The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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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).
***
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
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.
KEEGAN’S. Irish, Double Jig. G Major. Standard. AABB. The title refers perhaps to
button accordion player Kevin Keegan, of
KEEGAN’S WALTZ. Irish, Waltz. The tune is from the playing of
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,
***
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
***
Chris Bartram (
***
The cat caught the measles, the measles, the measles,
The cat caught the measles, the measles caught the cat.
***
In the
***
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
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
KEELE CRANKE. Scottish. Perhaps "Killiecrankie"
or "Kilicrankie." Appears in Henry Playford's 1700 collection of
Scottish dance music.
KEELMAN, THE. English.
X:1
T:
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.
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
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
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.
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>,
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
X:1
T:Keep Your Feet Johnny
M:6/8
L:1/8
R:Jig
S:Levey – Dance Music
of
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
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
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
X:1
T:Keithmore
M:C
L:1/8
R:Strathspey or Pastoral Air
S:
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.
KELLOGG'S QUICKSTEP. AKA and see "Ed
Kellogg's Quickstep." American, March (2/4 time).
KELLY (HORNPIPE), THE. Irish, Hornpipe. Source for notated version:
concertina player Chris Droney [Bulmer & Sharpley]. Bulmer & Sharpley (Music from
KELLY SCHOTTISCHE. Old‑Time, Schottische.
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
***
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
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
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
KELLY'S GOAT. American, March (2/4 time).
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,
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. (
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
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.
M:2/4
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
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
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.
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
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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