The Fiddler’s Companion

© 1996-2008 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 15:01:04 UT
K:E
GF|E2B
,E CEB,E|GBeB AGFG|EG (3GGG Begf|eccB ceBG|!
E2B,E CEB,E|GBeB AGFG|EGcG BG (3GGG|FEFG E2:||!
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). USA, southwestern Pa. A Mixolydian. Standard tuning. AABB. The title and alternate given are local Pennsylvania titles for the tune, commonly a marching piece for fife and drums, though known to fiddlers. Bayard (1981) concludes the ancestry of the piece to be either a mixture of two well‑known British Isles tunes, or else an indication that those two airs were cognate. He identifies the melodies as the Scots "Logan Water" and an Irish hornpipe frequently called "An tSeanbhean Bhocht" (The Poor Old Woman). Two of Bayard's versions were used as funeral dirges when played solemnly. Source for notated version: seven southwest Pennsylvania fiddlers and fifers [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 333A‑G, pgs. 310‑312.

 

SAM McGRADY'S. English, Reel. England, North‑West. B Minor. Standard. AABBCCDD. A modern composition by Ian McGrady. Knowles (Northern Frisk), 1988; No. 132.


 

SAM MILLER'S SQUARE DANCE. American, Reel. USA, southwestern Pa. D Major. Standard. AB. Source for notated version: John Nicholson (fiddler from Fayette County, Pa., 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 217, pgs. 172‑173.

 

SAM PALMER. AKA and see "Chapultepec." This title comes from the name of fifer who taught it to Bayard's southwestern Pennsylvania source (Llyod Grimm), but it is generally known as "Chapultepec."

 

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. AABB (Titon): AAAABB' (Phillips). Versions have been collected from African-American fiddler John Lusk of Kentucky, and a similar version from Kentucky fiddler Isham Monday. The tune is a member of the “Fire on/in the Mountain [1]”/”Pretty Betty Martin”/”Hog-Eyed Man”/”Granny, Will Your Dog Bite? [1]” family of tunes. Sources for notated versions: Kerry Blech [Phillips]; Isham Monday (Tompkinsville, Monroe County, Ky., 1959) [Titon]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 121. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 146, pg. 172. Carryon 004, “The Hellbenders.” Columbia 15013-D (78 RPM), C.L. Ballen (1925).

 

SAME OLD CUP AND SAUCER. AKA ‑ "You Broke My Cup and Saucer." Irish, March. E Minor. Standard. AAB. Roche Collection, 1982, vol. 2; No. 336, pg. 59.

 

SAME OLD STORY, THE (An Sean Sceal Ceadna). Irish, Reel. G Major. Standard. 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 Ireland: 1001 Gems), 1907/1986; No. 756, pg. 132.

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 Church of Ireland cleric James Goodman’s mid-19th century music manuscripts. Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed collections. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 233, pgs. 94-95.

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 Munster Pipers, No. 233  (1998)

K:A Dorian

(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 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. USA, New York’s Woodland Valley, Catskill Mountains. C Major. Standard tuning. One part. An irregular tune interspersing measures of 4/4 and 5/4 time. Cazden prints dance calls to the melody. Source for notated version: caller George Van Kleeck [Cazden]. Cazden (Dances from Woodland), 1945; pg. 8.

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 – “Cullen Bay.”

 


SAMUEL'S HORNPIPE. English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 22, pg. 33.

 

SAN ANTONY ANTONIO. American, Song Tune and Two‑Step(?). USA, Arizona. B Minor ('A' part) & D Major ('B' part). In the repertory of Arizona fiddler Kenner C. Kartchner, who said, "Jack Mankins sang this in Globe (Arizona) in 1907" (Shumway).

 

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 England. Perhaps the title refers to José de San Martín (1778-1850), the national hero of Argentina, who met with fellow South American liberator Simón Bolívar at Guayaquil, Ecuador, on July 22, 1822, and subsequently resigned his command.

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 Calgary Bay in the north of the island of Mull. The Gaelic words to the tune ask the question 'What would the people, who were forced to leave these shores, think of the island today?'. Neil (The Scots Fiddle), 1991; No. 147, pg. 189 (includes harmony part).

 

SAND CLASS. Recorded for Edison records in 1924 by Ohio fiddler John Baltzell, but unissued. The title refers perhaps to a class of old-time syncopated duple-time tunes called "sand jigs."

 

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. Canada, Cape Breton. F Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 34.

                       

SAND PIT, THE. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 20.

                       

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 Kentucky Fiddle Tunes), 2001; No. 147, pg. 173. Rounder 0377, Vincent Crawford (et al) – “Traditional Music of Kentucky, Vol. 2: Along the Kentucky River” (1997).

                       

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 Scotland), 1852; pgs. 78-79.

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:D Minor

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 County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 9.

                          

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). Anderson (Ringing Strings), 1983; pg. 97.

           

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. Sligo) [Flaherty]; Paddy O’Brien and James Kelly [Black]. Black (Music’s the Very Best Thing), 1996; No. 168, pg. 88. Flaherty (Trip to Sligo), 1990; pg. 158. Shanachie 29015, Paddy O'Brien & James Kelly ‑ "Is it yourself?" (1979). Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995). Shanachie 79006, Mary Bergin – “Feadog Stain” (appears as Mick Hand’s”).

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 KUWAIT, THE. Scottish, Composed by Gordon MacKenzie, whose unit fought in the first Gulf War. The Well Travelled Fiddler’s Collection, 1995.

                                   

SANDWICK LASSES. Shetland, Shetland Reel. Perhaps from Mainland Shetland district.

                       

SANDY. AKA and see "Sawney."

                       

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

                       


SANDY BOYS. Old‑Time, Breakdown and Song. USA; Kentucky, West Virginia. A Mixolydian. AEae tuning. AB (Silberberg): ABAB'A'BAB (Krassen). A tune from the repertoire of Pocahontas County, West Virginia, fiddler Edden Hammons. The original, however, appears to be in the American minstrel show repertoire, for a similar version (though different in the ‘B’ part from Hammons’ tune) can be found in Phil Rice’s Correct Method for the Banjo (1857), a period tutor, and also appears an 1844 minstrel songbook (reproduced by Harvard Theatre College Collection, Cambridge, Mass.). Gerry Milnes has found ribald words accompanying the tune in West Virginia. The modern “revival” or “festival” version may have stemmed from a ‘mislearning’ of Hammon’s tune by Bob Herring. See also Missouri fiddler Gene Goforth’s related “The Quail is a Pretty Bird.” Carl Baron supplies the following lyrics, sung, in whole or part, to the melody (although it will be recognized there are quite a few ‘floating’ verses):

***

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:A Minor

(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. AABCCD. This bagpipe tune is old standard and in Cape Breton is often played following "Dusky Meadow" (a strathspey composed by Donald MacLellan) because of the classic recording of the two tunes by Bill Lamey and Joe MacLean (Dunlay & Greenberg, Dunlay & Reich). It was one of the most popular Cape Breton 78 RPM disks, according to Paul Cranford, who points attention to “pianist Lila Hashem’s well timed glissandos at the end of phrases.” Barry Shears (1995) finds this reel associated with the Scottish composer Alex Cameron (1848-1923), from a renowned piping family. Source for notated version: Ashley MacIsaac (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 60. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 41. A & M Records 79602 2000-2 or AMI 92 EMI 94, Ashley MacIssac - “Close to the Floor” (1992). Atlantica Music 02 77657 50222 26, Ashley MacIssac - “Atlantic Fiddles” (1994). Audat 477-9010, Lee Cremo - “And the Eastern Variation.” Celtic 51, "This is Sydney;" Celtic 1, "Cape Breton Violins;" Celtic 43: all featuring Bill Lamey and Joe MacLean. Greentrax CDTRAX 9009, Donald MacDonell (1882-1967) - “Scottish Tradition 9: The Fiddler and his Art” (1993). Nimbus NI 5383, “Cape Breton Island Festival group.” Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000).

                       

SANDY CAMERON’S