The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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SAIL - SALLO

 

 

 

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 concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html

 

 

SAIL AWAY LADIES [1A]. Old‑Time, Breakdown. USA; Kentucky, Tennessee. G Major. Standard tuning. AB (Silberberg): AB tuning. B (Brody, Ford): AABB (Spandaro): AABBCC (Phillips). The tune is related to the numerous versions of "Sally Ann" played in the keys of A and G Major. According to Guthrie Meade (1980), the tune is identified with the south central Kentucky and middle Tennessee locals. Harry Smith (Folkways FA2951, 1952) thought that Uncle Bunt Stephen’s performance (Columbia Records, 1926) was “probably similar to much American dance music in the period between the Revolutionary and Civil Wars.” The title also appears in a list of the standard tunes in the square dance fiddler's repertoire, according to A.B. Moore in his 1934 book History of Alabama. Southern Kentucky fiddler Henry L. Bandy recorded the tune for Gennett in 1928, though it was unissued, however, the earliest recordings were Uncle Bunt Stevens (1926-without words) and Uncle Dave Macon (1927-with words). Stephens won the title of World Champion Fiddler in 1926 playing this tune, along with his version of “Old Hen Cackled,” beating 1,876 other fiddlers in auto magnate Henry Ford’s series of contests, held at dealerships through the East and Midwest. The winners of the local contests were brought to Detroit to play in the championship round. Stephens prize was said to be $1,000, a new suit, a car, and a new set of teeth.

***

Paul Wells (Middle Tennessee State University) states that the song was collected around the turn of the 20th century and seems to have been common to both black and white traditions. Tom Paley (former New Lost City Ramblers member) believes the verses of “Sail Away Ladies” to be typical floating verses, and go:

***

If ever I get my new house done,

(I'll) give my old one to my son.

***

Children, don't you grieve and cry.

You'll be angels, bye and bye.

***

Come along, girls, and go with me.

We'll go back to Tennessee.

***

(I) got the news from Shallow (or "Charlotte") Town.

Big St. Louis is a‑burning down.

***

I chew my tobacco and I spit my juice.

I love my own daughter but it ain't no use.

***

(Paul Mitchell and others believe the words in Macon’s last line sometimes heard as own daughter is really Dona, pronounced Dough-nee in the American South, a Spanish/Italian word for a mature love object, a woman.).

***

Another version of this last couplet goes:

***

I chew my tobacker and I swaller my juice

Sail away, ladies, sail away.

I'd like to go to Heaven, but it ain't no use.

Sail away, ladies, sail away.

***

African-American collector Thomas Talley, writing in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), printed a similar but different text:

***

Sail away, ladies! Sail away!

Sail away, ladies! Sail away!

Nev’ min’ what dem white folks say,

May de Mighty bless you. Sail away!

***

Nev’ min’ what you daddy say,

Shake yo liddle foot an’ fly away,

Nev’ min’ if yo’ mammy say:
“De Devil’ll git you.” Sail away!

***

Kentucky fiddler H.L. Bandy sang the following lyric to “Sail Away Ladies”, usually associated with the tune “Old Miss Sally”:

***

I asked that girl to be my beau

She hacked at me with a garden hoe

***

I asked that girl to be my wife,

She took at me with a butcher knife

***

Uncle Dave Macon also included a chorus which went, "Don't she rock, Die‑Dee‑Oh?” but Paley notes that other old recordings have variants like "Don't she rock, Darneo?" and even "Don't she rock 'em, Daddy‑O?" (which seems to harken to the beatnik era). Some unknown “revival” wag re-interpreted Macon’s lines as:

***

Don't sheetrock the patio (x3)

Sail away, ladies, sail away

***

Wolfe (1991) finds the song in several older collections: Brown (1:153), Brewer (165) and a 1903 collection by William W. Newell, Games and Songs of American Children (170). It also appears in a modern collection of African-American songs and games, Jones and Hawes’s Step It Down (174, as “Horse and Buggy”).

***

English musician Dave Arthur remarks that the song became popular in Britain in the skiffle craze of the 1950’s, and appeared on vinyl EP Loneei Donegan Hit Parade vol. 2 (1957), under the title “Don’t You Rock Me, Daddy-O.” A few years later it appeared on the set-list of the band The Quarrymen, out of Liverpool, who metamorphosed into the Beatles.

***

Sources for notated versions: Highwoods String Band (Ithica, N.Y.) [Brody]: Uncle Bunt Stevens (Tenn.) [Phillips, Spandaro]; Carthy Sisco [Silberberg]. See Journal of the Society for Ethnomusicology, #1, 1968; Linda Burman ‑ "The Technique of Variation in an American Fiddle Tune (Sail Away Lady)." Brody (Fiddler’s Fakebook), 1983; pg. 241. Ford (Traditional Music in America), 1940; pg. 35. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 207. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 136. Spandaro (10 Cents a Dance), 1980; pg. 32. Columbia 15071‑D (78 RPM), "Uncle Bunt Stevens" (Tenn.) {1926}. County 521, "Uncle Dave Macon: Original Recordings 1925‑1935." Folkways FA 2395, New Lost City Ramblers‑ "vol. 5." Folkways FA‑2951, Uncle Bunt Stevens ‑ "Anthology of American Folk Music, vol. 2, Social Music" (1952). Gennet Records, Master #14361, Henry L. Bandy (1928. Not released). Kicking Mule 213, Susan Cahill‑ "Southern Clawhammer Banjo." Morning Star 45004, H.L. Bandy (southern Ky.) - "Wish I Had My Time Again." Rounder 0074, Highwoods String Band‑ "No. 3 Special" (1976. Learned from Uncle Dave Macon's recording). Rounder 0193, Rodney Miller ‑ "Airplang" (1985). Vocalion 5155 (78 RPM), Uncle Dave Macon (1927). Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources

X:1

T:Sail Away Ladies

L:1/8

M:4/4

Z:AK/Fiddler’s Companion

K:G

g2ga g2d2 | e3d e4 | g2g2 edB2 | d6 d2 | e2ed B2G2 | A3G G4 | B2BE D2E2 |

G3G G4 :: B2BG A2G2 | B3A G4 | B2GE D2E2 | G3G G4 :|

 

SAIL AWAY LADIES [1B]. Old‑Time, Bluegrass; Breakdown. USA. G Major. Standard. AAB (Phillips): AABB (Brody). See also the related tune "Sally Ann [1][3]." Source for notated version: Kenny Baker [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 242. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 207. County 730, Kenny Baker‑ "Baker's Dozen." County 705, Otis Burris‑ "Virginia Breakdown" (Brody's version '1C').

 

SAIL AWAY LADIES [1C]. Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard. AAB. Source for notated version: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 95.

 

SAIL AWAY LADIES [2]. Old‑Time, Breakdown. USA, Kentucky. G Major. Standard. AB (Silberberg): ABB (Titon): AABB (Brody, Phillips). No relation to “Sail Away Ladies [1]," the tune that usually goes by this title that is in the “Sally Ann” family. Some have suggested that the tune may be related to Ed Haley’s “Indian Ate/Eat the Woodchuck,” but others do not hear the resemblance. Gus Meade and Mark Wilson, however, point to a relation with Kenny Baker’s “Indian Killed a Woodcock.” Source for notated versions: J.P. Fraley (Rush, Boyd County, Ky.), learned from his father, Richard Fraley, also a fiddler, who called the tune by the “Sail Away” title. According to Betty Vornbrock, Fraley remembers hearing Arthur Smith’s version (“Sail Away Ladies [1]") on the radio long after he learned his father’s version [Brody, Phillips, Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 242. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 207. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 137. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 141, pg. 167. Bee Balm 302, “The Corndrinkers.” Rounder 0037, J.P. and Annadeene Fraley‑ "Wild Rose of the Mountain” (1974).

 


SAIL AWAY LADIES [3]. AKA and see "Chinquapin." Old‑Time, Breakdown. USA; Round Peak, North Carolina. E Minor/G Major. Standard. AA'B. This melody, almost entirely played over an E minor chord (with a G major cadence in the 'B' part) is unrelated to the "Sally Ann" tune family, unlike so many other tunes with the title "Sail Away Ladies." The source for the tune, Mt. Airy, North Carolina, fiddler Tommy Jarrell, learned this single tune from Round Peak fiddler Preston 'Pet'/'Pat' McKinney, whom he chanced to meet in the road when Jarrell was age sixteen and on his way to a dance with his fiddle. McKinney, on his way to get some whiskey, hailed him and noting the instrument said "They say you fiddle, son." Jarrell handed him the fiddle which was in ADae tuning (the 'normal' tuning for Jarrell) and McKinney re-tuned it to standard tuning and played "Sail Away Ladies." Jarrell asked him the title and to play it again, and by the end had it fixed in his mind (see Peter Anick, "An Afternoon with Tommy Jarrell, 1982," Fiddler Magazine, Spring 1995, and notes on the tune appearing with Jarrell's recording on County 756). Source for notated version: Tommy Jarrell (Mt. Airy, N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 207. County 756, Tommy Jarrell‑ "Sail Away Ladies" (1976). Heritage V, Roscoe Parish (Galax, Va., under the title "Chinquapin"). In the repertoire of Luther Davis, Galax, Va.

 

SAIL HER OWER DA RAFT TREES. AKA and see "Sailor Ower da Raft Trees." Shetland, Shetland Reel. G Major. Standard. AABB. A traditional reel which Anderson (1970) notes is a "different version from the one played by the Shetland Fiddlers Society." Source for notated version: Arthur Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 26. Anderson and Swift, Haand Me Doon the Fiddle; No. 41. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 60, pg. 119.

 

SAIL ROUND THE ROCKS, THE. Irish, Slip Jig. G Major. Standard. AB. See also similarly titled but unrelated "Sailor on the Rock." Source for notated version: piper Daniel Markey (Drogheda, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Music), 1914; No. 25, pg. 10.

 

SAILING BACK OF WHIDDY (Ag Seolad Taob Le Faoit). Irish, Air (4/4 time). C Major. Standard. AB. Composed by fiddler James O’Neill (b. 1863, originally from County Down & Belfast), who, while a sergeant on the Chicago police force in the first decade of the twentieth century, collaborated with Captain Frances O’Neill on “Music of Ireland.” O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 56, pg. 10.

 

SAILING DOWN THE RIVER. AKA and see "Davy, Davy," "Going Down the River," "Paddy Won't You Drink Some (Good Old) Cider."

 

SAILING IN THE LOWLANDS LOW. Irish, Air (4/4 time). G Major. Standard. One part. A famous ballad. Source for notated version: "From the whistling of Joe Martin of Kilfinane Co. Limerick, a rambling working man with a great knowledge of Irish airs and songs, and much natural musical taste" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 182, pg. 91.

X:1

T:Sailing in the Lowlands Low

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)

Z:AK/Fiddler’s Companion

K:G

G2 BG E2D2|GABc d4|e2 ee edBd|e4 d4|G2 BG E2D2|GABc d4|edBG A2 BA|G6 z2||

 

SAILING INTO WALPOLE MARSH. Irish, Reel. A Dorian. Standard. AA’BB. The title apparently refers to poaching on a lord’s marsh. Similarities in the beginning to “Castle Kelly.”  HM301, Tony Sullivan - “Sully’s Fancy.” Phaeton PHAE999, James Kelly - “The Ring Sessions.” Conor Keane - “Oidhreacht.”

X:1
T:Sailing into Walpole's Marsh
M:4/4
L:1/8
R:Reel
Z:Andrew Pickering
N:Posted to the woodenflute mailing list January 2002
K:Ador
A2 AG AcBA|G2 GE GEDG|A2 AG ABcd|eged cAdc|
AG G2 AG G2|GEDE GDEG|A2 AG ABcd|1 eged cA dc:|
2 eged cA A2|
|eg g2 eaaf|gedB cA A2|eg g2 eaag|age^c d2 ef|
g2 ge a2 af|gedB cA A2|c2 gc acgc|eage d4:|

 

SAILING ON THE OCEAN. AKA and see "Sugar Hill." Old‑Time, Breakdown. USA, Arkansas. County 531, Luke Highnight & his Ozark Strutters (Clarke County, Ark.) ‑ "Old Time String Band Classics, 1927‑1933" (1975).

 


SAILOR BOY, THE. Irish, Slow Air (3/4 time). G Major. Standard. One part. Source for notated version: "Mr. J.C. MacGowan of Newtownards, a good amateur musician," c. 1873 (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 317, pg. 148.

X:1

T:Sailor Boy, The

M:3/4

L:1/8

R:Air

N:”Rather slow”

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:G

B|dd/B/ d>e BB|AG G3A|BA/G/ A2 Bd|ee d3G|Bd g2 ba|g/e/d/e/ d2 gf|

E/d/B d>e BB|AG G3||

                       

SAILOR CUT DOWN IN HIS PRIME, THE. English, Waltz. A favorite tune of multi-instrumentalist Walter Bulwer (1888-c. 1972), of Shipdham, Norfolk, England. Topic TSCD607, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1959).

                       

SAILOR JACK (Sean An Loingseoir). Irish, Air (2/4 time). G Major. Standard. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 615, pg. 108.

X:1

T:Sailor Jack

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’NeillMusic of Ireland (1903), No. 615

Z:AK/Fiddler’s Companion

K:G

g|dB A>G|GBD z/E/|GG c>B|B A2 g|dB A>G|GBD z/E/|GB A>G|G2 z||

B|c>B cd|ed g>e\dB AB/d/|e3 g|dB A>G| GBD z/E/|GB A>G|G2 z||

                       

SAILOR LAD(DIE). AKA and see "Sodger Lad(die)." Scottish, English; Jig. England, Northumberland. G Major. Standard. AABB. John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 15). It is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript, but appears in James Aird’s Selection of Scotch, English, Irish and Foreign Airs, Vol. II, published in Edinburgh in 1782. Aird (Selection), Vol. II, 1782; No. 71, pg. 26.

X:1

T:Sailor Laddie

M:6/8

L:1/8

S:Aird, Vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

g | B>AG GDE | A>BA ABd | e/f/gG GDE | GAG B2G |

cAc BGB | ABA ABd | e/f/gG GDE | GAG G2 :|

|: e/f/ | gag gdB | Aaa a2g | def gdB | gb/a/g/f/ gdB |

c>de gdB | aAA ABd | e/f/gG GDE | G>AG G2 :|

                       

SAILOR LASSIE, THE. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1768 2nd collection (pg. 107).

                       

SAILOR LOVED A FARMER'S DAUGHTER, A (Inion An Toice, Agus An Mairnealach). Irish, English; Air (3/4 time). B Flat Major. Standard. ABB. The title is from the Irish collector Edward Bunting's 1840 collection, however, O'Sullivan (1983) states his translation of the Irish is incorrect and should be "The Wenches Daughter and the Sailor." The tune may be found in Stanford's "Songs of Old Ireland" (pg. 83) with new words by Alfred Perceval Graves entitled "A Sailor Lad wooed a Farmer's Daughter." In the English tradition it was collected from a Warwickshire farmer c. 1900, in almost the same version as Bunting's. Source for notated version: Bunting was given the tune by "G. Petrie, Esq. Dublin, 1839." O'Sullivan/Bunting, 1983; No. 138, pg. 195.

                       

SAILOR ON THE ROCK (Maraí ar an gCarraig). AKA and see "Johnny With the Queer Thing." Irish, Reel. Ireland, County Sligo. D Major. Standard. AB (Miller & Perron, Taylor/Half-Door, Tubridy): AAB (DeMarco & Krassen): AA’B (Taylor/Sets, Taylor/Tweed): AABB (Flaherty, McGuire & Keegan): AA'BB' (O'Neill). Harry Bradshaw and Jackie Small say the tune probably owes its popularity to County Leitrim flute player John McKenna (1880-1947). “Sailor on the Rock” was apparently a local Leitrim tune that McKenna brought into the standard repertoire through his influential 78 RPM recording.  Sources for notated versions: Denis Murphy [Miller & Perron]; Michael Coleman (Co. Sligo/NYC) [DeMarco & Krassen]; fiddler Andrew Davey (b. 1928, Cloonnagh, Mullaghroe, Keash) [Flaherty]; set dance music recorded at Na Píobairí Uilleann, in the 1980’s [Taylor]; Leo Ginley [McGuire & Keegan]; “As played by Jimmy Norton, the Boss Jig Player” [Howe]. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 5. DeMarco & Krassen (A Trip to Sligo), 1978; pgs. 39, 53, 67. Flaherty (Trip to Sligo), 1990; pg. 112. Howe (1000 Jigs and Reels), c. 1867; pg. 49 (appears as “A Favorite Reel”). McGuire & Keegan (Irish Tunes by the 100, Vol. 1), 1975; No. 37, pg. 10. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 42. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 101. O'Neill (Krassen), 1976; pg. 113. Taylor (Through the Half-door), 1992; No. 50, pg. 34. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 15. Taylor (Music for the Sets: Yellow Book), 1995; pg. 15. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 22. DMPCD 9401, Karen Tweed – “Drops of Springwater” (1994). Gael-Linn CEF 161, “Michael Coleman 1891-1945” (1992). Green Linnet GLCD 3051, Frankie Gavin – “Frankie Goes to Town” (1991).  Green Linnet GLCD 1150, “Moving Cloud” (1995). Shanachie 79023, "Chieftains 3" (1971/1982). Shaskeen - "Shaskeen Live." Néillidh Mulligan – “The Leitrim Thrush” (learned from his father Tom).

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Sailor on the Rock

M:C|

L:1/8

K:D

A|defd BAFB|AD(3FED FAAc|defd BAFB|ABdf edBc|D2fd BAFB|

ADFD FAAB|defd BAFB|ABdf e2||de|fa(3a^ga fedf|g3a bgeg|faag fedB|

ABdf e2 de|fa(3a^ga fedf|g3a bgeg|fgfe d3B|ABdf (3efe d||

X:2

T:Sailor on the Rock, The

R:reel

S:Mary Bergin

Z:id:hn-reel-192

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:D d2fd BAFB|AD (3FED FAAB|defd BAFB|1 ABdf (3efe dA:|2 ABdf (3efe de||

|:faag fd (3Bcd|~g3a bgeg|1 faag fedB|ABdf (3efe de:|2 ~f3e dedB|ABdf (3efe dA||

                                                                                               

SAILOR ON THE ROPE. Irish, Reel. A Dorian. Standard tuning. AB. Carlin (Master Collection), 1984; No. 206, pg. 122.

                       


SAILOR OWER DA RAFT TREES. AKA and see "Sail Her Ower Da Raft Trees/Rough Trees/Rofftree," "Lady Mary Ramsay('s) [1]." Shetland, Shetland Reel. Shetland, Whalsay. D Major. ADae tuning. AABB. "Lady Mary Ramsay('s) [1]" was originally a Scottish strathspey, moulded in the Shetlands to "the faster vigorous and choppy bowing action common to Shetland reel playing" (Cooke). There is more than one tune by this title. Source for notated version: Andrew Poleson (Whalsay, Shetland) [Cooke].

                       

SAILOR SET DOWN ON THE SHORE. A fiddle tune in the c. 1840’s collection of painter William Sidney Mount, of Long Island, whose brother Robert Nelson Mount worked as an itinerant dancing master.

                       

SAILOR SET ON SHORE. AKA and see "Sailor's Return [1]," "Sailors On Shore," "Eilleen Curran [1]."

                       

SAILOR’S, THE. AKA and see “The Barren Rocks of Aden.” Irish, Polka. Bulmer & Sharpley (Music from Ireland), vol. 4.

                       

SAILORS ARE ALL AT THE BAR, THE. English, Air (9/8 time). England, Northumberland. G Major. Standard tuning. AABB. "(This tune) was all that remained of what had evidently been a longer ballad when Bell's 'Rhymes of the Northern Bards' was published in 1812, and it was included in that work. The tune is above a century old, and is very likely one of the old bagpipe hornpipes" (Bruce & Stokoe).

***

The sailors are all at the Bar,

They cannot get up to Newcastle; (x2)

Up with smoky Shields,

And hey for bonny Newcastle; (x2)

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 128.

X:1

T:Sailors Are All at the Bar, The

L:1/8

M:9/8

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

BGB AFA G2B|AcA FAF AcA|BGB AFA G2c|def gdc BAG:|

|:F2f ege f3|cde fcB AGF|G2g ege g3|def gdc BAG:|

                       

SAILOR'S BONNET, THE (“Bairéad an Mháirnéalaigh” or “Boinéad na tSeoltóra”). AKA and see "Highlander's Bonnet." Irish, Reel. D Major. Standard. ABB (Reiner & Anick): AABB (most versions): AABB’ (Moylan). The “Sailor’s Bonnet” is the third tune of a famous medley by Sligo fiddler Michael Coleman (1891-1945), following “The Tarbolton” and “Longford Collector,” frequently played at Irish sessions down to this day.  The first part is usually played single, and the second part doubled, totalling eight and sixteen bars, respectively. Harry Bradshaw and Jackie Small note that, while Coleman helped to popularize it, “The Sailor’s Bonnet” had been comparatively unknown until the 78 RPM recording of it by the duet of Leitrim flute player John McKenna (1880-1947) and Sligo fiddler James Morrison (d. 1947), which predates Coleman’s 1934 recording.

***

Breathnach (1963) notes that O’Brien has another setting in his Irish Folk Music (176). The ‘B’ part of “Sailor’s Bonnet” is similar to the second part of the American breakdown “Billy in the Lowground.” Sources for notated versions: fiddler Jean Cariginan (Montreal, Canada) [Brody]; fiddler Seán McGuire (1927-2005, Belfast, Ireland) [Miller & Perron]; piper Matthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]; Michael Coleman (Co. Sligo/New York) [Reiner & Anick]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 157, pg. 62. Brody (Fiddler’s Fakebook), 1983; pg. 243. Harker (300 Tunes from Mike Rafferty), 2005; No. 127, pg. 38. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 48. Mallinson (Essential), 1995; No. 64, pg. 28. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 10. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 102. Moylan (Johnny O’Leary), 1994; No. 279, pg. 159. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 159. Sullivan (Session Tunes), vol. 2; No. 5, pg. 3. Taylor (Through the Half-door), 1992; No. 45, pg. 31. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 23. Coleman Music Center CHC 009, fiddler Andy Davey (1928-2005) – “The Coleman Archive, vol. 2: The Home Place” (2005). Folkways FW 8876, Kevin Burke‑ "Sweeney's Dream." Gael-Linn CEF 045, “Paddy Keenan” (1975). Green Linnet SIF‑1110, Johnny Cronin, Paddy Cronin, James Kelly & Johnny McGreevy ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Leader LEA 2004, Martin Byrnes. Mulligan 002, The Bothy Band‑ "1975." Philo 2001, "Jean Carignan" (appears as third tune of "Tarbolton Reel Medley" and learned from a Michael Coleman record made in the mid 1930's). Shanachie 33001, Michael Coleman‑ "The Wheels of the World." Shaskeen - "Shaskeen Live."

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Sailor’s Bonnet, The

M:C|

L:1/8

R:Reel

K:D

A2 FA df f2|dfef dBBd|A2 FA defe|dBAF ADDB|A2 FA df f2|

afef dBBd|A2 FA defe|dBAF AD D2:|

|:~a2 ab afdf|afef dB ~B2|fb(3bbb bafa|(3bbb af feef|bf f2 afef|afef dBBd|

A2 FA defe|dBAG FA D2:|

                                               

SAILOR'S COMPLAINT, THE. English, Air (3/4 time). F Major. Standard tuning. AA'B. The air appears in Walsh's Musical Miscellany, vol. iv. Chappell (1859) says many sea songs were written to this tune, the most famous of which was "Cease, Rude Boreas," written by G.A. Stevens.

***

Come and listen to my ditty,

All ye jolly hearts of gold;

Lend a brother Tar your pity,

Who was once so stout and bold.

But the arrows of Cupid,

Alas! have made me rue;

Sure, true love was ne’er so treated,

As am I by scornful Sue.

***

Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 165.

X:1

T:Sailor’s Complaint, The

M:3/4

L:1/8

R:Air

S:Chappell – Popular Music of the Olden Time (1859)

Z:AK/Fiddler’s Companion

K:F

Ac|B2 AGFE|F2G2 Ac|B2 AGFE|1 F4:|2 F3||

A BA|d3 c BA|G>A B2 AG|F3 D EG|C4 GA|B2 AG cE|F2G2 fd|c3 A BG|F4||

                       

SAILOR'S CRAVAT, THE (Carabat An Loingseoir). AKA and see “Reel of Tralishlane.” Irish, Reel. D Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 140. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1446, pg. 268. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 681, pg. 121. Green Linnet Records, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic Records album recorded in 1977. Learned by Jack Coen from accordion player Paddy O’Brien).

X:1

T:Sailor’s Cravat, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 681

Z:AK/Fiddler’s Companion

K:D

d2 fe dcBd |ABFB ADFA|d2 fe dcBd|AFDF GEEz|

d2 fe dcBd|ABFB ADFA|d2 fe dcBd|AFEG FD D2||

AddA BAFA|defd Beez|AddA BcdB|AFGE FD D2|

AddA BAFA|defd Beez|AddA Bgfe|dBAG FD D2||


                       

SAILOR'S DANCE, THE. English, Air (2/2 time). B Flat Major. Standard tuning. AABB'. The tune was composed by English composer Henry Purcell for his "Dido and Aeneas" (1689). Emmerson (1971) believes the tune is very suggestive of the common‑time 'modern' hornpipe rhythm. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 91, pg. 165.

                       

SAILOR'S DELIGHT, THE. English, Slip Jig. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 368.

                       

SAILOR’S FANCY. English, Reel or Hornpipe. F Major. Standard tuning. AABB. Knowles (A Northern Lass), 1995; pg. 21.

 

SAILOR'S FAREWELL, THE (Slán an Mhairnéalaigh). AKA and see "Reynold's Reel," "The Sailor's Return [2]," "Mulhaire's Reel," “New Town Bridge,” "The Rough Road," "Joe Cooley's Reel [2]." Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: from the whistling of Jimmie Ward, 1966 (Miltown Malbay, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 146, pg. 78.

 

SAILOR'S HORNPIPE [1]. AKA and see "College Hornpipe," “Duke William’s Hornpipe,” "Jack's the Lad [1]," "Lancashire Hornpipe [1]."  English (originally), American; Reel, Hornpipe, or Breakdown. England, Northumberland. USA; New York, southwestern Pa., West Virginia, Alabama, Arkansas. G Major (Most versions): D Major (Sweet): B Flat Major (Hardings, Seattle/Vickers). Standard tuning. AABB. Originally titled the "College Hornpipe" this melody became known as the "Sailor's Hornpipe" through its association with the performance of the hornpipe dance, typically performed on the stage in nautical costume (see notes for "College Hornpipe"). At the turn of the 18th century a sailor was a favorite character of the musical stage and the nautical theme became so associated with the dance that many hornpipes were generically labeled a 'sailor's hornpipe'. The dance itself features a distinctive 'side-cutting' step. The style retained its popularity throughout the century, and none‑less than J. Scott Skinner, the famous Scottish violinist who was also a dancing master, taught the dance at Elgin and other places to his pupils. George Emerson, in his article on the Hornpipe (Folk Music Journal, vol. 2, No. 1, 1970) finds an early reference:

***
at Drury lane, May 1740, Yates ..is .. billed to perform a 'hornpipe in the character of Jacky Tar. There is no mention then or later of anyone performing 'the' or 'a' sailor's hornpipe. It is always a 'hornpipe in the character of a sailor'..”

***

As the "College Hornpipe" the tune was in print in 1797 or 1798 by J. Dale of London, and although the melody predates Dale's publication, the English antiquarian Chappell's editor dates it no earlier than the second half of the 18th century. Emerson suggests the comic ballet The Wapping Landlady (1767) was the source of the Sailor Hornpipe that was famously danced by the American dancer Durang for some twenty years at the end of the 18th century. The ballet featured the trials of Jack Tar ashore, and was choreographed by Arnold Fisher (of “Fisher’s Hornpipe” fame). See also note for “College Hornpipe” for more.

***

"Sailor's Hornpipe" was imported to North America where it entered traditional repertoire and became fairly widely known, still with its nautical connotations--so strong was the association, in fact, that it was selected as the theme song of a popular mid-20th century animated cartoon character, Popeye the Sailorman.  Bronner (1987) reports the earliest known printing in the United States was in a publication by B. Carr entitled Evening Entertainments in the year 1796 (under the "College Hornpipe" title).  Although the name "Sailor's Hornpipe" has been something of a floating title in the United States, it is probably the 'College' tune under this title which was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly). Similarly in American tradition, it was played at a fiddle contest in Verbena, Alabama, in 1921 (as noted in the Union Banner of October 27, 1921), and also in another 1920's contest in Georgia by one R.L. Stephens of Camp Hill, Alabama (according to the Columbus (Ga.) Register of December 10‑12, 1926) {Cauthen, 1990}. The title also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The late Kentucky fiddler George Lee Hawkins, renowned as a "hornpipe fiddler," played “Sailors” in the key of F. Sources for notated verisons: W. Franklin George (W.Va.) [Krassen]; Floyd Woodhull, 1976 (New York State) [Bronner]; Marion Yoders (fiddler and fifer from Greene County, Pa., 1963) and Brown Hall (fiddler from Fayette County, Pa., 1956) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 310E‑F, pgs. 262‑263. Brody (Fiddler’s Fakebook), 1983; pg. 243. Bronner (Old Time Music Makers of New York State), 1987; No. 10, pg. 56. Cole (1000 Fiddle Tunes), 1940; pg. 87 (appears as "College Hornpipe"). Ford (Traditional Music in America), 1940; pg. 46. Hardings All-Round Collection, 1905; No. 177, pg. 56. Krassen (Appalchian Fiddle), 1973; pg. 83. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 222. Seattle (William Vickers), 1987; No. 439 (appears as "College Hornpipe"). Sweet (Fifer’s Delight), 1965/1981; pg. 41. Folkways FA 2472, Roger Sprung‑ "Progressive Bluegrass, vol. 3." Decca DL 74601, Bill Monroe‑ "Bluegrass Instrumentals." New World NW 293, Rodney Miller ‑ "Instrumental Dance Music 1780's‑1920's." Paramount 3017 (78 RPM), 1927, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but later taught Baltzell to play the fiddle}. Topic TSCD607, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962).

X:1

T:Sailor’s Hornpipe [1]

T:College Hornpipe

M:C
L:1/8

R:Hornpipe

B:Harding’s All Round Collection, No. 177  (1905)