c/B/A B/c/d/c/B|e2d efg:|

|:d/B/GG G/B/GG|d/B/GG G/B/GG|e/c/AA A/c/AA|c/A/AA A/c/AA|

dBG GAB|Bge dBG|AcA BdB|e2 d efg:|

         

KEELMAN'S PETITION, THE. English, Reel. England, Northumberland. C Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 409.

         


KEELUM KALLUM TAA FAIN. AKA and see "Gillie Callum." Scottish. The melody appears earliest in Robert Bremner's 1757 2nd collection (pg. 108), according to John Glen (1891).

         

KEENY. AKA and see "Frank Keeney."

         

KEEP A GOOD TONGUE IN YOUR HEAD. AKA and see "The Merry, Merry Milkmaids," "The Milkmaid's Dumps."

         

KEEP AWAY FROM THE FEDERALS. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. AKA and see "Waiting for the Federals"???, "Run, Boy, Run" and/or "Seneca Squaredance"???

         

KEEP IT UP [1] (As a thoiseach). AKA and see “As a Thoiseach.” Scottish, Pipe Reel. E Dorian. Standard tuning. AB (Fraser): AAB (Hardie). The tune is subtitled “Be Off, Mackintosh!,” and is credited to Captain Simon Fraser by MacDonald in the Skye Collection (1887). See note under “As a Thoiseach.” The piece is played un-slurred, with a distinct bow stroke for each note. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 140, pg. 56‑57. Hardie (Caledonian Companion), 1992; pg. 103. Henderson (Flowers of Scottish Melody), 1935. Green Linnet SIF‑1094, Capercaille ‑ "Sidewaulk" (1989). Rounder 7004, Joe Cormier ‑ "The Dances Down Home" (1977). Rounder 7059, Alex Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005). Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Keep it up [1]

T:As a thoiseach

M:C

L:1/8
R:Pipe Reel

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Emin

^c|dEBE dEB^c|dEBE FDD^c|dEBE GBeB|^cAdA FDDc|

dEBE dEB^c|dEBE FDD^c|dEBE GBeB|^cAcA FDD||f|

gebe geef|gebe fddf|gebe gefd|^cAdA FDDf|

gebe beef|gebe fddf|ebgb faeg|f^cdA FDD||

 

KEEP IT UP [2].  English, Jig. A Major. Standard tuning. AABB. The melody was first published in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (London, 1751). It also appears in B. Andrez’s Belgian collection of 1758 entitled L’Echo, ou Journal Musique de francoise. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 6.

X:1

T:Keep it up [2]

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:A

a2A agf|efd c3|e2E edc|BAG A3|a2A agf|gfe B2a|gfe “tr”f3|(e3 e3):|

|:f2F fed|cB^A B3|e2E edc|BAG A3|cA(e e)dc|dBf fed|cBA B3|(A3 A3):||

 

KEEP OFF THE GRASS. Old‑Time, Breakdown. USA, southwestern Pa. C Major ('A' part) & A Minor ('B' part) {Bayard‑Tustin}: G Major ('A' part) & E Minor ('B' part) {Bayard‑Shape}. Standard tuning. AB. Bayard (1981) believes this tune has a "general, yet noticable" resemblance to the Scottish "Balquhidder Lasses" (which in turn has a resemblance to "Johnny Cope"). Sources for notated versions: John Tustin (Greene County, Pa., 1944) and William Shape (Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 186, pg. 143.

 

KEEP THE ARK/ART A MOVIN'. AKA and see "The Old Ark's A-Movin."

 

KEEP THE COUNTRY BONNIE/BONNY LASSIE/LASS. Scottish; Reel. A Major. Standard tuning. AB (McGlashan): AAB (Athole, Gow, Honeyman, Kerr): AABB (Bremner, Vickers): AABB'(Skye). John Glen (1891) finds the earliest printing of this tune in Robert Bremner's 1757 collection. There is a Scottish country dance of the same title which was once danced in parts of Ettrick (taught by a country dance master named James Laidlaw), though Flett & Flett believe it never attained much popularity under the title (or danced to this this tune).  The same figures were danced to "Duke of Perth" ("Brown's Reel") and "Pease Strae," called by the names of those tunes, and appeared to be much more widespread in the 19th century. Bremner (Scots Reels), c. 1757; pg. 32. Carlin (The Gow Collection), 1986; No. 487. Gow (Complete Repository), Part 2, 1802; pg. 25. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 19. Kerr (Merry Melodies), Vol. 2; No. 12, pg. 4. MacDonald (The Skye Collection), 1887; pg. 25. McGlashan (A Collection of Reels), c. 1786; pg. 41. Stewart-Robertson (The Athole Collection), 1884; pg. 24. Seattle (William Vickers), 1987, Part 3; No. 447.

X:1

T:Keep the Country Bonny Lassie

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:A

f|eAcA Bcdf|eAcA eAcA|dfce Bcdf|ecac e2e:|

g|aece Bcdf|aece aece|aece Bcdf|ecac e2 eg|aece Bcdf|

aece aece|dfce Bcdf|ecac e2e||

X:2

T:Keep the Country Bonny Lassie

M:C|

L:1/8

R:Reel

S:Bremner – Scots Reels c. 1757

Z:AK/Fiddler’s Companion

K:A

e | A/A/A “tr”(cA) B>cdf | A/A/A “tr”(cA) eA”tr”cA | dfce B>cdf | ecaf “tr”e2A :|

|: g | (a/g/f/e/) ce B>cdg | (a/g/f/e/) ce (a/g/f/e/) ce | dfca B>cdf | (e/f/g a)f “tr”e2A :|

X:3

T:Keep the Countrey bonny Lassie

C:R. Petrie

S:Petrie's Second Collection of Strathspey Reels and Country Dances &c.

Z:Steve Wyrick <sjwyrick'at'astound'dot'net>, 6/5/04

N:Petrie's Second Collection, page 12

L:1/8

M:C|

R:Reel

K:A

f|AA/A/ (cA) Bcdf| AA/A/ (cA) eAcA | dfce Bcdf|ecac e2 :|

g|(a/g/f/e/ cA) Bcdf|(a/g/f/e/ c)e (a/g/f/e/ c)e|(a/g/f/e/ cA) Bcdf|ecac e2 (Ag)|

(a/g/f/e/ cA) Bcdf|(a/g/f/e/ c)e (a/g/f/e/ c)e|(a/g/f/e/ c)A Bcdf|ecac e2A |]

                             

KEEP YE WHIGS IN ORDER. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.


                   

KEEP YOUR COUNTRY BONNIE LASSES. AKA and see "Irish Jig" (Shetland), "Niel Gow" (Strathspey). Shetland, Mainland district. The title is virtually the same as "Keep the Country Bonnie Lassie."

                   

KEEP YOUR FEET JOHNNY. AKA and see "Boher O'Huaid," "Northern Road," “Stir Thy/Your Feet Johnny.” Irish, Jig. D Major. Standard tuning. AAB. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 64, pg. 28.

X:1

T:Keep Your Feet Johnny

M:6/8

L:1/8

R:Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

A | AGF (A2D) | DED FED | AGF (A2D) | A3d3 | AGF (A2D) | DED AGF |

EFE (E2F) | G3B3 :| ABc (d2F) | AGF (d2F) | ABc dAF | B3d3 | ABc ded |

cBA (d2A) | Bcd EGE | G3B3 | ABc d2F | AGF (d2F) | ABc dAF | B3d3 |

faf gec | fdB AFD | EFE E2F | G3B3 ||

                   

KEEP YOUR FEET OUT OF THE SAND. Old‑Time, Breakdown. A Dorian. Standard tuning. ABB'. Source for notated version: James Smalley (fiddler and fifer from Westmoreland County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 51, pg. 37.

                   

KEEP YOUR WIFE AT HOME. AKA and see “Bob and Joan,” “Fill the Bumper Fair,” “Love and Whiskey,” “Stoneybatter [1].”

 

KEEPER HILL (Cnoc Ceupeir/Coimeaduide). Irish, Reel. A Major. Standard tuning. AB (O'Neill/1850): AA'BB' (O'Neill/Krassen). “Keeper Hill,” is the translation of the Irish Slieve Kimalta. Keeper Hill, near Nenagh, is the highest mountain in the Silvermines area of County Tipperary, and the most northerly and most westerly summit in the range. See note for the related “George Booker [1].” O'Neill (Krassen), 1976; pg. 147. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1481, pg. 274. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 709, pg. 125

X:1

T:Keeper Hill

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001  Gems (1907), No. 709

Z:AK/Fiddler’s Companion

K:A

A,2 A,C EDEF|ABAc BABc|A,2 AC EDEF|ABcA BAFA|A,2 A,C EDEF|

ABAc BABc|defd cdec|BABc BAFA||cAae cAae|cAag fedc|dBbf dBbf|

dBbf gfed|cAae cAae|cAag fedc|defg agae|dBcA BAFA||

 

KEEPER HILL MARCH.  AKA and see “Larkin’s Advance.”

 

KEEPSAKE, THE (An Cuimneacan). Irish, Air (6/8 time, "gracefully"). G Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 575, pg. 101.

X:1

T:Keepsake, The

M:6/8

L:1/8

R:Air

N:”Gracefully”

S:O’Neill – Music of Ireland (1903), No. 575

Z:AK/Fiddler’s Companion

K:G

B/c/|ded dec|dge dBG|ceg edB|{c}BAA A2 B/c/|ded dec|dge dBG|gBe dBG|{B}AGG G2:|

|:d|g>ag gfg|afd d2 e/f/|g>ab bag|afd d2 e/f/|gag fgf|efe d2 e/f/|gBe dBG|{B}AGG G2:|

 

KEIKING GLASSE, THE. Scottish, Air (4/4 time). F Major. Standard tuning. ABB. Carlin (Master Collection), 1984; No. 130, pg. 81.

 

KEITHMORE. Scottish, Strathspey or Pastoral Air. E Flat Major. Standard tuning. AB. Composed by William Marshall (1748-1833). The Mains of Keithmore, Glen Fiddich, was the name of a farm of Duke of Gordon, which Marshall lived in and ran after he left the Duke’s employ as Steward of the Household in 1792. Moyra Cowie (1999) finds that little remains of the farm at Keithmore today. Keithmore was originally a wadset, or mortgaged land, received by Alexander Duff from the Marquis of Huntly around 1640. “In 1680,” says Cowie,  “Alexander Duff and his wife built the fortified house of Keithmore ‘to with stand cannon’ and it was into this old house that Marshall and his family moved.” The name Keithmore derives from the Gaelic words for ‘wind’ and ‘great’. Henderson (Flowers of Scottish Melody), 1935. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 59.

X:1

T:Keithmore

M:C

L:1/8
R:Strathspey or Pastoral Air
S:Marshall1822 Collection

Z:AK/Fiddler’s Companion

K:E_

[G,E]>GBG Bc ~G2|E>GBG Be GE|~E>GBG B/c/d/e/ ~G2|C<F F>G A/G/F/E/ E/D/C/B,/|

~E>GBG Bc ~G2|E>GBG BeGE|~E>GBG B/c/d/e/ ~G2|C<F F>G A/G/F/E/ E/D/C/B,/||E/F/G/A/ B/c/d/e/ e/d/c/B/ e2|G/B/c/d/ e/f/g/a/ bgeB|

G/B/c/d/ e/d/c/B/ c/B/A/G/ ~EG|FC ~F>E DB,CD|E/F/G/A? B/c/d/e/ e/d/c/B/ e2|

G/B/c/d/ e/f/g/a/ bgeB|A,c cA, G,B BG,|C<F F>G A/G/F/E/ E/D/C/B,/||

 

KELLER'S WALTZ. AKA and see "Brown Kelly Waltz," "Kelly Waltz," "Kellytown Waltz." Old‑Time, Waltz. USA; Texas, Oklahoma. G Major. Standard tuning. ABCC (Christeson): ABCDD' (Phillips). A popular waltz among western-style fiddle players in the United States. It was apparently originally named after a fiddler named Keller, though the name has come down in oral tradition as Kelly, and the “Kelly Waltz” is the title by which it is perhaps best-known today. Texas fiddler Matt Brown added a part starting on the IV chord, and his variant of the tune is referred to as the “Brown Kelly Waltz.” R.P. Christeson notes: "Uncle Joe Morrow claimed he knew Keller, who for a time was a fiddler for a travelling medicine wagon. According to Mr. Morrow, Keller was in debt to a saloon in Mangum, Oklahoma, and offered to compose a waltz and play it for customers to settle the bill. The saloonkeeper agreed, and this purportedly is the waltz Keller composed." Texas fiddler Bryant Houston, reputedly the composer of "Lime Rock," is also said by some to have composed this melody. The tune was recorded in 1928 by Texas barber and fiddler Oscar Harper (an associate of Prince Albert Hunt) for Okeh Records (Wolfe, 1997). Woody Guthrie played at tune (in the key of ‘D’) called the “Cowboy Waltz,” which was a simplification of the “Kelly Waltz” melody. Source for notated version: Uncle Joe Morrow (Texas) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 197. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pgs. 272-273 (appears as "Kelly Waltz").

 


KELLOGG'S QUICKSTEP. AKA and see "Ed Kellogg's Quickstep." American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AABB. A fifer's march. Sources for notated versions: The Hoge MS. and George Fisher (Somerset County, Pa., 1962; both of whom had it from fifer Charles F. Cook, Somerset County, Pa.) [Bayard]. American Veteran Fifer, No. 26 (appears as "Ed Kellogg's Quickstep"). Bayard (Dance to the Fiddle), 1981; No. 198A‑B, pg. 155.

 

KELLY (HORNPIPE), THE. Irish, Hornpipe. Source for notated version: concertina player Chris Droney [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 66.

 

KELLY SCHOTTISCHE. Old‑Time, Schottische. USA, Nebraska. B‑Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory), vol. 1, 1973; pg. 157.

 

KELLY THE BOY FROM KILANE. Irish, Air (4/4 time). D Major. Standard tuning. AABB. John Moulden identifies this song as written by a Dublin City Councillor and Patrick Street publican, Patrick Joseph McCall (1861‑1919), a prolific songwriter of mostly patriotic ballads whose ballad sheet collection is in the National Library of Ireland. Moulden states his style of writing was informed by ballad sheets and therefore is missing from “polite” anthologies. John Kelly was a merchant's son from Kilane, County Wexford, and a man of impressive size, seven feet or more. He participated in the rising of 1798, fighting under the command of Bagnal Harvey, one of the Protestant leaders of the rebellion. Kelly led the men from the Wexford areas of Bargy, Forth, Shelmalier and the Barony of Bantry in Harvey’s attack on the town of New Ross. The United Irishman captured the town, rested, and lost it again and several hundered croppies were lost in the battle. Kelly was badly wounded in the engagement and was captured at his sister’s house where he was recovering. Subsequently he was tried at a court-martial and convicted; a story goes it was on the evidence of a Yeoman sergeant, a neighbor whose life he had saved some days before. He was hanged on Wexford bridge, his trunk thrown into the water and his head spiked over the courthouse to rot after being kicked about. Kelly’s head was eventually recovered by friends who brought it to Killane, where, much later a monument to his memory was erected.

***

What's the news, what's the news, my bold Shelmalier

with your long barrell'd gun of the sea,

Say, what wind from the sun blows his messenger here,

with a hymn of the dawn for the free;

Goodly news, goodly news do I bring your of Forth,

goodly news you shall hear Bargy men,

For the boys march at dawn from the south to the north,

led by Kelly the boy from Killane.

***

Roche Collection, 1983, vol. 3; No. 36, pg. 10.

X:1

T:Kelly the Boy from Killane

R:March

M:4/4

Z:Transcribed by Paul Keating

L:1/8

S:Tony Crehan, Miltown Malbay

Q:150

K:A

Ac|e2 e>e a2 a>f|e2 c>A F2 A>B|c2 B>c ed BG|A2 A>B A2:||

ee|f2 df a2 af|e2 af e2 e>e|f2 d>f ab/2a/2 g>f| e2 e>f e2 Ac|

e2 e>e a2 a>f|e2 cA F2 A>B|c2 B>c ed B>c|A2 A>B A2||

 


KELLY THE RAKE (Ua Ceallaig an Racaire). AKA and see “Moll in the Wad [1].” Irish, Double Jig. G Major (‘A’ part) & G Minor (‘B’ part). Standard tuning. AA'BB'. A nearly identical tune to “Moll in the Wad” in Ryan’s Mammoth Collection (1883). O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 736, pg. 137.

X:1

T:Kelly the Rake

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 736

Z:AK/Fiddler’s Companion

K:G

gdB gdB | gdB g2a | bag gfg | afd d^cd | gdB gdB |

gdB g2a | bag fga |1 g3g2z :|2 g3=f2z ||

K:G Minor

fdB {c}BAB | fBB gBB | fdB {c}BAB | cAF FAc | fdB {c}BAB |

fBB gBB | fba gfe |1 dcB AGF :|2 dcB AFd ||

 

KELLY WALTZ. See "Keller's Waltz," "Brown Kelly Waltz."

 

KELLY’S CASTLE. See “Castle Kelly.”

           

KELLY’S CELLARS. Irish, Reel. D Major. Standard tuning. AABC. Composed by Mullaghbawn, south County Antrim, fiddler and piano player Josephine Keegan (b. 1935). Kelly’s Cellars is the name of a famous pub in Belfast, dating from the year 1720. The United Irish leader Henry Joy McCracken (1767-1798) hid underneath a counter there from English troops at the end of the 1798 rebellion, although he was later caught and executed. Keegan (The Keegan Tunes), 2002; pg. 24.

                       

KELLY'S GOAT. American, March (2/4 time). USA, southwestern Pa. G Major. Standard tuning. AABB. See also the related “Greenend Park” and “Lady Shaftsbury(‘s Strathspey).” Sources for notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa.) and Charles F. Cook (fifer from Somerset County, Pa.) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 148, pgs. 82‑83.

                       

KELLY'S HORNPIPE [1]. Irish, Hornpipe. G Major. Standard tuning. AABB. Allan's Irish Fiddler, No. 102, pg. 26.

 

KELLY'S HORNPIPE [2]. Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 361, pg. 175.

X:1

T:Kelly’s Hornpipe [2]

M:4/4

L:1/8

R:Hornpipe

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G

Bc | dBGB cAFA | (3GFG AF GABc | dgfg efge | dBGB ABc^c | dBGB cAFA |

(3GFG AF GABc | dgfg ecAF | G2 GF G2 :: Bc | dg (3gfg eg (3gfg | dgfg eg (3gfg |

dgfg efge | dBGB ABc^c | dBGB cAFA | (3GFG AF GABc | dgfg ecAF | G2 GF G2 :|

 

KELLY’S HORNPIPE [3]. AKA and see “Fisher’s Hornpipe.” Irish, Hornpipe. D Major. Standard tuning. AABB. Source for notated version: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 98, pg. 85.

                       

KELLY'S JIG (Port Ui Cheallaigh). AKA and see "The Killimor Jig." Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated version: piper Patrick O Broithe (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 11, pg. 6.

                       

KELLY'S NO. 2. Irish, Reel. G Major. Standard tuning. AAB. O’Neill (1922) remarks that source Kelly was “a fiddler of phenomenal execution” living in San Francisco, California, and was a native of Roscommon, Ireland. Source for notated version: John Kelly (San Francisco) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 253.

X:1

T:Kelly's Number Two

M:4/4

L:1/8

S:John Kelly, San Francisco

Z:Paul Kinder

R:Reel

K:G

AG (3GGG G2 GF|DFCF (3DEF CF|AG (3GGG GABc|d2 ge fdcA:||

G2 gf gagf|dBcB AGFD| G2 gf g2 fg|agfg (3agf g2|

dgga g2 ag|f2 af defg|(3agf ge fdcB|A2 ag fdcA||

                       

KELLY’S NO. 3. Irish, Reel. D Major (‘A’ part) & D Mixolydian/Major (‘B’ part). Standard. AB. Source for notated version: Frank McCollam (Ballycastle, County Antrim) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 223, pg. 60.

                                   

KELLY'S REEL. AKA and see "Banks of the Ilen," "The Barrack Street Boys,"  "Birnie‑boozle," "Braes of Tullymet," "Brides Away," "Bride(s) to Bed," "The British Naggon," "Caledonian Hunt [1]," "Cheese It," "Corney is Coming," "Crawford's Reel [1]," "D. Dick's Favourite," "The Honeymoon (Reel) [2]," "I saw her,"The Lumberjack Reel,” "Miss Grant of Grant [1],” "Miss Wilson," "Merry Bits of Timber," "My Love is in America," "My Love is in the House [1],” "Shannon Breeze [2]," "Six Mile Bridge.” Irish, Reel.

                                   

KELLY’S SLIDE.  See “John Kelly’s Slide [1].”

 

KELLY’S WALTZ. Old-Time, Waltz. The tune is credited to Matt Brown, a Texas fiddler who died in 1915.

                                   

KELLYTOWN WALTZ. AKA and see "Keller's Waltz," "Kelly Waltz."

                                   

KELO HOUSE. Scottish, Reel. G Minor. Standard. AAB. Kelo House = Kelso House?  The melody was composed by Abraham Macintosh, son of 'Red Rob' Macintosh, and appears in his Thirty New Strathspey Reels Etc. (Edinburgh, c. 1792). The second part of the melody is very similar to that of “Miss Clementina Stewart.” Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 44 (appears as “Kelo House”, a typo). Johnson (A Twenty Year Anniversary Collection), 2003; pg. 15. Maggie’s Music MMCD222, Bonnie Rideout – “Scottish Fire” (2000).

X:1

T:Kelso House

M:C|

L:1/8

R:Reel

S:Glen Collection, vol. 1  (1891)

Z:AK/Fiddler’s Companion

K:G Minor

D|G,/G,/G, G,A, B,CD=E|FCDB, A,/B,/C A,^F|GG,G,A, B,CD^F|GEDC B,G,G,:|

D|G/G/G BG dGBG|FAcf cAFA|G/G/G BG dGBG|cedc BGGd|

G/G/G BG dGBG|FAcf cAfc|dBcA BGA^F|G/^F/E/F/ GD B,G,G,||


                                   

KELSAE BRIG. Scottish, Reel. Composed by fiddler Ian Hardie, published in his A Breath of Fresh Airs. Green Linnet GLCD1182, The Tannahill Weavers - “Choice Cuts 1987-1996.”

                                   

KELSO BOWLING GREEN. Scottish, Single Jig (12/8 time). D Major. Standard. ABB’. Published in the 1799 by Thomas Calvert, a musician from Kelso, Scotland. A note with the collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.”

X: 1

T:Kelfo Bowling Green

M:12/8

L:1/8

R:jig

Z:Transcribed by Philip Whittaker

B:Calvert Collection Page 19

K:D

F | D2 A AFA D2 D D2 A, | D2 A AFA E2 E E2 F | D2 A AFA BGB AFA |

GBG FAF E2 E E3 ||A | B2 c/2d/2  AFA D2 D D2 A | Bcd AFA BG E E2 A |1

Bcd AFA B2 c/2d/2 AFA | GBG FAF E2 E E2 ||2 DA,D EDE FEF G2 A | Bcd AGF E2 E E2 ||

                                   

KELSO FIDDLE & ACCORDION CLUB. Scottish, March. G Major. Standard tuning. AB. A modern composition by Bob Liddle that has some currency on both sides of the British Borders region. Topic TSCD 669, Willy Taylor, Joe Hutton & Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Atkinson {b. 1908} of Crookham, Northumberland, was an harmonica player, Taylor a fiddler and Hutton a Northumbrian small-piper).

X: 1
T:Kelso Fiddle & Accordion Club
M:4/4
L:1/8
C:Bob Liddle
K:G
GA | B2 AG D2 G>F |  EAGE D2 GA | B2 AB d2 cB | A2 A>B A2 GA |
| B2 AG D2 G>F |  EAGE D2 GA | BdcB AcBA | G2 G>A G2 || Bc | d2 Bd g2
fe | d2 BG c2 Bc | d2 Bd g2 fg | agfe dcBc | d2 Bd g2 fe | d2 BG E2
GA  | BdcB AcBA | G2 G>A G2 ||

                                   

KELSO HIRING FAIR. AKA and see “Victoria Waltz.” English, Waltz. C Major (‘A’ part), D Major (‘B’ part) & G Major (‘C’ part). Standard tuning. AABBC. From the playing of Borders fiddler Tom ‘Tam’ Hughes, who had the tune from an elderly street fiddler at the Kelso hiring fair (for agricultural labor) in 1928. Larry Sanger identifies a distanced version of the tune that was in the repertoire of Donegal fiddler John Doherty under the title “The Victoria,” also known as “The Exhibition” (although given as “The Speaking Waltz” on the Folktracks album “Pedlar’s Pack”). See also note for “Victoria Waltz.”

X:1
T:Kelso Hiring Fair
T:Victoria Waltz
D:Tom Hughes, Border Fiddler
N:Simplified transcription (unfinished)
Z:Nigel Gatherer
M:3/4

L:1/8

R:Waltz
K:C
G>F | E2  C2  C2  | E2  C2  C2  | E2  C2 C2 | G^F AG=FD |

A,2 B,2 B,2 | A,2 B,2 B,2 | G^F AG FG | E2  C2 C2 | E2  C2  C2 |

E2  C2 C2 | G^F AG=FD | A,2 B,2 B,2 | A,2 B,2 B,2 | G^F AG =FED | C4 :|
K:D
A>d | f3 ffe | d4  A2 | BA G2 F2  | A,2 C2 C2 | g3 agf | e3 dcB |

A2 G2 E2  | F2  D2 D2 | f3 ffe | d4  A2 | BA G2 F2  | A,2 C2 C2 |
g3 agf | e3 dcB | A2 G2 A,2 | D4 || A2  | d2 Fd Fd | c2 Gc Gc | B2 GB GB |

A2 FA FA | d2 Fd Fd | c2 GA B2 | A2 G2 C2 | D4 :|
K:G
Bc | d4 c2 | e4 d2 | b6 | b4 c'2 | b4    a2 | B4    f2 | gf ga bg | d2 B2
Bc | d4 c2 | e4 d2 | b6 | b4 c'2 | b4    a2 | B4    f2 | gf ga ba | g4 ||

                       

KELSO LASSES. Scottish, Slip Jig. G Major. Published in Neil Stewart’s Select Collection… 

                                   

KELSO RACES. Scottish, Slow Jig. D Major. Standard tuning. AABBCC. See also "The Welcome," "A Western Lilt," "Come in the Evening," "The Spotted Cow," "The Goats’ Horn(s)," "Galway Tom [1]," "Galloway Tom [2]," "Galway Town," "The Thrush's Nest," "The Little Yellow Boy," "An Buachaillin Bui," "The Lark in the Morning [1]." There is an interesting broadside document entitled “List of the Nobility and Gentry Who appeared at the Balls at Kelso Races, October 1783.” Arranged alphabetically, the list was published by a local Kelso printer. Horse racing in the Kelso area—a Borders region of Scotland—dates to 1751, it wasn’t until the 1760’s that the Kelso races became firmly established. Sir Alexander Don’s horse, “Cheviot” won a famous race there in 1765. The famous Caledonian Hunt was formed in Kelso in 1777. A Colonel Thornton of Yorkshire, a visitor to the town in 1786, gave this description:

***

A charming scene of confusion; cooks, ladies’ servants, waitresses all running against each other,

being the time of the Kelso Races. The company is composed of gentlemen of the Turf on both

sides of the Tweed with families and friends and also members of the Caledonian Hunt. Foxhounds

and harriers hunt alternately in the mornings. There is also a concert and races and next night the

gentlemen of the Hunt give a handsome ball. After the lades retired therefrom, the gentlemen

formed a party to drink healths and when I got up at 8 they were still drinking and meant to sit

till hounds went out. This meeting, I heard, is most expensive of any. An English Steward was

obliged to pay 10 guineas for his room, though only there 5 nights.

***

Kelso Races continues to be the ‘home of Scottish Borders racing’ and has enjoyed the patronage, past and present, of the Dukes of Roxburghe. Carlin (Gow Collection), 1986; No. 338. Gow (Beauties of Niel Gow, Book I), pg. 15. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 33.

X:1

T:Kelso Races

M:6/8

L:1/8

S:Gow – First Collection of Niel Gow’s Reels (1784, revised 1801)

Z:AK/Fiddler’s Companion

K:D

A|~d>ed (fd).d|(ed).d (fd).d|~d>ed (fd).d|fdB “tr”B>AF|~d>ed (fd).d|

(ed).d (fd).d|d>ed {ef}g2e|fdB ~B2::d|(AF).A (A2B)|(AF).A (A2B)|

(AF)A A2d|fdB ~B2{c}d|(AF).A A2d|(AF).A A2d|”tr”BA(B {ef}g2)e|

(fd).B ~B2::(A/4B/4c/)|df/g/a/f/ af/g/a/f/|bg/a/b/g/ af/g/a/f/|df/g/a/f/ af/g/a/g/|

fdB “tr”BAF|df/g/a/f/ af/g/a/f/|bb/c’/d’/b/ af/g/a/f/|ge/f/g/e/ af/g/a/g/|fdB ~B2:|

                                   

KELSO VOLUNTEERS MARCH. Scottish, March (4/4 time). A Major. Published in the 18th century by Thomas Calvert.

                                   

KELSO VOLUNTEERS QUICKSTEP. Scottish, March (6/8 time). A Major. Standard tuning. AB. Published in 1799 by Thomas Calvert, a musician from Kelso, Scotland. A note with the collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.” The Volunteer regiments were formed in England at the beginning of the 19th century in response to the threat of invasion by Napoleon.

X: 1

T:Kelso Volunteers Quick Step, The

M:6/8

L:1/8

B:Thomas Calvert Collection - page 3

Z:Nigel Gatherer

K:A

E|{E}A3 AcA|"tr" BcB Bcd|"tr" cdc cBA|"tr" BAF FEF|

{E}A3 AcA|"tr" BcBBcd| {d}[c2A2] e "tr" dcB|{d}cAA [A2C2]||

d|{d}c2 e efg|agf "tr" edc|"tr" dBd cAc|BGE E2 d| {d}c2 e efg |

agf "tr" edc|{d}[c2A2] e dcB|{d}cAA [A2C2] d|{d}c2 e efg |

agf "tr" edc| "tr" dBd cAc|BGE E2 B|"tr" cAc dBd|"tr" ece fdf |

"tr" gfg aed|{d}cAA [A2C2]||

                                   

KELSTERNE GARDENS. English, Country Dance Tune (4/4 time). D Minor. Standard tuning. AABB. The tune dates to c. 1727. Barnes (English Country Dance Tunes), 1986.

                                   

KELTON'S JIG. American, Jig. D Major. Standard tuning. AABB. Source for notated version: Jehile Kirkhuff (Pa.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 369.

                                   

KELTON'S REEL.  AKA - “Kelten’s.” AKA and see “Off with Your Jacket,” “Old Dad,” "Pigtown Fling," "Ston(e)y Point [1],” “Warm Stuff,” “Wild Horse,” “Wild Horses at Stoney Point.” Scottish (originally), Irish, American; Reel or Highland. G Major. Standard tuning. AABB. The tune appears under this title in White’s Collection and in Ryan’s Mammoth, although it does not appear in Cole’s 1000 Fiddle Tunes (the 1940 successor to Ryan’s). Howe (1000 Jigs and Reels), c. 1867; pg. 131. Ryan’s Mammoth Collection (appears as “Kelton’s Reel or Pigtown Fling”). White’s Unique Collection, 1896; No. 70, pg. 13.

X:1

T:Kelton’s Reel

M:2/4

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 70

Z:AK/Fiddler’s Companion

K:G

.Gg/e/ .de/d/ | .B(g/e/) d/B/A/B/ | .Gg/e/ .de/d/ |1 B/G/A/G/ E/F/G/A/ :|2 B/G/A/F/ Gz ||

|: .B.e e/f/g/e/ | f/e/d/f/ e/d/B/A/ | .B.e e/f/g/e/ | f/g/a/f/ gz :|

                                   

KELVAROCK. AKA and see “Kilrack’s Reel.” Scottish, Slow Strathspey. A Mixolydian. Standard tuning. AAB. "A very old tune,” notes Gow in his First Collection (1784). See note for “Kilrack’s” for more. Carlin (Gow Collection), 1986; No. 79. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 26. Rounder Records 7032, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

X:1

T:Kelvarock's Strathspey

M:4/4

L:1/8

Z:Transcribed by Toby Rider

R:Strathspey

K:G

B,| G,2 G>D G,<G,G>D| C>A A>G E/2E/2E E>G|  D>EGB, D>EG>A| B>G c>A BGG:|!

(B/2c/2)|d>BG>B d>edB| c<e d>B A/2A/2A AB/2c/2|d>BG>B d>edc| c<ed>B G/2G/2G Gc/Yu2d/2|!

e>cd>B c>AB>G| G<e dB A/2A/2A A2| G>EDC B,A,G,B|c>Ad>B G/2G/2G G||

 

KELVIN GLADE WALTZ, THE. Scottish, Waltz. G Major. Standard tuning. Composed by Carl Volti, born Archibald Milligan in Glasgow in 1849. Volti, a fiddler, contributed  many tunes found in the Kerr’s collections and published several tutors, albums of popular songs, national overtures, etc. (Nigel Gatherer). Kerr (Kerr’s Collection of Merry Melodies for the Piano), pg. 46.

 

KELVIN GROVE [1]. Scottish, Country Dance Tune (duple time). G Major. Standard tuning. One part (Howe): AABB (Kerr). Howe (1000 Jigs and Reels), c. 1867; pg. 141. Kerr (Merry Melodies), vol. 3; No. 372, pg. 41. Howe (1000 Jigs and Reels), c. 1867), pg. 141.

X:1

T:Kelvin Grove [1]

M:4/4

L:1/8                                                                          

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

Z:AK/Fiddler’s Companion

K:G

(GA) | (BdAB) (GFED) | (E2A2A2) (GA) | (BdAB) (GFED) | (E2G2G2) (AB) |

c>B cd e2 Bc | (dBAG) (A2 GA) | (BdAB) (GFED) | (E2G2G2) ||

 

KELVINGROVE [2]. English (?), Air (3/4 time). G Major. Standard tuning. AB.

X:1

T:Kelvingrove

% Nottingham Music Database

S:Kevin Briggs

M:3/4

L:1/4

K:G

G/2A/2|"G"B2d|"D/a"A2B|"G/b"G2F|"G"E2D|"C"E3|"A7/c+"A2B|"D7"A3-|"D7"AGA|

"G"B2d|"D/a"A2B|"G/b"G2F|"G"E2D|"C"E3|"Cm"G2A|"G"G3-|"G"GA"g#"B||

"Am"c2B|"Am7/g"c2d|"D7/f+"e3-|"D7"eBc|"G"d2"b"B|"A7/c+"A2G|"D7"A3-|"D7"AGA|

"G"B2d|"D/f+"A2B|"Em"G2F|"Em"E2"d"D|"C"E3|"Cm"G2A|"G"G3-|"G"G2||

 

KEMLOCK. English, Country Dance Tune. This old melody was found by the author of English Folk-Song and Dance (pg. 144) in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Thursley in Surrey) who used, in his youth, to play at village dances. Tilbury learned his repertoire from an uncle, Fiddler Hammond, who died around 1870 and who had been the village fiddler before him. The conclusion was that “Kemlock” and similar old country dances had survived in English tradition (at least in southwest Surrey) well into the second half of the 19th century.

 

KEMO, KIMO. AKA and see "Polly Kimo." American, Dance and Song tune; English, Air and Morris Dance Tune (2/4 time). D Major (Ford, Raven): B Flat Major (Scott). Standard tuning. AB (Raven, Scott): AABB (Ford). A black-face minstrel song, popularized in England in the nineteenth century by the vocalist Sam Cowell.

***

In South Car'lina the darkies go

Sing song, Kitty, can't you ki'me, oh!

That's whar the white folks plant the tow,

Sing song, Kitty, can't you ki'me, oh!

***

Chorus:

Kemo, Kimo! Dar! Oh, whar?

Wid my hi, my ho, and in come Sally, singing,

Sometimes penny‑winkle‑lingtum, nip‑cat.

Sing song, Kitty, can't you ki'me, O! (Ford).

***

Ford also prints the words to a derogatory minstrel‑type song to the same tune called "Polly Kimo" (Ford, 1940; pg. 540). Ford (Traditional Music in America), 1940; pg. 106 (additional verses on page 418). Raven (English Country Dance Tunes), 1984; pg. 154. Scott (English Song Book), 1926; pg. 82.

 

KEMP'S HORNPIPE. Scottish, Hornpipe. A Major. Standard tuning. AABB. This tune appears in Honeyman as "an excellent study for the mastery of 'The Sand Dance' style (of hornpipe playing)". Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 39.

X:1

T:Kemp’s Hornpipe

M:C

L:1/8

R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:A

e>d|c>Ac>e a>gf>e|f>ed>c B2 e>d|c>Ac>e a>gf>e|(3ded (3cdc B2 e>d|c>Ac>e a>gf>e |

f>ed>c B2 e>d|c>BA>G A>fe>d|c2 A2 A2 :: e>d|c/B/A a>A g>A f>A|e>ac’>a e2 e>d |

c/B/A a>A g>A f>A|e>dc>A B2 e>d | c/B/A a>A g>A f>A|e>ac’>a e2 e>d | c>fe>d c>ef>g | a2 A2 A2 :|

 

KEMP'S JIG. AKA and see "Roland." English, Country Dance Tune. D Major (Johnson, Raven): D Minor (Playford). Standard tuning. One part (Raven): AB (Johnson): AAB (Playford). Published by Playford in his English Dancing Master (1651). The tune dates to the 16th century and commemorates the feat of Will Kemp, a member and shareholder with William Shakespeare in the Company of the Lord Chamberlain’s Men and the Globe Theatre, who bet he could dance a morris jig from London to Norwich (about 125 miles). Kemp was a famous comic actor and clown, and it is likely that Shakespeare wrote some of his early characters with Kemp in mind. He played the part of Dogberry in Much Ado About Nothing, and is famous for creating the Auguste character (thought to have been descended from the Vice character of medieval mystery plays), although Shakespeare and he may have had a falling out due to his penchant for improvising and playing to the crowd.

***

Kemp’s dancing feat took approximately nine days, spread out over about a month in order that he might rest and recuperate during the journey. He was accompanied by a pipe-and-tabor musician and a referee who kept strict watch that he danced the distance; important as betting was heavy and Kemp put up a considerable sum on himself to complete the distance.  His feat, really a publicity stunt of sorts, proved lucrative for in addition to his winnings he received a pension from Norwich and published a book on his exploit. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 132 (appears as “Trip to the Manors”, the name of a country dance composed in 2000 by Gary Roodman, set to the tune). Johnson (The Kitchen Musician No. 14: Songs, Airs and Dances of the 18th Century), 1997; pg. 10. Raven (English Country Dance Tunes), 1984; pg. 8 & 39.

X:1

T:Kemps Jegg

M:6/8

L:1/8

Q:110

S:Playford

R:Jig

K:D

Aeol ded ded|cde edc|def e2d|c3 A3:|

F3 G3|A6|F3 G3|A6|F2E F2G|A2A AGF|E2D EFE|D3 D3||

X:2

T:Kemp’s Jig

L:1/8

M:4/4

K:D

f3 g f2e2|d3e d2c2|B2A2B2c2|d4 d4|fefg f2e2|dcde d2c2|B2 A2 BABc|

d4 d4|f2a2f2a2|f2 ag f4|e2g2e2g2|e2 d=c b2^c2|d2A2F2A2|d2 AG FG A2|

 

KEMP'S MORRIS. AKA and see "The Chirping of the Lark."

 

KEMPSHOTT HUNT. Scottish, Quickstep or Polka. A Mixolydian. Standard tuning. AABBCC. While it appears to have originally been played as a quickstep march, it is often rendered nowadays as a polka. “Kempshott Hunt” appears in the John Clare (1793-1864) manuscripts. Clare was a fiddler, poet, writer and collector of songs and tunes who lived in the East Midlands village of Helpstone, near Stamford. In 1820 he published a successful collection of poems, entitled Poems Descriptive of Rural Life and Scenery by John Clare, a Northamptonshire Peasant, followed soon thereafter by The Village Minstrel (1821). Unfortunately Clare deteriorated in his 40’s and was committed to asylums, spending the last 23 years of his life in Northampton General Lunatic Asylum. He died there in 1864. Carlin (The Gow Collection), 1986; No. 571. Gow (Third Collection of Niel Gow’s Reels), 1792; pg. 26 (3rd ed.).

X:1

T:Kempshott Hunt

M:2/4

L:1/8

R:March

B:Gow – 3rd Collection of Niel Gow’s Reels, 3rd ed.,pg. 26  (orig. 1792)

Z:AK/Fiddler’s Companion

K:A

f|e2 ce|{d}cB/A/ ce|ce (d/c/)B/A/|dBBf|e2 ce|{d}cB/A/ ce|cedf|eAA:|

|:B|(3ABA (.e.c)|(f>de>c|(3ABA (.e.c)|dBB>c|(3ABA (.e.c)|fded|cedf eAA:|

|:e|{g}a2 ec|{g}a2 ec|{g}a2 ec|dBB>g|{g}a2 fd|cedf|eAA:||

 

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

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