This is a database of the songs I have committed to memory with historical and performance notes, principally for my reference on the fly but also for consultation by those with whom I work to put together performance programs.   Grouped by instrument, so some songs are listed more than once with specific performance notation.   Date is the year I began serious study of the instrument. This is an incomplete and forever evolving list, and I am slowly adding sound files of my source recordings. For the fiddle tunes I am adding a fingering chart of 'first phrases' to aid my memory:

For the fiddle or mandolin (1998):

'Irish Washerwoman'/ trad. Irish

'Drive the Cold Winter Away'/ listed in the British Broadside Ballad having text "When Phebus did rest"/ in Dm

'Newcastle' with 'The Beggar (Am BocKagh)'/ Ruairi Dal O'Cathain/ c. 1650

'The Nightingale'/from Margret Collins' version from Burlington, N. Carolina, 1938/ As recorded by the Baltimore Consort on 'True Lover's Farewell'

Lord Bateman/ As recorded by the Baltimore Consort on 'True Lover's Farewell'

'Blue Moon of Kentucky'/ Bill Monroe

The Darke is My Delight/ John Morston/ from The Dutch Courtesan, 1605

Younder Comes a Courteous Knight/ Thomas Ravenscroft, 1609

'O Mistress Mine'/ from W. Shakespere's 'Twelth Night'/ music as in 'Consort Lessons', 1599

'There Were Three Ravens'/ As recorded by the Balrimore Consort

'Never Weather Beaten Sail'

Christmas Set:

'Rorate coeli desuper'/ "A little-known Scot's tune" selected by the editors of the Oxford Book of Carols, 1928. [words: "Drop down ye Heavens]

'Cherry Tree Carol'/ collected by Cecil Sharp/ in D

Dancing Day/ in D

'Christmas Day in da Mornin'/ trad. Shetland Islands/ in G trans. to D

'Cestnut (A Wassil Tune)'/from the English Dancing Master, 1651/ in Em (G)

. . .and alot more 16-17c popular music I have yet to get down. . .and alot of Anglican hymns.

For the Renaissance cittern (Italian b-G-d-e tuning), (1995):

'Light of Love'/ from 'New Lessons for the Cittern', 1652

'Howell's Delight' with 'The Parsons Farewell'

. . .and in use as continuo


For the banjo (2002):

Fiddler's Green As recorded by the Irish Rovers

As I [G] walked by the [C] dockside one [G] evening so [E] rare
To [G]view the still [C] waters and [G] take the salt air [D]
I [C] heard an old fisherman [Bm] singing this song,
Oh [Am] take me away boys, me [G] time is not [D] long

(chorus): Lock me [G] up in me [C] oilskins and [G] jumper
No [C] more on the [G] docks I'll be [D] seen
Just [C] me old shipmates I'm [Bm] a trip mates
[Am] ee you someday in[D] Fiddler's [G] Green

Oh in Fiddler's Green is a place I've heard tell
Where sailormen go if they don't go to hell
Where the weather is fair and the dolphins do play
And the cold coast of Greenland is far far away

Where the skies are all clear and there's never a gale
And the fish jump on board with a swish of their tails
Where you lie at your leisure - there's no work to do
And the skipper's below making tea for the crew

Oh and when you are docked and the long trip is through
There's pubs and there's clubs and there's lassies there too
Where the girls are all pretty and the beer is all free
And there's bottles of rum growin off every tree

Oh I don't want a harp nor a halo, not me
Just give me a breeze and a good rollin sea
And I'll play me auld squeezebox as we sail along
With the wind in the riggin to sing me this song


I'm A Rover by the Dubliners

There's ne'er [G] a nicht I'm gane [C] to ram-[G]ble, there's ne'er a nicht I'm gane to roam[D]
There's ne'er a [G]nicht I'm gane to ramble, intae the erms of me ain[D] true [G]love

CHORUS - I'm a ro[G]ver, s[C]eldom so[G]ber, I'm a [G]rover of high de[D]gree
It's when I'm [G]drinkin' I'm always t[C]hinkin' how to [G]gain my love's [D]compa[G]ny

Though the nicht be as dark as dungeon, not a star can be seen above
I will be guided without a stumble, intae the erms of my ane true love


He stepped up tae her bedroom winday, kneeling gently upon a staine
He whispers through her bedroom winday, my darling dear do you lie alaine


She raised her head from her down soft pillow, wi' her erms around her breasts
Says: "Why is that that my bedroom winday is 'sterbing me at my long nicht's rest?"


Says I: "My love it's I thy true lover, open the door and let me in
For I have come on a long nights journey more than near drenched to my skin"


She opened the door wi' the greatest pleasure, she opened the door and she let him in
They bayth shook hands and embraced each other, until the morning they lay as one


Says I: My love I must go and leave you, to climb the hills they are far above
But I will climb wi' the greatest pleasure, since I've been in the arms of my love


Passing Through As recorded by Pete Seegar

Passing [G] through, [C] passing [G] through,
Sometimes [G] happy, sometimes [G7] blue.
Glad that [C] I ran into [Cm7] you;
Tell the [G] people that you [D] saw me passing [G] through.

[G] I saw Adam leave the [G7] garden
With an [C] apple in his [Cm7] hand,
I said, [G] "Now you're out
[Bm] What are you gonna [D] do?
Plant some [G] crops and pray for [G7] rain,
Maybe [C] raise a little [Cm7] Cain,
I'm an [G] orphan and I'm [D] only passing [G] through."

I saw Jesus on the cross
On that hill called Calvary.
"Do you hate mankind for what they've done to you?"
He said, "Speak of love, not hate.
Things to do, it's getting late,
I've so little time and I'm just passing through."

I shivered with George Washington
One night at Valley Forge,
"Why do the soldiers freeze here like they do?"
He said, "Men will suffer, fight,
Even die for what is right,
Even though they know they're only passing through."

I was at Franklin Roosevelt's side
Just a while before he died,
He said, "One world must come out of World War Two,
Yankee, Russian, white or tan,
Lord, a man is just a man,
We're all brothers and we're only passing through."


Starman by David Bowie

[Bb] [F] [Bb] Hey la la... [F] Hey la la...
[Gm]Didn't know what time is was,
and the lights were low - ow - [F]ow
I leaned back on my radio - o - [C]o
Some cat was laying down some [C7]rock'n'roll,
"lotta soul", he s[F]aid. [Ab] [Bb]
[Gm]Then the loud sound did seem to fa - a - a[F]de,
Came back like a slow voice on a wave of pha - a - a[C]se,
That weren't no D.J., that was [C7]hazy cosmic jive. [A] [G]

[CHORUS] There's a s[F]tarman w[Dm]aiting in the sky,
he'd l[Am]ike to come and m[C]eet us,
but he th[C7]inks he'd blow our minds.
There's a s[F]tarman w[Dm]aiting in the sky,
he's t[Am]old us not to b[C]low it,
'cause he k[C7]nows it's all worth-while, he told me:
[Bb] Let the c[Bbm]hildren lose it,[F] let the c[D7]hildren use it, [Gm] let all the c[C7]hildren boogie. [Bb] [F] [C] [F] [Bb] [F] [C]

[Gm]I had to phone someone, so I picked on you - ou - [F]ou
Hey, that's far out, so you heard tim too - oo - [C]oo
Switch on the T.V., we may [C7]pick him on channel [F]two. [Ab] [Bb]

[Gm]Look out your window, I can see his ligh - igh - [F]ight,
if we can sparkle he may land tonigh - igh - [C]ight,
Don't tell your papa or he'll [C7]get us locked up in fright. [A] [G]

{Repeat chorus twice}

{Fade out repeating Bb F C F while singing: la la- la la ......}


Rock About My Saro Jane as recorded by Uncle Dave Macon

[Em]I've got a wife and fivelittle chillun
[G]Believe I'll take a trip on the [C] big MacMillan
[Em]Oh Saro Jane!

Oh,[C] there's nothing to do but to [Em]set down and sing
And [G ]rock about my [C]Sa-ro [G]Jane
Oh, [G]rock about my [C]Sa-ro [G]Jane.
Oh, [G]rock about my [C]Sa-ro [G]Jane
Oh, there's [C]nothing to do but to [Em] set down and sing
And [G] rock about my [C] Saro Jane.

Boiler busted and the whistle done blowed,
The head captain done fell overboard,
Oh Saro Jane! Chorus:

Engine gave a crack and the whistle gave a squall,
The engineer gone to the hole in the wall,
Oh Saro Jane!

Yankees build boats for to shoot them rebels,
My musket's loaded and I'm gonna hold it level,
Oh Saro Jane!


Hold the Woodpile Down as recorded by Uncle Dave Macon

[G]Saw my love the other night
[C]Hold the woodpile down
Everything wrong, just a-nothing was right
Hold the woodpile down
She can make me lovely, can make me glad
Hold the woodpile down
I kissed her, till here come her dad
Hold the woodpile down

But I was [G] travellin', travellin'
As [G] long as the world goes [D] round
Oh the black gals shine on the [C]Georgia line
Oh[G] hold the [D] woodpile [G] down

Come to town the other night
Hold the woodpile down
Heard a little noise and I see'd a little fight
Hold the woodpile down
Po-lice watchin' and a-runnin' all around
Hold the woodpile down
Glory, white lightning done come to town
Hold the woodpile down Chorus:

Boat keeper swallowed a nickel one day
Hold the woodpile down
Run him most crazy, I must say
Hold the woodpile down
Oh listen now and I'll tell you what it's about
Hold the woodpile down
He's a nickle in and and a nickle out
Hold the woodpile down Chorus:

Down to the packing house, stoled a ham
Hold the woodpile down
Folks don't know how bad I am
Hold the woodpile down
Carried it home and I laid it on the shelf
Hold the woodpile down
Just so bad, I'm scared of myself
Hold the woodpile down Chorus:

Love my wife, I love my baby
Hold the woodpile down
Love them biscuits a-broken in gravy
Hold the woodpile down
Carry my dice for to throw my passes
Hold the woodpile down
Love them flapjacks floating in molasses
Hold the woodpile down Chorus:


Three Flights Up as recorded by Nanci Griffith

[G] We re[Bm] turned to that [C] five room [G]flat
[C9] Now it was empty and this the last [D] time
There were [G] blinking [Bm] pictures of
[C] how we'd sit and [G] chat
[C9] Some of them are scattered others
shattered in my [D] mind

[F] It was always [G] three flights up
[C9] Cathedral bells kept [G] time

In the winter, a-chattering cold
While the building shook like ragweed in the wind
Stories from the heat pipes we were told
But now they only leave me with a half-enchanted grin

Bicycles squeezed down alley ways into view
And towels warmed on oven doors to not freeze
Was the only thing to do

I wonder if we kept to the fair warning
'Cause I can see it in the flowers
Dying on the window sill
I know we must be out by tomorrow morning
But am I going 'gainst my will


Getting Better by the Beatles [in G]

[G] It's getting better all the [C9] time

I [Am] used to get mad at my [D] school
(No, I can't complain)
The [Am] teachers who taught me weren't[D] cool
(No, I can't complain)
You're [Am]holding me down (Oh Oh)
[D] Turning me round(Oh Oh)
[Am}Filling me up with your [D] rules (Oooh)

[G] I've got to admit it's getting [C9] better (Better)
A little [Bm]better all the [C] time [D] (It can't get no worse)
[G] I have to admit it's getting[C9] better (better)
It's getting [Bm] better
Since [C] you've been [D] mine [G] [D7], [G] [D7]

Me used to be a angry young man
Me hiding me head in the sand
You gave me the word, I finally heard
I'm doing the best that I can Chorus

[C]Get- [G] ting [C] so [G]much
[C] bet- [G] ter [C] all [G] the time!
[G] It's getting better all the [C9] time
[G]Better, [Bm]better, [C] better.
[G] It's getting better all the [C9] time
[G]Better, [Bm]better, [C] better.

I used to be cruel to my woman
I beat her and kept her apart from the things that she loved
Man, I was mean but I'm changing my scene
And I'm doing the best that I can (ooh)

I admit it's getting better
A little better all the time (It can't get no worse)
Yes, I admit it's getting better, it's getting better
Since you've been mine



In My Life by the Beatles

There are places I remember
All my life, though some have changed
Some forever not for better
Some have gone and some remain

All these places have their moments
With lovers and friends I still can recall
Some are dead and some are living
In my life I've loved them all

But of all these friends and lovers
There is no one compares with you
And these memories lose their meaning
When I think of love as something new

Though I know I'll never lose affection
For people and things that went before
I know I'll often stop and think about them
In my life I love you more

Though I know I'll never lose affection
For people and things that went before
I know I'll often stop and think about them
In my life I love you more
In my life I love you more

Boots of Spanish Leather as recorded by Nanci Griffith

Oh I'm [G]sailin' away my [C9] own true [G] love
I'm [Em] sailin' away in the [Bm] morning
Is there [G] something I can send you from [C9] across the sea
From the [Em] place that [D] I'll be landing ?

No, there's nothin' you can send me, my own true love
There's nothin' I wish to be ownin'
Just carry yourself back to me unspoiled
From across that lonesome ocean.

Oh, but I just thought you might want something fine
Made of silver or of golden
Either from the mountains of Madrid
Or from the coast of Barcelona ?

Oh, but if I had the stars from the darkest night
And the diamonds from the deepest ocean
I'd forsake them all for your sweet kiss
For that's all I'm wishin' to be ownin'.

That I might be gone a long time
And it's only that I'm askin'
Is there something I can send you to remember me by
To make your time more easy passin' ? Oh, how can, how can you ask me again
It only brings me sorrow
The same thing I want from you today
I would want again tomorrow.

I got a letter on a lonesome day
It was from her ship a-sailin'
Saying I don't know when I'll be comin' back again
It depends on how I'm a-feelin'.

Well, if you, my love, must think that-a-way
I'm sure your mind is roamin'
I'm sure your thoughts are not with me
But with the country to where you're goin'.

So take heed, take heed of the western wind
Take heed of the stormy weather
And yes, there's something you can send back to me
Spanish boots of Spanish leather.


One Bread One Body

G C G C G D Em B7 Em
One bread, one body, one Lord of all
D G Em A D D7
One cup of blessing which we bless
G C G C G D Em B7 Em
And we though many, throughout the earth
D G Em A D G C G C Em
We are one body in this one Lord.

Em D Em D
Gentile or Jew, servant or free
Em F Am D D7
Woman or man no more.

Em D Em D
Many the gifts, many the works
Em F Am D D7
One in the Lord of all.

Em D Em D
Grain for the fields, scattered and grown
Em F Am D D7
Gathered to one, for all.


I Don't Want To Set The World On Fire (1941) -- IN PROGRESS

[G] I don't want to set the [C7] world [Bm] on [Am] fire,

[Cm] I just [D7] want to start a flame in your heart. [Bm] [Am]

[G] In my heart I have but [C7] one [Bm] de- [Am] sir-e,

And [Cm] that one is you, no other will do-o-o. [G] [Cm] [G]

[D7] I've lost all am- [G7] bition for [C7] worldly ac-claim;

[C] I just want to be the one you lo-ove.

[Em7] And with your ad- [A7] mission [Em7] that you feel the [A7] same,

[D7] I'll have reached the goal I'm dreaming of, believe me.

I don't want to set the world on fire,

I just want to start a flame in your heart.

SPOKEN, play CHORUS throughout.

I don't wanna set the world on fire, honey. I love you too much.
I just wanna start a great big flame down in your heart.
You see, way down inside of me, darling, I have only one desire.
And that one desire is you and I know nobody else ain't gonna do.


I don't want to set the world on fire,

I just want to start a flame in your hea-a-art.


O Tell Me Where the Dove Has Flown (1835 Southern Harmony #89)

O [G] tell me where [C] the [G] Dove has flown
To [G] build her downy [Bm] nest,
And [C] I will [G] rove this [Em] world all o'er,
To [Am] win her to my [C9] breast,
To [G] win her to [D] my [G] breast [Am,G]


I sought her in the groves of love,
I knew her tender heart;
But she had flown--the Dove of Peace
Had felt a traitor's dart,
(Repeat previous line).

I sought her on the flowery lawn,
Where pleasure holds her train;
But fancy flies from flower to flower,
So there I sought in vain,
(Repeat previous line).


'Twas on Ambition's craggy hill,
The Bird of Peace might stray;
I sought her there, though vainly still,
She never flew that way,
(Repeat previous line).

Faith smiled, and shed a silent tear,
To see my search around,
Then whispered "I will tell you where
The Dove may yet be found,
(Repeat previous line)."


"By meek Religion's humble cot,
She builds her downy nest;
Go, seek that sweet secluded spot,
And win her to your breast,
(Repeat previous line)."


Where Angels Play by the Stone Roses -- IN PROGRESS

C[G]ome with me to a place no e[C]yes have ever se[D]-e[C]-e[D]-e[G]n
A million miles from here where no one's ever been
[C] God-given gr[D]ace and a h[C]oly heaven f[D]ace
[C] I'm on the e[D]dge of something s[C9]hattering [D]
I'm coming t[G]hro-o[Bm]-ugh [Em]

[C] ' ''' [G] ''' [D] ' [C] ' [D] ' [G]

O[G]k, let's f[Bm]ly she says, this c[C]arpet's made for two [D]-[C]-[D]-[G]
This ugly li[Bm]ttle box, no p[C]lace for me and you [D]-[C]-[D]-
[C]Our carpet f[D]alls on a d[C]ew-fresh dappled gl[D]ade
[C]Take a look a-[D]round, there's something h[C9]appening
[D]All the colors fade[C]-[D]-[C]-[D]

I[G] d[Bm]on't w[Em]ant you now, bang b[C]ang b[Bm]ang g[Am]one, [D]ooh
I[G] d[Bm]on't n[Em]eed you now, the s[C]eeds a[Bm]re s[D]own, ooh
B[G]ang b[G]ang p[D]retty p[D]retty, b[C]ang b[D]ang
[C]I don't t[Bm]hink so, no no
[C]I don't t[Bm]hink so, no no
B[C]ang b[D]ang, b[Em]ang b[D]ang

Down below, the country rolls like a mighty boiling sea
The warm red sun gives up and sinks into the trees
But I'm no fool, I can't stand here betrayed
Take a look around there's something happening
All the colors fade

I don't want you now, bang bang bang gone, ooh
I don't need you now, the seeds are sown, ooh
Bang bang pretty pretty, bang bang
I don't think so, no no
I don't think so, no no
Bang bang, bang bang


Jaruselem by William Blake (Music Hubert Parry) -- IN PROGRESS

[G] And did those f[C]eet in ancient t[G]ime.
W[C]alk upon E[G]ngland's m[Am]ount[Em}ains g[C]reen:
A[G]nd was the h[Em]oly L[Bm]amb of G[Em]od,
On E[Bm]ngland's p[D]leasant p[G]ast[A]ures s[D]een!

And did the C[Am]ounten[Dm]ance Div[Am]ine,
Shine forth upon our clouded hills?
And was Jerusalem builded here,
Among these dark Satanic Mills?

Bring me my Bow of burning gold;
Bring me my Arrows of desire:
Bring me my Spear: O clouds unfold!
Bring me my Chariot of fire!

I will not cease from Mental Fight,
Nor shall my Sword sleep in my hand:
Till we have built Jerusalem,
In England's green & pleasant Land


The Fields of Athenry by Pete St. John -- IN PROGRESS

By a [G] lonely prison wall I h[C]eard a young girl c[G]a-[D]lling
"M[G]ichael they are t[C]aking you aw[D]ay
For you st[G]ole Travellyn´s c[C]orn
so that the y[G]oung might see the m[D]orn´
Now the p[D]rison ship lies w[D7]aiting in the b[G]ay" [Am9] [G]

L[G]ow l[C]ie the f[G]ields of Athen[Em]ry
Where o[G]nce we watched the small free birds f[D]ly
Our l[G]ove was on the w[C]ing
we had d[G]reams and songs to s[D]ing
It´s so l[D]onely ´round the f[D7]ields of Athen[G]ry [Am9] [G]

By a lonely prison wall I heard a young man calling
"Nothing matters, Mary, when you´re free
Against the famine and the Crown
I rebelled, they ran me down
Now you must raise our child with dignity"

By a lonely harbour wall I watched the last star falling
As the prison ship sailed out against the sky
For she'll live and hope and pray
for her love in Botany Bay
It´s so lonely round the fields of Athenry


Red Is the Rose - learned from New Zealand Bush Band Murphy's Law!!

Come over the hills, my bonnie Irish lass
Come over the hills to your darling
You choose the rose, love, and I'll make the vow
And I'll be your true love forever.

Red is the rose that in yonder garden grows
Pure is the lily of the valley
Clear is the water that flows from the Boyne
But my love is fairer than any.

[In the recording I have they actually don't sing the second vese but repeat the last with a female vocalist singing on top an irish-ized 'loch lomand' chorus'

'Twas down by Killarney's green woods that we strayed
When the moon and the stars they were shining
The moon shone its rays on her locks of golden hair
And she swore she'd be my love forever.


It's not for the parting of my sister Kay
It's not for the grief of my mother
'Tis all for the loss of my bonny Irish lass
That my heart is breaking forever.



'Adoro Devote' [words: 'Humbly I adore Thee] /French 17th c./ in G

'Come thou Fount of every Blessing'

'My Shepherd Will Supply My Need'

'Be thou my Vision'

'Hark I hear the Harps Eternal'/ in D

'Berayna'/ as recorded by Fletcher Collins from the singing of Mrs. J.U. Newman, Elon College, N. Carolina, 1939/ other version in C. Sharp under the title of 'The Three Huntsman'/ with added verses as recorded by The Baltimore Consort'

'Turn Around'/ Harry Belafonte and Malvina Reynolds/ with vocal

'Lo How a Rose Er Blooming'/ version as recorded by Pete Seegar/ with vocal

'Can't Help But Wonder Where I'm Bound'/ Tom Paxton/ with vocal

Boots of Spanish Leather' /Bob Dylan/ version based on Nanci Griffith/ with vocal

Stagolee was a Bully/ version recorded by Uncle John Patterson on Folkways 'Folk visions and voices - traditional music of North Georgia'/Collected in Carrol County, 1978/ Banjo in recording tuned f#DF#AD

'Bonnie Kellswater'/ as recorded by the Irish Rovers/ in C/ with vocal

'Bridget Flynn'/ as recorded by the Irish Rovers/ in Em/ with vocal

'Shamrock Shore'/as recorded by the Irish Rovers/ in G/ with vocal

'Leavin' Here, Don't Know Where I'm Going'/ As recorded by John Rakenshaw on Folkways 'Folk visions and voices - traditional music of North Georgia'/ in G/ banjo with vocal


For the lute or guitar (1998):

Three Scot's dances/Anon. 17th c./ as recorded by Paul O'dette on 'Robin is to the Greenwood Gone'

Minuet and Passicalle from 'Liure de Guittarre Dedie Au Roy' / R. De Visee


For the scheitholt or dulcimer (1999):

Rorate coeli desuper/ ibid

'The King of Love' with 'si bheg si mhor


'In the Bleak Midwinter'

In the bleak midwinter, frosty wind made moan,
earth stood hard as iron, water like a stone;
snow had fallen, snow on snow, snow on snow,
in the bleak midwinter, long ago.

Our God, heaven cannot hold him, nor earth sustain;
heaven and earth shall flee away when he comes to reign.
In the bleak midwinter a stable place sufficed
the Lord God Almighty, Jesus Christ.

Angels and archangels may have gathered there,
cherubim and seraphim thronged the air;
but his mother only, in her maiden bliss,
worshiped the beloved with a kiss.

What can I give him, poor as I am?
If I were a shepherd, I would bring a lamb;
if I were a Wise Man, I would do my part;
yet what I can I give him: give my heart.


'Lord of All Hopefulness', Joyce Anstruthe to the tune of 'Slane,' 8th C. Irish

[Slane Hill is about ten miles from Tara in Coun­ty Meath. It was on Slane Hill around 433 AD that St. Patrick defied a royal edict by lighting candles on Easter Eve. High King Lo­gaire of Tara had decreed that no one could light a fire before Logaire began the pagan spring festival by lighting a fire on Tara Hill. Logaire was so impressed by Patrick’s devotion that, despite his defiance (or perhaps because of it), he let him continue his missionary work]

Lord of all hopefulness, Lord of all joy,
whose trust, ever childlike, no cares could destroy,
be there at our waking, and give us, we pray,
your bliss in our hearts, Lord, at the break of the day.

Lord of all eagerness, Lord of all faith,
whose strong hands were skilled at the plane and the lathe,
be there at our labours, and give us, we pray,
your strength in our hearts, Lord, at the noon of the day.

Lord of all kindliness, Lord of all grace,
your hands swift to welcome, your arms to embrace,
be there at our homing, and give us, we pray,
your love in our hearts, Lord, at the eve of the day.

Lord of all gentleness, Lord of all calm,
whose voice is contentment, whose presence is balm,
be there at our sleeping, and give us, we pray,
your peace in our hearts, Lord, at the end of the day.

'Liza Jane' [also Liza Up the Simmon Tree or Goodbye Liza Jane]/ early 1900's

. . .and alot of anglican hymns


For the baroque oboe (1997):

Rorate coeli desuper/ ibid

. . .and alot of anglican hymns . . . and pretty much any tune for the fiddle within the 2-octave compass of the instrument pitched C


For the Deutche Schalemi (1997):

Various M. Praetorious and Susato

. . .and pretty much any (appropriate) tune for the fiddle within the 1 1/2-octave compass of the instrument sounding C


For the chalumeau (1995):

Rorate coeli desuper/ ibid

. . . pretty much any tune for the fiddle within the 2-octave compass of the two instruments I have pitched C and F


For the piano (1981):

Prelude to the Suite Bergamasque - Claude Debussey

'Gondellied' from 'Songs Without Words'/ F. Mendelsshon

Piano concerto in Eb (fragment)/ F. Hayden

Piano concerto No. 13 'Pathetique' (fragment)/ L. Beethoven


For the Highland Bagpipe (2004):

'The Rowen Tree'

'Scots wa Hae'





As a musician, self-styled amateur organologist, student of ethnomusicology and collector, one of my life goals is to collect one of every type of musical instrument devised by mankind.   My aim is not only to obtain the instrument but demonstrate a minimal level of musicianship by learning at least two native songs for the instrument and understand the performance style enough to play improvisation.  Using the Hornbostel-Sachs classification system as my yardstick, I offer the following catalog of my own holdings:

Aerophones: double reed:   Shanai (India), Ken Bao (Vietnam), Baroque oboe A=415 (by H.A. Vas Dias 1983 copied from the Edinburgh Stainsby Jr.), Baroque oboe A=440 (Denner model by Roesler), parlor pipes, Suona (China), Bombarde (Soprano, by Camak)

Aerophones: single reed:   Chalumeax (A=440 Soprano and Tenor, by Moeck), Baroque Clarinet (Martin Clotworthy, student of William Ackerman, England), Bohem Clarinet

Aerophones: brasswind: Trumpet (Yamaha), Trombone, French Horn

Aerophones: fipple flute: whistles (various keys, Susato), Whistle (by Ralph Sweet, Pearwood, key of C), Whistle (by Ralph Sweet, Rosewood, key of D), recorder (baroque system, by Alous)

Aerophones: traverso: fife (Williamsburg, maple)

Aerophones: free reed: accordion (128 bass by Casino, Italy), harmonica (Honer, key of F, A, and C chromatic)

Chordophones: plucked:   Renaissance cittern (DaSalo, by Betsill), Renaissance 8-course lute, classical guitar (Giannini, Brazil), Electro-Acoustic guitar (Ovation Celebrity), Archtop guitar (Silvertone), Archtop guitar (Washburn Orleans), Solid-body electric (Fender Jazzmaster), electric bass (Epiphone viola bass), Archtop guitar (Kay Craft, Florentine body parlor guitar), various dulcimers, various scheitholts, various mandolins, balalaika (prime), Laud (Spanish), Bouzouki (Greek), Oud (6-course, Turkish), Mosobiwa (19th c., Japanese), Charango, Tenor Ukulele, Tenor banjo (open back, Betsill), 5-string banjo (closed back, Gold Tone)

Chordophones: bowed:   Violin (Stradivarius model, maker unknown, pre-1900), violin (Knilling Bucharest), viola d'amore (Christofo Choc model, by Betsill), Vielle (Memling model, by Betsill)

Membranophones: struck:   Dumbek (Moroccan, ceramic body), Dumbek (Turkish, carved rosewood), tambourine, Moroccan vessel drums, bones (rosewood)

Idiophones: shaken: maracas (Dominican Republic)






The various musical ventures of which I have been a part. "The apparel oft proclaims the man. . ."

Visage.  1988-89
The ubiquitous highschool garage band (actually, we practiced in a garden shed, so we were a shed band) I played guitar, my newly bestowed fender jazzmaster, in homage to my idol (then) Robert Smith of the Cure. Reed, the bassist, was the organizer. We played mainly for the skate parties cenetered around Reed's enormous half-pipe in the back yard. Visage played but one public gig at the Aledo (Texas) community center with two other bands. We sucked, but hey. . .

Minor in piano performance, University of Georgia. 1991-2
I had piano from age six and this was my idea of continuing it into my college years. After but two terms of study with the renound yet abrasive Margret Strahl, the allure faded and I succumbed to other branches of The Arts.

Lauda Musicum. 1995-98
Atlanta early music group founded by Martha Bishop, Gambist and ASO alum, and Randolph James, then organist/Chiormaster of St. Bart's Episcopal Church, where we performed. I was the youngest and least-experienced of the 10+ members but played the widest variety of instruments, from chalumeau and shawm to cittern and harpsichord continuo. A great education in part playing and ensamble, a setting entirely forigen to a 15-year piano isolationist.

The Kevin Dunn experience (my name). 2001
Are u Existentialist-ed? A short lived project with Kev on guitar, girlfriend Pricilla on keyboards, me on bass and Pricilla's sister's girlfriend Susan, a.k.a. Sue-pie, on drums. Susan who went on to win a Grammy for package design. We did 60's R&B covers in a reggae/ska style. Great fun.

Emory Gamelan Ensamble. 2002-2006
Fun! I was a groupie for years and when I moved closer in town to Emory I accepted the offer to join. I can thank the director Stephen Everett and his wife Yayoi, for the referral of my first instrument commission, the current biwa project. I play saron and slenthum in the group. Since I joined the group we have played on stage at the ASO (before a performance of the Messiaen Symphony for Onde Martenot with pianist Jean-Yves Thibaudet), at the Atlanta and Savannah Asian Cultural festivals, there in the company of Indonesian dignitaries, for a Wayang Kulit (shadow-puppet play) put on at Emory with guest musicians from Indonesia, and for excerpts of an original composition by Steven, who besides being a gamelaner is internationally known for his composition in electronic music and multimedia. Check it:

New London Theater. 2003-2005
This is a Snellville (where my workshop is) community theater. I am no actor, but was recruited through connections at my church, St. Matthew's Episcopal, to play fiddle for severel productions over the past few years. I started with 'A Christmas Carol', a natural for my fiddle repitoire, which leans heavily on 17th and 18th c. english dance music. Just the thing to get in the mood for the Holidays! I have played also in productions of 'The Ledgend of Sleepy Hollow' and 'A Cotton Patch Gospel' Their site is

Betsill and Carey. 2003-2005
We don't really have a name. I met Rachel at the North Georgia Foothills Dulcimer Association Jamboree a few years ago and was entralled by her singing and self-accompanying of anglican hymns. We did an open-mike last year (playing an early-american spiritual and english broadside on banjo and dulcimer) and got invited to do the pre-concert show for this coming year's (2004) gathering. So we are officially an "act". Practicing furiously but with much self-entertainment.

Massed Pipers 2005-2007
Going to Edinburgh!! I'm a budding member of my friend Evan's pipe band, The Atholl Highlanders out of Stone Mountain, who are marching in the 2005 Edinburgh Massed Pipers and I hope to join them, though my serious study of the instrument has just recently commenced. Check them:

Kevin McFoy Dunn and the Common Article III. 2007-present
KMcFD (guitar, vocals), Malcom Dunn (bass), DJ (keyboards), Robert Schmid (drums). Kevin's MySpace site:

Check out this silly-ass picture of the Univox I play:


Bring it HOME.





Is it not strange that sheep's guts should hale souls out of men's bodies?

-Shakespere, Much Ado About Nothing



Fydle fingering of the Firste Phrases. . .


















“The earth has music for those who listen.”













If one plays good music, people don't listen and if one plays bad music people don't talk.

-Oscar Wilde