Annotation:Kiss Quick Mother's a-Coming: Difference between revisions
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'''KISS QUICK MOTHER'S A-COMING.''' AKA - "Bonny Jocky." English, Country Dance Tune (cut time). D Major. Standard tuning (fiddle). AABB. The melody appears in London publisher John Walsh's '''Second Book of the Compleat Country Dancing-Master''' (c. 1740, No. 2), with the alternate title "Bonny Jocky." A similar title, "[[Kiss Me Fast My Minnie's Coming]]" belongs to a 6/8 time country dance, whose alternate title is also "[[Bonny Jockey]]." It may be that both the cut-time and the 6/8 versions were the vehicle at various times for a song. There are some general similarities to the later "[[Queen's March--Louth]]." | '''KISS QUICK MOTHER'S A-COMING.''' AKA - "Bonny Jocky." English, Country Dance Tune (cut time). D Major. Standard tuning (fiddle). AABB. The melody appears in London publisher John Walsh's '''Second Book of the Compleat Country Dancing-Master''' (c. 1740, No. 2), with the alternate title "Bonny Jocky," and in John Johnson's '''[[Wright's Compleat Collection of celebrated country Dances, vol. 2]]" (1742, p. 13)." A similar title, "[[Kiss Me Fast My Minnie's Coming]]" belongs to a 6/8 time country dance, whose alternate title is also "[[Bonny Jockey]]." It may be that both the cut-time and the 6/8 versions were the vehicle at various times for a song. There are some general similarities to the later "[[Queen's March--Louth]]." | ||
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Revision as of 20:21, 25 July 2016
Back to Kiss Quick Mother's a-Coming
KISS QUICK MOTHER'S A-COMING. AKA - "Bonny Jocky." English, Country Dance Tune (cut time). D Major. Standard tuning (fiddle). AABB. The melody appears in London publisher John Walsh's Second Book of the Compleat Country Dancing-Master (c. 1740, No. 2), with the alternate title "Bonny Jocky," and in John Johnson's Wright's Compleat Collection of celebrated country Dances, vol. 2" (1742, p. 13)." A similar title, "Kiss Me Fast My Minnie's Coming" belongs to a 6/8 time country dance, whose alternate title is also "Bonny Jockey." It may be that both the cut-time and the 6/8 versions were the vehicle at various times for a song. There are some general similarities to the later "Queen's March--Louth."
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