Key signature: Dmajor
Submitted on August 1st 2002 by Bannerman.
This tune has been added to 167 tunebooks.
Also known as Kitty’s Wedding, Ships In Full Sail, Smith's, Smith's Delight, Smith's Reel.
Recordings of a tune by this name:
X: 1
T: Kitty's Wedding
M: 4/4
L: 1/8
R: hornpipe
K: Dmaj
|:fe|d2Bd A2FA|BAFA D2 ED|B,DA,D DFBF|AFDF E2fe|
d2Bd A2FA|BAFA D2 ED|B,DA,D DFBF|AFEF D2:|
|:fg|afed bafd|Adfd edBd|DFAd FAde|fdgf e2fg|
afed bafd|Adfd edBd|DFAd FAdf|eABc d2:|
Kitty's Wedding
In County Clare, this tune is normally played third in the set after Sonny Murray's and Home Ruler. It's a nice fiddle tune with the low As and Bs.
# Posted on August 1st 2002 by Bannerman
German - Schottische - German Schottische - Barndance
In the North, Ulster, this was also played as a 'German', or any of the above mentioned. It has strong two bar phrasing and fits the typical dance forms beautifully, as did other 'hornpipes', more of that 'melding'. However you slice it, it's a lovely tune...
# Posted on August 15th 2004 by ceolachan
On flute
what do flute/ whistle players do on first par where it drops below D. I've tried jumping it up to ed | BdAd and justing playing long D's but not sure about either approach?
# Posted on March 27th 2007 by the wounded hussar
"Kitty's Wedding" for the below D challenged
K: D Major
|: (3gfe |
d2 B>d A2 F>A | B>AF>A D2 E>D | (3Bcd A>B D>FB>F | A>FD>F E2 f>e |
(3ded B>d A2 (3FGA | B>AF>A D2 E>D | B>dA>B D>FB>F | A>FE>F D2 :|
|: f>g |
a>fe>d b>af>d | A>df>d e>d (3Bcd | D>FA>d F>Ad>e | (3fgf (3def e2 f>g |
a2 (3fed b2 a>f | A>df>d e>dB>d | D>FA>d F>Ad>f | e>AB>c d2 :|
~ minus the notated swing and triplets ~
K: D Major
|: fe |
d2 Bd A2 FA | BAFA D2 ED | BdAB DFBF | AFDF E2 fe |
dABd ADFA | BAFA D2 ED | BdAB DFBF | AFEF D2 :|
|: fg |
afed bafd | Adfd edBd | DFAd FAde | f2 df e2 fg |
a2 fd b2 af | Adfd edBd | DFAd FAdf | eABc d2 :|
# Posted on March 27th 2007 by ceolachan
Thanks c,
I've also figured that it goes Ok as well, if one just stays one octave up. i.e. |: fe | d2 Bd A2 FA | BAFA D2 ed | BdAd dfbf | afdf e2 fe |
# Posted on March 28th 2007 by the wounded hussar
|: d/e/f/g/ | ~
~ some fun with going 'up' into the B-part...
Yeah, I've gone high like that there too, but not as standard, as a once off variation. I prefer holding back and letting the 'high' take mostly lie with the B-part of the tune.
I like how the first two bars drop down to the D, and then you make a little jump with say (3Bcd and then again return low to the E. That gives you four nicely descending two bar phrases for the A-part that are still 'low', if not as low as the fiddles or reeds can take it. Basically, those 2-bar phrases have the high d and drop down to the D or E below, then when you glide up into the B-part you've got a well defined high part that is clearly distinct from the A-part. You also have a reverse of the situation with the B-part in the two bar phrases of bars 3 & 4 and 7 & 8 where it ascends from D to d or e, and that all builds to a great dance tune, one that helps the dancers and the dance along, clarifying 2, 4 & 8 bar phrases, which help punctuate the changes of any dance, couple or group...
So, there's my reasoning. I think going high in the A-part can take away from that a bit, but just a bit. It's my preference for it. Winds sometimes prefer taking it high to set themselves outside of tone guzzling instruments like the accordions, but, the further away you are from the base of a tune, and in this case you'd be two octaves away, there is another issue to consider ~ being in tune... It is also an issue with winds, flutes in particular, that can cause ire, sometimes quietly steaming away amongst the other musicians present. I promise, taking it high, two octaves above the base, if you are even just slightly out of tune, it will grate...
# Posted on March 28th 2007 by ceolachan