The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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SALLY - SALV

 

 

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]

 

 

 

SALLY ANN [1]. AKA and see “Beano,” “Darneo,” "Dineo." Old‑Time, Breakdown. USA; West Virginia, Virginia, North Carolina. D Major. Standard tuning. AABB. One version of the tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. See also related tunes "Big Sweet Taters in Sandy Land," "Great Big Tater(s) in Sandy Land/Lot," "Sandy Land," "Sail Away Ladies" (Kentucky/Tennessee), "Wish(ed) I Had My Time Again" (Ky.). One version of the tune goes by the name "Dineo" in the Franklin/Floyd County area of southwestern Virginia, and it was recorded as “Darneo” by the Blue Ridge Highballers (Yazoo CD 2046). “Sally Ann” has been jokingly called the Surry County, North Carolina “national anthem.” Among the many early recordings of the tune was a version by the Ashe County, North Carolina, string band Frank Blevins and His Tar Hell Rattlers, a name made up on the spot at the 1927 Columbia recording session in Atlanta for 16 year old fiddler Frank Blevins, his older brother and guitarist Ed Blevins and banjo player Fred Miller. The band’s playing was inspired by a few shots of corn liquor from a convenient jug. The Hill Billies, a Galax, Va., area band, recorded an influential version in 1925 (re-released on Document DOCD-8039). Fiddler Joe Birchfield (1911-2001) of Roan Mountain, Tennessee, played a version of “Sally Ann” in the key of C.

***

Cecil Sharp noted the following set of words from Mrs. Dellie Hughes of Crane River, Burnsville, North Carolina, in 1918:

***

O where are you going Sally Anne (x3)

I’m going to the wedding, Sally Anne.

***

O shake that little foot, Sally Anne (x3)

You’re a pretty good dancer, Sally Anne.

***

These are from another traditional source (from Mudcat):

***

Ever see a muskrat, Sally Ann,

Draggin' his thick tail through the sand,

Pickin' a banjo, kickin' up sand?

I'm gonna marry you, Sally Ann.

***

Chorus:

I'm gonna marry you, Sal gal,

I'm gonna marry you, Sally Ann.

I'm gonna marry you, Sal gal,

I'm gonna marry you, Sally Ann.

***

Make my livin' in sandy land,

Make my livin' in sandy land,

Make my livin' in sandy land,

Raise them taters, Sally Ann.

***

So, y'ever see a muskrat, Sally Ann,

Draggin' his thick tail through the sand,

Pickin' a banjo, kickin' up sand?

I'm gonna marry you, Sally Ann.

***

Source for notated version: John Ashby (Virginia) [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 244. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 209. County 405, "The Hillbillies." County 727, John Ashby‑ "Old Virginia Fiddling." Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, vol. 1” (reissue). Folkways FA2434, Norman Edmonds and the Old Timers ‑ "The 37th Old‑Time Fiddlers' Convention at Union Grove, North Carolina" (1961). Library of Congress (2741-B-1), 1939, J.W. 'Peg' Thatcher (Franklin County, Virginia). Musical Traditions MTCD321-2, Pug Allen (et al.) – “Far on the Mountain: vol’s. 1 & 2” (re-release, 2002). OKeh 40336 (78 RPM), The Hillbillies (1925). Old Hat Enterprises CD, “Music from the Lost Provinces” (1997). Revonah RS‑932, The West Orrtanna String Band ‑ "An Orrtanna Home Companion" (1978. Learned from Henry Reed via the Hollow Rock String Band). Rounder 0058, Clell Caudill‑ "Old Originals, vol. II" (1978). Rounder CD0262, Mike Seegar - "Fresh Old-Time String Band Music" (1988. Appears as "Pork Fat Makes My Chicken Tan," an unusual variation by the Horseflies and the Agents of Terra, Ithaca, N.Y., string bands in which the fiddle is tuned EDad). Yodel-Ay-Hee 020, Rafe Stefanini & Bob Herring - "Old Paint."

See also listings at:

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

 

SALLY ANN [2]. See related tune "Rock the Cradle Joe [1]." Old‑Time, Breakdown. USA, western North Carolina. D Major. ADae. AABBCC. A very common Galax (Va.) area tune, though Bill Hicks (1972) notes that there are many versions of it played in the Galax/Mt. Airy area. In fact, there appears to be two distinct versions or strains of the tune, one characterized as the "Round Peak" version (named after the Round Peak, North Carolina, area south of Galax), and one typefied by the "Great Big Taters" versions. Musician and folklorist Alice Gerrard tells this story: "Back when I first got to Galax it seemed like everybody in the country could play an instrument. I remember going to one auction sale and this fellow was standing there‑‑he had just walked over from across the street and was watching the sale going on, and Wade Ward handed him his fiddle and said, 'Here, play us a tune.' And the guy said, 'I don't know how to play.' Uncle Wade told him, 'Well, play Sally Ann‑‑there's not a man alive that can't play Sally Ann.' So the fellow played 'Sally Ann', and it wasn't bad! To this day I don't know who the fellow was." (Old Time Herald, vol. 3, No. 2, pg. 30). Tommy Jarrell recalled the tune he learned from his father, fiddler Ben Jarrell, along with Tony Lowe and Charlie Lowe, an adaptation of the version he named "old‑timey 'Sally Ann'. The newer version was rooted in the interplay between the ensemble playing of banjo and fiddle, rather than the more archaic solo fiddle style. Tommy learned the third part of the tune when he was about fourteen over the Virginia line, just north of where he lived in North Carolina, and brought it back to teach local musicians.

***

Sue's in the garden siftin' sand,

Sal's in bed with a hog‑eyed man,

And  I'm going home with Sally Ann,

Stay all night with Sally Ann.

***

Source for notated version: Tommy Jarrell (Mt. Airy, North Carolina) [Brody].

Brody (Fiddler’s Fakebook), 1983; pg. 244. County 723, Cockerham, Jarrell, and Jenkins‑ "Back Home in the Blue Ridge." County 748, Tommy Jarrell‑ "Come and Go With Me." Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Creed Smith). Rounder 0010, "Fuzzy Mountain String Band" (1972. Learned from Tommy Jarrell, Mt. Airy, N.C.).

See also listing at:

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

 

SALLY ANN [3]. Old‑Time, Breakdown. USA, Kentucky. G Major (Brody, Titon): A Major (Kuntz): D Major (Johnson). Standard. ABB (Johnson): AABB (Brody, Kuntz, Phillips, Titon). Closely related to "Sail Away Ladies" and "Great/Raise Big Taters in Sandy Land.” It is less closely related to the Round Peak “Sally Ann [2]." Jeff Titon (2001) states the ‘B’ part is cognate with the low part of “The Pateroller Song” “Run, Johnny, Run” family of tunes, and may have an African-American origin. John and Alan Lomax published a version called “Sandy Lan” in their American Folksongs and Ballads (1934). John McCutcheon notes it could easily be called "Scott County's Anthem" and was Beachard Smith's (1911‑1981) signature tune.

***

Sally's in the garden sifting sand,

Susie's upstairs with the hog‑eyed man;

I'm a‑goin home with Sally Anne,

I'm a‑goin home with Sally Anne.

***

Goin' to a weddin'‑up Sally Anne,

Great big weddin'‑up Sally Anne;

I'm a‑goin' home with Sally Anne,

I'm a‑goin' home with Sally Anne.

***

Did you ever see a muskrat Sally Anne?

Draggin' his slick tail through the sand;

Pick it on the banjo Sally Anne,

I'm a‑goin' home with Sally Anne.   (Kuntz)

***

Sift that meal and save the bran,

I'm going to the wedding with Sally Anne.

Shake that little foot, Sally Anne,

You're a mighty good dancer, Sally Anne. {x2} (Johnson)

***

Sources for notated versions: Doc Roberts (east Kentucky) [Brody, Titon]; John McCutcheon, Fred Price, Dave Brody (Kuntz); James Chancellor [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 245. Johnson (Kitchen Musician No. 2: Old-Timey Fiddle Tunes), 1988 (revised 2003); pg. 1. Kuntz (Ragged but Right), 1987; pg. 344‑345. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 208. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 143, pg. 169. Conqueror 7766 (78 RPM), Doc Roberts. Davis Unlimited 33015, Doc Roberts‑ "Classic Fiddle Tunes." Folk Legacy Records FSA‑17, Hobart Smith ‑ "America's Greatest Folk Instrumentalist" (appears as 2nd tune of "Banjo Group 1"). Folkways 2355, "Old Time Music at Clarence Ashley's, vol. 1." Greenhays GR 710, John McCutcheon‑ "Fine Times at Our House" (1982). Kicking Mule 202, John Burke‑ "Fancy Pickin' and Plain Singing." Kicking Mule 205, Delaware Water Gap‑ "From the Rivers of Babylon to the Land of Jazz" (1978). Rounder 0351, J. P. Fraley – “Maysville: Old Time Fiddle Tunes from Northeast Kentucky” (1995). 5 String Productions 5SP05002, The Hoover Uprights – “Known for their Reputation” (2006. Doc Roberts’ version).

 

SALLY ANN [4]. AKA and see "Liza Jane." American, March (2/4 time). USA, southwestern Pa. G Major. Standard tuning. AB. The title floated to a fife march version of "Liza Jane" in southwestern Pennsylvania. Source for notated version: Lloyd Grimm (fifer from Westmoreland and Greene Counties, Pa., 1960) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 393C‑D, pg. 377.

           

SALLY ANN JOHNSON.  Old‑Time, Breakdown. USA; Virginia, West Virginia. G Major. Standard tuning. AABB (Brody): AABB' (Phillips). The title is often confused with "Sally Johnson [1]," a different tune altogether. According to Guthrie Meade, this piece was a favorite competion number for St. Albans, West Virginia, fiddler Clark Kessinger at fiddlers' contests. Sources for notated versions: Ray Bierl (California) [Phillips]; Sally & John White (Scio, Oregon) [Songer]. Brody (Fiddler’s Fakebook), 1983; pg. 245. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 209. Songer (Portland Collection), 1997; pg. 173. County 733, "The Legend of Clark Kessinger." Folkways 31062, Ship in the Clouds‑ "Old Time Instrumental Music" (1978. Learned from the late Henry Reed, Glen Lyn, Virginia). Jabbour, Thompson, and Bradley‑ "Sandy's Fancy."

                       

SALLY COME DOWN THE MIDDLE. Rounder 0437, Noel Scott  – “Traditional Fiddle Music of the Ozarks, vol. 3: Down in the Border Counties.”

                       

SALLY COMING THROUGH THE RYE. Old-Time, Breakdown. USA, West Virginia. A Dorian or A Mixolydian. AEae or DGdg (Harvey Sampson) tunings. ABB. The 'A' part is irregular in form while the tonality may vary between Mixolydian and Dorian, meaning the accompanying ‘A’ chords can be either minor or major. Gerry Milnes identifies it as a Calhoun County, W.Va., tune. It was also in the repertoire of Ohio fiddler Ward Jarvis. Source for notated version: Kerry Blech [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 209. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson from his father). Shanachie 6040, Gerry Milnes & Lorraine Lee Hammond – “Hell Up Coal Holler” (1999. Learned from Harvey Sampson and his brother Homer). Reed Island Rounders – “Goin’ Home” (2002).

X:1

T:Sally Comin’ Through the Rye

M:2/4

L:1/8

S:Gerry Milnes

Z:Transcribed by Andrew Kuntz

K:G Mixolydian

B>c d>e|f>e dc|B/c/d/e/ fd|

M:3/4

L:1/8

[dg][df] d3 e/d/|

M:2/4

L:1/8

B>c d>e|f/e/f/e/ dc|B/c/d/e/ f/e/d/e/|

M:3/4

L:1/8

[dg][df] (d2 d/)e/d/c/||

M:2/4

L:1/8

_B>AG/ FD|_B/A/G F<D|_B<AG/ F/G/G/G/|

M:3/4

L:1/8

D/E/G G4|

M:2/4

L:1/8

_B>AG/ FD|_B/A/G F<D|_B<AG/ F/G/G/G/|

M:3/4

L:1/8

D/E/G G4||

           

SALLY COOPER. AKA – “Sallie Cooper.” Old-Time, Breakdown. USA, Kentucky. G Major. GDad tuning. ABB. Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky.) [Titon]. Titon (Old-Time Kentucky Fiddle Tunes), 2001; No. 142, pg. 168. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-42, vol. 1” (1993). Rounder 0361, Bruce Molsky – “Lost Boy” (1996. Learned from John Salyer’s recording).

See also listing at:

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

X:1

T:Sally Cooper

M:C|
L:1/8

R:Reel

S:Bruce Molsky

N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:G

|:[G,2D2] A[Dc] (BA)[G,G]B|A(G[FA]D) G2[G2B2]|[G,2D2] A[Dc] (BA)[G,G]B|

A([GA]FD) G2 [G2B2]|[G,2D2] A[Dc] (BA)[G,G]B|A([GA][FA][DA]) G2 [G2B2]|

[G,2D2] B[Dc] (dB)[G,G]B|A(GFD) G2[G2B2]:||d3e f2 df|(ed)^cA d2 [D2d2]|

(AB)cA (BA)GB|A(GFD) [G,2G2] [G2B2]|d3e f2[D2d2]|e2^c2d2[D2d2]|

(AB)[Dc]A (BA)[G,2G2]B|A([GA][FA][DA]) [G,2G2] [G2B2]||

                       

SALLY CORN. Old‑Time, Breakdown. USA, southwestern Pa. G Major. Standard tuning. AA'B. Source for notated version: Frank Thomas (elderly fiddler from Somerset County, Pa., 1946) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 121, pg. 67.

           


SALLY GARDENS [1], THE (Na Garranta Sailí). Irish, Reel. G Major. Standard tuning. AABB (most versions): AA’BB’ (O’Malley, Perlman). A common session tune, unfortunately considered somewhat hackneyed and trite in some quarters. The name “Sally Garden” is a 17th century variation of sallow garden, the term for a willow garden. The name ‘sally’ is derived either from the Latin name ‘salix’ or ‘salyx’, meaning willow (‘aspirin’, or acetylsalicylic acid, was developed from an investigation of the folk remedy of chewing willow shoots to relieve pain), or from the Gaelic word for the plant, "sailleach” (which itself may have been derived from the Latin). A sally garden was kept as a source for willow sprouts or osiers used in making wicker baskets, furniture and other household items but it also sometimes served as a trysting place for lovers. The theory is that over the years ‘sally garden’ was personified into the object of desire, “Sally Gardens;” a woman’s name (see also the American tune “Sally in the Garden”). Luke O’Malley credits accordion players Joe Cooley and Paddy O’Brien for popularizing the reel in the New York area. Paddy O’Brien recorded the tune in January, 1954, on the then-new B/C system. Sources for notated versions: fiddler Seán McGuire (1927-2005, Belfast, Ireland) [Miller & Perron]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]; fiddlers Carl & Jackie Webster (b. 1932 & 1938, Central Kings County, Prince Edward Island) [Perlman]; set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]. Breathnach (CRÉ I), 1963; No. 100, pg. 43. Brody (Fiddler’s Fakebook), 1983; pg. 246. Bulmer & Sharpley (Music from Ireland), vol. 1; No. 1. Jordan (Whistle and Sing), 1975; 18. Mallinson (Essential), 1995; No. 5, pg. 2. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 34. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 1, No. 29. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 102. Moylan (Johnny O’Leary), 1994; No. 154, pg. 89. Mulvihill (1st Collection), 1986; No. 16, pg. 4. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 17, pg. 9. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 62. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 138. Taylor (Music for the Sets: Yellow Book), 1995; pg. 6. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 25. Avoca 139, Seán Magurire‑‑"Music of Ireland." Columbia CAL506-1 (78 RPM), Paddy O’Brien (195?). Kicking Mule KM‑325, Banish Misfortune ‑ "A Health to the Company" (1981). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Sonet 763, Dave Swarbrick‑ "Lift the Lid and Listen." Bill McComiskey (et al) – “The Big Squeeze.”

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

Alan Ng’s Irishtune.info

X:1

T:Sally Gardens

R:Reel

M:C|

L:1/8

K: G

G2DG B2GB | dBeB dBAB | d2Bd efge | dBAB GEDE |

G2DG B2GB | dBeB dBAB | d2Bd efge | dBAB G2G2 :|

dggf g2dg | g2bg aged | eaag a2ea | a2bg agea |

dggf g2dg | g2bg ageg | d2Bd efge | dBAB G2G2 :|

 

SALLY GARDENS [2]. See “Down by the Sally Gardens [2]."

 

SALLY GARDENS [3].  AKA and see “Garrai Na Saileog,” Miss Galvin’s,” “Mrs. Galvin’s Favourite,” “Woodford Fling [2].”

 

SALLY GET YOUR HOECAKE DONE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

SALLY GOODIN'. AKA – “Sally Gooden,” "Sally Goodwin." Old‑Time; Texas Style; Breakdown. USA; Widely known. A Major (most versions): G Major (John Brown, Phillips/Davenport). AEae (Eck Robertson) or Standard tunings. AB (Bayard): AAB (Phillips/Martin): AABB (Brody, Kartchner, Phillips, Thede): AABB' (Phillips/Davenport): AABB’CBB’ (Beisswenger & McCann): AABBCCDD (Sweet): AA'BB'CDCD (Ford): AABBCCDDEE (Phillips/Franklin): AABB'CC'DDEE (Frets). USA, A widely known breakdown and play party tune in the upland South (but not universally known throughout the country—Paul Gifford reports that it was completely unknown to traditional fiddlers in Michigan, for example). Bayard (1981) suggests that the tunes "Sally Goodin," "Old Dan Tucker" and his Pennsylvania collected "Rye Whiskey [2]" (a breakdown, not the 3/4 time version) are related "in an affinity that goes back a long while;" and, in fact, some versions of these tunes do seem to blend with one another. Charles Wolfe (1982) states it was popular with Kentucky fiddlers. According to A.B. Moore in his History of Alabama (1934), “Sally Goodin” was one of the standard tunes in an (Alabama) fiddler’s repertoire. Rosenbaum (1989) remarks that it is an almost universally known fiddle tune in the South, but that the verses (an example is given below) are not sung as frequently today as they were in the past. Texas fiddler Eck Robertson was the first person to record the tune in 1922 when he was aged thirty-four (Robertson is remembered playing the tune at various times in both AEae and standard tuning, though on his early and famous recording he played in AEae). He was by accounts a colorful personality, who used to introduce the tune in performance something akin to the following (according to Byron Berline):

***

There was a girl named Sally who had two boyfriends. The two

boys were both fiddle players, and one of the boys had the last

name of 'Goodin.' Sally couldn't decide which one to marry, so

she thought a fiddle contest between the two would be a good

way to make her selection. Of course, the fellow Goodin won

the contest, and Sally became Sally Goodin. They were very

happy and had a productive life with 14 children, so I'm going

to play 'Sally Goodin' 14 different ways.

***

Arizona fiddler Kenner C. Kartchner said: "Old Texas tune. Only a few play it well. All try it" (Shumway), and indeed, it is played today by Texas-style fiddlers, usually with multiple variation parts. In other regions of the country two-part versions prevail. Missouri fiddler Bob Holt (1930-2004) played the tune in three parts, but acknowledged that most fiddlers in the Ozarks region played it in two. Bruce Green believes the tune was originally called “Boatin’ Up Sandy” (there are several tunes by this name) and was renamed during the American Civil War by Confederate soldiers attached to John Hunt Morgan’s unit of irregulars. The story, as Green tells it, is that the company arrived at a point on the Big Sandy River in Pike County, Kentucky. A boarding house run by Sally Goodin was located nearby where she allowed the soldiers to camp and to play music. In appreciation of her hospitality the soldiers renamed the tune in her honor (Mike Yates, 2002).

***

Guthrie Meade (Country Music Sources) lists twenty-nine early 78 RPM recordings, attesting to the popularity and wide dissemination of the tune. “Sally Goodin” was in the repertoires of Fiddlin John Carson (North Ga.) {1922}, Fiddlin' Cowan Powers 1877‑1952? (Russell County, S.W. Va.) {and who recorded the tune for Victor in August, 1924, though it was unissued}, Uncle Am Stuart (b. 1856, Morristown, Tenn.) {and who re-recorded it for Vocalion in 1924}, Uncle Jimmy Thompson 1848‑1931 (Tenn.) {as "Sally Goodwin"}, and Alabama fiddler Monkey Brown (1897‑1972). North Georgia fiddler Earl Johnson, with his band the Clodhoppers, recorded a version of the tune in 1928 under the odious title “N....r in the Cotton Patch.” Also in repertoire of legendary fiddler J. Dedrick Harris, born in Tennessee, and who played regularly with Bob Taylor while he was running for Governor of the state in the late 1800's. Harris moved to Western N.C. in the 1920's and influenced a generation of fiddlers there: Osey Helton, Manco Sneed, Bill Hensley, Marcus Martin. The title was mentioned in reports of the De Kalb County Annual (Fiddlers') Convention, 1926‑31 (Cauthen, 1990). At the turn of the century it was played by George Cole of Etowah County, Alabama, as recorded by Mattie Cole Stanfield in her book Sourwood Tonic and Sassafras Tea (1965). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's; he said it was popular at play‑parties in the Ozarks in the 1890's (see his Ozark Folksongs, vol. 3). Similarly, it was recorded in 1939 for the Library of Congress by Herbert Halpert from the playing of Itawamba/Tishomingo County, Mississippi, fiddler John Brown and, in the same year from Franklin County, Virginia, fiddler J.W. 'Peg' Hatcher (2741-B-2). Texas fiddler Eck Robertson's 1923 release of "Sally Goodin'" (backed with Robertson and H.C. Gilliland performing “The Arkansas Traveller") was the number one country music bestseller for the year 1923 (although it had been released in a limited pressing in 1922, then more fully the next year). Georgia fiddler Bill Shores, a native Alabamian who spent most of his life in the Rome, Georgia, area (according to Wayne Daniels), recorded the tune (under the title “Sally Goodwin”) with guitarist Riley Puckett in Atlanta in 1926. North Georgia stalwarts The Skillet Lickers waxed “Sally Goodin” in 1929, as did Tennessee entertainer Uncle Dave Macon in 1925. Georgia fiddler A.A Gray played the tune on “A Fiddler’s Tryout in Georgia,” a sham fiddling-contest skit with supposed judges and two fiddlers vying for a prize (Joe Brown was his nemesis)—Gray plays “Bucking Mule” and “Sally Goodin’” on the 78 RPM record. George Edgin recorded it in 1932 under the title “Blue Mountain Sally Goodin.”

***

Eck Rolbertson

***

Had a piece of pie, had a piece of puddin',

Give it all away to see Sally Goodin'.

***

I love pie, I love puddin',

Crazy 'bout the gal they call Sally Goodin'.

***

Looked up the road, seen Sally comin',

Thought to my soul she'd break her neck a‑runnin'.   (Thede)

***

Had five dollars, now I've got none,

Give it all away to see Sally Goodin.

Hey, ho, old Sally Goodin,

Hey, ho, old Sally Goodin.

***

Raspberry pie, blackberry puddin',

Give it all away to kiss Sally Goodin.

Hey, ho, old Sally Goodin,

Hey, ho, old Sally Goodin.   (Rosenbaum/Knight)

***

Texas fiddler Bob Wills’ version, with singer Tommy Duncan, goes as follows (from the “Tiffany Transcriptions,” vol. 6):
***
Sheep and a goat was walkin’ in the pasture,
The sheep said to goat, “Can’t you get a little faster?”
The sheep fell down and the goat rolled over,
Sheep got up with a mouth full of clover
***
Chorus:
Like my pie, like my puddin’,
Love that gal that they call Sally Goodin’
***
The meat on the goose and the marrow on the bone,
The devil on the hillside don’t you hear him groan;
Turkey playin’ fiddle up on the melon vine,
The goose chewin’ tobacco while the duck drinkin’ wine.
***
Chorus
***
Possum up a gum stump, dogs on the ground,
Man [Men] with [a] shotgun[s] walkin’ all around;
Boss has stuck his head out, and grinned kinda silly,
Women and children are hollerin’ “Willy, Willy.”

***
Chorus
***
Grab your gal, turn around and around,
Let your little foot beat against the ground;
Circle eight, spread out wide,
Grab your partner an’ go hogwild.

***

Musicologist Vance Randolph (Ozark Folksongs) prints sung verses collected from Carrie Barber of Pineville, Missouri, that go:

***

I had a piece of pie, and I had a piece of pudding;

I gave it all away, to see Sally Goodin.

Swing Sally Goodin, Swing Grandma,

Everybody rag to please grandpa.

***

Sources for notated versions: Lee Ennis (Oklahoma County, Oklahoma) [Thede]; Kenner C Kartchner (Arizona) [Shumway]; Marion Yoders (fiddler and fifer from Greene County, Pa., 1961) [Bayard]; fiddler L.D. Snipes via Ray Knight (Lumpkin County, Georgia) [Rosenbaum]; Marcus Martin (western N.C.) [Phillips]; Major Franklin (Texas) [Phillips]; Clyde Davenport (Ky.) [Phillips]; Bob Holt (1930-2004, Ava, Missouri) [Beisswenger & McCann].

***

Print Sources: Adam, 1928; No. 50. Bayard (Dance to the Fiddle), 1981; No. 273, pg. 229. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 67. Brody (Fiddler’s Fakebook), 1983; pgs. 246 & 247. Ford (Traditional Music in America), 1940; pg. 64 and 128 (discord version) [Ford also prints additional verses on page 419, and a dance of the same title on page 209]. Frets Magazine, "Byron Berline: The Fiddle," May 1980; pg. 60. Kaufman (Beginning Old Time Fiddle), 1977; pgs. 30 & 60. Lowinger (Bluegrass Fiddle), 1974; pgs. 13 & 33. Phillips, 1989{A}, pg. 37. Phillips (Traditional American Fiddle Tunes), 1994; pg. 210 (three versions). Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pg. 210. Shumway (Frontier Fiddler), 1990; pg. 270 (miss-labeled as "Sally Johnson"). Sweet (Fifer’s Delight), 1965/1981; pg. 76. Thede (The Fiddle Book), 1967; pg. 32‑33.

***

Recorded Sources: Arhoolie C-220, Eck Robertson (et al) – “Southern String Bands, Vol. 1 & 2.” Briar 4201, Scotty Stoneman‑ "Live in L.A." Caney Mountain Records CEP 210 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66. County 744, Kenny Baker‑ "Dry and Dusty." County 733, Clark Kessinger (W.Va.) ‑ "The Legend of Clark Kessinger." County 703, Bartow Riley‑ "Texas Hoedown." County 705, Sonny Miller‑ "Virginia Breakdown." County CD5515, Eck Robertson – “ (1998). Document DOCD-8011, The Kessinger Brothers (reissue). Document DOCD-8042, Fiddlin’ Doc Roberts (reissue). Flying Fish 102, New Lost City Ramblers ‑ "20 Years/Concert Performances" (1978). Folkways FA 2397, New Lost City Ramblers‑ "Vol. 2" (also on "Twenty Years Concert Performances"). Folkways FA 2337, “Clark Kessinger Live at Union Grove.” Gennett 6733 (78 RPM), 1928, G.B. Grayson (east Tenn.). Gennett 7221 (78 RPM), Doc Roberts (Ky.). Heritage 048, Lowe Stokes ‑ "Georgia Fiddle Bands" (Brandywine 1972). Musical Traditions MTCD321-2, Ted Boyd (et al) – “Far on the Mountains, Vols. 1 & 2” (2002). Old‑Timey Records OT‑101, Eck Robertson ‑ "Old Time Southern Dance Music: The String Bands, Vol. 2" (appears as "Sallie Gooden"). Omac 1, Thomasson, Shorty, Morris, O'Conner‑ "A Texas Jam Session." Omac 2, Berline, Bush and O'Conner‑ "In Concert." Rounder 0044, "J.D. Crowe and the New South." Rounder 0073, The White Brothers‑ "Live in Sweden." Rounder 1027, Johnnie Lee Wills‑ "Tulsa Swing." Rounder 0099, Dan Crary‑ "Lady's Fancy." Rounder 0101, John Hickman‑ "Don't Mean Maybe.” Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997). Rounder CD 0359, Skip Gorman - "Lonesome Prairie Love" (1996). Rounder CD0278, Mike Seegar – “Solo—Old Time Country Music” (1991). Rounder CD-0432, Bob Holt – “Got a Little Home to Go to” (1998). Rounder C11565, Ricky Skaggs ‑ "Rounder Fiddle." Sonyatone 201, Eck Robertson (West Texas) ‑ "Master Fiddler." Tradition TLP 1007, Mrs. Edd Presnell ‑ "Instumental Music of the Southern Appalachians" (1956). Victor 18956 (78 RPM), Eck Robertson (West Texas) {1922}.

See also listing at:

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

(((♫)))  Charlie Acuff (b. 1919) “Sally Gooden” (learned from his grandfather)

X:1

T:Sally Goodin

M:C|

L:1/8

K:G

D | GAB^c d2d2 | dged B^cd2 | gde^c dfed | BGAG EF G2 | GAB^c d2d2 |

dged B^cd2 | gbag eged | BGAG EF G2 :: BGAF G2A2 | BGAG EF G2 |

BGAF GBAG | B,DDD EF G2 | BGAF GBAG | BGAF EFGA | BGAF GBAG | B,DDD EF G2 :|

                       

SALLY GRANT. AKA and see “Autumn Leaves,” "The Day I Met Tom Moylan,” “Handsome Sally [1],” “Ivy Leaf [2],” “The Man of the House,” “The Merry Thatcher,” "Mind My Border," "Mind My Brother," “Miss Kelly’s Favourite,” “Old Tom,” “The New Potatoes,” “Paddy Carthy’s Reel [2],” “Through the Heather."

                       

SALLY GROWLER. American, Hornpipe. G Major. Standard tuning. AABB. A composition credited to Harry Carleton in Ryan’s Mammoth Collection. Nothing is known of the elusive Harry Carleton, who contributed several tunes to Ryan’s; the name may be a pseudonym. The title is in quotation marks in Ryan’s, and the reference is obscure. There is a particularly unattractive, Atlantic coast, bottom-dwelling fish named the Sea Raven, popularly called a “Sally Growler,” although what connection this might have is unknown. Don Meade believes the names of both the tune and the fish derive from another, now-obscure source. Source for notated version: Benny Thomasson (Texas) [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 114. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 223. Ryan’s Mammoth Collection, 1883; pg. 151.

X:1

T:Sally Growler

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

(3d/e/f/ | .g.f.e.d | ({d}c/)B/c/e/ d/B/G/D/ | E/G/c/e/ D/G/B/d/ | ^c/b/a/f/ d/^d/e/f/ |

.g.f.e.d | ({d}c/)B/c/e/ d/B/G/D/ | E/G/c/e/ d/B/G/A/ |1 B/d/c/A/ G :|2 B/d/c/A/ Gz ||

|: g/d/B/d/ G/B/d/g/ | b/g/d/g/ B/d/g/b/ | a/f/d/f/ A/d/f/a/ | c’/a/f/d/ c/A/F/D/ |

g/d/B/d/ G/B/d/g/ | b/g/d/g/ B/d/g/b/ | c’/a/f/d/ ^c/d/e/f/ |1 gbg z :|2 gbg ||

                       


SALLY HEGARTY’S. AKA and see “High Road to Dublin [2]." Irish, Slip Jig. Ireland, County Donegal. A popular slip jig in County Donegal. The tune shares a second part with “Humors of Whiskey [3].” Caoimhin Mac Aoidh says the tune was passed on primarily by the Deargs (the Byrne brothers) of Kilcar. The name “Sally Hegarty’s” was the one Donegal fiddler John Doherty always used for the tune, named after a 10 key melodeon player from Teelin. Feldman & O'Doherty (The Northern Fiddler), 1979; pg. 61 (bottom. Appears as “Untitled Slip Jig”). Treoir.

X: 1

T: Sally Hegarty's

S: Treoir

M: 9/8

L: 1/8

Q: 325

R: slip jig

Z: Transcribed by Bill Black

K: G

G2 A Bee Bee | GFG BdG AFD | G2 A Bee Bee | d^cd ABG FED :|

K: D

d2 e fdf ecA | d2 e fdf gfe | d2 e fdf ecA | Bcd ABG FED :|

                       

SALLY HUNTER OF THURSTON. Scottish, Jig. D Major. Standard tuning. AAB. Composed by Nathaniel Gow. Carlin (The Gow Collecton), 1986; No. 372.

                       

SALLY IN OUR ALLEY. AKA and see "Of All the Girls That Are So Smart," "What Tho' I am a Country Lass." English, Air (3/4 time). A Flat Major (Chappell): B Flat Major (Scott). Standard tuning. One part (Scott): AAB (Chappell). According to Chappell (1859), this famous song appears in Henry Carey's Musical Century, Walsh's Dancing Master (1719), Gay's Beggar's Opera (1728, where it appears as "Of all the girls that are so smart"), The Devil to Pay, The Fashionable Lady,  The Merry Cobbler, Love in a Riddle, The Rival Milliners, and numerous broadsides. He credits Carey with the original tune, which, about 1760, was superseded by another, somewhat similar but easier to sing, one. Other songs to the air include "Sally's Lamentation; or, The Answer to Sally," "Sally in our Alley to Billy in Piccadilly," "Sally in her own cloaths," "Sally rivall'd by Country Molly," "Blowzabel," and "As Damon late with Chloe sat."

***

She is the darling of my heart,

And lives in our alley.

Of all the girls that are so smart,

There’s none like pretty Sally.

There’s ne’er a lady in the land

That’s half so sweet as Sally;

She is the darling of my heart,

And lives in our alley.

***

Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 117. Scott (English Song Book), 1926; pg. 36.

X:1

T:Sally in Our Alley

M:3/4

L:1/8

S:Chappell – Popular Music of the Olden Time

Z:AK/Fiddler’s Companion

K:A_

e/d/ cd|c2 Bc/B/ AB|A2 GA/G/ FE|(E2 E)D CB,|A,A z2:|

||c/d/ ec|fe dc dB|ed cB cA|dc B3A|GE ze/d/ cd|c2 Bc/B/ AB|A2 GB/c/ dF|A3G FE|FA z2||

                       

SALLY IN THE GARDEN, ASSISTING SAM. AKA and see "Sally in the Garden [1]."

                       

SALLY IN THE GARDEN [1]. AKA‑ "Sally in the Garden, Assisting Sam." AKA and see “Brad Walters,” "Boating Up Sandy [3]," "Fire on/in the Mountain [1]," " Hog Eye an' a 'Tater,” “Pretty Betty Martin." Old‑Time, Breakdown. USA, widely known in the upland South and Mid-West. A Dorian (Christeson): G Major. Standard or GDgd (Clyde Davenport) tuning. AABB.

***

Sally in the garden, sifting, sifting,

Sally in the garden sifting sand

Sally in the garden sifting, sifting,

Sally's upstairs with a hog‑eye man.

***

Sources for notated versions: John McCutcheon [Brody], Uncle William Raines (Morgan County, Missouri) [Christeson]; Clyde Davenport (Monticello, Wayne County, Ky., 1990) [Titon]. Brody (Fiddler’s Fakebook), 1983; pg. 247. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 6. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 145, pg. 172.  Berea College Appalachian Center AC002, Clyde Davenport - “Puncheon Camps” (1992). County 503, John “Dad” Crockett – “Mountain Fiddle Music, vol. 2” (originally recorded 1928). June Appal 014, John McCutcheon‑ "The Wind That Shakes the Barley" (1977). Rounder 0040, "Pickin' Around the Cookstove." Clyde Davenport - “Puncheon Floor.” Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977). Yodel-Ay-Yee 008, Dirk Powell & Tom Sauber – “One Eyed Dog” (1993).

X:1

T:Sally in the Garden, Assisting Sam

M:2/4

L:1/8

R:Breakdown

S:Christeson – Old Time Fiddler’s Repertory, vol. 1, No. 8  (1973)

Z:AK/Fiddler’s Companion

K:A

c/B/|:AB =cd|ea ee/d/|=cA A/B/c/A/|B/G/E/G/ B/G/E/G/|AB =cd|

ea ed|=cA A/B/A/=G/|EA Az::A/B/A/=G EA/B/|=cB cB|A/B/A/=G E=G/A/|

BB/A/ B/A/=G|A/B/A/=G/ EA/B/|=cc/B/ cd|eA A/B/A/=G/|EA Az:|

 

SALLY IN THE GARDEN [2]. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: Stuart Williams and Earl Willis [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 211.

 

SALLY IN THE GARDEN [3]. Old-Time, Breakdown. A Minor. Standard tuning. AABB. Source for notated version: Ken Kosek [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 120.

 

SALLY IN THE GARDEN [4]. Irish, Reel. D Dorian. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 213, pg. 125.

                       

SALLY IN THE GREEN CORN. AKA and see "Dubuque," "Old Dubuque," "General Lee," "Duck River."

                       


SALLY IN THE TURNIP PATCH. Old-Time, Breakdown. Composed by Surry County, N.C., fiddler Benton Flippen (b. 1920).

                       

SALLY/SALLIE IN THE WILDWOOD. Old‑Time, Breakdown. USA, Alabama. In the repertory of Alabama fiddler D. Dix Hollis (1861‑1927), who considered it one of "the good old tunes of long ago" according to the Opelika Daily News of April 17, 1926.

                       

SALLY JOHNSON [1]. AKA and see "Katy Hill [1]." Old‑Time, Breakdown. USA; Virginia, Kentucky, Texas, Oklahoma, Arkansas, Georgia, Missouri, Iowa. G Major. Standard tuning. AB (Silberberg): AABB (Brody, Phillips, Thede). The title is often confused with "Sally Ann Johnson," a different tune altogether in the same key. “Sally Johnson,” however is almost identical with the tune “Katy Hill [1],” at least in modern versions. Mark Wilson (in liner notes to Dwight Lamb’s 2005 Rounder album “Hell Agin the Barn Door”) says that older versions of both tunes only had a rough affinity in the high (second) strain, and “originally possessed completely different identities.” Wilson thinks the simplification of the melody stemmed from fiddlers on the Grand Ole Opry, who used “Sally Johnson” as vehicle to demonstrate performance skills at ever-faster tempos, as the ‘hoedown’ genre became increasingly distanced from its original function as an accompaniment to dancing. Occasionally fiddlers will play the tune in four parts, as does Iowa fiddler Lamb and the late Jim Herd, originally from Missouri, which Wilson believes reflects both the older and newer versions of the tune. There is no doubt it was a popular and widespread melody of some age. Marion Thede (1967), who collected in the mid-West, says: "One of the fiddlers learned the strains of ‘Sally Johnson’ in 1884 from a man of seventy who first learned it as a child of ten.  It was a well‑known tune during his childhood, and today nearly all fiddlers still play this tune." Arizona fiddler Kenner C. Kartchner identified it as an "old Texas tune. Buddy Durham, Ft. Worth (Texas) plays it best of all" (Shumway, 1990). Indeed, it was recorded by many fiddlers from Texas in the 78 RPM era, including Eck Robertson (in 1923, playing it in a medley, with “Billy in the Low Ground,” backed with “Done Gone [1]”), Solomon and Hughes (Bluebird), The Lewis Brothers (Victor 40172), and Oscar Harper’s Texas String Band—it is still a frequently heard tune at Texas fiddler’s contests. The tune was recorded for the Library of Congress by folklorist/musicologist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. The Kentucky/Tennessee duo of fiddler Leonard Rutherford and guitarist John Foster recorded the tune for Gennett in 1929, and although the record was issued a copy has never been found. Other early recordings include The Cartwright Brothers (1927_ and the Kessinger Brothers (1929). Drew Beisswenger points to similarities with “Lady on a Steamboat.”

***

Sources for notated versions: Eck Robertson (Texas) [Brody]; Orville Burns (Oklahoma City, Oklahoma) [Thede]; Herman Johnson [Phillips]; Vivian Williams (Seattle) [Silberberg]; Jim Herd (1919-2000) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 57. Brody (Fiddler’s Fakebook), 1983; pg. 248. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 211. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 138. Thede (The Fiddle Book), 1967; pg. 92. Columbia 15620 (78 RPM), 1930, Lowe Stokes (north Ga.). County 202, "Eck Robertson: Famous Cowboy Fiddler." County 517, The Lewis Brothers‑ "Texas Farewell." County 517, Solomon, Solomon, and Hughes‑ "Texas Farewell." County 544, Lowe Stokes‑ "Georgia Fiddle Bands." County 733, Clark Kessinger‑ "The Legend of Clark Kessinger" (appears as "Sally Ann Johnson"). Document DOCD8045, Lowe Stokes in Chronological Order, vol. 1: 1927-1930 (reissue, 1999). Document Records DOCD-8038, Soloman and Hughes – “Texas Fiddle Bands” (1998. Reissue recording). Elektra EKS 7285, The Dillards with Byron Berline‑ "Pickin' and Fiddlin.'" Front Hall FHR‑017, Michael & McCreesh ‑ "Dance, Like a Wave of the Sea" (1978). Gennett 6913 (78 RPM), Burnett and Rutherford (1929). Global Village C‑302, Lazy Aces ‑ "New York City's 1st Annual String Band Contest ‑ November 1984". Marimac 9008, The Lazy Aces ‑ "Still Lazy after all These Years" (1986). Missouri State Old Time Fiddlers' Association, Pete McMahon - "Kansas City Rag." Rounder 0046, Mark O'Connor‑ "National Junior Fiddle Champion." Rounder Records CD 0529, Dwight Lamb – “Hell Agin the Barn Door” (2005). Rounder Records CD 0437, Jim Herd – “Traditional Fiddle Music of the Ozarks, vol. 3” (2000. Various artists). Sonyatone 201, Eck Robertson‑ "Master Fiddler." Victor 19372 (78 RPM), Eck Robertson (Texas) {1923} [appears as "Sallie Johnson"]. Victor Vi V-40244 (78 RPM), {Ervin} Solomon & {Joe} Hughes (1929. A twin fiddle version). Voyager 309, Benny & Jerry Thomasson - "The Weiser Reunion" (1993).

See also listing at:

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

 

SALLY JOHNSON [2]. Old-Time, Breakdown. USA, Arizona. G Major. Standard tuning. AABB. A variation of version #1. Source for notated version: Kenner Kartchner (Arizona) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 212.

                       


SALLY KELLY [1]. Scottish, Irish; Reel. Ireland, County Donegal. D Minor (Gow, Stewart-Robertson): E Minor (Feldman & O’Doherty, Surenne). Standard tuning. AB (Surenne): AAB (Gow, Stewart-Robertson): ABB (Feldman & O’Doherty). John Glen (1891) finds the earliest appearance of the tune in print in Robert Ross's 1780 collection (pg. 40). Danny O’Donnell’s County Donegal version of the tune is similar in contour to the Scottish versions. Source for notated version: fiddler Danny O’Donnell (County Donegal) [Feldman & O’Doherty]. Carlin (The Gow Collection), 1986; No. 509. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 188. Gow (Complete Repository), Part 2, 1802; pg. 32. Stewart-Robertson (The Athole Collection), 1884; pg. 209. Surenne (Dance Music of Ireland), 1852; pg. 21.

X:1

T:Sally Kelly  [1]

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:D Minor

E|Ddd^c d3e|edcd efga|~fde^c d2AF|GBAG FDD:|

E|F>GAc F/F/F A2|F>GAc ~BGGg|~fde^c d2AF|GBAG FDDE|

F>GAc F/F/F A2|F>GAc ~BGGg|~fde^c d2 AF|GBAG FDD||

X:2

T:Sally Kelly [1]

M:C
L:1/8

R:Reel

S:Surenne – Dance Music of Scotland, pg. 21 (1852)

Z:AK/Fiddler’s Companion

K:E Minor

F | Eee^d e3g | fede fgab | edf^d e2 BG | AcBA GEEF | Eee^d e3g | ({g}f)ede fgab |

Gef^d e2 BG | AcBA GEE || F | G>ABd G2 GB |

 

SALLY KELLY [2]. AKA and see "Trim the Velvet," "The Humours of Flip," "Geehan's Reel," "The Grazier," "Green Garters [2]," "The Potlick." Irish, Reel. A County Leitrim name for “Trim the Velvet.”

                       

SALLY LOST HER SLIPPER. Old‑Time, Breakdown. USA, Missouri. A. Standard tuning. AABB. Source for notated version: African-American fiddler Bill Driver (Miller County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pg. 20.

                       

SALLY LUKER. AKA and see “Step and Fetch Her [1].”

                       

SALLY MAGEE (Suban Ni Mic Aeda). Irish, Double Jig. G Major. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 314, pg. 67.

X:1

T:Sally Magee

M:6/8

L:1/8
R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 67

Z:AK/Fiddler’s Companion

K:G

D|DGG GFG|AFD FGA|B2G A2F|GFD D2D|DGG GFG|

BAG ABc|B/c/dB cAF|AGG G2:|

|:g|fef dfd|cAG FGA|fef dfd|cAF G2g|fef dfd|cAG FGA|

B/c/dB cAF|AGG G2:|

                       

SALLY McGEE. Irish, Jig. E Dorian. Standard tuning. AAB. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 23.   

X:1

T:Sally McGee

M:6/8

L;1/8

R:Jig

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:Edor

AG | EAA  AGA | BGG GBd | cdc BAB | GEE E2 :| cd | efe ded/c/ | BGG GBd |

efe dec | BGE c2d | efe ded/c/ | BGG GAB | cdc BAB | GEE E2 ||

                       

SALLY McMAHON’S. Irish, Double Jig. Composed by the late flute player James McMahon, in honor of his wife Sally. McMahon, originally from Fermanagh, moved to County Antrim near Muckamore when he married.

                       

SALLY ON THE SHORE. AKA and see "The Cork Lasses," "The Little Pig Lamenting the Empty Trough," "An Claiomh i Laimh,” “Sword in (the) Hand."

                       

SALLY PHELAN. AKA and see “Sally Whelan.”

                       

SALLY PICKER, THE. Irish, Hornpipe. G Major. Standard tuning. AA'BB'. Roche Collection, 1982, Vol. 2; No. 218, pg. 13.

                       

SALLY PUT A BUG ON ME. AKA and see "Sally There's a Bug on Me."

                       

SALLY PUT THE KETTLE ON. AKA and see "Molly/Polly Put the Kettle On." Old‑Time. USA; Arkansas, central Alabama. The title appears in a list of "forgotten" tunes compiled by W.E.G. of Verbena, Alabama, as reported in the "Union Banner" of September 29, 1921. It also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musiocologist/folklorist Vance Randolph, published in 1954.

                       

SALLY REEL, THE. Irish, Reel. A Major. Standard tuning. AB. Source for notated version: L. Donnelly [Mulvihill]. Mulvihill (1st Collection), 1986; No. 161, pg. 44.

           

SALLY SLOANE’S.  AKA and see “Garcon Volage,” “Trip to Cottingham,” “The Village Boy Quadrille.”

           

SALLY, THERE'S A BUG ON ME. AKA - "Sally Put a Bug on Me." AKA and see "Jackson's Breakdown," "Richmond Cotillion," "Old Richmond," "Run Them Coons in the Ground," "Hanging Around the Kitchen (Till the Cook Comes Home)," "Wait in the Kitchen (Till the Cook Comes In)." Old-Time, Breakdown. USA, Arizona. D Major ('A' part) & A Major ('B' part). Standard tuning. AB (Silberberg): AA'BB (Phillips, Ruth). Source for notated version: Stuart Williams (Seattle) [Phillips]; Vivian Williams [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 212 (appears as "Sally Put a Bug on Me"). Ruth (Pioneer Western Folk Tunes), 1948; No. 106, pg. 37. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 138.

X:1

T:Sally There’s a Bug On Me

M:2/4

L:1/8

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion

K:D

A>d f/g/f/e/|dFA>d|cEG>B|AD F2|A>d f/g/f/e/|dFA>d|cABc|d2d2||

K:A

[c>e>]f [c>e>]f|[c>e>]a [c2e2]|bb/a/ ff/g/|ac e2|[c>e>]f[c>e>]f|e>a [c2e2]|bb/a/ fg|a2a2:|


                       

SALLY WAS A POOR GIRL. See note for “Chicken in the Bread Tray.”

 

SALLY WATERS. American, Dance Tune. The name of a dance as well as a tune. Paul Gifford believes it is probably a northern version of the southern "Sally Walker," a play party he recalled watching neighborhood African‑American girls in Detroit dance.

           

SALLY WENT A-HUNTING.  Old-Time, Breakdown. USA, Missouri. C Major. Standard tuning.  AA’BCC. Source for notated version: Bob Holt (1930-2004, Ava, Missouri), who learned it from Floyd Blankenship, Sam Exline and Bye Reid, who in turn had learned it from blacksmith Bill Conley [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 68.  Rounder CD-0432, Bob Holt – “Got a Little Home to Go to” (1998).

           

SALLY WHELAN. AKA - “Sally Phelan.” Irish, Air (3/4 time). F Major. Standard tuning. AAB. Petrie notes this is a “Joyce country tune,” referring to the Irish collector P.W. Joyce who grew up in Limerick. Source for notated version: The Irish collector P. Joyce [Stanford/Petrie]. Standford/Petrie (Complete Collection), 1905; No. 727, pg. 182.

X:1

T:Sally Whelan

M:3/4
L:1/8

N:”A Joyce country tune.”

S:Stanford/Petrie (1905), No. 727

Z:AK/Fiddler’s Companion

K:F

(3F/G/A/ Bc/B/ | A>G GG/A/ Bc/B/ | A>F DD/E/ FG/F/ | F>D CC/D/ FF | F3 :|

C F/G/A/B/ | cc fd cA/G/ | F>D CG/A/ Bc/B/ | A>F GF/D/ CC | C3 c/{d}d/4e/4 f/e/d/c/ |

c>A GG/A/ Bc/B/ | A>F DD/E/ FG/F/ | F>D CC/D/ FF | F3 ||

                                      

SALLY WITH THE RUN DOWN SHOES. AKA and see "Jenny Lind (Polka) [1]." Old-Time, Breakdown. C Major. Standard tuning. AA'BB'. A version of the tune more commonly known as "Jenny Lind Polka." Source for notated version: North Carolina Sandhills  region fiddler Lauchlin Shaw (b. 1912) [Old Time Herald]. Old Time Herald, vol. 5, No. 2, Winter 1995/'96. Marimac 9064D, Lauchlin Stamper & A.C. Overton - “Sally with the Run Down Shoes” (1996).

                       

SALLY WON’T YOU MARRY ME. Old-Time, Breakdown. From the playing of West Virginia fiddler Melvin Wine. Carl Baron – “Banjo Stuff.”

                       

SALLY-O. Old‑Time, Breakdown. USA, Mississippi. A Major. Recorded for the Library of Congress in 1939 by Herbert Halpert from the playing of Clarke County, Mississippi, fiddler Charles Long (originally from Choctaw County, Alabama).

                       

SALLY’S DELIGHT. Irish, Reel. D Major. Standard tuning. AAB. The tune appears in O’Farrell’s Pocket Companion for the Irish or Union Pipes, c. 1797-1800.

X: 1

T: Sally's Delight

S: Treoir

N: from "O'Farrell's Pocket Companion for the Irish Union Pipes"

Z: Transcribed by Bill Black

M: 4/4

L: 1/8

Q: 350

R: reel

K: D

F2 AF dFAF | F2 AF BEEG | F2 AF dFAF | BGEA FD D2 :|

d2 eg fdec | d2 eg fd B2 | d2 eg fdec | dBAG FA D2 |

d2 eg fdec | d2 fe gfeg | agfe dcBA | Bcde fd d2 ||

           

SALLY’S FAVOURITE.  English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 81.

X:1

T:Sally’s Favourite

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:Bb

B2 cd|efga|bfdB|{B}A2 GF|B2 cd|efga|bg=eg|f2F2:|
|:Acec|Bbab|Acec|Bbab|Acec|Bbab|deAc|B2 B,2:||

           

SALLY’S GOT MUD BETWEEN HER TOES. Old-Time, Breakdown. D Major. Standard tuning. ABC. Source for notated version: Geff Crawford [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 173.

                       

SALLY’S HORNPIPE. AKA and see “Hop High Ladies (the Cake's All Dough).”

           

SALLY’S TASTE.  English, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. The melody was first published in John Hinton’s Universal Magazine of Knowledge and Pleasure (London, 1757), followed by a printing in John Johnson’s Two Hundred Favourite Country Dances, vol. 8 (London, 1758). Thompson  (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 24.

X:1

T:Sally’s Taste

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

d2 de/f/|e2 ef/g/|fafd|ecBA|d2 de/f/|e2 ef/g/|fdec|d4:|

|:fgaf|bgfg|efge|afef|defd|gfed|cdef|e2A2|

d2 de/f/|e2 ef/g/|fafd|ecBA|d2 de/f/|e2 ef/g/|fdec|d4:||

           

SALMANCA REEL. See "Salamanca {Reel} [1]."

                       

SALMON TAILS. English, Country Dance and Morris Dance Tune (2/4 or 4/4 time). G Major. Standard tuning. AAB. Tune used for either a polka or a single step dance in the North‑West (England) morris dance tradition. Raven (English Country Dance Tunes), 1984; pg. 143. Wade (Mally's North‑West Morris Book), 1988; pg. 27.

                       

SALMON TAILS UP THE WATER. AKA and see “Andy Irvine’s Polka,” “Trip to Aberdeen.” Scottish, English; March or Polka. England, Northumberland. A Mixolydian. Standard tuning. AABB. A popular march or polka in Scotland and Northumberland, sometimes attributed to renowned Northumbrian piper Jamie Allen. Set as a polka in Ireland, the tune is called “Andy Irvine’s” and “Trip to Aberdeen.” See also note for the related “Banks of Inverness.” Gatherer (Gatherer’s Musical Museum), 1987; pg. 35. Kerr (Merry Melodies), vol. 2; No. 43, pg. 7. Northumbrian Piper, pg. 46. Lowe, Lowe's Collection of Reels, Strathspeys and Jigs (1844‑45).

X:1

T:Salmon tails up the water
M:2/4
L:1/8
R:March

Z:Transcribed by Andrew Pickering
K:G

G2 E2 D2 E2|G4 G3 A|B2 d2 A2 BA|G2 E2 D4|G2 E2 D2 E2|G4 G3 A|
B2 d2 A2 BA|G4 G4:||: B2 d2 d4|c2 e2 e4|d2 B2 A2 BA|G2 E2 D4|
B2 d2 d4|c2 e2 e3 f|g2 f2 e2 d2|e2 f2 g4|B2 d2 d4|c2 e2 e4|
d2 B2 A2 BA|G2 E2 D4|G2 E2 D2 E2|G4 G3 A|B2 d2 A2 BA|G4 G4:|

                       

SAL'S GOT A WOODEN LEG LAID AWAY. Old‑Timey. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from Ozark Mountain fiddlers in the early 1940's. See similarly titled song "Sal's Got a Meatskin."

                       

SAL'S GOT MUD BETWEEN HER TOES. Old‑Timey, Breakdown. USA, Ky. Source: Pat Kingery, Nobob, southern Ky. McDirlam Greene Productions, Bruce Greene & Hilary Dirlam - "Fiddler's Dozen" (1994. Learned from Pat Kingery).

                       

SAL'S GONE DOWN TO THE CIDER MILL. See "Sal Went Down to the  Cider Mill."

                       


SALT CREEK. AKA and see Pateroller [1],” "Salt River" [2]. Old-Time, Bluegrass; Breakdown. A Major/Mixolydian. Standard tuning. AABB. This may be mandolinist Bill Monroe's bluegrass re-titling of "Salt River," although there are reports that his record company, Decca, was responsible as Monroe’s last single had been “Big Sandy River.” The record company, the story goes, thought that confusion from the similarity in the titles might interfere with sales so they insisted on changing ‘river’ to ‘creek’. Monroe recorded the tune in the 1963, with Bill Keith on banjo. Alan Jabbour suggests that Monroe changed the title because “Salt Creek” was the name of a stream that ran by his Bean Blossom Festival site. He believes Monroe learned the tune from banjoist Don Stover (who knew it as “Salt River”). Hobart Smith called the tune “Pateroller,” although this is not the tune that usually goes by the name of “Pateroller,” “The Pateroller (Song) [2],” or “Run, N....r, Run” and variants. As “Salt River” it was recorded for Brunswick by the Kessinger Brothers in 1929. Drew Beisswenger (2008) points out that the names “Salt River” and “Salt Creek” are fairly interchangeable in the tradition, with bluegrass musicians tending to favor “Salt Creek.” Source for notated version: Henley Dykes (1920-1995, Greene County, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Tunes), 2008; pg. 183. Lowinger (Bluegrass Fiddle), 1974; pg. 15. Musical Traditions MTCD321-2, Dent Wimmer (et al) – “Far in the Mountains, vols. 1 & 2” (2002). Rounder FHR‑017, Michael & McCreesh ‑ "Dance, Like a Wave of the Sea" (1978).

                       

SALT FISH AND DUMPLINGS. AKA and see “The Cairding O’t,” “Shepherd’s Hornpipe.” Scottish. A Major (Aird, Walsh): G Major (O’Neill). Standard tuning. AABB. The tune appears under this title in James Aird’s Selections (1788) and in Walsh’s Lancashire Jigs, Hornpipe, Joaks etc. (3rd Volume, c. 1730). O’Neill (O’Neill’s Irish Music), 1915; No. 377, pg. 181.

X:1

T:Salt Fish and Dumplin’s

B:Walsh

M:4/4

L:1/8

N:

K:A

cB| A3 B ABcd| fgaf ecBA| d3 f ecBA| G2 B4 Bc| d2 e fgaf| ecBA G3 B|\

AcBd ceBd| c2 A4::af| ecAc e3 f| efde cdec| dcde fgab| g2 e4 dc| dcde fgac|\

dcBA GBeB | ceac Bcde| c2 A4:|

X:2

T:Salt Fish and Dumplings

M:C

L:1/8

R:Hornpipe

S:O’Neill – O’Neill’s Irish Music

Z:AK/Fiddler’s Companion

K:G

B>A | G3A B3c | d3 g dBAG | c3e dBAG | FGAB A3B | cBcd efge | dBAG F2 ED |

GBAc BdAc | B2G2G2 :: ge | dBGB d3e | dBGB d2 cB | cBcd efga | f2d2d2 cB |

cBcd efge | dBAG F2 ED | GBAc BdAc | B2G2G2 :|

                       

SALT OF THE EARTH.  English, Country Dance Tune (3/4 time). G Major. Standard tuning. AAB. The name of a dance and tune composed in 2001 by Orly Krasner. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 114.

 

SALT RIVER [1]. AKA and see "Sandy River Belle [3]." Old‑Time, Bluegrass, Texas Style; Breakdown. USA. A Major. Standard tuning. AABB. Brody (Fiddler’s Fakebook), 1983; pg. 248. County 707, Lewis Franklin‑ "Texas Fiddle Favorites." County 722, Joe Greene‑ "Joe Greene's Fiddle Album." Rounder 0063, Norman Blake‑ "Whiskey Before Breakfast." Rounder 0101, John Hickman‑ "Don't Mean Maybe."

 

SALT RIVER [2]. AKA and see "Salt Creek." Old‑Time, Bluegrass; Breakdown. USA; West Virginia, Virginia, Texas. D Major {Krassen}: A Major/Mixolydian (Brody, Phillips, Silberberg). Standard tuning. AB (Krassen, Silberberg): AABB (Brody, Lowinger): AABBAA'B'B' (Phillips). Popular in central and southern West Virginia (Krassen). Guthrie Meade thinks it reminiscent of an old tune called "Horny‑knick‑a‑brino,” but is "probably derivative of some Irish air.” In the headnotes to “Salt River” in the volume Country Music Sources, Meade mentions a ‘distant relationship’ to P.W. Joyce’s (1909) tune “Molly Maguire [1].” Charles Wolfe (1997) also believes it to be Irish in origin. Other writers have similar opinions: according to one source the West Virginia version bears a resemblance to "Red Haired Boy" (Gilderoy)—Gerry Milnes suggests that many tunes from that state (including “Jack o’ Diamonds” by Melvin Wine, Sarah Singleton, and others; “Guilderoy” by John Johnson; “Soldier with a Wooden Leg” by Lee Tripplet and others) and the many variants of “Red Haired Boy” all stem from the same root tune. Bayard (1981) believes the tune to be associated with sets of the American/Irish tunes "Ducks on the Pond," "Molly Maguire [1]," "The Mills Are Grinding [1]," "Pigeon on the Pies," "Paddy on the Turnpike [2]," "Down the Hill," "The Flowers of Limerick," "The Telephone," and "A Rainy Day [1]." Hobart Smith called his variant by the name of “Pateroller,” although this is not the tune that usually goes by the name of “Pateroller,” “The Pateroller (Song) [2],” or “Run, N....r, Run” and permutations of that latter title. Mike Yates (2002) believes Kentucky fiddler John M. Salyer’s “Lonesome John” to be related to this tune family. Kerry Blech finds an untitled tune by African-American fiddler Williams Adams (AKA Will Adam) to be a variant (Adams was recorded by Mike Seeger in the early 1950’s in Kengar {now Kensington}, Maryland).

***

An influential early recording was by Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975) as part of the Kessinger Brothers for the Brunswick label in 1929 (Kessinger later re-recorded the tune). West Virginia natives Doc White, fiddle, and Currance Hammonds on the banjo (played in a modal tuning) both had versions. Another West Virginian, Franklin George, said he learned the tune from northern Indiana fiddler John W. Summers, who told Joel Shimberg that he himself had learned it from an old friend, Judge Dan White, also from northern Indiana. “Salt River” was later separately recorded by bluegrass musicians Bill Monroe and Don Stover under the title "Salt Creek." Sources for notated versions: Doc White (Clay County, West Virginia) [Krassen, 1983]; Frank George (W.Va.) [Krassen, 1973]; Kenny Baker and Benny Thomasson (Texas) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 249. Krassen (Appalachian Fiddle), 1973; pg. 37. Krassen (Masters of Old Time Fiddling), 1983; pg. 71. Lowinger (Bluegrass Fiddle), 1974; pg. 15 (appears as "Salt Creek"). Phillips (Traditional American Fiddle Tunes), 1994; pg. 212. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 139. Brunswick Records (78 RPM), the Kessinger Brothers (1929). County 527, Clark Kessinger‑ "Old‑Time Fiddle Classics, Vol. 2." County 733, Clark Kessinger‑ "The Legend of Clark Kessinger." Decca 31596, Bill Monroe. Document DOCD-8055, The Kessinger Brothers (reissue). Front Hall 017, Michael and McCreesh‑ "Dance Like a Wave of the Sea" (appears as "Salt Creek"). Rounder 0087, Tony Trishka‑ "Banjoland" (appears as "Salt Creek"). Rounder CD 0418, Snake Chapman. Vanguard VSD 9/10, Doc Watson‑ "On Stage." Voyager 309, Benny and Jerry Thomasson‑ "The Weiser Reunion: A Jam Session" (1993).

 


SALT RIVER [3]. AKA and see "Shady Grove [2]." Old‑Time, Breakdown. USA, southwestern Virginia. A Mixolydian. Standard or AEae (Norman Edmonds) tunings. AABB. A tune and title common in the Franklin/Floyd County area of southwestern Va. Tom Carter and Blanton Owen (1976) say the high part of this version resembles the standard "Salt River" versions, the lower "more closely approximates" versions of "Shady Grove." The tune was in the repertoire of Norman Edmonds, a fiddler from the Round Peak area of western North Carolina/southwestern Virginia. Source for notated version: Armin Barnett [Phillips]. Phillips (Traditional American Fiddle Tunes, Vol. 1), 1994; pg. 213. Rounder 0057, Sam Conner (Floyd County, Va.) ‑ "Old Originals, Vol. 1." Rounder 0361, Bruce Molsky – “Lost Boy” (1996. Learned from the playing of “Uncle” Nornman Edmonds of Hillsville, Va.).

 

SALT(Y) RIVER REEL [4]. (Unrelated to first two versions). Old‑Time, Breakdown. USA; Iowa, Missouri. A Major. Standard tuning. AB (Silberberg): AABB (Christeson, OTH). Source Stinnett was a Missouri sharecropper who played the fiddle left-handed and upside down. He never owned a violin during the last ten years or so of his life, yet he had a vast repertoire that he could recall at the mention of a title. He was known for his precision and ability to play with perfect intonation. “Salty River Reel” is one of ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Sources for notated versions: Casey Jones (Livingston County, Missouri) [Christeson]; Cyril Stinnett (Braymer, Mo.) [Old Time Herald]. R.P. Christeson (Old Time Fiddlers’ Repertory, Vol. 1), 1973; pg. 21. Old Time Herald, Vol. 4, No. 5; pg. 27. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 139. Missouri State Old Time Fiddlers' Association, Cyril Stinnett - "Salty River Reel."

X:1

T:Salty River Reel

M:2/4

L:1/16

Q:132

S:Cyril Stinnett

R:Reel O:Cyril Stinnett

A:Midwest

Z:B. Shull,Trans.; R. P. LeVacque, ABC's

K:A

EF|:A2AB cBcB|A2af edcB|AAEA cBAc|BGEG BdcB|!

A2AB cBcB|A2af edcB| AAEA cABA|1EAAB A2EF:|2EAAB A3e|:!

f2fe fgaf|(3gfe)c2 ce2c|B2AB cBAc|BcAc (3BcB)A2| !

f2fe fgaf|(3gfe)c2 ce2c|B2AB cABA|1EAAB A3e:|2EAAB A2EF|!

                       

SALTHILL PROM.  Irish, Reel. Composed by Galway pianist and composer Carl Hession, in the style of East Galway fiddler Paddy Fahy.  Salthill is a town in Galway. Cló Iar-Chonnachta Records, CICD 148, Mick Conneely – “Selkie” (2001).

 

SALTY DOG. Old-Time. Document 5216, The Booker Brothers. Old Hat 1002, The Booker Brothers.

 

SALUT, LE. French‑Canadian, Reel. C Major. Standard tuning. AAB. Carlin (Master Collection), 1984; No. 65, pg. 46.

                       

SALUTE FOR A GENERAL. AKA and see "Hail to the Chief." Bayard (1981) notes the tune was composed by James Sanderson to the words to a rowing song in Sir Walter Scott's "Lady of the Lake," which begins "Hail to the chief who in triumph advances." It was later selected as the salute to the President of the United States. Bruce‑Emmett, 1880; pg. 62.

                       

SALUTE TO ANGUS CHISHOLM. Canadian, Hornpipe. Canada, Cape Breton. Composed by the prolific composer and fiddler Dan R. MacDonald, though unpublished in his collections. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

                       

SALUTE TO BOSTON. AKA and see “Wha can help it.” Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AAB. Many Cape Breton musicians and dancers lived for various lengths of time in the Boston area. Fiddler Jerry Holland was born near Boston and was influenced by the Cape Breton musicians who visited the family home; he later moved to northern Cape Breton. The tune is basically that of Niel Gow’s “Wha can help it,” which can be played as an air or a jig. It keeps the form of the original (which can be written AA’AA’BB’BA’, with the ending of the second part returning to the end of the first strain), however the ‘B’ melodic material differs from the original. Some similarities also to “Bonnie Strathmore” (as in Kerr). Cranford (Jerry Holland’s), 1995; No. 194, pg. 56. Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland” (1990).

           

SALUTE TO FRANK FERREL.  Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AA’BB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009), dedicated to Boston fiddler Frank Ferrel. Cranford (Jerry Holland: The Second Collection), 2000; No. 193, pg. 72.

 

SALUTE TO PRESTON.  English, Country Dance Tune (4/4 time). G Major. Standard tuning. AAB. The name of a dance and tune composed in 1977 by Brian Wedgbury. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 114.

           

SALVATION. Scottish, Reel. A Major. Standard tuning (fiddle). AABB. Composed by Simon Bradley. Great Meadow Music GMM 2003, “Rodney Miller’s Airdance” (2000).

X:1
T:The Salvation
C:Simon Bradley
Z:robin.beech@mcgill.ca
S:Victoria Bar, Glasgow
R:reel
M:4/4
L:1/8
K:A
EGAE GAEG | (3AAA cA BAFA | B3c BAFA | dBcA BAFA |
EGAE GAEG | (3AAA cA BAFA | c3A BcAF | ceed cBAF ::
ceec e2ce | f3e cBB2 | f3e f3g | abgf fecB |
cdec defg | abaf eAce | fecA B2AB | cBAE F3d :|

“variation”

EGAE GAEG | AEGA EGAE | FGAF GAFG | AFGA FGAF |
GABG ABGA | BGAB GABz | BccA BcAF | EFAB cA~A2 :||

 

SALVILETTINA.  English, Jig. G Major. Standard tuning. AABB. The melody was published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). It was among numerous other tunes from the Thompson’s 1773 collection that were entered into the 1788 music manuscript copybook of fiddler John and William Pitt Turner (Norwich, Conn.). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 94.

X:1

T:Salvilettina

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

g2d2|BA G2|(G/A/B/c/) dc|B2 A2|g d2 B|B G2 c|BGAF|G2 G,2:|
|:B d2 c/B/|A c2 B/A/|B g2 d|B2 G2|B d2 c/B/|A c2 B/A/|BGAF|G2 G,2:||

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