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 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 tuning. 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 tuning. 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 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 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 tunings. 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 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 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: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. 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: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 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: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 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). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Wildcat Records WILDCD 101, Ronan Martin – “Ronan Martin” (2008).

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 Ireland nowadays as “The High Reel,” although it was printed by O’Neill as “Duffy the Dancer." Martin (Ceol na Fidhle), vol. 2, 1988; p. 31. Scots Guards Standard Settings, c. 1954; No. 371, pg. 208. Philo 1042, Boys of the Lough ‑ "The Piper's Broken Finger" (1976).
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:Sandy Hook

M:2/4

L:1/8

S:Ford – Traditional Music in America (1940)

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 Boston

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 “Sandy” title. Gow (The Second Collection of Niel Gow’s Reels), 1788 (revised edition); pg. 1. Kerr (Merry Melodies), vol. 1; pg. 9. Seattle (William Vickers), 1987, Part 2; No. 211. Surenne (Dance Music of Scotland), 1852; pg. 88. Brian McNamara – “Fort of the Jewels” (learned from the unpublished manuscript, c. 1844-1846, of Thomas ‘Blind’ Kiernan, Drumlish, County Longford. Kiernan was a fiddle master whose students-of-students can be traced to the present day)

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:Sandy o’er the lee, or Mr. Baird’s favorite Reel

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." AKA and see "Goin Down the River"? (Osey Helton). Old‑Time, Breakdown. USA; Virginia, West Virginia, North Carolina. D Major. Standard tuning. AABB. The Big Sandy River marks the border between West Virginia and Kentucky, then flows into the Ohio. Brody (Fiddler’s Fakebook), 1983; pg. 249. County 733, Clark Kessinger‑ "The Legend of Clark Kessinger." Folkways FA 2336, Clark Kessinger‑ "Fiddler." Front Hall 01, Fennigs All Stars‑ "The Hammered Dulcimer." Library of Congress, AFS 4806‑A‑2, 1941, Osey and Ernest Helton (Western N.C.). Library of Congress (2740-B-1), 1939, J.W. 'Peg' Thatcher (Franklin County, Va.). Living Folk LFR‑104, Allan Block ‑ "Alive and Well and Fiddling." Marimac 9110, Frank Blevins and his Tarheel Rattlers ‑ "It'll Never Happen Again: Old Time String Bands, Vol. 1" (orig. rec. 1927). Shanachie Records 6040, Gerry Milnes & Lorraine Lee Hammond – “Hell Up Coal Holler” (1999).

 


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:Sandy’s Favorite

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 Maryland but at the time a student at Acadia University in Wolfville, Nova Scotia. Cook (Night in the Kitchen Collection), 1986; pg. 28.

 

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.

                       

SANDY’S WALTZ.  American, Waltz. G Major. Standard tuning. AB. Composed by contra dance keyboard and accordion player Bob McQuillen (Peterborough, New Hampshire) in 1989. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 20 (appears as “Christmas at Zeist”, the name of a dance set to the tune by Philippe Callens).

 

SANFORD MACLELLAN. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 28.

                                   


‘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.

                       

SAOL AR FAD I nGRÁ LIOM, AN. AKA and see “All the World Loves Me.”

                       

SAOR ME ON T-EUG. AKA and see "Save Me From Death," "Ciste No Stor."

 

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