The title of this tune presumably refers to what happened to the eponymous lady herself after she met Charlie. This is one of the first reels I was taught after I had learnt that technically easier group of polkas that beginners are often taught in my area. We play it in sessions occasionally. The version I was taught, and which is posted, is more or less that listed in Henrik Norbeck’s collection. It’s also one of those tunes where you’ve got to listen for a few bars before joining in because the start is similar to tunes such as College Groves, Farewell to Erin, Nine Points of Roguery, and probably one or two others.
A variation from Norbeck is as follows:
(3DDD FD ADFD|Acde fded|cAAB =c2=cd|eaag edd_d|
(3DDD FA defd|cAAB cdeg|fdec d2cA|BdcA FDDz:|
|:d2fd a2fd|ecAB cdec|d2fd a2fd|cdeg fdd2|
d2fd a2fd|cdef g2fg|(3agf ge fdec|dfeg fddz:||
The c nat in the 3rd bar of the A part is a good place for a roll.
Wasn’t somebody saying something about "Jenny" being a representation of Scotland? Who was that?
I know of 15 tunes with "Jenny" or "Jennie" in the title. Several of them seem to have Scottish origins, including at least some of the 4 or 5 popular session ones. The idea of "Jenny" representing Scotland makes sense. There is one "Jenny" tune , though, which I believe is probably of Welsh origin.
I always confuse tha B part of Jenny’s Wedding with the B of Lilies in the Field.
Me too. I also mix up the second part of the two tunes with that of Miss Girdle: https://thesession.org/tunes/2417
Classic old recording of this tune here….. http://www.youtube.com/watch?v=X5eG8ozCmyg
The last tune played here by Eric, Hugh, Colm Healy, Noel O’Donoghue and Seán McGrath
The set is on Colm and Hugh’s recording.
Jenny’s Wedding, X:3
This version from the Lough Gill Quartet, made up of the great Sonny Brogan and Bill Harte on box, Sarah Hobbs on fiddle, and James Cawley on flute. The foursome play it before Sonny’s own composition, Toss the Feathers ( https://thesession.org/tunes/138#setting31258 ).
It’s a lovely tune that is certainly not overplayed in any circles I have had the fortune to be a part of. The changes in tonality are lovely and complement a tune that is complicated in the most simple ways.
Sonny Brogan and Bill Harte, both Dubliners, were two of the pioneers of the B/C system and both served as friends to Joe Cooley and mentors to Tony McMahon. It’s hard to come by solo recordings of either, but some can be found through listening to Sean O’Riada’s Ceoltori Chulann and searching the ITMA.