The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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SAA - SAIG |
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] |
'S
'S' COMA LEAM DO BHEAN
TAIGHE. See "Mason's Apron," "I Don't Like the Guidewife."
S’ COMA LEAM FHÈIN
COGADH NO SITH. See “Cogad/Cogadh/Cigaudg no sith.”
‘
X:1
T:’S fheudar dhomh fhein a bhi falbh
T:’Tis time to go home
M:2/4
L:1/8
R:March
S:Morison – Highland Airs and Quicksteps, vol. 1 (c. 1882)
Z:AK/Fiddler’s Companion
K:A
EF | AE cB/A/ | B/A/ B/c/ BE/F/ | AE
cB/A/ | AF FE/F/ | AE cB/A/ | B/A/ B/c/ BE/F/ |
A/>B/ A/F/ A/>B/ A/F/ | F/E/
zz c/d/ | eA cB/A/ | B/A/ B/c/ Bc/d/ | eA cB/A/ |
AF z c/d/ | eA cB/A/ | B/A/ B/c/
BE/F/ | AA/B/ c/B/ A/F/ | {F}E4 ||
‘S IOMA RUD THA DHÌTH ORM (Many a thing I need).
Scottish, Air and Reel. D Mixolydian/Dorian. Standard tuning. AABB. The
tune exists in both song and reel versions.
Words to the purit a beul
(mouth music) song go:
***
‘S ioma rud tha dhìth orm a dh’fheumainn fhìn mun dèanainn banais,
‘S ioma rud tha dìith orm a dh’fheumainn fhìn mum pòsainn.
I bhi à bhi ù bhi à bhi, air do shlàint’ a Mhòr a’ Cheannaich’;
I bhi à bhi ù bhi à bhi, air do shlaint’, a Mhorag.
***
Martin (Traditional Scottish Fiddling), 2002; pg. 76.
S - M HORNPIPE. English, Hornpipe. D Major.
Standard tuning. AABB. Composed by the late English melodeon player Dave
Roberts, named for his son, Sam Michael. Roberts was a member of the early
Blowzabella group, and reputedly could call, dance and play the melodeon at the
same time.
X:1
T:S-M Hornpipe
C:Dave Roberts
Z:Anahata (anahata@treewind.co.uk)
M:3/2
L:1/8
K:D
"A"c2 cd c2 BA "Em"G4 | "D"F2FG ADFA
"G"B2B2 |\
"C"=c2cd c2BA "G"G4 | "D"ADFA "Bm"G2F2
"Em"E4 :|
|: "E"^G>FGA B2AB "C"=c2c2 |"D"F>EFG AFGA
"G"B2B2 |\
"A"c3d c2BA "Em"B2E2 | "D"ADFA "Bm"G2F2
"Em"E4 :|
'S OLE A CHUIR A MHIRE
RUIM. AKA and see "The Love That Has Undone Me."
'S TOIGH LEAM GHEIN AN
T-SIOSALACH.
AKA and see "The Chisholm."
'S TRUAGH A RIAH! MO NIGHEAN DONN (Alas O King! My Brown-Haired Maid). Scottish, Slow Air (3/4 time). G
Major. Standard tuning. One part. This song was supposedly written by the
Gaelic bard and adventurer Domhnall Donn (Brown Donald) for an illegitimate
daughter, who paid him a visit while he was awaiting execution in 1691. In the
song he dreams of a return to an idyllic life on the island of Mull. Neil (The Scots Fiddle), 1991; No. 149, pg.
192.
'S TU MO IUAIDH NA FAIGHINN THU. AKA and see "My
Favourite, If I Could Get Thee".
SA MUIRNIN DILIS. AKA and see "Savourna
Delight."
SAANDIE BURN REEL. Shetland, Reel. A Major. Standard tuning. AA'BBCCDD. Composed by
Shetland fiddler Frank Jamieson and named after his birthplace in the Shetland
Islands. Anderson & Georgeson (Da
Mirrie Dancers), 1970; pg. 34.
SABLONNIERE ITALIENNE, LA. French, Country Dance (2/4 time). A Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters. He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 28.
X:1
T:Sablonniere Italienne, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 28
Z:AK/Fiddler’s Companion
K:A
{b}a4 | (g/f/) e2 (3c/B/A/ | .E(dcB) | (c/d/) e2 (3c/B/A/ | .E(dcB) | .c/.A/.B/.c/ .d/.e/.f/.g/ |
aA/B/ B2 | A4 :: {b}a3 (3e/f/=g/ | f3 z | b3 (3f/g/a/ | g3 z | d’ z c’ z | c’b z2 | dz cz |
{b}a4 | (g/f/) e2 (3c/B/A/ | .E(dcB) | (c/d/) e2 (3c/B/A/ | .E(dcB) |
.c/.A/.B/.c/
.d/.e/.f/.g/ | aA/B/ B2 | A4 :|
SACHO’S JIG. AKA and see “Tripping Upstairs
[2].” Irish, Jig. D Major. Standard tuning. AABB. The title is a corruption
of “Sackrow’s Jig.” Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 32.
SACKETT’S HARBOR. American, Reel. A Dorian. Standard tuning. AB (Silberberg): AABB
(Songer). It is thought the title refers to the Battle of Sackett’s Harbor of
the War of 1812. Sackett’s Harbor is located at the eastern end of Lake
Ontario. Sources for notated versions: the Wildcats (learned from Alaska
musician Charlie Meachan) [Songer]; Laurie Andres [Silberberg]. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 135. Songer (Portland Collection), 1997; pg. 171. Sampler
Records 8809, Jim Kimball, Betsy Gamble & Mitzie Collins - “Sackett’s
Harbor” 19th Century Music from Western New York” (1988).
X: 1
T:Sackett's
Harbor
S:via Phil
Rowe
N:Originally
from Nottingham Music Database
http://www.cs.nott.ac.uk/Department/Staff/ef/database.html
N:abc
version of NMD at http://diana.ecs.soton.ac.uk/~jra/NMD/ [access 10 December
1996]
N: Adapted
by Robert Bley-Vroman, University of Hawaii,
N:
vroman@hawaii.edu
M:2/2.
L:1/8
K:Am
|: A4 |
EGAB A2AB | cBAG B2E2 | G2G2 GABc | dcBc dcBc |
EGAB A2 AB
| cBAG B2E2 | cdcA BcBG | A2 A2 :|
|: ABcd
|edcd e2g2 | edcB A2Bc | dcBc d2g2 | dcBA G2cd |
edcd e2g2 |
edcB A4 | cdcA BcBG | A2A2 :|
SACKETT’S (WALTZ).
English, Waltz. D Major. Standard tuning. AA’BC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 171, pg. 45.
SACKOWS. AKA and see “The Jew Jig,” “Syriacus,” “Tripping Upstairs [2],” “Tripping Up
the Stairs.”
SACKROWS. AKA and see “The Pride of Kildare,” “Tripping Upstairs [2].”
SACRAMENTO MOUNTAIN
RAG.
AKA – “Sacramento Rag.” Old-Time, Country Rag. A Major. Standard tuning.
AB. Source for notated version: Floyd Engstrom and Gil Kiesecker [Silberberg].
Silberberg (93 Fiddle Tunes I Didn’t
Learn at the Tractor Tavern), 2004; pg. 37.
SAD IS MY FATE (Is Bronac Mo Cineamuin). Irish, Air (3/4 time,
"mournfully"). D Minor. Standard tuning. AB. The setting in O'Neill
is attributed to one Mrs. Fitzgerald. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 355, pg. 61. Green Linnet SIF 1047, John Cunningham - "Fair
Warning" (1985).
X:1
T:Sad is My Fate
M:3/4
L:1/8
R:Air
N:”Mournfully”
S:O’Neill – Music of Ireland (1903), No. 355
Z:AK/Fiddler’s Companion
K:Dmin
(3A=B^c|d2 cA GE|D2C2 DE|F3G AB|c2A2
A>^c|d2 cA GE|D2C2 DE|F3G E>D|D4||
A>G|A2d2 d>e|f2 ed ce|d2c2
A>G|F4 A>G|A2d2 d>e|f2 ed ^ce|(d6|d4) de|f2 fe dc|
d2A2 AB|c2 CA GF|E2C2 DE|F2 FG AB|c2
A2 AG|F3G E>D|D4||
SAD MEMORIES. Irish, Air (4/4 time). G Minor. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 26,
pg. 22.
X:1
T:Sad Memories
M:C
L:1/8
R:Air
N:”Andante comato”
S:O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:Gmin
dc | BAGF DCB,C | DGGA G3A | BABc
dgga | bg^fa g2 =fg | agfe d2 c2 |
GBAG F2 GA | Bggf decd | A2 G>G
G2 || GF | DCDF G2 GA | BdcA B2 AG |
FDCD F2 FG | A2 G>G G2 fg | agfe
d2 cA | GBAG F2 FG A| Bggf decd | A2G>G G2 ||
SADDLE OLD KATE. Old‑Time, Breakdown. USA; Missouri, Arkansas. A Major. Standard
tuning (fiddle). AA’BB’. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954, and, indeed, the melody seems to have had wide currency in
the region. Arkansas fiddler Jesse Wallace learned the version he plays from a
fiddler named Frank Watkins in the mid-1930’s. Ozarks fiddler Fred Stoneking
told the story (heard from Bill Mustain) of two brothers who resolved their c.
1920’s dispute about how the tune should be played by calling one version
“Saddle Old Kate,” and the other “Saddle Old Spike” (see note for the closely
related “Saddle Old Spike”) [liner notes
Stoneking’s album “Saddle Old Spike,” Rounder 0381). Drew Beisswenger (2008)
sees similarities to some versions of “Got a Little Home to Go to,"
while Mark Wilson sees resemblances in the Skillet Lickers’ 1930's tune “Don’t You Cry, My Honey.” Source
for notated version: Lonnie Robertson (1908-1981, Springfield, Mo.), learned
from Alton Jones, who learned it from Ozarks fiddler Dallas Robirds
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music),
2008; p. 126. Rounder CD 0375, Lonnie Robertson –
“Lonnie’s Breakdown” (1996. Originally recorded 1976).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
SADDLE OLD PAINT. Old‑Time, Breakdown. USA, Ohio. G Minor. Standard tuning
(fiddle). Heritage XXXIII, Forest Pick (Ohio) ‑
"Visits" (1981. Learned from a full‑blooded Cherokee Indian
fiddler named Chief Red Bird who played dances in the area).
SADDLE OLD SPIKE. Old‑Time, Breakdown. USA, Missouri. The tune was recorded for the
Library of Congress by musicologist/folklorist Vance Randolph from the playing
of Ozark Mountain fiddlers in the early 1940's. Fred Stoneking says: “Back in
the ‘twenties, there was a guy by the name of Lum Varner and he had a younger
brother called Jim. When Lum was about twenty years old, he made up this tune
and called it ‘[[Saddle Old Kate]].’ But those brothers had a little fall-out
on account of being jealous of each other’s fiddling ability. So they parted
company. The problem was that Jim loved that tune too. He was so mad at his
bother that he called the tune after his own horse which was Spike. A friend of
mine named Joe knew Jim and that’s how it came down to me as ‘Saddle Old
Spike.’” See related lyrics for “Little
Home To Go To” or “Got a Little Home to Go To.” Source for notated version:
Fred Stoneking [Silberberg]. Silberberg (93
Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; p. 38. Rounder CD 0381, Fred Stoneking – “Saddle Old Spike: Fiddle
Music from Missouri.” Rounder CD 0435, Jesse Wallace – “Traditional Fiddle
Music of the Ozarks, vol. 1” (1999. Field recordings).
SADDLE THE PONY [1]. AKA and see “Priest’s Leap
[2],” "The Red Stocking(s)
[1]," “Rough Diamond.” Irish,
New England; Jig. G Major. Standard tuning (fiddle). AABB (most versions):
AA’BB’ (Harker/Rafferty). One of the first Irish jigs a young musician often is
taught. Mulvihill gives this tune as an accompaniment for the dance The
Haymakers’ Jig. See also the related
“Boy from Home.” Source for notated
version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Allan's Irish
Fiddler, No. 1, pg. 2. Harker (300
Tunes from Mike Rafferty), 2005; No. 169, p. 52. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; p.
40 (appears as "The Red Stocking"). Miller & Perron (Irish Traditional Fiddle Music), 1983;
No. 17. Mulvihill (1st
Collection), 1986; No. 46, p. 128. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. Raven (English Country Dance Tunes), 1984; p.
105 (appears as "The Red Stocking"). Silberberg (Tunes I Learned
at Tractor Tavern), 2002; pg. 136. Tubridy (Irish Traditional Music, vol. 1), 1999; p. 31. F&W Records 4, "The Canterbury Country Orchestra
Meets the F&W String Band."
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Saddle the Pony [1]
L:1/8
M:6/8
K:G
D|GBA G2B|def gdB|GBA G2B|AFD
AFD|GBA G2 B|def gfg|ege dBA|BGF G2:|
|:d|ege edB|def gfg|ege edB|dBA
ABd|ege edB|def gfg|ege dBA|BGF G2:|
SADDLE THE PONY [2]. AKA and see “Buttermilk Mary
[3],” “Coleman’s Favourite,”
“Fond of the Ladies,” “The Frolicksome Dame,” “A Health to the Ladies,” "The Irish Miller," “Irishman’s Heart to the Ladies,”
“Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s Jig,” “Over the Callows,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The Queenstown Jig,” “Sweet Biddy Daly,” “To the Ladies.” Irish,
Double Jig. A Mixolydian. Standard tuning. AABB. Roche Collection, 1982, vol. 1; No. 112, pg. 47.
SADDLE THE PONY [3] (Cuir Diallaid Air An Clibin). AKA and see "Farrell's Pipes," "The Fourpenny Girl,” “Grania’s Welcome Home [2],”
“Highway to Dublin,” “The Langstern
Pony,” “Langstrom’s Pony,” “The Priest’s Leap [3],” “The Right Way to Dublin,” “Sweet Tibby Dunbar.” Irish, Double Jig.
A Mixolydian. Standard tuning (fiddle). AABB. 'B' part nearly the same as
version #2. Breathnach (1976) finds some similarity to “Paddy O’Rafferty.” Sources for
notated version: the playing partners of Chicago police Sergeant James Early
and John McFadden, a piper and fiddler from adjoining counties in the province
of Connaght [O’Neill]. Cole (1000 Fiddle
Tunes), 1940; p. 62. O'Neill (Krassen), 1976; p. 19. O'Neill (Music of Ireland: 1850 Melodies), 1903;
No. 718, p. 134. O’Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986; No. 18, p. 20.
X:1
T:Saddle the Pony [3]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 18
Z:AK/Fiddler’s Companion
K:Amix
g|:fed cAA|eAA cBA|fed cAA|BGB dBG|
fed cAA|cAA efg|f<af gfe|dBG
Bcd:|
|:cee dff|cee ecA|cee dff|dBG Bcd|
cee dff|cAA efg|f<af gfe|dBG
Bcd:||
SADDLE THE PONY [4]. Irish, Air (6/8 time, "not so quick as jig time"). E Minor or
G Major. Standard tuning (fiddle). AB. "Taken down about sixty years ago
(c. 1849) from the whistling of Joe Martin of Kilfinane Co. Limerick"
(Joyce). Joyce (Old Irish Folk Music and
Song), 1909; No. 44, p. 25.
X:1
T:Saddle the Pony [4]
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddlers Companion
K:Emin
E/F/|G3 GAB|ABA AGA|B2A Bcd|e3
e2f|g2e fed|e2d B2A|
G2B AGF|E3E2||e/f/|g2e fed|e2d
B2f|g2e f<af|d3 def|g2e fed|
e2d B2A|G2B AGF|E3E2||
SADDLE THE PONY [5] (Cuir Diallaid Air An Clibin). Irish, Double Jig. A Mixolydian.
Standard tuning. AABB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 717, pg. 134.
X:1
T:Saddle the Pony [5]
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland
(1903), No. 717
Z:AK/Fiddler’s Companion
K:Amix
A/B/ |: cAA eAA | cBc eAA | cAA eAA
| dBG Bcd | cAA eAA |
cBc efg | agf gfe | dBG Bcd ::
(e<a)f {a}gee | fdd gee | (e<a)f {a}gfe |
dBG Bcd | (e<a)f {a}gee | fdd gee
| def gfe | dBG Bcd :|
SADDLE THE PONY [6]. Irish, Jig. D Major. Standard tuning. AABB. See also related tunes “The Housemaid [1]” and “Geese in the Bog [1].” Kerr (Merry Melodies), vol. 1; No. 34, pg. 39.
Levey; No. 43.
X:1
T:Saddle the Pony [6]
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
def ddB | AFA AFA | def ddA | Bee
edB | def ddB | AFA AFA | gfe fdB | AFE EFA :|
|: BFF ADD | FEF AFD | BFF ADA | AFD
EFA | BFF ADD | FEF AFD | gfe fdB | AFE EFA :|
SADDLE UP THE GRAY. Old‑Time, Breakdown & Song. USA. G Major. Standard tuning. AB
(Kuntz, Silberberg): AABB (Phillips).
***
Saddle Up the Grey better get away,
Ain't gonna get no supper here today;
Fill up the jug and blow out the light,
Ain't gonna get no dinner here tonight.
***
Saddle Up the Grey better get
away,
Ain't gonna get no supper here
today;
Fill up the jug and blow out the
light,
Ain't gonna get no dinner here
tonight.
Riding of the goat, leading of
the sheep;
Won't be back till the middle of
the week;
Di‑del‑i‑dee‑i,
di‑del‑i‑dee‑oh,
Di‑del‑dee, i‑di‑del,
i‑dee‑i‑dee‑oh.
(NLCR)
***
The New Lost City Ramblers note that
the 'di‑del‑i' etc. at the end of the ditty associated with the
tune is reminiscent of Gaelic mouth‑music, associated with singing for
dancing in the absence of instruments. Source for notated version: The Carter
Brothers and Son via the New Lost City Ramblers [Kuntz, Phillips]. Kuntz (Ragged but Right), 1987; pg. 351‑352.
Phillips (Traditional American Fiddle
Tunes, vol. 1), 1994; pg. 206. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 136. County 3513, Carter
Brothers and Son – “Mississippi String Bands.” Flying Fish 102, New Lost City
Ramblers ‑ "20 Years/Concert Performances" (1978). Folkways
2492, New Lost City Ramblers‑ "String Band Instrumentals"
(1964). OKeh 45202 (78 kkRPM), The Carter Brothers and Son (1928).
X:1
T:Saddle Up the Grey
L:1/8
M:2/4
B:Kuntz – Ragged but Right
K:G
(D/|G/)B/d/e/ dB|d/g/e/d/
B/G/G/(D/|G/)B/d/e/ dc/B/|A/c/B/A/ G>D|G/B/d/e/ dB|
d/g/e/d/ B/G/G/D/|G/B/d/e/
dc/B/|A/c/B/A/ G2||
B/c/B/A/ B/c/B/A/|G/B/A/G/
E>(A|c)c/B/ c/d/c/B/|A/c/B/A/ G2|B/c/B/A/ B/c/B/A/|
G/B/A/G/ E>A|cc/B/ c/d/c/B/|A/c/B/A/
G2||
SADIE. AKA and see “Lay Your Good Money Down.”
Old-Time, Breakdown. USA, Missouri. D Major. Standard tuning. AABB.
Similarities with the ‘A’ part of Gene Goforth’s “Emminence Breakdown” (and the Irish
“Merry Blacksmith” family of tunes).
Drew Beisswenger (2008) points similarities in the ‘A’ part with source Alton
Jones’s own “Jeff(erson) City” and
the ‘B’ part with Bob Holt’s “Ninth of
January.” Kentucky fiddle Roger Cooper believes the tune resembles “Durham’s Reel.” Source for notated
version: Alton Jones (1918-2002, Theodosia, Mo.), learned from blacksmith and
fiddler Allan Jennings [Beisswenger & McCann]. Beisswenger & McCann (Ozarks
Fiddle Music), 2008; pg. 84. Rounder 0437, Alton
Jones – “Traditional Fiddle Music of
the Ozarks, vol. 3: Down in the Border Counties” (2000. Various artists).
SADIE AT THE BACK DOOR. Old-Time, Breakdown. Composed by Seattle old-time musician Jere Canote,
originally written as a banjo tune. Sadie was a cat. Carlin (Fiddle Tunes
for Clawhammer Banjo), 1983. CCF2, Cape Cod
Fiddlers – “Concert Collection II” (1999). Rooster Records, Sandy Bradley &
the Small Wonder String Band. Rounder 0172, Bob Carlin.
SADIE'S WALTZ. American, Waltz. C Major. Standard tuning. AABB (Sutherland): AA'BB'
(Mathiesen). Composed by fiddler Pete Sutherland (Monkton, VT) in 1980, after a
little calico cat who "crawled up inside my banjo case at her mother's
home." Matthiesen (Waltz Book I),
1995; pg. 50. Sutherland (Bareface),
1984; pg. 8. Rooster
RSTR 122, Laurie Andres – “Fantastic Hornpipe” (1983).
SADLER’S ASCENT.
English, Waltz. G Major. Standard tuning. AA’BB’. James Sadler
(1753-1828) was the first Englishman and second individual to make an ascent in
a hot-air balloon in England in 1784 (he was preceded by a few weeks by a
Tuscan named Vincenzo Lunardi). Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 172, pg. 45.
SADLER'S BALLOON. AKA and see "The Green
Cockade [1]," "Rolling
Off a Log [2]." Appears in Twenty‑Four
Country Dances for the Year 1812,
and Riley’s Flute Melodies, vol. 2 (New York, 1820). Bayard
thinks the title may refer to one James Sadler who made the first successful
balloon ascension in October, 1784, and thus may be an late 18th century
composition. A version also appears in Bayard (Dance to the Fiddle, 1981, No. 467, pg. 444), an untitled fife march.
SADLER'S WELLS. English, Country Dance Tune (6/4 time). D Minor. Standard tuning. AABB
(Raven): AABB' (Barnes). The tune was published in 1728 according to Barnes.
Sad(d)lers Wells is an 18th century London pleasure garden located
on the banks of the New River on the site of an old sanatorium. ”The well
itself was a medicinal spring, one the property of the monks of Clerkenwell,
reputed for its cures before the dissolution of the priory in Henry VIII’s
reign, when this well was ordered to be stopped up as a relic of superstition.
In the reign of Charles II., the house and grounds were in the hands of a
surveyor of the highway named Sadler, who employed men to dig gravel in his
garden, leading to the rediscovery of the well under an arch of stone. This
happened in 1683. With great business tact, Mr. Sadler engaged a certain ‘T.G.,
Doctor of Physick’ to write A True and
Exact Accound of Sadler’s Well; or, the New Mineral Waters lately found at
Islington, in which it was recommended as equal in virtue as that of
Tunbridge. He built a music-house, and succeeded in making it ‘so frequented,
that there are five or six hundred people there constantly every morning.’
After a few years the attraction ceased; but as a place of amusement it never
failed in popularity” (R. L. Chambers, Book
of Days, vol. 2, 1863). Charles
Dickens (in Household Words, vol. 12,
1855) writes that pleasure gardens and music halls had to be licensed in London
in the last half of the 18th century, a license which had to be
renewed annually at the Middlesex quarter sessions (although theatres such as
Drury Lane, Covent Garden and the Opera House were exempt, as they had special
crown-licenses). Not surprisingly, this limited the number of venues. Ones that
were licensed were “Saddler’s Wells, which has since grown into a temple of
Shakespeare; another was Bagnigge Wells; a third was Rannelagh; while others
were Marybone Gardens, the Bell and the Angel at Edmonton, the King’s Head at
Enfield, the Long Rooms at Hampsted, White Conduit House, Islington Spa, the
Adam and Eve tea-garden, the Shepherd and Shepherdess, &c. Some of these
had much celebrity in their day.” Barnes (English
Country Dance Tunes), 1986. Raven (English
Country Dance Tunes), 1984; pg. 17.
X:1
T:Sadler’s Wells
M:6/4
L:1/8
K:D Minor
|: ^c2 | d2A2f2e2A2g2 | f2e2d2 ^c4A2 | d2A2=c2F2B2A2 | F2G4A4=B2 |
c2A2e2e2=B2c2 | d2=B2A2^G4E2 | A2f2d2e2a2A2 | E2c2^G2A4 :: =c2 |
A2c2F2f2c2A2 | d2B2A2G4A2 | B2G2E2e2g2c2 | B2A2B2A4^c2 |
d2A2f2e2A2^f2
| g2e2^c2d2e2f2 | A2G2F2B2A2G2 | A2f2^c2 d4 :|
SADLERS WELLS HORNPIPE. English, Hornpipe (4/4 time). England, Yorkshire. G Major. Standard
tuning. AABB. See note for “Sadler’s Wells.” In
addition to the Leadley manuscript, the melody can be found in the Wolsnoume
music manuscript (Lancashire), from around 1798. . Source for notated version:
an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire)
[Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 9, pg. 30.
SADNESS OF LIFE, THE. Scottish, Air (4/4 time). C Minor. Standard tuning. AAB. Composed by Scottish fiddle great James Scott Skinner (1847-1928). Skinner (Harp and Claymore), 1904; pg. 11.
X:1
T:Sadness of Life, The
M:C
L:1/8
R:Air – “Pastoral”
N:”Eerie and hopeless”
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:Cmin
(C2 c)G (A{B/A/}G/F/) GE | (F/D/A/F/ D/=B,/G,/G/) ({G}C2C) :|
g | (c’/g/e/f/ g/e/c/d/) (e/c/G/=B/ c/G/E/F/) | (G/E/C/=B,/ C/E/G/C/ ) =B,/D/G/=B/ d/g/=b/d’/ |
(c’/g/e/f/ g/e/c/d/) (e/d/G/=B/ c/G/E/C/) | (F/D/A/F/ D/=B,/G,/G/) ({G}C2 C)g |
(c’/g/e/f/ g/e/c/d/) (e/c/G/=B/ c/G/E/F/) | (G/E/C/=B,/ C/E/G/C/ ) (=B,/D/G/[A,/A/] G/F/E/D/) |
(C/D/E/C/ F/D/G/E/) (A/F/=B/G/ c/G/E/C/) | (F/D/A/F/ D/=B,/G,/G/) ({G}C2C) ||
SAE BRALEY AS I WAS. See “O As I Was Kiss’d Yestreen [1].”
SAE MIRRIE AS WE HAE
BEEN. Scottish, Air (3/4 time). D Major.
Standard tuning. AABBCCDDEEFF. "From the Skene Manuscript, Stenhouse dates
it prior to 1598, and assumes it the first line or the chorus of a song the
bulk of which is now lost, although a fragment is quoted by Herd” (Williamson).
McGibbon (Scots Tunes, book III),
1762; pg. 64. Flying Fish FF358, Robin Williamson ‑
"Legacy of the Scottish Harpers, Vol. 1."
X:1
T:Sae merry as we have been
M:3/4
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III, pg. 64
(1762)
Z:AK/Fiddler’s Companion
K:D
“tr”ge | d3ef2 | A2G2 (F/A/G/F/) |
“tr”E4D2 | d2fef2 | D3 EFG | A4ag | f2 (gf)(ed) |
B2(dB) (AF) | G3ABc | d4 “tr”(cB) |
A>BAGFE | D4 :: [A,2A2] | D2 (F>G)A2 |
D2 (FA)(dF) | E4 (FE) | D2(FG)A2 |
D2 (F>G) “tr”(G>F/2G/4) | A4ag | f2 (gf)(ed) |
B2(dB)(AF) | G3ABc | d4 “tr”(cB) |
A>BAGFE | D4 :: fe | d3ef2 | d2e2fg | ({f}e4)(fe) |
d2f>ef2 | d3efg | a4 (ag) |
f>agfed | B2 ({e}d)({c}B2) ({B}A)({G}F) | G3ABc | d4 “tr”(cB) |
A>BAGFE | D4 :: [A,2A2] |
(D/F/”tr”E/D/) (A/F/”tr”E/D/) dd | (3d/A/G/ (3F/E/D/ dAdF |
({F}E4 FE | (D/F/”tr”E/D/)
(A/F/”tr”E/D/) dD | (D/E/F/E/) (F/D/F/G/) “tr”(G>F/2G/4) |
A4 ag | a({f/g/}a)gfed | B2
(e/<(d/c/<)B/ (B/<A/)(G/<F/) | G3ABc | d4”tr”(cB) | A>BAGFE | D4
:|
SAEDBH KELLY. Irish, Air. A composition of the ancient Irish harper Laurence
O’Connellan, born at Cloonmahon, County Sligo, in the mid-17th century.
SAELY KELLY. AKA and see "Susai Ni Cheallaigh."
SAFE HARBOR RAG. American, Country Rag. F Major. Standard tuning. AABB'. Composed by the
late Dick Walton. Ironically, Safe Harbor is on the Susquehanna river of
Pennsylvania—right between two nuclear power plants at Peachbottom and Three
Mile Island. Source for notated version: Pete Sutherland (Vt.) & Mosheh
Savitsky [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 120. Young
Fogies.
SAFE HAVEN. American, Waltz. AA’B. Composed
in 2001 by Orly Krasner. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 112.
SAFELY LANDED (Fallain gun dith thainig e). Scottish, Slow Air (3/4 time). D
Major. Standard tuning. AABB. This "is an air acquired through the
editor's progenitor, as here communicated, but he has heard it sung with great
taste by several young ladies, to the native words, though not generally known
or yet associated with English or Scottish verse" (Fraser). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 93, pg. 35 ‑ 36.
X:1
T:Safely Landed
T:Fallain gun dìth thainig e
M:3/4
L:1/8
R:Slow Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:D
F|A<d d3f|e>c d3F|(3Adf a3f|e2 d2 z2|=c>d B3A|B>A/4B/4 d4|F>E/4F/4 B4|
AF D2 z2 :: F>E/4F/4 A2 z2|(3FED B2 z2|(3AFA B2 z2 | A>F D2 z2 |
F>E/4F/4 A2 z2| (3FED B2 z2 | (3AFA B2 z2 | BA A4 :|
SAGAFOSSEN. Norwegian, Lydarslatt (listening tune). A Major. Hopkins, 1986; Ex. 7,
pg. 153.
SAGART AN CHEOIL. AKA and see "The Musical
Priest."
SAGART NA mBUATAISÍ
(The Priest in his Boots). AKA and see "The Priest and/in His Boots
[1]."
SAGART 'NE AN SAGART. AKA and see "Is it
the priest you want?"
SAGART 'SA BUTAISIDE, AN. AKA and see "The
Priest and/in His Boots [1]."
SAGE LEAF. English, Country Dance Tune (6/8 time). G Major. Standard tuning.
AABBCCDDAA (Raven, Sharp): AABBCCDDA'A' (Karpeles). Published before 1730. The
‘C’ and ‘D’ parts are repeated as many times as there are couples dancing.
Karpeles (A Selection of 100 English Folk
Dance Airs), 1951; pg. 20. Raven (English
Country Dance Tunes), 1984; pg. 16. Sharp (Country Dance Tunes), 1909/1994; pg. 63.
X:1
T:Sage Leaf
L:1/8
M:6/8
S:Sharp – Country Dance Tunes
Z:AK/Fiddler’s Companion
K:G
|:dg=f ecf|d>cB/A/ B G2|dg=f ecf|d>cB/A/
B G2:|
||B2c d2B|e2d cdB|A2G F>EF|(G3
G2) z|B2c d2B|e2d cdB|A2G F>EF|(G3 G2)z||
|:d2c B>AG|def g3|d2c BAG|de>f
g3|d2c B>cd|e2d c>dB|A>G F>EF|(G3 G2):|
|:G|F>GA AFD|G>AB BAG|F>GA
AFD|(G3 G2):|
|:dg=f ecf|d>cB/A/ B G2|dg=f
ecf|d>cB/A/ B G2:|
SAGINAW. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
27.
SAIGHDEAR RUADH (Red Soldier). Scottish, Reel. G Major. Standard tuning.
AABB'. Composed by James Stewart-Robertson, the editor of the Athole
Collection. The title is perhaps a reference to the ‘Redcoats’, or the 17th/18th
century British soldier. Stewart-Robertson
(The Athole Collection), 1884; pg.
160.
X:1
T:Saighdear Ruadh
M:C|
L:1/8
R:Reel
C:James Stewart-Robertson
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
e/f/|:gG G/G/G BGBd|ABcd edef|gG G/G/G BGBd|edef g2 g>f:|
|:g2 g>d BGdB|g2 g>e fgab|1 g2 g>d BGdB|ABcd e2 de:|2
gfgd
BGdB|ABcd edef||
______________________________________
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