The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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SAM - SAO |
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] |
SAM AND ELZIE. Old-Time, Breakdown. D Major. Standard tuning.
AB. Source for notated version: Vivian Williams, via Greg Canote (Seattle)
[Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg.
139.
SAM CORMIER REEL. Canadian, Reel. E Major.
Standard tuning. AABB’.
X:
1
T:Sam Cormier Reel
M:2/4
L:1/16
C:Denis Lanctót
R:Reel
F:http://www.chrisricker.ca/tunes/canadian.abc
F:Posted
to Irtrad, 2005-06-11
K:
GF|E2B
E2B,
a2|:geBA GBeg|fB~B2 fBBa|gfec B2GB|ceBG F2 Fa|!
geBA GBeg|fB~B2 fBBg|agfe f2ec|1Bcef geea:|2Bcef geeF||!
SAM HIDE'S JIG. AKA – “Sam Hyde’s Quickstep.” American, Jig. A Major (Cole, Howe,
Ryan): G Major (Miller). Standard tuning. AABB. The ‘A’ part, it has been
noted, is similar to the Irish tune “The
Legacy,” while the ‘B’ part is the second strain of “Sweet Biddy Daly.” Cole (1000 Fiddle Tunes), 1940; pg. 60. Howe (1000 Jigs and Reels), c. 1867; pg. 58.
Miller (Fiddler’s Throne), 2004; No. 97, pg. 68. Ryan’s Mammoth Collection, 1883; pg. 89.
X:1
T:Sam Hyde’s Quickstep
M:6/8
L:1/8
R:Jig
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
E | A3 cAc | ece fga | fec BAB | cAF F2E | A2A cAc | ece fga | fec BAB | cAA A2 :|
|:
A | cee Bee | cee Bee | cde fga | agf
fec | a2a fec | BAB cAF | Edc BAB | cAA A2 :|
SAM KING'S TUNE. AKA ‑ "Sam Pipe's Funeral March." American, March (4/4
time).
SAM McGRADY'S. English, Reel.
SAM MILLER'S SQUARE
DANCE. American, Reel.
SAM MOORE WALTZ.
Old-Time, Waltz. USA, Ozarks. G Major. Standard tuning. AB. Sourced to
Sam Moore (Alamo, near Mt. Ida, Arkansas), a friend of fiddler George
Washington “Wash” Brumley (b. 1874), father of fiddler Violent Hensley. Source
for notated version: Violet Hensley (b. 1916, Montgomery County, Ark.)
[Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music),
2008; pg. 55. Rounder CD0435, Violet Hensley –
“Traditional Fiddle Music of the Ozarks, vol. 1” (1999. Various artists).
SAM PALMER. AKA and see "Chapultepec."
This title comes from the name of fifer who taught it to Bayard's southwestern
SAM PIPE'S FUNERAL
MARCH. AKA and see "Sam King's Tune."
SAMBO. AKA and see “Old
Time Fire on the Mountain.” Old-Time, Breakdown. G Major (Phillips): A
Major (Titon). Standard, GDgd or AEae tunings. AABB (Titon): AAAABB'
(Phillips). Versions have been collected from African-American fiddler John
Lusk of
SAME OLD CUP AND
SAUCER. AKA ‑ "You Broke My Cup and Saucer."
Irish, March. E Minor. Standard tuning. AAB. Roche Collection, 1982, vol. 2; No. 336, pg. 59.
SAME OLD STORY, THE (An Sean Sceal Ceadna). Irish, Reel. G Major. Standard
tuning . AB (O'Neill/1850 & 1001): AAB (O'Neill/Krassen). Source for
notated version: Walsh [O’Neill]. O'Neill (Krassen), 1976; pg. 159. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1540, pg. 284. O'Neill (Dance
Music of
X:1
T:Same Old Story, The
M:2/4
L:1/8
R:Reel
S:O’Neill – 1001 Gems (756)
Z:AK/Fiddler’s Companion
K:G
D2|G B/G/ A/B/c/A/|B/d/c/A/
B/G/A/D/|GB/G/ A/B/c/A/|B/d/c/A/ G/D/E/F/|
GB/G/ A/B/c/A/|B/d/cA/
B/G/A/D/|GB/G/ A/B/c/A/|B/d/c/A/ G2||D2|
GG/F/ G/A/B/d/|e/d/e/f/
e/d/B/A/|GG/F/ G/A/B/G/|A/B/A/G/ F/D/E/F/|
GG/F/ G/A/B/d/|e/d/e/f/
e/d/B/d/|g/f/g/d/ e/d/B/G/|A/G/E/F/ G2||
SAME TIME TODAY AS
YESTERDAY. AKA and see “Sharp’s Hornpipe [1].” Old-Time,
Breakdown. A Mixoylydian/Major. Standard tuning. AABB. The tune features shifts
in tonality in the 'A' part. Source for notated version: Sarah Hiebert with the
Moving Cloud Orchestra [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 214.
SAMRADH IN ÉIRINN, AN. AKA and see "Summer in
Ireland."
SAMHRA CRUAIG, AN (The hard summer).
Irish, Slow Air (cut time). A Dorian. Standard tuning. AABB. A close
variant of “Rodney’s Glory [2],
from
X:1
T:Samhra Cruaig, An
T:The hard summer
M:C|
L:1/8
R:Slow Air
S:James Goodman manuscripts (mid-19th
century)
B:Hugh Shields – Tunes of the
K:Ador
(ed)|c3A A2 (ed)|c3 A A2 (cd)|(efed)
(c>d)ef|g2 ec d2 (ed)|
(c2 Bc) ABcA|(GF)(EF) G2 ed|c2 BA
(GA)(Bc)|A4 A2:|
|:(3efg|(a2 ab) c’2 bc’|aged cdef|g3g
(a>g)(ed)|c2d2G2 (AB)|
.c3.c .d2.d2|(ef)(gb) (abag)|.f2.f2
(g2fg)|efe^c d2 (ed)|
=c2 (Bc) A(BcA)|(GFEF) G2 ed|c2 (BA)
GABc|A4 A2:|
SAMHRADH, SAMHRADH (Summertime, Summertime). AKA and see “We Brought the Summer In”
(Thugamar Féin an Samhradh Linn), “We Brought the Summer with Us.
Irish, Air (3/4 time). D Major. Standard tuning. One part. According to Tomas Ó
Canainn in his book, Traditional Music of
Ireland, the tune was first published in 1726 in Neales' A Collection of the Most Celebrated Irish
Tunes. As Tomás notes, it could be very much older than that. It also
appeared in other publications after Neale. Breandan Breathnach, in Folk Music and Dances of Ireland, notes
that the air is an example of the rare airs in Lah (Aeolian) mode. Miller &
Perron (Irish Traditional Fiddle Music),
1977; vol. 2, No. 18 (appears as “In Summertime”). Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 147. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 2. Shanachie
79025, Chieftains - “Chieftains 5” (1981).
SAM’S HUMOUR. English, Country Dance Tunes
(2/4 time). D Major. Standard tuning. AABB. The melody first appears in John
Johnson’s Two Hundred Favourite Country Dances, vol. 7 (London, 1756).
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 50.
X:1
T:Sam’s Humour
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
A
d2 e|”tr”f2 ed|”tr”f2 ed|ec”tr”BA|A d2 e|f2 ed|edcB|{B}A4:|
|:(3Bcd AA|(3cde .A.A|(3def .A.A|(3efg .A.A|(3agf .a.a|(3gfe .g.g|(3fed .d.d|d4:||
SAM'S RAG. AKA and see "That's My Gal."
Old‑Time, Buckdance Tune. Rounder Records SS‑0145,
Sam Chapman ‑ "Traditional Music on Rounder: A Sampler" (1981).
SAMSONVILLE LANCERS.
American, Country Dance Tune.
T:Samsonville Lancers
L:1/8
M:4/4
K:C
c2 cc|c>c cB c3B|AB c>A G4|
L:1/8
M:5/4
c2 c3B c3B|
L:1/8
M:4/4
A d2 e dGAB|
L:1/8
M:5/4
cc c3 B c3 B|
L:1/8
M:4/4
AB c>B A G2 F|
L:1/8
M:5/4
EG ecdB c3B|
L:1/8
M:4/4
A G2 F EGed|c4:|
SAMUEL THE WEAVER. Scottish. Green Linnet GLCD 1108, The
Tannahill Weavers – “
SAMUEL'S HORNPIPE. English, Hornpipe.
SAN
SAN MALO BY THE SEA. AKA and see “A San Malo
a Bord de Mer.”
SAN MARTIN. English, Jig. G Major. Standard tuning. AB. The melody appears in the
music manuscript copybook of fiddler John Burks, dated 1821. The tune itself
bears the date 1822. Unfortunately, nothing is known of him, although he may
have been from the north of
X:1
T:San Martin
M:6/8
L:1/8
R:Jig
S:John Burks’ music manuscript
copybook, dated 1821
K:G
D|GdB GdB|G2G GFG|Adc Adc|Bcd
G2G|gGg fGf|
eGe dGd|ced cBA|G3 G2||G|A2A ABc|Bcd
GdB|
A2A ABc|BcA G2B|A2A ABc|Bcd Ggf|efg
^cde|
D3 def|g2g {g}fef|gab def|g2g
{g}fef|f2z e2d|
c2A d2c|B2G gfg|e2e {g}fef|(g3 g2)||
SANAS CUAIN (The Message of the Sea). Scottish, Air (2/4 time). G Major.
Standard tuning. One part. Composed by Hamish Johnston after an outing to
SAND CLASS. Recorded for
SAND DANCE [1], THE. English, Clog or Hornpipe. C Major. Standard
tuning. AB. A sand dance is a mid-to-late 19th century term for a
clog or hornpipe tune used as a vehicle for a solo dance on a stage that has
been sanded to facilitate the brushing movements of the feet. Raven (English Country Dance Tunes), 1984; pg.
155.
X:1
T:Sand Dance [1]
M:4/4
L:1/8
K:C
E2 (3GEG cGEG|FAFA cAFA|GBGB
dBGB|(3cec e2 gecG|
EGEG cGEG|FAFA cAFA|GBdB GfdB|c2c2
c4||
A2 (3cAc ecAc|BeB^G EE^FG|A2 (3cAc
ecAc|BeB^G E2e2|
A2 (3cAc ecAc|BeB^G E2f2|(3efe (3ded
(3cdc (3BcB|A2a2 A4||
SAND DANCE [2]. Scottish, Hornpipe. A Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 276, pg.
29.
X:1
T:Sand Dance [2]
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 276
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
(3ccc c2 (3ccc c2|cBAB c2e2|fagf ecae|1
dcBA GBed:|2 cABG A2z2||
|:(3BBB B2 (3BBB B2|dcBc dfed|(3ccc
c2 (3ccc c2|edcd eagf|
ecea fagf|ecea fagf|ecag fedc|BAGF
E2e2:|
SAND HILL, THE. Canadian, Reel.
SAND PIT, THE. Canadian, Reel.
SAND REEL. American, Reel. Recorded for Edison by John Baltzell (Mt. Vernon, Ohio)
in 1927, but unissued.
SAND RIFFLE. Old-Time, Breakdown. USA, Kentucky. G Major. GDad tuning. AABB. Named
for a creek in Franklin County, Kentucky. John Harrod points out the
relationship with this tune and “Indian Squaw” and “Indian Nation,” and a more
distant relationship with “Shaker Ben.” Franklin County, Kentucky, fiddler
Kelly Gilbert (1895-1991) told John Harrod and Guthrie Meade that “Sand Riffle”
(which he played in the key of ‘A’) was composed by Jim Clark, a left-handed
fiddler born in the 1870’s. Source for notated version: Vincent Crawford
(Avenstoke, Anderson County, Ky., 1979), who learned the tune from Andy Palmer
[Titon]. Titon (Old Time
SANDERS BRANE. Scottish, Reel or Strathspey. D Minor. Standard tuning. AB (Surenne):
AAB (Gow): AABB' (Athole, Kerr). Composed by Mr. Duncan (Gow). Carlin (The Gow Collection), 1986; No. 510. Gow
(Complete Repository), Part 2, 1802;
pg. 32. Kerr (Merry Melodies), vol.
1; Set 23, No. 5, pg. 14. Stewart-Robertson (The Athole Collection), 1884; pg. 219. Surenne (Dance Music of
X:1
T:Sanders Brane
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Dmin
A|F>AD>A F>A DE/F/|G>CE>G C<GE<G|F>AD>A F>A D>g| f>d f/e/d/^c/ d<DD:|
|:f/g/|a>d f>a d>af>a|g>ce>g c>g ef/g/|1 a>df>a d>af>a|g>c a/g/f/e/ f<dd:|2 a>fg>e f>de>c|A>c A/G/F/E/ F<DD||
SANDHILL BREAKDOWN. Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard tuning. AABB.
Source for notated version: Claude Safert (Econtuska, Oklahoma) [Thede]. Thede
(The Fiddle Book), 1967; pg. 151.
SANDHILL CORNER. English, Jig. England, Northumberland. G Major. Standard tuning. AAB.
Title appears in Henry Robson's list of popular Northumbrian song and dance
tunes ("The Northern Minstrel's Budget"), which he published c. 1800.
Sandhill is a road in Newcastle-on-Tyne, northern England, where some of the
oldest existing houses of the quayside stand. One of the houses was the abode
of Bessie Surtees, daughter of a wealthy merchant. She fell in love with a
humble youth named John Scott, but her father forbade the marriage as beneath
her. In 1772 she defied him by climbing down from an upstairs window to elope
with her beloved, who went on to become a wealthy peer, acquiring the barony of
Eldon near Bishop Auckland. In 1801 Scott became the Lord Chancellor of England
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 182.
X:1
T:Sandhill Corner
M:6/8
L:1/8
R:Jig
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:G
c|B2d B2d|efg f2d|g2e dBG|A2A A2c|B2d B2d|efg f2d|
g2e dBG|G2G G2:|
e|g2g f2d|efg d2f|g2e dBG|A2A A2c|g2g f2d|
efg d2f|g2e dBG|G2G G2d|g2g f2d|efg d2f|
g2e
dBG|A2A A2c|B2d c2e|d2f e2f|g2e dBG|G2G G2||
SANDHILLS, THE. Irish,
Reel. Composed by
SANDIE... See
"Sandy..."
SANDLARK, THE. AKA and see “Alexander’s Hornpipe,” "Alexander's Favourite" “Ballymanus Fair,” "Byrne's Hornpipe [2].” Irish,
Hornpipe. D Major. Standard tuning. AABB. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949.
X:1
T:Sandlark, The
M:C|
L:1/8
R:Hornpipe
S:Jerry O’Brien’s Accordion Instructor (1949)
Z:AK/Fiddler’s Companion
K:D
fe|dAFA DFAd|fdcd A2 ef|gfed edcd|(3efe (3dcB Agfe|dAFA DFAd|
fdcd A2 ef|gfed cABc|dAfA d2:|
|:(3GBG|FAdA FAdA|GBdB GBdB|Acec Acec|dfaf dfag|FAdA FAdA|
GBdB
GBdB|Acef gece|dAfA d2:|
SANDLAW'S
WELCOME. Scottish, "Pastoral Air."
A Major. Standard tuning. One part. From Skinner’s Harp and Claymore collection, composed by J.
Scott Skinner (1843-1927). Skinner (The
Scottish Violinist), pg. 37. Rounder 7059, Alex
Francis MacKay with Gordon MacLean – “Gaelic in the Bow” (2005).
X:1
T:Sandlaw’s Welcome
M:C
L:1/8
R:Air
N:”Slowly and stately.”
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:A
E | {G}[AA>]c ea fedc | BAGA cB
Bc | A>B AG .F.A .D.F | EA E/C/D/B,/ CA,A, E |
{G}A>c ea fedc | BAGA cB Bc |
A/G/A/B/ A/G/F/E/ F/G/A/F/ D/E/F/D/ |
E/F/G/A/ E/C/D/B,/ CA,A, ||
((3e/f/g/ | a/)g/a/f/ e/c/A/F/ E/C/A,/C/ E/A/c/e/ |
a/g/a/f/ ea (c’b) .b.c’ | a/g/a/f/
e/c/A/F/ E/C/A,/C/ E/A/c/e/ |
{D/A/}f/g/a/f/ ea cAA ((3e/f/g/ |
a/)g/a/f/ e/c/A/F/ E/C/A,/C/ E/A/c/e/ |
a/g/a/f/ ea (c’b).b.c’ | e’/d’/c’/b/
a/g/f/e/ {g}a>e cA | F/G/A/F/ E/C/D/B,/ CA,A, ||
SANDMOUNT, THE. AKA – “Sandymount Reel.” AKA and see "Mick Hand's Reel,” “The
Sandpiper.” Irish, Reel. Breathnach (CRÉ
III), 1986; No. 170. Vallely (Learn to
Play the Tin Whistle with the Armagh Pipers Club), vol. 2; 29.
SANDOL'S TUNE. Shetland, Air (4/4 time). A Major. Standard tuning. AAB. "Composed
in 1981 (by Tom Anderson) for one of Tom's American students" (Anderson).
SANDPIPER, THE. AKA and see "Mick Hand's Reel," "The Sandymount." Irish, Reel. A Dorian. Standard
tuning. AB. Sources for notated versions: flute player Harry McGowan (b. 1937,
Carrowmore, Co.
X:1
T: Sandpiper
S: J.Kelly - P.O'Brien
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: Ador
eAA^G A2 A=G | EGDG EGDG | eAA^G ABcd | egfg edcB |
eAA^G A2 A=G | EGDG EGDG | eAA^G ABcd | egfg edcB ||
eaag a2 ab | geef gedB | eaag a2 ga | bagb a2 ab |
eaag
a2 ab | gedB dega | bgaf gedg | e2 ed eaag ||
SANDRA'S REEL. American, Reel. A Major ('A' part) & E Major ('B' part). Standard
tuning. AABB. Source for notated version: Don Woodcock [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol.
1, 1994; pg. 214.
SAND'S
HORNPIPE [1]. AKA and see “Dick Sands’ Hornpipe.”
SAND'S HORNPIPE [2]. Irish, Hornpipe. C Major (‘A’ part ) & A Minor (‘B’ part). Standard
tuning. AABB. McGuire & Keegan (Irish
Tunes by the 100, vol. 1), 1975; No. 91, pg. 25.
SANDS OF
SANDWICK LASSES. Shetland, Shetland Reel. Perhaps from Mainland Shetland district.
SANDY BELL'S HORNPIPE. Shetland, Hornpipe. Modern composition by Shetlander J. Smith of Burra
Isle. The hornpipe is a relatively recent stylistic addition to the Shetland
repertory.
***
Sandy Boys
***
Raccoon's got a long bushy tail.
Possum's tail is bare.
Rabbit's got no tail at all
Just a little bit a bunch of hair.
***
Squirrely he's a pretty thing
He carries a bushy tail
Eats up all the mossy's corn
And hearts it on the rail
***
Cho:
Do come along, sandy boys
Do come along, oh do
Do come along, sandy boys
Waiting for the booger-boo
***
Somebody stole my old black dog
I wish they'd bring him back
He runs the big hogs over the fence
And the little ones through the
cracks
***
Mama she lies sick in the bed
Papa's gone to town
Charlie wears the high-top boots
And I wish that he'd come round
***
Sixteen miles away from here
Chickens crowin' for day
Somebody's upstairs with my true
love
And he better be gettin' away
***
Never told her of her faults
Dang me if I do
But every time the baby cries
I think of the booger-boo
***
Sixteen miles away from home,
chicken's crowin' 'fore day.
Somebody's in the bed with my true
love,
and they better be gettin' away.
***
Another chorus:
Do get along my Sandy boys, (girls)
do get along I say.
Do get along my Sandy boys, (girls)
it's time I's gettin' away.
***
Racoon's tail's a ring around,
possum's tail is bare.
Rabbit ain't got no tail at all,
just a little old bunch of hair.
***
Do get along my...
***
Sources for notated versions: Burl
Hammonds (Pocahontas County, West Virginia) [Krassen]; The Hurricane Ridge
Runners (Armin Barnett, Mark Graham, Jerry Gallaher & Paul Kotapish)
[Songer]. Krassen (Masters of Old Time
Fiddling), 1983; pg. 78‑79. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 140. Songer (Portland
Collection), 1997; pg. 173. Marimac 9038, Dan
Gellert & Brad Leftwich - "A Moment in Time." Marimac 9054, The
Ill-Mo Boys - "Fine as Frog Hair" (1995). Marimac 9040, The
Heartbeats - “Living in Black and White” (1990). CD2001, “The Rough Deal
Stringband.” Edden Hammons Collection I.
SANDY BUCHANAN'S
STRATHSPEY. Scottish, Strathspey or Highland
Schottische. A Minor. Standard tuning. AB (Cole): AABB' (Kerr). Cole (1000 Fiddle Tunes), 1940; pg. 123. Kerr
(Merry Melodies), vol. 2; No. 218,
pg. 24. Ryan’s Mammoth Collection,
1883; pg. 162.
X:1
T:Sandy Buchanan’s Strathspey
M:C
L:1/8
R:Strathspey
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Amin
(E<A) (A>.G) | (E<G)
(G>.A) | (c>.d)(e>.d) (c<A) (A>.c) | (E<A) (A>.G) (E<G)
g2 | e>cd>e c2 [E2c2] |
(E<A)A>G (E<G)G>A |
c>de>d (c<A)A>c | (E<A)A>G (E<G) g2 | e>cd>e c2
[E2c2] ||
(e<g) g2 (e<a) a2 |
(e>d(c>.e) d>B G2 | (e<g)g2 (e<a)a2 | e>cd>e c2 [E2c2] |
(e<g)g2 (e<a)a2 | e>dc>e
d>cA>G | (E<A)A>G (E<G)g2 | e>cd>e c2 [E2c2] ||
SANDY CAMERON. Canadian, Reel. Canada, Cape Breton. A Mixolydian. Standard tuning. AAB
(Cranford/Holland): AABCCD. See also the strathspey version, below. This
bagpipe tune is old standard and in
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
X:1
T:Sandy Cameron
R:Reel
M:C|
L:1/8
K:Amix
AB|:cAAB cAAa|cAAc B2 ed|ceef edcA|BGGB dfed|
cAAB cAAa|cAAc B2 ed|ceef edcA|BGGB def^g:|
|:a2 ef ecce|eaeg fef^g|a2 ef edcA|BGGB def^g|
a2 ef edcd|eaeg ~f3 ^g|aeea daca|BGGB dfed||
|:ceAe ceAe|ceAc B2 ed|ceef edcA|BGGB dfed|
ceAe ceAe|ceAc B2 ed|ceef edcA|BGGB defd:|
|:(3ccc ac (3ccc ac|(3ccc ac dcBd|(3ccc ac (3ccc ac|BGGB dfed|
(3ccc
ac (3ccc ac|(3ccc ac e2 f^g|a^gfe fed=c|BGGB d2 ed||
SANDY CAMERON’S. Scottish, Canadian; Strathspey. Canada, Cape Breton. A
Major/Mixolydian. Standard tuning. AAB. See also the reel version, above.
Scottish fiddle great J. Scott Skinner (1843-1927)
composed this pipe strathspey for Sandy Cameron, “The Famous Athlete.” Skinner
recorded it on 78 RPM towards the end of his life, in the 1920’s, and it has
entered both piping and fiddling repertory. Paul Stewart Cranford (2000) points
out the Cape Breton versions tend to employ the ‘G’ natural and more cuts than
do Scottish ones. Alexander Anthony (“A.A.” or “Sandy”) Cameron (1875-1951),
The Mighty Muccumber, was a native of Dochanassie, Inverness-shire, near Fort
William. His first love was farming, but he had a large frame and prodigious
strength and soon gained fame noticed at fairs, Highland games and other
competitions where his feats of agility and strength were unparalleled prior to
World War I. Cameron was enticed to tour several times, venturing as far as
Australia, New Zealand and Russia, where he performed feats of strength on
stage. The strathspey has sometimes been associated with composer Alex Cameron
(1848-1923), who came from a famous Scottish piping family. Cranford (Jerry
Holland: The Second Collection), 2000; No. 29, pg. 13. The Gordon Highlanders Pipe Music Collection, vol 1, 1983.
Henderson (The Scottish Music Maker), 1957. A
& M 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992). Green
Linnet SIF 1139, “Eileen Ivers” (1994. Recorded in duet with Natalie MacMaster).
Rounder RO7023, Natalie MacMaster - “No
Boundaries” (1996). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to
Boston and Back: Classic House Sessions of Traditional Cape Breton Music
1956-1977” (2000). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Jerry Holland – “Crystal Clear” (2000).
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
SANDY DUFF. AKA and see "The High Reel [1]."
Scottish, Pipe Reel. A Mixolydian. Standard tuning (fiddle). AABB. A Scottish
pipe version of the double-tonic tune known in
X:1
T:Sandy Duff
B:Scots Guards, Standard Settings
Z:Nigel Gatherer
M:4/4
L:1/8
K:A
e | a2 eAA>a | c<Ae>A c>AA>e |\
a2 eAA>a | B<=Gd>G B>GG>e |
a2 eAA>a | c<Ae>A c>AA>c |\
=g2 f<g a>ef>d | B<=Gd>G B>GG ||
a | c<Ae>A f>Ae>d | c<Ae>A c>AA>a |\
c<Ae>A f>Ae>d | B<=Gd>G B>GG>a |
c<Ae>A f>Ae>d | c<Ae>A c>AA>c |\
=g2 f<g a>ef>d | B<=Gd>G B>GG |]
SANDY F. SKINNER. Scottish, Reel. Composed in 1934 by Aberdeenshire fiddler and composer
J. Murdoch Henderson, in honor of Sandy F. Skinner (1833-1883), the elder brother
of the great Scots fiddle-composer J. Scott
Skinner. Henderson (Flowers of Scottish Melody), 1935.
SANDY FLOOR. AKA and see “Oh Dear
Mother My Toes Are Sore.”
SANDY GOW’S THREE PINTS. Scottish. Appears in The Piper’s
Assistant (1887).
SANDY GRANT. AKA – “Sandie Grant o’ Battangorm.” Scottish, Reel. D Major (Skinner/Violinist): E Major (Skinner/Harp). Standard tuning. AB (Skinner/Violinist): AAB (Skinner/Harp). Composed by J. Scott Skinner and
named for Alexander Grant, inventor of the rondello, a round fiddle, and
conductor of the Highland Strathspey and Reel Society. It appears earliest in
Skinner's Harp and Claymore collection
(1904). Skinner (The Scottish Violinist),
pg. 3. Skinner (Harp and Claymore),
1904; pg. 120-121 (appears as “Sandie Grant o’ Battangorm”).
X:1
T:Sandy Grant
M:2/4
L:1/8
R:Reel
C:J. Scott Skinner
Z:AK/Fiddler’s Companion
K:D
G/ | F/D/F/A/ d/A/F/A/ | B/=c/G/=F/ E/C/G/E/ | F/D/F/A/ d/A/B/G/ |
A/F/G/E/ F/D/D/G/ | F/D/F/A/ d/A/F/A/ | B/=c/G/=F/ E/C/G/E/ |
F/D/F/A/ d/A/B/g/ | f/d/e/d/ d/D/D/ || g/ | f/d/a/d/ f/g/a/d/ | c/A/e/A/
c/d/e/g/ |
f/d/a/d/ f/g/a/f/ | g/f/e/a/ f/d/d/g/ | f/d/a/d/ f/g/a/d/ | c/A/e/A/
c/d/e/g/ |
f/d/e/c/ d/A/B/G/ | A/F/G/E/ F/D/D/ ||
SANDY HOOK. Old‑Time, Breakdown. D Major ('A' part) & G Major ('B' part). Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 119.
X:1
T:
M:2/4
L:1/8
S:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:D
(=f|^fa/)f/ e/d/B/A/|F/G/A/B/
Ad/e/|(f/a/)f/e/ d/B/A/F/|A,/C/E/F/ EF/E/|
D a/f/ e/d/A/F/|E/G/B/c/
Be/f/|g/f/g/a/ bc|A/d/d/e/ [Fd]:|
K:G
|:GB/d/ gg|f/g/a/f/ gf/g/|a/b/a/g/
f/d/e/f/|g/a/g/e/ dB/A/|
GB/d/ gg|f/g/a/f/ gf/g/|(ad’)
ef|[B/g/][B/f/][B/g/][B/a/] [B2g2]:|
SANDY IS MY DARLING. AKA and see “Loch-Ness.” Scottish, Reel. A Minor. Standard tuning. AAB. Carlin (The Gow Collection), 1986; No. 475. Gow
(Complete Repository), Part 2, 1802;
pg. 22. Kerr (Merry Melodies), vol.
3; No. 148, pg. 18. Stewart-Robertson (The Athole Collection),
1884; pg. 47.
X:1
T:Sandy is My Darling
M:C|
L:1/8
R:Reel
B:Stewart-Robertson
– The Athole Collection
(1884)
Z:AK/Fiddler’s Companion
K:Amin
c|A/A/A a2 g>ede|cGG>E GAcG|A/A/A a2 egde|cAB^G A3:|
c|ABcd egde|cGGE GAcG|ABcd egde|c>AB^G A3B|ABcd egde|
cGGE GAce/^g/|aegd e>d ca|egdB A3||
SANDY IS MY ONLY LOVE (Alastair m'
annsachd). Scottish, Slow Air (3/4 time). F
Major. Standard tuning. AAB. "This is one of the editor's family stock, as
sung by the original compiler, to which it is so difficult to attach incident; but
the melody is often fine where the individuals may be obscure, a circumstance
which, for the most part, simplifies both the style and the sentiments"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 133, pg.
53.
X:1
T:Sandy is my only Love
T:Alastair m’ annsachd
M:3/4
L:1/8
R:Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:F
F>G|A4 f>A|G2 [A,2F2] d>e|f2 d2 d>c|c2 Az A>B|[A4c4] e/d/c/B/|c2 Fz a>g|
f2 A<f c>B|(A2 D)z:|
f>g|a4 b/a/g/f/|g2f2c2|d3f dc|[A6c6]|c2d2f2|g4 f>g|a3g f>c|d4 f>g|a2 bagf|
g2 agfe|f2 dfe>c|A4 f>e|d4
c>B|A4 GF|F2a2g2|(g2f2)||
SANDY JOHN’S JIG. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AABB’.
Cranford (Jerry Holland: The Second Collection), 2000; No. 248, pg. 90.
See also
listing at: Alan
Snyder’s Cape Breton Fiddle Recording Index |
X:1
T:Sandy John
M:6/8
L:1/8
K:C
d|cGE C2e|dBG G2f|ecc gcc|e3 ded|cGE C2e|dBG G2f|
ege fdB|d3 c2:||a|gec ceg|afd dfa|gec gec|e3 def|gec ceg|
afd def|ege fdB|d3 c2a|gec ceg|afd dfa|gec gec|e3 ded|
cGE C2e|dBG G2f|ege fdB|d3 c2||
SANDY KING. Scottish, Strathspey. A Major. Standard tuning. AABB. Pipe tune
arranged by Keith MacDonald, editor of the Skye
Collection. "From Ross's Collection" (Skye). MacDonald (The Skye Collection), 1887; pg. 180.
X:1
T:Sandy King
M:C
L:1/8
R:Strathspey
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
(c/d/)eg>e a>eg>e|(c/d/)eg>e a>e f2|(c/d/)eg>e
a/g/fec|1 f>dc>a B<B f2:|2
f>dc>A B<B a/g/f||e>ae>c e>A A<a|e>ae>c
B<c f2|e>ae>c e>AAa|
d<f e>c B<c f2|e>Ae>c e>AAa|e>Ae>c B>c
f2|e>Ae>c f>de>c|B>fc>a B<B f2:|
SANDY LAND. See "Great Big Tater(s) in Sandy Land [1]."
SANDY LOT. See "Big‑Footed N....r (in the Sandy Land) [1]."
SANDY MACDONALD'S. Scottish, Reel. D Major. Standard tuning. AA'B. "Light and
spirited bowing" (Skye). MacDonald (The
Skye Collection), 1887; pg. 44.
X:1
T:Sandy MacDonald’s
M:C
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
B|AddB AGFE|DddF E2E2|AddB AGFD|1 EC CE D2D:|2 ABAB cd d2||
gf dd Ad d2|gf dd e2d2|gf dd Ad d2 cB AB cd d2|gf dd Ad d2 gf dd
e2e2||ga fg ef de|cB AB cd d2||
SANDY MACDONALD'S FAVOURITE. Scottish, Strathspey. D Major. Standard tuning. AA'B. MacDonald (The Skye Collection), 1887; pg. 44.
X:1
T:Sandy MacDonald’s Favourite
M:C
L:1/8
R:Strathspey
S:MacDonald - Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
B|Ad d/d/d A>GF>E|Dd d/d/d F>E E2|A>d d/d/d A>GFD|1 EC
C/C/C D2D:|2
CBAB c/c/c d||g|fd d/d/d Ad d>g|fd d/d/d ee g2|fd d/d/d Ad d2|cB AB
c/c/c d>d|
Fd d/d/d Ad d>f|fd d/d/d e2 eg|(3agf (3gfe (3fed (3edc|B<A Bc/c/
cdd||
SANDY MACINNIS REEL. Cape Breton, Reel. Composed by Mabou Coal Mines, Cape Breton, Nova
Scotia, fiddler Donald Angus Beaton (1912-1982). Rounder
7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton"
(1978). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou
– “Cape Breton Fiddle and Piano Music” (2004).
SANDY MACINTYRE’S. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB’.
Composed in honor of Cape Breton/Ontario fiddler Sandy MacIntyre by Brenda
Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia). Cranford (Brenda Stubbert’s), 1994; No. 89, pg.
33. Brenda Stubbert - “House Sessions” (1992).
SANDY MACINTYRE’S
MARCH. Canadian, March (cut time). Canada;
Cape Breton, Prince Edward Island. A Major. Standard tuning. AABBCC. Composed
by Mabou, Cape Breton, fiddler Donald Angus Beaton (1912-1982) in honor of Cape
Breton/Ontario fiddler Sandy MacIntyre. Source for notated version: Allan
MacDonald (b. c. 1950, Bangor, North-East Kings County, Prince Edward Island)
[Perlman]. Perlman (The Fiddle Music of
Prince Edward Island), 1996; pg. 181. Smithsonian
Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton
Fiddle and Piano Music” (2004).
SANDY MACINTYRE'S TRIP TO BOSTON. AKA - “Trip to Boston.” Canadian, Reel.
Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AABB.
Composed by Cape Breton fiddler John Campbell for his friend Sandy MacIntyre.
According to Clyde Curley in The Portland
Collection, Campbell happened to be in Halifax, Nova Scotia, with MacIntyre
(who had just returned from a trip to Boston) soon after he composed the tune.
Upon hearing it, MacIntyre immediately admired it and said “That’s a great
tune. Why don’t you name it after me?” MacIntyre
himself is a fiddler born in Inverness, Cape Breton, Nova Scotia, who now
resides in Etobicoke, Ontario, where he remains an avid proponent of Cape
Breton-style fiddling. Perlman (1996) states the tune was introduced to Prince
Edward Island in the 1970s and has become so popular it is almost considered
one of the “good old tunes.” Paul Stewart Cranford suggests the tune “may very
well be the most popular Cape Breton fiddle tune of all time.” Sources for
notated versions: Tim Woodbridge [Phillips]; Carl & Jackie Webster
(Cardigan, Central Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 88. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 214. Songer (Portland Collection), 1997; pg. 174. Car,
Whitesides & Johnson - “Live from Contrafornia.” Culburnie Records CUL102c,
Alasdair Fraser & Jody Stecher – “The Driven Bow” (1988). Rounder CD
11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000). Wildcat
Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Sandy MacIntyre's Trip to
M:4/4
L:1/8
R:Reel
C:John Campbell
K:A
|: F | E2 CE A,ECE | Acef ecce | f2 af ecAc | dBcA BFFA |
E2 CE A,ECE | Acef ecce | F2 af ecBc | dfec A2 A :|
|: f | eA c2 ecBc | ABce f2 fa | eA c2 ecBc | dfec B2 Bf |
eA c2 ecBc | ABce f2 fg | agfe fgaf | ecBc A2 A :||
SANDY MACLEOD OF
GARAFAD. Scottish. Green
Linnet GLCD 1059, “Relativity.”
SANDY McGREGOR'S. American, Quickstep. A close
variant of the Scottish tune "The
Waulkin' o' the Fauld." The tune appears in minstrel Dan Emmett’s Fife Instructor, 59, named in honor of
his old fife instructor, one Sandie McGregor. Emmett was stationed at Newport
Barracks, Kentucky, after joining the army as a teenager in 1834, where he came
into contact with McGregor (Hans Nathan, Dan Emmett and Negro Minstrelsy, Univ. of Oklahoma Press, 1962, pg.
108). Bruce‑Emmett (The Drummers and Fifers Guide), 1880;
pg. 59.
SANDY M'GAFF. Canadian, Jig. Canada, Cape Breton. E Dorian. Standard tuning. AABB.
This melody can also be found in Koheler’s
Violin Repository. Source for notated version: Sandy McIntyre (Ontario) via
Buddy MacMaster (Cape Breton) [Dunlay and Reich]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape
Breton), 1996; pg. 114. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 74. John Edwards Memorial Foundation (JEMF) 105, Joe Cormier‑
"New England Traditional Fiddling" (various artists){listed as
"Jig in Em"}. SLMC‑1001, Sandy MacIntyre‑ "Cape
Breton...My Land in Music" (c. 1980).
SANDY O'ER THE LEA
[1]. AKA –
“Mr. Baird’s Favorite Reel.” English, Scottish, Shetland; Reel. England,
Northumberland. D Major. Standard tuning. AB (Surenne): ABBCC (Vickers): ABCB
(Kerr). A lea is a pasture, unploughed grassland, or the first crop of corn
after grass. An early printing of the tune appears in Vickers (1770). The
alternate title, “Mr. Baird’s Favorite Reel” is given by Gow (1788) alongside the
“
X:1
T:Sandy O’er the Lea [1]
M:C
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A,|DEFG AFFB|AFED E2EF|DEFG AFFB|AGFE D2D:|
|:g|faef defa|AFED E2Eg|faef defa|AGFE D2D:|
|:A|FADA FADB|AFED E2EG|FADA FADB|AGFE D2D:|
|:g|faef defa|AFED E2Eg|faef defa|AGFE D2D:|
X:2
T:
M:C
L:1/8
R:Reel
S:Gow – Second Collection of Niel Gow’s Reels (1788)
Z:AK/Fiddler’s Companion
K:D
A,|(D>EF)G AFFB|(A”tr”FED) “tr”E3F|(DEFG) AFFB|A(G”tr”FE) D3:|
|:g|(f/g/a) e>f defa|.A(“tr”F.E.D) “tr”E3g|1 (f/g/a)ef defa|A(GFE) D3:|2 faef defa|A(GFED) D3||
|:A|FADA FADB|.A(“tr”FED) “tr”E3G|FADA FADB|.A(GFE) D3:|
|:g|(f/g/a) ef defa|.A(F”tr”ED) “tr”E3g|1 f/g/a ef defa|.A(G”tr”FE) D3:|2 faef defa|.A(“tr”GFE) D3:|
SANDY O'ER THE LEA [2]. Scottish (?), Country Dance Tune (2/4 time). G Major. Standard tuning. AAB. Aird (Selection), vol. II, 1782; No. 70, pg. 26.
X:1
T:Sandy O’er the Lee (sic) [2]
M:2/4
L:1/8
S:Aird, vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
D | G>AGB |dBdB | ABAc | e2 (e>f/2g/4) | G>AGB | dB (de/f/) | gedB | G3 :|
|| B | A>GAd | BGFB | A>GAd | (B2 G)B | A>GAd | B^cdg | fdef | d2 e (d/4e/4B/4A/4) |
G>AGB | dBdB | A>BAc | e2 (e>f/2g/4) | G>AGB |
dBd>g | A>GAd | G3 ||
SANDY OWER THE SEA. Scottish, Slow Air. Composed by James Scott
Skinner (1848-1927), first published in his Logie Collection (1888) with words by W.M. Skinner pointedly noted
that the poetry was suggested by the music, not vice-versa. Skinner (The Scottish Violinist). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to
Boston and Back: Classic House Sessions of Traditional Cape Breton Music
1956-1977” (2000). Voyager VRCD 342, Rodney Miller – “Rodney Miller’s All-Round
Collection of Jigs, Reels and Country Airs.”
SANDIE REA. Scottish. The melody appears in the Gillespie
Manuscript of Perth (1768).
SANDY RIVER BELLE [1]. AKA ‑ "
SANDY RIVER BELLE [2]. AKA and see "Stoney Ridge Stomp." Old‑Time,
Breakdown. USA; W.Va., Virginia. G Major (Brody, Kaufman, Krassen, Phillips,
Songer, Spandaro): A Major. Standard tuning. AABB (most versions): AA'BB'
(Phillips). "A fairly common tune in the Galax area" (Krassen, 1973).
Ken Perlman (1979) states the tune comes from the region around the small Blue
Ridge town of Meadows of Dan, Patrick County, Virginia. Tom Carter and Blanton
Owen (1976) state that "Sandy River Belles" is so frequently played
in Patrick County that it could be considered an old‑time anthem for the
area. Its popularity, they say, extends north through Franklin and Floyd
Counties and into West Virginia. It was originally recorded by Dad Blackard's
Moonshiners in 1927. The phrasing of the 'A' part is different in various
versions, with some beginning the downbeat of phrase on what are the
introductory notes of other versions.
***
Sandy River Belle, going to leave you, (x3)
Going away to leave you now. (From
the Hillbillies recording)
***
Sources for notated versions: Frank
George & Henry Reed (W.Va. & Va.) [Krassen]; St. Regis String Band
(N.Y.) [Spandaro]; Buddy Pendleton [Phillips]; Barry Schultz [Silberberg].
Brody (Fiddler’s Fakebook), 1983; pg.
250. Kaufman (Beginning Old Time Fiddle),
1977; pg. 52. Krassen (Appalachian Fiddle),
1973; pg. 64 (Krassen's version has the A and B parts reversed from Brody's
version). Phillips (Traditional American
Fiddle Tunes), Vol. 1, 1994; pg. 215. Silberberg (Tunes I Learned at
Tractor Tavern), 2002; pg. 140. Songer (Portland
Collection), 1997; pg. 174. Spandaro (10
Cents a Dance), 1980; pg. 29. County 504, Dad
Blackard's Moonshiners ‑ "Mountain Songs." County 705, Buddy
Pendleton‑ "Virginia Breakdown" (learned from his great‑uncle,
Dad Blackard, who recorded it in 1927). Green Linnet GLCD 3127, Sharon Shannon
– “The Best of Sharon Shannon: Spellbound” (1999). Folk Legacy FSI‑38,
"Sarah Grey with Ed Trickett" (1970). Rounder 0057, Doc Williams‑
"Old Originals, Vol. 1" (1978). Ruthie Dornfeld - “Egyptian
Dominoes.”
X:1
T:Sandy River Belle
M:4/4
L:1/8
K:G
DEGA B2B6 | AGAB e2d2 | DEGA B2B6 | AGAB ABE2 |
DEGA B2B6 | AGAB e2d2 | degd eged | BGA2 G4 :|
|: g2gg edeg | b2bg agef | g2gg edeg | fefg a4 |
g2gg
edeg | b2bg agef | degd eged | BGA2 G4 :|
SANDY RIVER BELLE [3]. AKA and see "Salt River [1]" (perhaps another
version). Old‑Time, Breakdown. USA. Rounder
0024, "Hollow Rock String Band." Spudchucker Productions, Bert
Edwards (N.C.) ‑ "Bert's Bombaree."
SANDIE O'ER THE LEA. Scottish, Shetland; Reel. D Major. Standard tuning. AABBCCDD. Popular in the early 18th century in Scotland. Known on Mainland Shetland as "Sandie Ower da Lea". Kerr (Merry Melodies), vol. 1; Set 13, No. 4, pg. 9. Stewart-Robertson (The Athole Collection), 1884; pg. 98.
SANDIE OVER THE SEA. Scottish, Slow Air. G Major. Standard tuning. One part. Composed by J. Scott Skinner, first appearing in his Logie Collection. Skinner (The Scottish Violinist), pg. 35.
SANDYBURN REEL, THE.
Composed by Frank Jamieson.
SANDYMOUNT, THE. AKA and see "The
Sandpiper," "Mick Hand's
Reel." Irish, Reel. Recorded by the Ballinakill Céilí Band (East Galway)
for in Dublin, 1938 (the band’s founding members were Anna Rafferty, Stephen
Maloney, Tommy Whelan, Tommy Whyte, Jerry Maloney).
SANDY'S FAVORITE. Scottish, "Fling" (4/4
time). G Major. Standard tuning. ABB. Hardings
All Round Collection, 1905; No. 122, pg. 38‑39.
X:1
T:
M:C
L:1/8
R:Fling
B:Harding’s All-Round Collection, No. 122 (1905)
Z:AK/Fiddler’s Companion
K:G
B>AB>c
d2g2|e2g2d2g2|B>AB>c d2 g>f|e>dc>B A2 g>a|b2 a>g a2d2|
g2e2d2 B>g|b2 a>g a2
d>g|e>gf>a g2g2||g2 fe f2^d2|e2c2B2 A>A|
B>AB>c d2 g>a|b2 a>g
a2a2|b>ba>g a2d2|g2e2d2B>B|B>AB>c d2g2|e>gf>a g2z2:|
SANDY'S LOWLANDS. American, Reel. A Flat Mixolydian.
Standard tuning. AABBCCDD. Composed in Cape Breton Scottish style by piper
Heather Cameron, originally from
SANDY’S SCOTCH REEL. Scottish, Reel. G Major. Standard
tuning. AAB. Kennedy (Traditional Dance
Music of Britain and Ireland: Reels and Rants), 1997; No. 177, pg. 41.
‘SANN
AGAM THA ‘BHEANAG IS MAISICHE SUIL. AKA and see "The Bonniest
Wife This Side of Lord Reay's Country."
SANNY SPEIRS. Scottish, Strathspey. G Major (‘A’ part) & E Minor (‘B’ part).
Standard tuning. AA’BB’. Composed by A.M. Volti, presumably a relative of the
Carl Volti who penned several melodies in the Kerr’s collections. Kerr (Merry Melodies), vol. 4; No. 92, pg. 12.
X:1
T:Sanny Spiers
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 92
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D2|:G<G G>B
d>BG>B|d>gf>g e>dc>B|A<A A>B c>BA>G|1
F>AE>A F>DE>F:|2
F>DE>F G2B2||:e<e ^d>e
B>eG>B|E>e^d>e g>eB>G|1 d>d ^c>d A>dF>A|
D>d^c>d f>dA>F:|2
g>ab>a (3gag (3fgf|e>gf>e d>cB>A||
SANS NOM. French, Dance Tune (6/8 time). G Major. Standard tuning. One part.
“Without a name.” Traditional tune (Morvan) from central France. Stevens (Massif Central), Vol. 1, 1987; No. 121.
SANS SAWSU. Northumbrian. One of the "missing tunes" from William
Vickers' 1770 Northumbrian dance tune manuscript. May be "Sans
Souci".
SANS SOUCI HORNPIPE. American, Hornpipe. B Flat Major. Standard tuning. AABB. One of several
tunes credited to G.L. Tracy in Ryan’s
Mammoth Collection (1883). George Lowell Tracy (1855-1921) was a young man
who later composed light opera and music composition books, according to
musicologist Charles Wolfe (The Devil’s
Box). Cole (1000 Fiddle Tunes),
1940; pg. 95. Ryan’s Mammoth Collection,
1883; pg. 129.
X:1
T:Sans Souci
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
d/e/ | f/b/a/g/ f/d/e/=e/ | g/f/d/B/
F/G/F/E/ | D/F/B/d/ g/f/e/d/ | c/e/a/g/ f/d/e/=e/ |
f/b/a/g/ f/d/e/=e/ | g/f/d/B/
F/G/F/E/ | D/F/B/d/ f/e/c/A/ | BeB :|
|: A/B/ | c/F/A/c/ f/g/f/=e/ |
d/G/B/d/ g/a/g/f/ | =e/c/e/g/ b/g/=e/d/ | d/c/=B/c/ A(A/B/) |
c/F/A/c/ f/g/f/=e/ | d/G/B/d/
g/a/g/f/ | =e/g/b/g/ e/c/B/G/ | FAF:|
SANSONETTE, LA. French. B Minor. Standard. AABB. A popular tune among hurdy-gurdy
players, composed by Daniel Forge.
X:1
T:La Sansonette
Z:Bill Reeder
M:4/4
L:1/8
K:Bm
f2 f2 e3 d| cdef B4|Bcde f2 ef |a2b2
f4|!
f2f2 e3d|cdef B4|Bcde f2 ed|cdef
B4:||!
f2df gdfg|f2df gdfg|c3f gcfg|c3f
gcfg|!
f2df gdfg|f2df gdfg|c3g fedc|Bcdc
B4:||
X: 2
T:Sansonette
M:4/4
L:1/8
R:Schottische
C:Daniel Forge
Z:Steve Mansfield
K:Dm
A2^GA =G2 F2 | EFGA D4 | DEFG A2 GA
| c2 B2 A4 |
A2^GA =G2 F2 | EFGA D4 | DEFG A2 GF
| EDEF D4 ::
A2 FA BFAB | A2 FA BFAB | E2 EA BEAB
| E2 EA BEAB |
A2 FA BFAB | A2 FA BFAB | ABAG FGFE
| DEFE D4 :|
SANTA ANNA'S MARCH. Old‑Time, Breakdown. USA, West Virginia. Flying
Fish 089, The Red Clay Ramblers ‑ "Chuckin' the Frizz" (1979.
Learned from Frank George).
SANTA ANNA'S RETREAT. AKA and see “Johnny Cope [2].”
Old‑Time, Breakdown. USA, southwestern Va. A Mixolydian/Dorian. Standard.
AABB. To most Americans, Antonio López de Santa Anna (1794-1876) is best known
as commander of the Mexican forces at the Alamo in 1836 and, later defeated at
the battle of San Jacinto (he was captured and interviewed by U.S. President
Andrew Jackson, then released to return home). At the time of the conflict with
Texas he was not only general of the army but the president of Mexico, and in
fact he was leader of Mexico at several different times during his life. During
the Mexican-American War of 1846-47 he again commanded the Mexican forces
opposing the United States army. The Fuzzy Mountain String Band learned the
tune from Glen Lyn, Virginia, fiddler Henry Reed, who apparently learned the
tune from his mentor, neighbouring fife player Quince Dillon, an actual fifer
in the Mexican War. Reed told musicologist Alan Jabbour that the tune was used
by Santa Anna’s army in retreat from the Americans, although Jabbour thought it
was more likely it was played by the Americans due to its British origins.
***
The tune does appear in British and
Irish collections, and in some early American tutors as well. Under the title “Johnny Cope” it can be
found in O’Neill’s Music of Ireland
(No. 1812, with the remark “Irish version”) and in Roche’s Collection (1909, Vol. 3, pg. 78, No. 202). Jabbour finds that
Roche prints the tune again as “Nights of
Gladness Quadrille” (Vol. 3, pg. 74, No. 196). Early American printings are
in Riley’s Flute Melodies (c. 1814,
pg. 47) as an untitled quickmarch, and in a manuscript collection of dance
tunes c. 1775-1800 held at the Newberry Library, Chicago, where it appears as “Shay’s March” (possibly a reference to the
Massachusetts leader of Shay’s Rebellion at the end of the 18th
century). Finally, Jabbour notes the American hymn “Spring” is set to it, from Missouri Harmony (1825, pg. 113).
***
Source for notated version: Henry
Reed via the Fuzzy Mountain String Band (N.C.) [Brody]; Dana Loomis (Athens,
Ohio) [Carlin]. Brody (Fiddler’s Fakebook),
1983; pg. 250. Carlin (English Concertina),
1977; pg. 25. Spandaro (10 Cents a Dance),
1980; pg. 46. Rounder 0035, Fuzzy Mountain String Band‑
"Summer Oaks and Porch" (1973). Takoma D‑1064, Norman Blake‑
"Directions." CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry
Reed Reunion” (2002).
X:1
T:Santa Anna’s Retreat
M:C|
L:1/8
K:A Dorian
^cd|e2a2e2a2|edef gfed|B2g2f2
gf|edB^c d2 ^cd|e2a2e2a2|edef gfed|baef gfed|c2A2A2:|
|:G2|ABAG EGAB|c2A2 edAB|c2d2
edef|gf B2 A3G|ABAG EGAB|c2c2 e2 ec|
Acdc edef|gf B2A2:|
X:2
T:Santa Anna’s Retreat
M:4/4
L:1/8
S:From a transcription of Henry Reed’s playing, by Alan Jabbour
K:A Dorian
(A/B/c/d/)|eaea (e/d/e/f/) g2|Bgfg (e/d/B/c/ d)(c/d/)|eaea (e/d/e/f/) g2|
{(a/}b)e (e/d/B/)(B/ c)A A2:|
(A/B/A/G/ EA) (^cA)(eA)|(cd) [A/(e/]d/[A/e/]f/ g)B A2|
(A/B/A/G/ EA) (^cA)(eA)|(cd) [A/(e/]d/[A/e/]f/ g)B A2||
“Variations”
||[A(e]|[Ae)]aea
(e/d/f) g2||
SANTIAGO JIG. English, Jig. G Major. Standard. Composed by Stuart Hardy, during a stay
in Gallicia.
X:1
T:
Santiago Jig
C: Stuart Hardy
M: 6/8
L: 1/8
H: Written during a stay in Gallicia
K: G
| E3 FEF| G2 B AB^c|dDD ^cDB | A2A FED | E3 FEF| G2 B AB^c |
dDD ^cDB | AFD E3 :: gfe c3 | gfe B3 | B2B DBG | FAF DFA | gfe c3 |
gfe B3 | B2B DBG | FAF E3:: b3 abb | gbb fbb | gbb efg | fBB B^cd |
^c2a
ab^c |d2b b^CD |1 e2^c d2B | ^cde fga :|2 e^cd B^cA| BAG FED ||
SAOI PILIB MAC AEDA, AN. AKA and see "Sir Phillip
McHugh."
SAOIL, A MHÒR, AM PÒS
THU? (Mary, do you think
you’ll marry?). AKA – “Morag, will you marry?” Scottish, Air
and Jig (9/8 time). E Minor. Standard tuning. AB.
***
Saoil a Mhòr am pòs thu?
Saoil am pòs thu Fiullaigean?
Saoil a Mhòr am pòs thu?
Theireadh gu leòr nach b’urrainn dhuit.
***
Martin (Traditional Scottish Fiddling), 2002; pg. 83.
SAOR ME ON T-EUG. AKA and see "Save Me From
Death," "Ciste No Stor."
________________________________________
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