The Fiddler’s Companion
©
1996-2009 Andrew Kuntz
_______________________________
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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] |
SARA BUIDHE. AKA and see "Yellow Sara."
SARABAND, THE. English, Country Dance Tune. Published in
Playford in his English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg.
38.
SARABAND OP DE
DUCHESSE.
See “The Duchess Saraband.”
SARAH ARMSTRONG. Old-Time, Breakdown. D Major.
Standard tuning. AABB. The tune was collected from
X:1
T:Sarah Armstrong's Reel
M:C
L:1/8
B:Bayard--Hill Country Tunes, No. 33 ("Old Reel")
S:Mrs. Sarah Armstrong, near Derry, Pa., Nov. 1943
K:D
(A,2|A,2) D2 B,2 D2|A,2 DE FE D2|E2A2F2A2|E2 AB cB A2|
A,2 [G,2D2] B,2
[G,2D2]|A,2 DE FE D2|E2 A2 A3B|AGFE D2:|
|:d2 dA dAF[DA]|E2E2 EFGA|B2 Bc BAFE|D2 [D2d2] [Dd]ABc|
d2 dA dAF[DA]|E2E2
EFGA|B2 Bc BAFE|D2 [D2d2][D2d2]:||
SARAH DELL. American, Polka.
SARAH HOBBES’. AKA and see “Bill Harte’s Reel.”
SARAH MACARTHUR’S. AKA and see “Mrs. John
Angus MacArthur’s” (Bean Iain Aonghais Nic Artair). Canadian, Strathspey.
SARAH’S JIG. American, Jig. D Major. Standard tuning. AA’BB. Composed by
X:1
T:Sarah's Jig
L:1/8
M:6/8
K:D
"D"DEF "A"EFG |
"D"F2 D DFG |\"D"AFA "G"B2 c | "D"d3
-d2 A |
SARAH SMITH’S JIG. American, Jig.
X:1
T:Sarah Smith's Jig
C:Bob McQuillen
M:6/8
L:1/8
R:Jig
K:G
DGB AGe |\dBG A2 G |\ged Beg |\dBG
A2 E |\
DGB AGe |\dBd ega |\bge dBA |\BGG G2
z |:
SARAH'S DELIGHT. Irish, Reel. G Major. Standard tuning. James
Kelly & Paddy O’Brien – “Spring in the Air.” Shanachie 34014, James Kelly,
Paddy O’Brien & Daithi Sproule – “Traditional Music of
X:1
T:Sarah’s Delight
R:Reel
M:4/4
L:1/8
K:G
G2(3Bcd GdBd|GdBd cAAd|D2FA dAFA|d2fd cAFA|\
G2(3Bcd GdBd|GdBd cAAd|DEFG AB (3cBA|dcAF G3F:||\
GABd gfag|fdd2 afd2|DE=FA c3d|edd2 cAFA|\
GABd
gfag|fdd2 afde|=f3e fedc|AGFA G3F:||
SARAH'S REEL. AKA and see "You're
a long time a courting," "The
Road to Dublin," "A Mile
from Dublin," "Within
a Mile of Dublin [1]," "The
Maid of Ballintra," "Through
the Fields [3]," "The
Kerry Lasses [2]," "The
Meadow in Bloom," "An Giobarach."
SARAH'S
VALENTINE. Irish, (Slow) Jig. G Major. Standard tuning. AA’BB.
Composed by Eamon Flynn.
X: 1
T: Sarah's Valentine
R: jig (slow)
M: 6/8
L: 1/8
C: Eamon Flynn
K: G
d | gfg agf | gdB c2 d | BAB cAG | FG^G ABd |
gfg agf | gdB c2 d | BDB ADA |1 G3 G2 :|2 G3 G2
D ||
B,C^C DEF | GAB c2 d | BAB cAG | FG^G AFD |
B,C^C
DEF | GAB c2 d | BDB ADA | G3 G2 :|
X:1
T:
M:2/4
L:1/16
K:F Major
|: AB | c=BcA d_Bfd | cAFA cAdc| BAGB AGFA | Gc=Bd c_BAB |
c=BcA d_Bfd | cAFA cdef | defg efga |f2f2f2 :|
|: ef | aAgA fAeA | fAeA dAfA | eA^ce agfe | fgef defg |
aAgA fAeA | fAeA dAdf | efga bgeg | f2f2f2 :|
X:2
T:
R:Reel
M:4/4
L:1/8
K:C
EF|G^FGE A=FcA|GECE GEAG|FEDF EDCE|DG^FA G=FEF|\
G^FGE A=FcA|GECE GABc|ABcA BcdB|1 (3cBc e2 c2 EF:|2 (3cBc e2 c2 Bc||\
eEdE cEBE|cEBE AEcE|BE^GB edcB|c2 Bc ABcd|\
eEdE cEBE|cEBE AEcE|Bcde fdBd|c2 e2 c2 Bc:||
X:1
T:
L:1/8
M:2/4
R:Reel
K:A
c/d/|e/^d/e/f/ e/d/c/B/|A/a/g/a/
ec|df/e/ d/c/B/A/|G/A/B/G/ Ec/d/|
e/^d/e/f/ e/d/c/B/|A/a/g/a/
ec|d/f/e/d/ c/B/A/G/|AAA:|
|:G/A/|B/E/~E B/E/d/E/|c/E/~E
c/E/e/E/|B/E/~E B/E/d/E/|
c/A/E/C/ A,c|B/E/~E B/E/d/B/|c/E/~E
c/E/e/c/|d/f/e/d/ c/B/A/G/|AAA:|
X:1
T:
R:Reel
M:4/4
L:1/8
K:C
EF|G^FGE A=FcA|GECE GEAG|FEDF
EDCE|DG^FA G=FEF|\
G^FGE A=FcA|GECE GABc|ABcA BcdB|1
(3cBc e2 c2 EF:|2 (3cBc e2 c2 Bc||\
eEdE cEBE|cEBE AEcE|BE^GB edcB|c2 Bc
ABcd|\
eEdE cEBE|cEBE AEcE|Bcde fdBd|c2 e2
c2 Bc:||
SARO. AKA and see "Caro
in the Cabbage Patch," "Cow in the Cabbage Patch,"
"Julie Girl." Old‑Time,
Breakdown.
***
Saro, Saro, come lay your hand in mine,
Treat you like a lady just long as the sun does shine.
Ya hadn't been gonna marry me, ya ought't told me so,
I could have been a married man, forty years ago.
Went to see my gal one day, what'd ya reckon she done,
Stole her arm around my neck, thought my time had come.
Went to see my gal one day, where'd ya reckon I found her,
Found her in a buckleberry patch, forty men around her.
Went to see my gal one day, she met me at the door,
Shoes and Stockings in her hand, feet all over the floor.
Once I was a little boy, all I want's a knife,
Now I am a great big boy, all I want's a wife.
Used to be a little boy, tot my momma's switches,
Now I am a great big boy, wear my daddy's britches.
High jack, low jack, tray (?) can't be low
Before I play an unfair game, take my money and go.
(Tom Carter & Blanton Owen from
Calvin Pendleton)
***
Source for notated version: Dudley
Spangler [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 215. Broadway
8159, The
SARONA. Scottish, Slow Air (4/4 time). D Major. Standard tuning. AB (Skinner/Violinist): ABCDEF (Skinner/Harp). Composed by the great Scots
fiddler-composer J. Scott Skinner (1843-1927).
Dedicated to W. Ferrier, Broughty Ferry. Skinner (The Scottish Violinist), pg. 49. Skinner (Harp and Claymore), 1904; pgs. 162-163.
X:1
T:Sarona
M:C
L:1/8
R:Slow Air
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:D
(F3E D2)F2 | (A3G)F2A2 | (d3c)B2A2 |
(dA GF (F2E) z | (F3E) D2F2 |
(A3G)F2A2 | (d3c) dA GF | F2E2D4 ||
.A2.d2.c2 de | (d3A) G2F2 |
.E.F.G.A .B.c.d.A | (Bc/d/) GF (F2E)
z | (F3ED2)F2 | (A3G) F2A2 |
(d3c) dA GF | F2E2D4 ||
SARSFIELD MARCH. AKA and see "The
March of the Tribes to Galway," "The Galway Girls," “High Way to Galloway,” "All the Ways to Galway [1],"
"The Road to Lisdoonvarna
[2]," "Slash
Away the Pressing Gang," "Yankee
Doodle Dandy."
SARSFIELD’S
LAMENTATION. Irish, Slow Air or Lament (3/4
time). D Minor. Standard tuning. AABB. O’Neill states this melody is “entirely
distinct from the melody of that name in modern publications” (for which see “Lament for Sarsfield [1]”). He
obtained it from The Hibernian Muse,
printed in
X:1
T:Sarsfield's Lamentation
M:3/4
L:1/8
S:The Hibernian Muse,
Z:Paul Kinder
R:Air
K:F
"Andante sostenuto"Ac|d2 d2 cA|f2 f2 e>d|c>d c>A G>A|F2 G2 A/2G/2F|
D2 de c>A|f>g gf/2g/2 a2|F3 G Ac|G4:|
|:AB|d2 d2 c>A|f2 f3 E/2F/2|g2 g3 f/2g/2|a2 ba ge|
d>e d>c d/2c/2A|f2 g/2f/2g a2|F>E F>f
d/2c/2A|G4:||
SARSFIELD’S QUICKSTEP. Irish. AB. A variant of “MacAllisdrum’s
March” in two parts. It appears in Haverty’s Three Hundred Irish Airs, published in 1858-1859.
X:1
T:
M:6/8
L:1/8
S:Caremelle
Begin – from a transcription of
K:A
e3
[d3e3]|:[ce]BA GFE|DCB, (C2B,)|A,CE AGA|Bee (e2d)|[ce]BA GFE|
DCB,
C2B,|A,>AA GAB|1 cAA A2e:|2 cAA A2 E||
|:Ace
aga|gff ({g}f)ef|EGB gfg|fec e3|Ace
aga|gff ({g/}f)ef|EGB gfe|dcB [A2e2] e:|
SASQUATCH BREAKDOWN. Canadian, Breakdown. D Major. Standard tuning (fiddle). AA'BB'. Source
for notated version: Composed by Arthur Lindstrom in 1970 (
SATAN'S NIGHTMARE. AKA and see "Devil's Dream
[1]." A local southwestern
SATELLITE REEL. Canadian, Reel. Composed by
SATIN BREECHES. English, Reel.
SATIN SLIPPER, THE (“An Brog Sróil” or “An Slipéar Sróil”). AKA and see “The High Road to Galway.” Irish, Reel.
D Major. Standard tuning (fiddle). AB (Breathnach/Killoran, O'Neill/1850): AA'B
(O'Neill/Krassen): AA’BB’ (Breathnach). The tune also appears in the late 19th
century collection of Alex Sutherland of
See also listing at: Alan Ng’s Irishtune.info |
T:Satin
Slipper, The
R:Reel
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
A3B AFFA | dcBA BAFA | dcBd cBAc |
BAFA (3Bcd cB | A2 AB AFFA |
dcBA BAFA | dfed cedc | BAFA B3 || c | defg agab | afeg fBBc | defg agab
|
afeg fddc | defg agab | afec defg |
agfe fedc | dcBA (3Bcd cB ||
X:2
T:Satin Slipper, The
M:C
L:1/8
R:Reel
S:Treoir, vol. 35, No. 2 (2003)
K:D
B |: A3B AFFA | d2 cA BGGB | A2 FA
dcdf | edBA BddB |
A3B AFFA | d2 cA BGGB | A2 FA dcdf |
edBA Bdde |
f2 df g2 ag2 | f2 df edBA | f2 df g2
fg | abaf edde |
f2 df g2 ag | f2 df edBd | A2 FA
dcdf | edBA Bd d2 :|
SATISFIED. American, Two-Step (?). F Major. Standard tuning (fiddle). AB. Source
for notated version: Peter Martin [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; p. 122.
SATURDAY MORNING REEL. Old‑Time, Breakdown. USA, Missouri. A Major. Standard tuning
(fiddle). AABB. Source for notated version: Dr. Jimmy Gray (St. Louis County,
Missouri) [Christeson]. R.P. Christeson (Old
Time Fiddlers Repertory, vol. 2), 1984; p. 20.
X:1
T:Saturday Morning Reel
M:2/4
L:1/8
B:Christeson – Old Time Fiddler’s
Repertory, Vol. 2 (1984)
Z:AK/Fiddler’s Companion
K:A
E/F/ | A/AA/ EC/E/ | AA/B/ A/c/e |
ea/f/ e/c/A/c/ | e/ef/ e/d/c/B/ |
A/AA/ EC/E/ | AA/B/ A/c/e | ea/b/
a/f/e/d/ | c/A/B/c/ A :|
|: e/g/ | a/b/a/f/ ec/e/ |
c’/e/c’/e/ ee | f/e/d/f/ ee | f/e/d/f/ e/f/g/e/ |
a/b/a/f/ e/c/e | c’/e/c’/e/ ec/d/ |
ea/b/ a/f/e/d/ | c/A/B/c/ A :|
SATURDAY MORNING WALTZ. American, Waltz. F Major. Standard
tuning (fiddle). AB. Composed by pianist Dave Wiesler in 1997. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 86 (appears as "The Molly Andrew", the name of a dance by
Brooke Friedly and Chris Sackett set to the tune).
SATURDAY NIGHT [1]. Canadian, Breakdown. C Major. Standard tuning (fiddle). AABB. Messer,
1948; No. 4. Messer (Anthology of
Favorite Fiddle Tunes), 1980; No. 24, pg. 26. Sannella, Balance and Swing (CDSS).
X: 1
T:Saturday
Night Breakdown
T:Saturday
Night [1]
R:Reel
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:C
ef|g2ef
age2|c2G2 E4|FGFE DEFG|AGG^F G2ef|
g2ef
age2|c2G2 E2G2|FEFG dcBd|c2e2 c2:|
|:EG|c2G2
EFGE|c2G2 E2G2|FGFE DEFG|AGG^F G2AB|
c2G2 EFGE|c2G2 E2G2|FEFG dcBd|c2e2
c2:|
SATURDAY
NIGHT [2]. English, Morris Dance Tune (6/8
time, 'slows' in 4/4 time). B Flat Major (Bacon): C Major (Raven): F Major
(Bacon): G Major (Bacon‑Longborough, Mallinson). Standard tuning (fiddle).
AB (Bacon‑Longborough): AABB (Bacon‑Bledington, Raven): AAB (Bacon,
Mallinson). Collected from the villages of Bledington (Gloucestershire),
Bucknell (Oxon) and Longborough (Gloucestershire) in
***
And where do you think I found her?
Up in the moon, playing a tune
With all the girls around her.
***
Bacon (The Morris Ring), 1974; pgs. 89, 121, 259. Mallinson (Mally’s Cotswold Morris Book), 1988,
vol. 2; No. 33, pg. 17. Raven (English
Country Dance Tunes), 1984; pg. 80. EMI/Harvest
7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On"
(1976/1994).
X:1
T:Saturday
Night [2]
M:6/8
L:1/8
R:Morris
dance tune
N:The 4/4
part is the “slows”; tempo resumes upon the return to 6/8
Z:AK/Fiddler’s
Companion
K:G
GAB Gdd |dAA A2 | BAG E2E | AGF G3
:|
ADD D3 | AAB c3 | BAG Bcd | DGF G3 |
ADD D3 AAB c2 |
M:4/4
L:1/8
B2A2 G4 | B2c2 d4 | D2G2F4 |
M:6/8
L:1/8
G3 G3 ||
SATURDAY NIGHT [3] (Oidce Dia-Satairne). Irish, Air (6/8 time, "with
spirit"). G Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 234, pg. 40.
X:1
T:Saturday Night [3]
M:6/8
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
G/B/|de=f edB|AGG G2B|def gag|=fdB
c2 B/c/|def gag|=fdB c2 B/c/|
de=f edB|AGG G2||B|BGB gag|=fdB c2
B/c/|de=f edB|BAG A2 B/c/|
def gag|=fdB c2 B/c/|de=f edB|AGG
G2||
SATURDAY NIGHT [4]. Shetland, Shetland Reel. From the
SATURDAY NIGHT AND
SUNDAY MORN. English, Country Dance Tune (6/8
time). D Major. Standard tuning. AB. The melody was published by Playford in
his The English Dancing Master
(1651). It was a surprising survivor in widespread oral tradition in Cotswold
morris dancing several hundred years later, with a Longborough version being
called “The Marriage Vow.” Barnes (English Country Dance Tunes), 1986.
Raven (English Country Dance Tunes),
1984; pg. 45 (a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1909/1994; pg. 67.
Topic Records TSCD550, Brass Monkey – “Flame of Fire”
(2004).
X:1
T:Saturday Night and Sunday Morn
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:D
(f | f>ed a2) (A | e)ee e2(g |
f>ed a2) (A | d)dd d2 (f | f2d a2) (A |
e)ee e2(g | f>ed a2) (A | d)dd d2
|| (c | B>AG F>ED) | eee e2 (c |
B>AG F>ED) | ddd d2(c |
B>AG FED) | eee e2(d | c>BA GFE) | ddd d2 ||
SATURDAY NIGHT
BREAKDOWN. Old‑Time, Breakdown. C Major.
Standard tuning. AB (Silberberg): AABB (Phillips, Songer). The tune was used as
the theme of Sandy Bradley’s Potluck, heard
for a time on public radio, played by Seattle brothers Jere and Greg Canote,
according to Susan Songer (Portland
Collection). Source for notated version: fiddler Wil Gilmer with the Leake
County Revellers [Phillips]; Laurie Andres [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 215. Silberberg (Tunes I Learned at Tractor Tavern), 2002;
pg. 141. Songer (
SATURDAY NIGHT RAG. Old‑Time.
SATURDAY NIGHT SPECIAL. See "Evangeline Special."
SATURDAY NIGHT WALTZ
[1]. American, Waltz. G Major ('A' part)
& C Major ('B' part). Standard tuning. AABB. Source for notated version:
learned at jamborees of the Original Michigan Fiddlers' Association from Bob
Fleck (Michigan) who had the tune from Arthur Kole (Long Lake, Michigan)
[Johnson. Johnson also states she later heard the tune played by a German band
at an Oktoberfest in Cincinnati, Ohio]. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc. No. 1), 1991; pg. 4.
SATURDAY NIGHT WALTZ
[2]. Old-Time, Waltz. G Major. Standard
tuning. AABB'. No relation to "Saturday Night Waltz [1]." Source for
notated version: Jim Childress with Uncle Henry's Favorites [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 305. County 2730, Rafe
Stefanini – “Glory on the
SATURDAY NIGHT WALTZ
[3]. Old‑Time, Waltz. USA, Arkansas.
This is perhaps the same as version #2. County 519,
Fiddlin' Bob Larkan & Family ‑ "Echoes of the Ozarks, Vol.
2."
SATURDAY NIGHT WALTZ
[4]. AKA and see "Valse de Samedi Soir."
SATURDAY OF MORNING. English, Jig. E Minor. Standard
tuning. AB. The melody is contained in the Joseph Kershaw manuscript. Kershaw
was a fiddler who lived in Slackcote, Saddleworth, North West England, in the
19th century, and his manuscript dates from around 1820 onwards. The
Joseph Kershaw Manuscript, 1993; No. 27.
SAUGER SAKE QUADRILLE. American, Dance Tune (2/4 time). USA, northern Michigan. The second
change of this quadrille is in the B Flat and F Major. A 3rd part, in E Flat
Major, was dropped from oral tradition in northern Michigan, remarks Paul
Gifford. Don Messer recorded the second change of “Sauger Sake” as “Atlantic
Polka No. 2.”
SAUGHEY RIGG. English, Hornpipe. England,
Northumberland. F Major. Standard tuning. AABB. . Composed by Robert Whinham
(1814-1893), a musician, teacher, composer, dancing master and fiddler,
originally from Morpeth. Graham Dixon (1995) discovers that Saughey Rigg is a
farm at Melkridge, near Haltwhistle, Northumberland, on the Roman Wall. A
family named Fidler lived there in the 19th century, coincidently,
says
SAULT'S FAVORITE (Roga Ui Sault). Irish, Hornpipe. F Major. Standard tuning. AABB
(O’Neill): AA’BB’CD (Mulvihill). Source for notated version: from the
manuscript collection of retired businessman and Irish music enthusiast John
Gillan, collected from musicians in his home
X:1
T:Sault’s Favorite
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:F
C2 | F>EF>A c>=Bc>d |
f>ga>f c2 c>B| (3ABc f>d c>AG>F | E>FG>A G>EC>E |
F>EF>A c>=Bc>d |
f>ga>f c2 c>B | (3ABc f>d c>AG>E | F2A2F2 :: c2 |
(3fga c>a f>ac>a | (3gab
d>b g>bd>b | (3fga c>a f>ac>a | g>fe>d c2 d>e |
f>ca>c f>ca>c |
g>cb>c g>cb>c | c’2 b>a g>fe>g | f2a2f2 :|
SAULT'S OWN HORNPIPE (Crannciuil Sault Fein). Irish, Hornpipe. G Major
(Mulvihill, O’Neill): F Major (Mulvihill). Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 9,
pg. 90 & No. 13, pg. 91 (two versions in different keys, appearing as
“Sault’s Ver. No. 1" & “No. 2"). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 313, pg. 155. O'Neill
(Krassen), 1976; pg. 187. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1660, pg. 309. O'Neill (Dance Music of
X:1
T:Sault’s Own Hornpipe
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
d>c|B>GB>d g>b
(3agf|gzGz DzG,z|c>Bc>d e>fg>f|e>dc>B A2 d>c|
B>GB>d g>b (3agf|g>b
(3agf g2 d>c|B>dg>d e>cA>F|G2B2G2:|
|:B>c|d>gg>a g2
f>g|d>g (3gag d>g (3gag|d>gb>g a2 g>a|
e>a (2aba e>a
(3aba|d>gg>a g2 f>g|eggg dgga|b>ga>f g>de>c| B>GA>F
G2:|
SAUNDERS BRANE. Scottish. Composed by Sampson Duncan (1790‑1822) from Kinclaven
in
SAUNTERING IN THE LANE. Irish, Reel. D Major. Standard tuning. AA'BB'. O'Neill (Krassen), 1976;
pg. 148.
SAUSAGE [1]. Scottish, Reel. G Minor. Standard tuning. AB. Composed by William C.
Honeyman, published in his collection. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 30.
SAUSAGE [2]. Scottish, Strathspey. G Minor. Standard tuning. AAB. Composed by
William C. Honeyman, published in his collection. Honeyman (Strathspey, Reel and Hornpipe Tutor),
1898; pg. 30.
X:1
M:2/4
L:1/16
R:Reel
K:G
|:"G"BcBA
GABc|"G"d2B2"D7"A4|ABcB ABcd|"C"e2f2 "D7"
(3(ded d2|!
"G"BcBA
GABc|"G"d2B2 "D7"A4|ABcB ABcd|1"D7"edfd
"G"g2 z2:|2 "D7"edfd "G"g2 |!
|:ef|"G"gdBc d2ef|gdBc
d2dd|"D7"^cddd cddd|"D7"^cddd cddd|!
"G"gdBc d2ef|gdBc
d2dd|"D7"^cddd cddd|"D7"edfd "G"g2:|!
SAUT DU LAPIN [2] (The Rabbit’s Leap). AKA and see “La claquese,” “La pèteuse,” “Reel de Lapin.” French-Canadian, Reel. G Major. Standard tuning. AABB. Hart & Sandell (2001) identify the tune as from the repertoire of fiddler Lucien Mirandette (1924-1993), from St-Cutbert in the Lanaudière region. The leaping rabbit is signified by plucked strings interspersed through the tune. Hart & Sandell (Dance ce Soir), 2001; No. 62, pg. 95.
SAUT DU CHIEN, LE (Dog's Leap). French, Polka. G Major. Standard tuning. AABB.
Composed by Frederic Paris. Stevens (
SAUTE, CRAPAUD (Jump, Toad Frog). Cajun, Waltz.
***
Yes, me and "Boy" Fruge went to
make some records. "Boy" had no musicians with him.
of wood and turned it upside down and stomped on that
for his drum effect while recording. The first song he
recorded was "Saute, Crapaud."
***
Source for notated version: Isom J.
Fontenot (
X:1
T:Sauterelle, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 12
Z:AK/Fiddler’s Companion
K:D
{e}d2 (AG) | FAFD | d2 ef | gedc | {e}d2 AG | FAFD | gedc | {e}d2 D2 :|
|: defg | af (g2 | g)e f2 | .e(cBA) | defg | af (g2 | g)edc | {e}d2D2 :|
|:
(.F2 F)D | (.G2 G).E | (.F2 F)D | E4 | (.F.D.E.F.) (.G.A.B.c) | {e}d3B | AFGE |
D4 :|
SAUVAGE SU' L' CHICOT (Indian on a Stump). Cajun,
Two-Step (4/4 time).
SAVAGE DANCE. English (?), Dance Tune (cut time). G Major. Standard tuning. AABBCCDD.
Aird (Selection
of Scotch, English, Irish and Foreign Airs), Vol. II, 1782; No. 159, pg.
66.
X:1
T:Savage
Dance with Variations
M:C|
L:1/8
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
G3d BdGB | A2D2 G/A/B/A/ GD | G3d BdGB | A2D2 G4 :|
|: B2c2 dBGg | e2 ce dBAG | B2c2 dBGg | e2 ce d2 D2 | G3 d BdGB |
A2D2 G/A/B/A/ G2D2 | G2 d2 BdGB | A2D2 G4 :|
|: GDGd B/c/d/B/ GB | A2D2 G/A/B/A/ GD | GDGd B/c/d/B/ GB | A2D2 G4 :|
|: BGcA dBGg | ecBc dBAG | BGcA dBGg | e2 ce dDEF | GDGd Bd B/A/B/G/ |
A2D2
G/A/B/G/ GD | GDGd B/c/d/B/ GB | A2D2 G4 :|
SAVAGE HORNPIPE, THE.
English, Hornpipe. G Major: B Flat Major (Clare, Leadley). Standard
tuning. AABB. The melody appears in the mid-19th century music
manuscript copybooks of Helperby, Yorkshire, fiddler Lawrence Leadley
(1827-1897) as an untitled hornpipe (No. 32) in the key of B flat major. It
also appears in the John Clare (1793-1864, Helpstone, Northants) manuscripts
(also set in B flat). Peter Cooper suspects the title may possibly refer to the
poet and playwright Richard Savage (c. 1697-1743), author of The Bastard (1728). Savage’s life was
one of literary success coupled with personal problems that included debt,
blackmail and murder, and he died in debtors prison, having been abandoned one
by one by his friends. He was the subject of Samuel Johnson’s Life of Savage (1744), one of the most
elaborate of the doctor’s Lives of the
English Poets. Callaghan (Hardcore
English), 2007; pg. 23. Cooper (99
English Fiddle Tunes), 2006. Merryweather & Seattle (The Fiddler of Helperby), 1994; pg. 36,
No. 32 (“Untitled Hornpipe V”). Big
X:1
T:Savage Hornpipe, The
M:4/4
L:1/8
R:Hornpipe
K:Bb
F2|BABc Bcde|f=efg fdBd|G2G2 GABG|FDFB
FDB,D|EDEF GBAc|
Bcde fga2|fdcB GABc|d2B2B2::fe|dfBf
dfBf|cfAf cfAf|
BdGd BdGd|AcFc AcFD|EDEF GBAc|Bcde
fgab|fdBd ecBA|B2B2B2:|
SAVAGE MOUNTAIN
HOEDOWN. Old‑Time,
Breakdown.
SAVE ME FROM DEATH (Saor Me On T-Eug). AKA and see "Ciste No Stor," "Hide me from Death," "Fairy Queen [1]," "Awake the
Heart's Slumbers." Irish, Air (3/4 time, "plaintively"). D
Major. Standard tuning. AB. The melody appears under this title in Holden's
collection of 1806/07, volume II, pg. 3, and in his post 1806 collection,
volume I, pg. 5. O'Neill's (Music of Ireland: 1850 Melodies), 1979; No.
557, pg. 98.
X:1
T:Save Me from Death
M:3/4
L:1/8
R:Air
N:”Plaintively”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D
(3ABc|d2d2A|dc BA Bc|d>e dc
BA|d3e (3def|c2 dc BA|F4 A2|B3c d>e|d4 fe|
d2 de/f/ ed|c2 cd/e/ d>c|B>c
dc BA|F4 (3def|B2 dc BA|F4 A2|B3c d{f}e|d4||
de|f2 f>e f>g|f2 fg/a/
gf|e2e2e2|e3f ac|d2 df ed|c2 cd/e/ dc|B>c dc BA|F4 AB/c/|
d>F F2 ED|D4 (3def|e2 dc Bc|{B}A4
(3def|A>B dc BA|B>A F3A|B3 cd{f}e|d4||
SAVING THE HAY. AKA and see “Ormond
Sound.”
SAVOIR VIVRE, LE. English, Slip Jig. D Major. Standard tuning. AABB. From
SAVOURNA DELIGHT ("Savourneen Dheelish" or "Sa Muirnin Dilis"). Scottish, Irish (originally); Slow
Air (4/4 time). D Major. Standard tuning. AABB (Gow): AB (Roche). A note in Gow
states "A favorite Irish air." Bayard (1981) observes it is
essentially the same tune as "Tatter
Jack Walsh," "The
Garden of Daisies [2]," "The
Palatine's Daughter," "So Now My Dear Johnny," and "The Rough Heathy Little Hill"
(An {Garbh‑} Chnoicin Fraoigh). See also Petrie’s “Derry Brien.” Carlin (The Gow Collection), 1986; No. 555. Gow (Fourth Collection of
Niel Gow’s Reels), 2nd ed., originally 1800; pg. 10. Roche Collection, 1982, vol. 1; No. 47,
pg. 24.
X:1
T:Savourna Delight
M:C
L:1/8
R:Air
N:”Slow”
N:”A Favorite Irish Air”
B:Gow – Fourth Collection of Niel
Gow’s Reels (1800)
Z:AK/Fiddler’s Companion
K:D
A|d2 d>e (dc)
c>d|”tr”B>A(B=c) ~B>AF>d|AGFE D2 FA|B>c “tr”c2 [F3d3] A|(df)ad
(c/d/)e dc|“tr”B>AB=c “tr”B>AF>d|
A>B (A/G/).F/.E/ D2 FA|B>c
“tr”c2 [F3d3]::A|d2 ~de f2 ef|”tr”g2 fe fdB>c|(df)ed (ce)dc|
”tr”BAB{d}c “tr”BAF>a|a2 a/g/f/e/
d2 dc|”tr”B>Afd “tr”d>e {d/e/}f2 {e/d/c/B/}|A>B (A/G/)F/E/ D FA|B>c
“tr”c2 [F3d3]||
SAVOURNEEN DHEELISH. AKA and see "Savourna Delight."
SAVOYARDS, LES. French, Country
Dance (6/8 time). G Major. Standard tuning. AABBCC. From the contradance book
(tunes with dance instructions) of Robert Daubat (who styled himself Robert
d’Aubat de Saint-Flour), born in Saint-Flour,
X:1
T:Savoyards, Les
M:6/8
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 26
Z:AK/Fiddler’s Companion
K:G
B2d | c3 A2c | {c}B3 G2B | AcB AGF | G2D B2d | {d}c3 A2c | {c}B3 G2B |
AcB AGF | G3 :: G2F | E2D E2F | G2D G2F | E2D E2F | G3 G2F |
E2D E2F |
G2D G2F | E2D E2F | G2g :: D2D | E2E F2F | G2G D2D | E2E F2F | G3 D2D |
E2E
F2F | G2G D2D | E2E F2F | G2g :|
SAW NE YE MY PEGGIE. See "Saw Ye Nae My Peggie."
SAW YE A LASSIE OF
FIFTEEN.
AKA and see “Would you have a young virgin
(of fifteen years).
SAW YE JOHNNY COMING? Scottish, Air. F Major (Gow): G
Major (Aird, Howe). Standard tuning. AABA (Howe): AABB (Gow). The air, entitled
“A New Scotch Song or Saw Ye John A’Coming,” appeared in Clio and Euterpe, or British Harmony (vol. 2, 1759), although Glen
(1900) finds it first in print in John Walsh’s A Collection of Original Scotch
Songs, with a Thorough Bass to each Song for the Harpsichord” (part iii),
printed c. 1749. It was also Robert Bremner’s Thirty Scots Songs (1757, pg. 6), albeit under the title “Fee him,
Father, Fee him.” The Scots national poet, Robert Burns, wrote a letter to
George Thomson in which he described the playing of this air by the celebrated
and much enamoured (to Burns) oboist Thomas Fraser (c. 1760‑1825) who,
when playing it 'slow' made it 'the language of despair'. In Burns’ notes he
wrote: “This song for genuine humjour in the verses, and lively originality in
the air, is unparalleled. I take it to be very old.” The air was included in
the late 18th century manuscript copybook of Henry Livingston, Jr.
***
Saw ye Johnnie cummin, quo’ she,
Saw ye Johnnie cummin,
O saw ye Johnnie cummin, quo’ she;
Saw ye Johnnie cummin,
Wi’ his blue bonnet on his head,
And his doggie runnin’, quo’ she;
And his doggie runnin’? [Scots Musical Museum]
***
Aird
(Selections), vol. II, 1782; No. 148,
pg. 54 (appears as “Saw You Johnny Coming to the…”). Carlin (The Gow Collection), 1986; No. 556. Gow
(Complete Repository), Part 2, 1802;
pg. 2. Howe (1000 Jigs and Reels), c.
1867; pg. 123. Johnson (
X:1
T:Saw Ye Johnny Coming?
M:C
L:1/8
R:Air
S:Gow – 2nd Repository
Z:AK/Fiddler’s Companion
K:F
z | ~F2 G>A cAAf | ~F2 G>A cA
z :|
c | f>e
dc dc A>c | ~f>e dc dA ze | fe dc de f>g/2a/2 | F2 G>A cAAf | F2
~G>A cA z :|
X:2
T:Saw You
Johnny Coming to the…
M:C
L:1/8
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
z | G2 A>B d>BB>g | G2 (AB) c<A z :: f | g>fed e>dBf | g>agf e<B zf |
gfed ef g2 | zG A>B d>BBg | z G2 A>B cB z :|
X:3
T:Saw Ye John Acoming
M:4/4
L:1/8
R:Air
S:Henry Livingston’s manuscript copybook (late 18th century)
Z:AK/Fiddler’s Companion
K:Bmin
B3c B2B2 |
f2d2d2b2 | B3cB2B2 | f2d4d2 | B3cB2B2 | f2d2d2b2 |
B3cB2B2 | f2d4d2
| f2b2b2a2 | g2f2e2d2 | g2b2b2a2 | g2f4e2 |
b3ag2f2 |
g2f2e2d2 | B3cB2B2 | f2d4 z2 ||
SAW YE MY FATHER. Scottish, Air and Country Dance Tune (2/4 time).
***
Saw you my father, saw you my mother,
Saw you my true love John?
He told his only dear that he would soon be here,
But he to another is gone.
***
Published dance versions include
Thompson and Son’s Compleat Tutor for the English Flute (London, 1768),
Charles and Samuel Thompson’s third country dance collection (London, 1773),
Samuel, Ann and Peter Thompson’s Compleat Instructions for the Fife
(London, 1786), Straight and Skillern’s Two Hundred and Four Favourite
Country Dances, vol. 1 (London, 1775), T. Skillern’s Compleat Collection
of Two Hundred and Four Reels, Country Dances (London, 1780), and Longman,
Lukey, and Broderip’s Pocket Book for the German Flute (London, 1778).
The air can also be found on numerous song sheets issued by British and
American printers. In America, “Saw You My Father” was entered into the music
manuscript copybooks of Luther Kingsley (1795, Mansfield, Conn.), flute player
John Hoff (1797, Lancaster County, Pa.), and New York flute player Micah
Hawkins (1797). Source for notated version: a c. 1837-1840 MS by
X:1
T:Saw you my Father
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
D>EF>G|A2A2|B2 g>e|dc”tr”BA|d2 dc|”tr”cB”tr”BA|1 A2 z2:||2 A2 z|
|:G|F>EF>d|{G}F2
ED|E>DEF|G2 G>B|BAFA|AGFE|1 D3:||2 D4||
SAW YE MY WEE THING. AKA and see "Adew Dundee,"
"Bonnie Dundee [1],"
"The Laccaroo/Laccarue Boys."
SAW YE NA EPPIE ME
ENAB TH' DAY. Scottish. The melody appears in the
Gillespie Manuscript of Perth (1768).
SAW YE NAE MY (LOVE)
PEGGIE.
X:1
T:Saw ye nae my Peggy
M:3/2
L:1/8
R:Air
S:McGibbon – Scots Tunes, book III, pgs. 78-79
(1762)
Z:AK/Fiddler’s Companion
K:E Minor
e3d (e>fg)e (dB)(AG) | d3e dedB
(cB)”tr”(AG) | “tr”e3d e2 (d/e/g) (dB)”tr”(AG) |
(A>G)AB (cB)”tr”(A>G) ({D}E4)
:: D>EG>A G3A ({G/A/}B2) “tr”(AG) | E2A>B A3B (cB)”tr”(AG) |
D>EG>A “tr”G3A ({G/A/}B2)
”tr”AG | (AB)(ge) (dB)”tr”(A>G) E4 :: “tr”(e>de)g e>ged BdBG |
d>Bde (g/e/d) (e/d/B) (d/B/A) | “tr”e>def
“tr”(g>fg)a ({g/a/}b2)G>B | A>BG>A B2 “tr”AG ({G}E4) :|
SAW
YE OUGHT OF MY LAD GAWN UP THE WAGON WAY?
Northumbrian. Title appears in Henry Robson's list of popular
Northumbrian song and dance tunes ("The Northern Minstrel's Budget"),
which he published c. 1800.
SAW YOU CHARLIE COMING? AKA and see "Fye father see him." Scottish,
Country Dance Tune. The title sounds as if it may have been a Jacobite song at
one time. Dance instructions, but not the music, appear in the Menzies Manuscript (1749), contained in
the Atholl Collection of the Sandeman
Library, Perth. See also the similarly title “Saw Ye Johnny Coming?”
SAW YOU MY FATHER?
See “Saw Ye My Father?”
SAWDL Y FUWCH. AKA and see “Offa’s
Dyke.” Welsh, Jig. D Major. Standard tuning. One part.
X:1
T:
Sawdl Y Fuwch
M: 6/8
L: 1/8
R: jig
S:”Cymdeithas Ddawns Werin Cymru" (The Welsh Folk Dance Society)
Z:Dafydd
Monks
K: D
A |: d2 d A2 A |F A2 -A2 A |d2 d F2 G |A3 -A2 G |
d2 d Bcd |A2 d e2 e |d4 -d2 |cd z4 |
e2 e c2 d |e2 -e2 de |f2 f d2 e |f2 -f2 fe |
dcB A2 A |BAG F2 A |Bcd e2 c |d3 -d3 |
d d2 cde |fee c B2 |A d2 fec |B3 A2 A |
dcB A2 A |BAG F2 A |Bcd e2 c |d3 -d2 :|
SAWNEY. AKA and see "Sandy."
Scottish, Air (4/4 time). C Major. Standard tuning. AAB. A prototype of the
Scottish Measure "Corn Riggs
(are Bonny)." The air appears in John Playford's Apollo's Banquet, 5th edition, 1687. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 23, pg. 127.
SAXON WALTZ. English, Waltz.
SAXON'S HORNPIPE. AKA and see "The
Bridge of Lodi," “Down Back
o’ Shoddy,” “Hell on the
Potomac [3]," “Hunter’s
Hornpipe [1],” “Huntsman’s
Hornpipe,” “Lochmaben Hornpipe,”
“Lord Nelson’s Hornpipe,”
"Nelson's (Hornpipe) [2]."
AKA – “Saxonies,” “Saxona’s.” English, Hornpipe.
SAY NO MORE. American, Polka. C Major. Standard tuning. AABB. Composed by Mark
Simos. Source for notated version: Bill Christopherson and Tom Phillips with
the Fish Family [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 355.
SAY OLD MAN CAN YOU PLAY THE FIDDLE?
[1]
See "Oh,
Say Old Man Can You Play the Fiddle?" "Ladies Fancy [1]." Old‑Time,
Breakdown.
***
Say old man can you play the fiddle?
I don't know, I might play a little.
(Gene Goforth)
***
Source for
notated version: Howard Forrester [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 123. Black Rose Productions, The Mando Mafia – “Get Up in the
Cool.” County 202, "Eck Robertson (Tx): Famous Cowboy Fiddler." June
Appal 007, Tommy Hunter ‑ "Deep in Tradition" (1976. Learned
from his grandfather, fiddler James W. Hunter, Madison County, N.C.). Marimac
AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Howdy Forrester). Philo
1023, Jay Ungar & Lyn Hardy ‑ "Songs, Ballads & Fiddle
Tunes" (1975. Learned from a tape of Eck Robertson). Rounder CD-0388, Gene
Goforth – “Emminence Breakdown” (1997). Voyager CD 345, Benny Thomasson – “Say
Old Man, Can You Play the Fiddle?”
SAY
OLD MAN, CAN YOU PLAY THE FIDDLE? [2]. Old-Time, Breakdown. E
Major/Mixolydian. Standard tuning. ABC (Siberberg): ABB'CC'DD (Phillips).
Sources for notated versions: Joey McKenzie [Phillips]; Mel Durham
[Silberberg]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 124. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 141.
________________________________________
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