The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
SC |
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] |
SCAFFIES CAIRET. Canadian, Jig. Canada, Cape Breton. Published by Charles F. Sherrit. Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster -
"Fit as a Fiddle" (1993).
SCAIP AN DRUCT. AKA and see "Spatter the Mud."
SCAIP AN PUITEACH. AKA and see "Scatter the Mud."
SCAIPEADH NA gCLEITÍ. AKA and see “Toss the
Feathers.”
SCAIRLAVEG. Scottish (?), March. Topic TSCD 669, Willy
Taylor, Joe Hutton & Will Atkinson (et al) – “Ranting and Reeling: Dance
Music of the north of England” (1998. Atkinson {b. 1908} of Crookham,
Northumberland, was a harmonica player, Taylor a fiddler and Hutton a
Northumbrian small-piper).
SCALDED CAT, THE. Irish, Jig. A tune composed by County Sligo
musician Sheila O’Dowd, the widow of Joe O’Dowd.
SCALDED POOR BOY, THE. Irish, Air (3/4 time). E Flat Major. Standard
tuning. One part. These airs, variants of one-another, are different than “The
Scalded Poor Man,” though all were collected by the great Irish collector P.W.
Joyce. Stanford/Petrie (Complete
Collection), 1905; Nos. 290 & 291, pg. 72.
SCALDED POOR MAN, THE (An Fear Bocht Scallta). Irish, Air (6/8 time). D Major.
Standard tuning. One part. "Scalded" here means "vexed" or
"mortified,” explains collector P.W. Joyce, who elsewhere says the term is
translated from one or the other of two Irish words, loisc [lusk], to burn; and scall, to scald. Source for
notated version: Mr. Francis Hogan of South Lodge, Brenormore, near Carrick‑On‑Suir,
"a good musician and a great entusiast in Irish music and songs," c.
1884 (Joyce). Joyce (Old Irish Folk Music
and Songs), 1909; No. 270, pg. 128.
X:1
T:Scalded poor man, The
L:1/8
M:6/8
N:”Moderate”
S:Joyce – Old Irish Folk Music
Z:AK/Fiddler’s Companion
K:D
D/F/|A2B AFA|B2A F2D|E>FE D2D|(D3
D2)A|B>AF ABc|d3 cBA|
F<BB ABE/E/|(F3 F2)A|BAF ABd|e2d
cBA|FBB ABc/e/|(d3 d2)d|
CBA FGA|B3 AcB|AFE D2D|D3 D||
SCALLOWA(Y) LASSES, DA. AKA and see "Fair Field
House.” Shetland, Reel. A Dorian or A Minor. Standard tuning. AABB (Brody,
Cooke): AA'BB' (Bain). The town of Scalloway is on the main island of the
Shetlands and was the former capitol of the isles. The tune exists in many
versions, but was popularized by Willie Bairnson, and 18th century Shetland
fiddler born in 1740. Willie was taught to play by his step‑father, Mr.
Laing, a gentleman from the mainland of Scotland who was a student of music, a
composer and teacher. G.M. Nelson (1970) believes the tune may have perhaps
been composed by either Willie or his stepfather for it differs from many of
the old Shetland fiddle tunes and sounds as if it was composed by someone with
a Scottish background. Willie was employed as a post runner, carrying letters
to the lairds and businessmen of the Shetlands, and, since he often took his
fiddle with him on his travels, "perhaps no fiddler was so widely heard as
Daa Willie, as he was affectionately called by the younger generation"
(Nelson). In the early years of the 20th century the melody was played
regularly for Foursome Reels and Highland Schottisches. Sources for notated
versions: Peter Fraser (Shetland) [Cooke, version 18c., Anderson &
Georgeson], J. Hoseason's MS (1862) (Shetland) [Cooke, version 18b.]. Anderson
& Georgeson (Da Mirrie Dancers),
1970; pg. 20. Bain (50 Fiddle Solos),
1989; pg. 35. Brody (Fiddler’s Fake Book),
1983; pg. 252. Cooke (The Fiddle
Tradition of the Shetland Isles), 1986; Ex. 18, pg. 68 (three versions). Rounder 3006, Boys of the Lough‑ "Second
Album" (1974. Learned from Tom Anderson who had the tune from Peter Fraser
who lived on the west side of the Shetland's main island).
X:1
T:Da Scalloway Lasses
M:4/4
L:1/8
Q:1/4=220
C:Trad Shetland
S:From the playing of Dave Moss
R:reel
O:Shetland
K:A Aeolian
"Am"eaag
egeB|"C"c2 ec gcec|"Am"eaag egeB|[1cA"Em"BG
"Am" A2 A2:|[2 cA"Em"BG
"Am"A2 Ac||!
"Em"BE
(3EEE "C"c2
ce|"G"d^cde gfed|"Am"eaag egeB|[1 cA"Em"BG
"Am" A2Ac:|[2cA"Em"BG "Am"A4||!
SCAMDENS CADE. AKA –
“Scampden’s Cade.” See “Duke of Perth,”
“Love in a Village [3].”
SCAN TESTER’S NO. 1.
English, Polka. G Major. Standard tuning. From the playing of Scan
Tester (1887-1972), a concertina player from Ashdown Forest, Sussex. Tester
also occasionally played the fiddle. Callaghan (Hardcore English), 2007; pg. 47. EFDSSCD13,
Dan Quinn & Will Duke – “Hardcore
English” (2007. Various artists). HEBE Music HEBECD03, Dan Quinn & Will
Duke – “Scanned.” Topic Records 12T455/6, Scan Tester – “I Never Played to Many
Posh Dances” (appears as untitled “Stepdance”).
X:1
T:Scan Tester’s No. 1
M:4/4
L:1/8
R:Polka
S:Scan Tester (1887-1972)
K:G
BA|G2G2 GABc|d4 d2B2|c2d2e2f2|g4
g2b2|a2g2f2e2|e2d2B3d|
e2d2c2B2|A4 ABAG|G2G2 GABc|d4
d2B2|c2d2e2f2|g4 g2b2|
a2g2f2e2|e2d2B3A|G2B2 cB
A2|G6||:BA|G3A B2c2|e2d2B2B2|
A3B cBAc|e2d2B2A2|G3A
B2c2|e2d2B2g2|fedc B2A2|G6:|
SCAN TESTER’S NO. 2.
English, Polka. G Major. Standard tuning. From the playing of Scan
Tester (1887-1972), a concertina player from Ashdown Forest, Sussex. Tester
also occasionally played the fiddle. Callaghan (Hardcore English), 2007; pg. 47. EFDSSCD13,
Dan Quinn & Will Duke – “Hardcore
English” (2007. Various artists). HEBE Music HEBECD03, Dan Quinn & Will
Duke – “Scanned.” Topic Records 12T455/6, Scan Tester – “I Never Played to Many
Posh Dances” (appears as untitled polka).
X:1
T:Scan Tester’s No. 2
M:4/4
L:1/8
R:Polka
S:Scan Tester (1887-1972)
K:G
Bc|d2 dd d2d2|d2^c2=c2B2|A3B A2G2|F6
DE|F2 EF G2 FG|A2d4 cB|
A2G2F2E2|D6::Bc|d2G2B2
AB|c2E2A3B|c2e2d2c2|
B4 B3c|d2G2B2 AB|c2E2A3B|c2 ec
B2A2|G6:||
SCANDALOUS THOMPSON. Old‑Time, Country Rag. USA, Mo. Composed by Charles Johnson of
Kansas City, 1899.
SCANDINAVIAN ROUND
DANCE. American, Waltz. G Major. Standard
tuning. AA'BB'. The tune indeed sounds Scandinavian. Source for notated
version: Al Sanderson [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 305.
SCANT OF SILLER. English, Reel. England, Northumberland. D Dorian. Standard tuning.
AABB. Seattle (William Vickers),
1987, Part 3; No. 517.
SCARAMOUCH, THE.
English, Country Dance Tune (whole time). D Major. Standard tuning.
AABB. The melody was also published by John Johnson in his 200 Favourite
Country Dances, vol. 8 (London, 1758). Scaramouch is a clown character,
invented in the 17th century by the Italian actor Tiberio Fiorelli.
Scaramouch also typically appears in Punch and Judy shows, where he is often
struck by Punch, causing his head to come off. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 143.
X:1
T:Scaramouch, The
M:C
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
(D/E/F/G/)
A>D B>DA>D|(FG/A/) (Bc/d/) B2E2|(D/E/F/G/) A>D B>DA>D|(Bc/d/)
(e/f/g/) f2 d2:|
|:fdeA fdeA|(F/G/A) (B/c/d) B2 E>g|fdeA fdeA|(B/c/d) (e/f/g) f2 d2:||
SCARAMOUNEEL O TWANG MADAM. English. A version of “John Come Kiss Me Now,” from
the c. 1798 music manuscript of Joshua Jackson of north Yorkshire.
SCARANT NA GOMPANAUGH. Irish. The tune was recorded by the Belfast
Northern Star of July 15, 1792, as having been played in competition by one
of ten Irish harp masters at the last great convocation of ancient Irish
harpers, the Belfast Harp Festival, held that week.
SCARBOROUGH WHIM. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. The seaside spa town of Scarborough is located in North Riding of Yorkshire. It was a center for society gatherings in the 18th century and featured lavish assembly rooms for dancing, in addition to the two mineral springs frequented for their healthful properties. The town’s fame began in 1626 when Mrs. Tomyzin Farrer ‘discovered’ the medicinal properties of the town’s waters. Work quickly spread and Scarborough became established as the first seaside spa resort, attracting many by its scenic views and the relief of aches and pains by ‘taking the waters’. Scarborough catered to the elite’s pleasures, with fashionable amenities such as nightly dancing and gaming tables to afternoon theater and horseracing on the beach sands. The Victorians further developed it by introducing some of the finest formal gardens in Britain, the renowned Scarborough Spa and the Esplanade. It remains a resort town today. Several tunes in period dance collections indicate its importance: “The Merry Girls of Scarborough” (AKA “The Romps”), “Trip to Scarborough,” “High Way to Scarborough,” “Long Room of Scarborough,” “New Long Room at Scarborough,” and so on. The melody appears in Rutherford's Compleat Collection of 200 of the Most Celebrated Country Dances (vol. 1, c. 1756), reprinted in David Rutherford’s Complete Collection of the Most Celebrated Country Dances both old and new (c. 1775). Kidson (Old English Country Dances), 1890; pg. 16.
X:1
T:Scarborough Whim
M:6/8
L:1/8
R:Jig
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:G
d3 BGB|c3 ABc|BGB dBd|gdc BAG|cec
B3|
AFA c3|BGB AFD|G3 G,3::b3 dgb|a2A
dfa|
gfg eag|fed =f3|ece a3|dBd gdB|BGB
AFD|G3 G,3:|
SCARBOROURGH RANT. Northumbrian. One of the "missing tunes" from Vickers' 1770
manuscript.
SCARCE O' TATTIES [1]. Scottish, Jig. A Dorian. Standard tuning. AABB. Composed by Norman
MacLean, although the tune is a variant in jig time of the old song tune
"The Banks of the Devon.” Source for notated version: fiddler Ann Kosinski
(California) via Gordy Euler (Portland, Oregon) [Songer]. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 50. Songer
(Portland Collection), 1997; pg. 177.
Green Linnet SIF 3037, Silly Wizard - "Golden,
Golden" (1985). Shanachie 79016, Silly Wizard - “So Many Partings” (1979).
X:1
T:Scarce of Tatties
M:6/8
L:1/8
Z:Jack Campin
K:A Mix
A>ee e>fg|e>dB
d>BG|A>ee e>fg|e>dB A3 |\
a>aa g>ag|f>gf
e>AA|A>ee e>fg|e>dB A3:|
a>ea a2e |g2f e>AA|a>ea a2e |g>af e3 |\
e>ee A>AA|d2f f>ee|A>ee e>fg|e>dB A3:|
SCARCE O’ TATIES [2]. AKA and see “Buttermilk Mary
[2],” “Charlie Lennon’s No.
2,” “Sweeney’s Buttermilk.”
SCARLET CLOG, THE. AKA - “Tommy’s E Flat Clog.” Canadian, Clog.
Canada, Nova Scotia. E Flat Major. Standard tuning. AABB. The tune was recorded
as “Tommy’s E Flat Clog” by the Irish group Moving Clouds. Source for notated
version: Winston Fitzgerald (1914-1987, Cape Breton) who may have learned the
tune from Tommy Doucette (Digby, Nova Scotia) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 38, pg.
14.
SCARS AND TATTOOS. Canadian, Reel. Canada, Cape Breton. E Major. Standard tuning. AB.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 128, pg. 37.
SCART SLIDE, THE. Irish, Slide. D Major. Standard tuning. Mulligan, Denis Doody (1978).
X:1
T:Scart Slide, The
L:1/8
M:12/8
K:D
| A2D FED F2A A(2)F | G2A F2G E2F
G2B | A2D FED F2A d(2)f | efe B2c d3
dcB |
SCARTAGLEN JIG. Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the
Cork-Kerry border. D Major. Standard tuning. ABB. West Kerry musicians
frequently play this tune paired with and after “Padraig O’Keeffe’s Slide [1]."
Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra
region), recorded in 1985 at Kenmare [Moylan]. Moylan, 1994; No. 131, pg. 77. Claddagh CC5, Denis Murphy and Julia Clifford - “The Star
Above the Garter.” Front Hall 018, How to Change a Flat Tire ‑
"Traditional Music of Ireland and Shetland" (learned from west Kerry
fiddler Julia Clifford).
SCARTAGLEN POLKA [1]. AKA and see “Din Tarrant’s [5],"
“The Humours of Ballydesmond,”
“Knocknaboul Polka [1]," “Knocknabower Polka [1],” “The Little Green Cottage.” Irish,
Polka. Ireland, West Kerry. G Major. Standard tuning. ABCC. Mac Amhlaoibh &
Durham (An Pota Stóir: Ceol Seite Corca
Duibne/The Set Dance Music of West Kerry), No. 20, pg. 20 (appears as “Gan
Ainm” {untitled}).
X:1
T:Scartaglen Polka
R:Polka
M:2/4
L:1/8
K:G
"G"GD GA|"G"Bd de/f/|"G"gB B/A/G/A/|"D"BA AB/A/|"G"GD GA|"G"Bd de/f/|
"D"gB AB/A/|"G"G2 "G"GA:| |:"G"Bd gf|"C"fe e/f/g/e/|"G"dB B/A/G/A/|
"D"BA AG/A/| "G"Bd gf|"C"fe e/f/g/e/|"G"dB AB/A/|1 "G"G2 "G"GA:|2 "G"G2 "G"Gd||
|:"G"gg ag/a/|"G"b2 ba|"G"gg
ag/a/|"G"b2 ba| "C"ge e/f/g/e/|"G"dB
ge|"G"dB AB/A/|1 "G"G2 "G"Gd:|2 "G"G2
"G"GA||
SCARTAGLEN POLKA [2]. AKA and see AKA and see “Danny
Green’s,” “Darby’s Cross,” “Fleadh cheol polka [2],” “John Clifford’s (Polka) [1],”
“John Egan’s (Polka) [2],"
“Tripping to the Well.” Irish, Polka. Ireland, Sliabh Luachra region
of the Cork-Kerry border. D Major. Standard tuning. AA’B: AABB. Played paired
with “Denis Murphy’s Polka [1]”
by source Johnny O’Leary: Matt Cranitch suggests pairing it with “The Top of the Maol.” Source for notated
version: learned from John Clifford by accordion player Johnny O’Leary (Sliabh
Luachra region, Kerry), recorded in Killarney, May, 1987 [Moylan]. Breathnach (CRÉ II), 1976; No. 109 (appears as
untitled polka). Cranitch (Irish Fiddle Book),
1996; pg. 71. Moylan (Johnny O’Leary),
1994; No. 41, pg. 25 and No. 110, pgs. 63-64 (two versions). Gael-Linn CEF 092, Julia & Billy Clifford - “Coel as
Sliabh Luachra” (appears as “Darby’s Cross”). Gael-Linn CEF 132, Johnny O’Leary
- “An Calmfhear/The Trooper” (1989. Appears as “John Clifford’s”). Globestyle
Irish CDORBD 085, Johnny O’Leary’s - “The Rushy Mountain” (1994. Reissue of
Topic recordings). Globestyle Irish
CDORBD 085, The Billy Clifford Trio - “The Rushy Mountain” (1994. Appears as
“Danny Green’s”. A reissue CD of Topic recordings from Sliabh Luachra
musicians). Topic 12T311, John & Julia Clifford - “Humours of Lisheen”
(appears as “John Clifford’s”). Topic 12T312, “Billy Clifford” (appears as
“Danny Green’s”).
SCARTAGLEN REEL (Ríl Scairteach an Ghlinne). AKA and see "The Old Kerry Cow," "I Wish I Had a Kerry Cow,"
"The Brown Girl's Reel."
Irish, Reel or Polka (?). D Mixolydian. Standard tuning. AB. Source for notated
version: fiddler Denis Murphy (d. 1974), 1966 (Gneeveguilla, Co. Kerry,
Ireland) [Breathnach]. Breathnach (CRÉ II),
1976; No. 263, pg. 136. Ceol, iii,
pg. 4 (mistakenly called “Lománach Cross”). Kicking
Mule KM‑327, "Scartaglen" (1984. Learned from Cork accordion
player Jackie Daly).
SCARTAGLEN SLIDE, THE. AKA and see “Brosna Slide [3].” Irish, Slide (12/8
time). Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major.
Standard tuning. AABB. The tune is the second of the set called “The Brosna
Slides” in County Kerry. The set is associated with Donal O’Connor. Source for
notated version: Mick Duggan via accordion player Johnny O’Leary (Sliabh
Luachra region) [Moylan]. Ceol, vol.
5, No. 1 (untitiled). Cranitch (Irish
Fiddle Book), 1996; pg. 64. Moylan (Johnny
O’Leary), 1994; No. 85, pg. 48. Mulvihill (1st Collection), 1986; No. 4, pg. 115 (appears as “The Brosna
Slide”). Treoir, vol. IV, No. 5
(appears as “Donal O’Connor’s”). Topic 12T357, Johnny
O’Leary - “Music for the Set” (1977).
SCATTER THE MUD [1] (Sgaipp an Munloc). AKA and see “The Eviction,” “Harry’s Loch,” “Kilfenora Lass,” “Maid(s) of Tramore.” Irish, Double Jig. A
Dorian ('A' part) & G Major ('B' part). Standard tuning. AB. The first part
is shared with “Spatter the Mud [2],” although the second parts differ. O'Neill
(Music of Ireland: 1850 Melodies),
1903/1979; No. 966, pg. 180.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Scatter the Mud [1]
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 966
Z:AK/Fiddler’s Companion
K:A Minor
d | eAA B2{c/B/}A | eAA ABd | eAA
B2{c/B/}A | BGG GBd |
eAA B2{c/B/}A | eAA ABd | edc BcA |
BGG G2 :|
K:G
|: d | gfg efg | fag fed | gfg efg |
afd d2d | gfg efg | fag fed | edc BcA | BGG G2 :|
SCATTER THE MUD [2] ("Sgaipp an Munloc" or "Scaip an
Puiteach").
AKA and see “Jack Walsh’s Jig,”
"The Noonday Feast," "The Maids of Tramore,” “Rambles with Rory." Irish, Double
Jig. Ireland; County Sligo, west Clare. A Dorian. Standard tuning. AABB
(Alewine, Breathnach, Flaherty, O’Neill): AA’BB (Harker/Rafferty): AABCCD
(Mitchell). The title is similar to that of the slip jig "Spatter the Mud." Breathanch (1963)
notes that only the first part of Roche’s “The Maids of Tramore” is the same as
this tune, and that the end of the first turn is faulty at that. See also the
related first part of “The Eviction” and “The Monaghan Jig.” Sources for notated
versions: the playing partners of Chicago police Sergeant James Early and John
McFadden, a piper and fiddler from adjoining counties in the province of
Connaght [O’Neill]; piper Patrick Ó Broithe/Pat Brophy (Ireland) [Breathnach];
piper and flute player Tommy Hunt (b. 1908, Lissananny, Ballymote, Co. Sligo)
[Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare)
[Mitchell]; Jack and Fr. Charlie Coen, via New Jersey flute player Mike
Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Alewine (Maid that Cut off the Chicken’s Lips),
1987; pg. 30. Breathnach (CRE I),
1963; No. 23, pg. 10. Flaherty (Trip to
Sligo), 1990; pg. 131. Harker (300
Tunes from Mike Rafferty), 2005; No. 238, pg. 73. Mitchell (Dance Music of Willie Clancy), 1993; No.
34, pg. 48. O'Neill (Krassen), 1976; pg. 47. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 967, pg. 180.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 187, pg. 45. Green Linnet
Records, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic
Records album recorded in 1977). Green Linnet SIF‑1041, Kevin Burke ‑
"Portland" (1982). Green Linnet SIF‑1101, Kevin Burke ‑
"Playing with Fire: the Celtic Fiddle Collection" (1989).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Scatter the Mud [2]
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 187
Z:AK/Fiddler’s Companion
K:A Minor
d|eAA B>cB/A/|eAA ABd|eAA
B>cB/A/|dBG GBd|
eAA B>cB/A/|eAA AGE|GAB Bge|dBA
A2:|
|:d|eaa egg|dBA ABd|eaa egg|dBG
GBd|ea^f g2e|
dBA AGE|GAB Bge|dBA A2:|
SCATTERY ISLAND SLIDE. AKA and see “Going for Water,”
“Going to the Well for
Water [2]." Irish, Slide (12/8 time). Ireland, West Kerry. D Major.
Standard tuning. AABB. Scattery Island is situated in the Shannon
estuary between Clare and Kerry, though part of County Clare (it has also been
described as “comfortably tucked in a harbor by the mouth of Poulnasherry Bay
near Kilrush”); its present name
derives from ‘St. Cathigh’s Island,’ or Inis Cathaigh. Another cleric, St.
Senan from County Clare, lived there for some time in a monastery and it is
said he would travel to and from the island on a flying flagstone. The
islanders removed to Kilrush in the 1950's and it remains uninhabited today,
save for a large bird population. The islanders’ music seemed to have more stylistically
more in common with County Kerry than Clare. An article on Kelly in Dal gCais
Magazine 5, 1979 (possibly by Muiris Ó Rócháin), entitled "The Life
and Times of John Kelly,” confirms the importance of the Kerry influence.
Fiddler Kelly related how his Kerry music came to the island:
***
My grandmother [Mary Brennan, born on Scattery Island] had a
lot of tunes that weren't known in County Clare, polkas, slides
and single jigs. She told me
that when she was a girl boatloads
of people from Kerry would put in to the island almost every Sunday
in summer. Then there was a
dance in the lighthouse. In this way
the Scattery people picked up the Kerry music. From my grandfather
and grandmother I learned quite a number of Kerry style tunes . . .
later
when I got to know (County Clare uilleann piper) Willie Clancy I played
these tunes for him. He had
never heard of them in his part of the county.
***
Black (Music’s the Very Best Thing), 1996; No. 282, pg. 151. Mac Amhlaoibh
& Durham (An Pota Stóir: Ceol Seite
Corca Duibne/The Set Dance Music of West Kerry), No. 75, pg. 44. Moylan (Johnny O’Leary), 1994; No. 167. Sullivan
(Session Tunes), vol. 2; No. 40, pg.
16. Conor Keane (Co. Clare) – “Cooley’s House.”
X:1
T:Scattery Island
M:6/8
L:1/8
Z:Transcribed by Ken Fleming
S:Jackie Daly
R:slide
K:D
|F2A dcd|F2A dcd|{f}e2d cBA|{f}e2d
cBA|F2A dcd|F2A dcd|e2d cBA|1 B2c d3:|2
B2c d2f||aba f2e|d3 def|g3 fgf|e3 efg|aba
f2e|d3 def|e2A cBA|1 ABc d2f:|2
ABc d3||\
X:2
T:Scattery Island (Clare version)
R:slide
M:12/8
L:1/8
K:D
FGA dcd FGA dcd|e2A cBA e2d cBA|
FGA dcd FGA d2d|1 e2A cBA f2e d2A:|2
e2A cBA f2e d3|
|:faa f2e ~d3 def|g2f e2d Bcd efg|
faa f2e ~d3 def|g2f ecA f2e d3:|
X:3
T: Scattery Island
Q: 375
R: slide
Z:Transcribed by Bill Black
M: 12/8
L: 1/8
K: D
F2 A dcd F2 A dcd | e2 A cBA e2 A cBA | F2 A dcd F2 A dcd | e2 A cBA B2 c d3 :|
a3 f2 e d2 d def | g2 g fgf e3 efg | a3 f2 e d2 d def | e2 A
cBA B2 c d3 :|
SCEAC-GAEL, AN. AKA and see "The Hawthorn [1]."
SCEACH, AN (The Bramble).
AKA and see “The
Bramble.”
SCEACH, AN. AKA and see “Hawthorne [1].”
SCEILPÍN DROIGHNEACH, AN. Irish, Slow Air (4/4 time). G Major. Standard tuning. One part. Ó
Canainn (Traditional Slow Airs of Ireland),
1995; No. 48, pg. 44.
SCENES FROM THE
FINLAND WOODS. Canadian, Waltz. D Major. Standard
tuning. AB (Messer): AABB’ (Perlman). Source for notated version: Gary Chipman
(b. 1944, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Messer
(Way Down East), 1948; No. 91. Messer
(Anthology of Favorite Fiddle Tunes),
1980; No. 168, pg. 112. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 172 (appears as “German
Waltz”).
X:1
T:Scenes
From the Findland Woods
R:Waltz
M:3/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:D
D3 FAd|f3
dAF|G3 FGe|B6| a3 gec|A3 ceg|f3 dAF|d6|
D3 FAd|f3
dAF|G3 FGe|B6| a3 gec|A3 gfe|d3 edc|d6:|
|:f2e2f2|g2f2e2|d3
cdb|a6| a3 gec|A3 ceg|f3 dAF|d4e2|
f2e2f2|g2f2e2|d3
cdb|a6| age age|age age|a2b2c'2|d'6:|
SCENIC ROAD, THE. Irish, Double Jig. D Major. Standard tuning.
AABB. Source for notated version: the Bridge Ceili Band [Mulvihill]. Mulvihill
(1st Collection) 1986; No.
58, pg. 77.
SCENT OF THE BOG. See – “Smell of the Bog.”
X:1
T:Schaefer's Waltz
M:3/4
L:1/8
S:Harry Schaefer (1879-1954)
R:Waltz
A:Forbes, New South Wales, Australia
N:From the Schaefer manuscripts held
in the National Library of Australia
Z:Transcribed into ABC by John
Furlonger
K:G
g2||f4 A2|c4 e2|d4 G2|B4 d2|c4 B2|A4
G2|F4 A2|A4 d2|!
f4 e2|d4 B2|d4 c2|B4 G2|A2 A2 A2|A2
G2 A2|G2 G2 G2|G4 BB|!
B2 e3 d|c4 A2|c6|A6|f4 e2|d4
c2|B6-|B6|!
e2 e2 e2|e2 f2 g2|d4 B2|d6|A2 B2
c2|B4 A2|G6-|G4 D>G|!
B4 e2|d4 D>G|B4 e2|d6|g2 f2 e2|d4
c2|B6|B6|!
c2 c2 c2|c2 d2 e2|d4 B2|d6|A2 B2
c2|B4 A2|G6|G6||
SCHEME, THE. AKA and see “Irish Lilt,” "The Star [3],” "Star
at Liwis." English, Scottish; Jig. England, Northumberland. F Major.
Standard tuning. AABB. The tune, which incorporates in the ‘B’ part familiar
strains from the well‑known double jig "The Irish Washerwoman," appears in
Walsh's Caledonian Country Dances (pg.
59) of c. 1730. It appears in the 1770 music manuscript collection of Northumbrian
musician William Vickers (about whom, unfortunately, nothing is known). Vickers
gives the title as “Scheame, or, the star.” Seattle (William Vickers), 1987, Part 2; No. 301.
X:1
T:Scheame or the star, The
M:6/8
L:1/8
R:Jig
S:William Vickers’ music manuscripts
(1770, Northumberland)
K:F
AFF F2A|BGG G2c|fed cdB|AFF F2:|
|:afa F2f|geg E2e|fef dgf|ecc c3|dBd
gbB|cAc faA|BAB GcB|AFF F3:|
SCHICHALLION. Scottish, Strathspey. A Dorian. Standard tuning. AABB'. Schichallion
(pronounced She-hal-e-on) is a 1,081 meter high mountain in Perthshire located
at the south end of the Cairngorns, overlooking Rannoch moor and a few miles
south of Loch Rannoch. There was a holy well on Schichallion, thought to have
healing powers, which perhaps dates to pre-Christian times. There are also a
scattering of caves around the mountain’s base. In 1774 Nevil Maskelyne, the
Astronomer Royal, conducted an experiment using the symmetry of the conical
mountain to calculate mass and determined the gravitational constant. Kerr (Merry Melodies), vol. 2; No. 55, pg. 9.
X:1
T:Schichallion
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 2, No.
55 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Ador
G|E<A A>B c>A B2|B<G
G>c B/c/d/B/ G<B|c>AB>G A/A/A ({A/B/}c2)|g>e e/d/c/B/ c<A A:|
|:B|c/c/c c>d (c/d/)e/^f/
g2|GGd>c B/c/d/B/ G>B|1 c/c/c c>d (c/d/)e/^f/ g>a|g>e e/d/c/B/
c<A A:|2
({B/c/}c>)A B<G A/A/A
({A/B/}c2)|g>e e/d/c/B/ c<A A||
SCHOLAR, THE (An Scoliare). AKA and see “The South Shore.” Irish, Reel or Hornpipe. D Major/Mixolydian.
Standard tuning. AABB (Allan, O'Neill/Krassen, Taylor/Tweed): AA'BB' (Kerr,
O'Neill/1850, Songer). The tune is popularly attributed to Tyneside
fiddler and composer James Hill, famous for his hornpipes. It appears in the
modern collection of his tunes (The Lads
Like Beer) under the title “The South Shore,” however, the attribution to
him is not firm. A slowed down and slightly altered version of the melody was used as an air for a
song also called “The Scholar” by Thomas Moore. Set as a reel, the tune
is still a popular piece in Irish sessions. The title appears in a list of tunes in his repertoire brought by Philip
Goodman, the last professional and traditional piper in Farney, Louth, to the
Feis Ceoil in Belfast in 1898 (Breathnach, 1997). O’Neill (1922) remarks: “Long
before I had any idea of publishing a work of this character, the fame of John
Kelly, and Joseph P. Tamony, as phenomenal fiddlers, had reached Chicago. The
measured score of their tunes, for which I am indebted to our mutual friend
Francis E. Walsh of San Francisco, is incapable of doing justice to the spirit
and excellence of their execution, for all gifted Irish musicians instinctively
embellish their performance with peculiar trills, turns and graces, more easily
recognized than described. ‘The Scholar’ was first printed in Levey's Dance Music of Ireland, Vol.1, London
1858; and not since then until the publication of the O'Neill Collections in
recent years. The tune seems to have been a favorite with fiddlers and pipers
of Longford, Leitrim and Roscommon, as early as the second quarter of the 19th
Century; and, by the way, our talented contributor Mr. Kelly hails from the
latter county.” Dublin piper Tommy Reck’s first commercial recording (for the
Copley label) was of this tune (paired with “The Salamanca” and “Tom Steele”). Sources for notated versions:
fiddler John Kelly (San Francisco) [O’Neill]; Karen Tweed says, “a favorite
tune of my mum and John Whelan my teacher” [Taylor/Tweed]. Allan's Irish Fiddler, No. 41, pg. 10 (reel setting). Giblin (Collection of Traditional Irish Dance Music),
1928; 23 (reel setting). Kerr (Merry
Melodies), vol. 1; No. 9, pg. 34. O'Neill (Krassen), 1976; pg. 91. O'Neill
(Music of Ireland: 1850 Melodies),
1903/1979; No. 1640, pg. 305. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 867, pg. 150. O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 306. Songer (Portland
Collection), 1997; pg. 178. Taylor (Traditional Irish Music: Karen Tweed’s
Irish Choice), 1994; pg. 17. CCE, Néillidh
Mulligan – “The Leitrim Thrush.” Claddagh Atlantic 832812, Tommy Reck
(originally recorded 1971). Claddagh CD BUACD 9501, “Michael Flatley”
(originally recorded 1981). Copley 9-191, Tommy Reck. DMPCD 9401, Karen Tweed –
“Drops of Springwater” (1994). Green Linnet SIF 1075, John Whelan & Eileen
Ivers - "Fresh Takes" (1987). Out of the Blue Productions, A Band
Named Bob - “A Band Named Bob” (1994). Philo 1051, Boys of the Lough ‑
"Good Friends, Good Music" (1977). Rounder CD 1087, Michael Grogan – “From Galway to Dublin”
(1992. Reissue of 1942 original). Sound Records SUNC 2, Thom Moore – “Dreamer in Russia”
(1990).
X:1
T:Scholar, The
M:C|
L:1/8
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 867
Z:AK/Fiddler’s Companion
K:D
AA|dfaf gfeg|fdAG FGA=c|BGFG
EFGg|fdec dcBA|dfaf gfeg|
fdAG FGA=c|BAFG EFGg|1 fgec d2:|2
fgec defg||
|:a2 fd dfaf|dfaf bagf|gfge
=cege|=cege agfe|a^gaf dfaf|
dfaf bagf|gfgf gbag|1 fdec defg:|2
fgec d2||
X:2
T:Scholar, The
M:4/4
L:1/8
S:John Kelly, San Francisco
Z:Paul Kinder
R:Hornpipe
K:D
(3ABc|sdfsaf sgfseg|sfdsAG sFGsAc|BGBG E2 sefs|sgfesc dcBA|
defa sg2 fgs|ecAG sFGsAc|BGBG E2 ef|gfec d2:|
|:A2|dfaf dfaf|db (3bbb bagf|gfed cded|cded cABc|
dfaf dfaf|db (3bbb bagf|gfef gbag|(3fga ec d2:|
|:fa|(3aaa fd Adfa|(3aaa fa bafa|(3ggg ec A2 segs|(3ggg eg bafa|
(3aaa sfds Adfa|(3aaa sfas bafa|gfef sgbsag|(3fga secs d2:||
SCHOLAR’S ROAD, THE. Canadian, Jig. Canada, Cape Breton. C Major.
Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976). Cameron (Trip to
Windsor), 1994; pg. 49.
SCHOOL FOR LOVERS, THE. English, Jig. G Major. Standard tuning.
AABBCC. Cosi Fan Tutti (School for Lovers) is the name of Amadeus
Mozart’s last opera, however, the earlier School for Lovers (to which
the title of the tune refers to) is the name of an English comedy by William
Whitehead (1715-1785). Originally staged in 1762, played by actors David
Garrick, Sir John; Mrs. Clive, Armentina; and Mrs. Cibber, Celia.
The jig “School for Lovers” appears in the 1770 music manuscript collection of
Northumbrian musician William Vickers, about whom unfortunately nothing is
known. It was printed by Charles and Samuel Thompson in Thompson’s Compleat Collection of 200 Favourite Country Dances,
vol. 3 (London, 1773). Country dance directions for the tune were printed in
Phinney’s Select Collection of the Newest
and Most Favorite Country Dances (Ostego, New York, 1808), in Saltator’s Treatise on Dancing (Boston, 1807), and
in Benjamin Walker’s Orders for a Dancing
School (Lunenburg, Virginia, 1784). In manuscript form, dance directions
are found in an anonymous commonplace book from New Hampshire, c. 1795,
labelled “Square Dances.” Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 3), 1773; No. 19.
X:1
T:School for Lovers, The
M:6/8
L:1/8
S:William Vickers’ music manuscript
collection (Northumberland, 1770)
K:G
G2d B2d|c2e A2c|B2d G2B|AcA FDF|G2g
e2g|f2a d2f|
ege cAc|d3 D3::d2B d2B|c2A c2A|gdc
BAG|F2G AFD|
d2B d2B|c2A c2A|ged cBA|B3 G,3::D2D
C2B,|D2D C2B,|
G2B AcA|BdB AFD|D2D C2B,|D2D
C2B,|EcA FDF|G3 G,3:||
X:2
T:School for Lovers, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G2d B2d|c2d A2c|B2d G2B|ABG FED|G2g e2g|f2a d2f|egf ed^c|d3 D3:|
|:d2B
d2B|c2A c2A|gdB cAG|FAG FED|d2B d2B|c2A c2A|gdB cAF|G3 G,3:|
|:D2D C2B,|D2D C2B,|GAB ABc|BAG AFD|D2D C2B,|D2D C2B,|B,cB AGF|G3 G,3:||
SCHOOL FOR SCANDAL, A. AKA and see "New Fandango."
English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. Johnson
dates the tune from c. 1778 and prints instructions for a contra dance to the
tune. School for Scandal was the name
of a famous play by Richard Sheridan, published in 1777. Johnson (Twenty‑Eight Country Dances as Done at
the New Boston Fair), vol. 8, 1988; pg. 8.
SCHOTTIS EFTER STORBO
JONS. Swedish, Schottische. D Major.
Standard tuning. AABB. Thompson (Fiddler's
Almanac), pg. 55.
SCHOTTIS
FROM IDRE (EFTER STORBO JONS). Swedish, Schottiche. Wild Asparagus 003, Wild Asparagus - "Tone Roads"
(1990).
SCHOTTIS FRAN
NORBOTTEN. Swedish, Schottische. D Minor.
Standard tuning. AABB'CC'. Private collection, A. Kuntz.
SCHOTTISCH FRÅN HAVERŌ. AKA ‑ "Schottisch fran
Harjedalen." Scandinavian, Schottisch. D Minor. Standard tuning. AA'BB'.
The tune has been in ‘folk-process’ and has turned up in Western fiddling
sessions under the title “Trail of Tears.” West coast fiddler Stuart Williams
says he learned it many years ago from Gary Lee Moore, who had learned the tune
in 1972 at a Texas fiddler contest from some visiting fiddlers from Finland.
Moore was told at the time that their title translated as “Tune of Tears.”
Private collection, A. Kuntz. Wild Goose WGS 320, Old
Swan Band – “Swan-Upmanship” (2004).
X:
1
T: Schottisch fr\aan Haver\"o
T: Schottisch fr\aan H\"arjedalen
O: H\"arjedalen
Z: 1997 by John Chambers <jc@trillian.mit.edu>
M: C|
L: 1/8
K: Dm
|: "Dm"D2 DE F>G FE | D2 A2 "A7"A4 |
"Dm"d>^c de f2 f2 \
|1,3 "A7"e>f e^c A2 A2 :|2,4 "A7"e2 {f}e^c
"Dm"d4 :|
|: "Dm"{f}[a2A2] a^g [a2A2]- a2 | [fA]>g ~fe [f2A2]- f2 \
|1,3 "A7"[e2A2] {f}e^c A2- A2 | "Dm"{G}F>G FE {F}E2 D2 \
:|2,4 "A7"e2 {f}e^c A>c ec | "Dm"d2 d2 d4 :|
X:2
T:Schottisch från Haverō
T:Schottisch från Härjedalen
M:2/4
L:1/8
N:Arr. Alm Nils Errson
K:Dmin
D(D/E/) (F/G/)(F/E/)|DA A2|(d/^c/)(d/e/) ff|e/f/e/^c/ AA|D(D/E/) (F/G/)(F/E/)|DA A2|
d/^c/d/e/ ff|1 (e{f}e/)^c/ d2:|2 (e{f}e/)^c/ d>f||:aa/^g/ aa|f/>g/ (3f/4g/4f/4e/ ff|e{f}e/^c/ AA|
{G}F/G/F/E/ (3E/4F/4E/4D/D/|aa/^g/ aa|f/>g(3f/4g/4f/4e/ ff|e{f}e/^c/ (A/c/)e/c/|1 dd d>f:|2 dd dz||
“2nd violin”
F(F/G/) A/B/(A/G/)|F(E/D/)
^C(A,/C/)|(D/E/)(F/A/) d(A/d/)|^c’d’c’=B’ A/G/E/G/|
FF/G/ (A/B/)(E/G/)|FE/D/
^CA,/C/|D/E/F/A/ dA/d/|1 cA/G/ [F2A2]:|2 ^c/B/A/G/ [F2A2]||
ff/e/ fA/^c/|d/>e/ (3d/4e/4d/4^c/
dA|(^c{d}c/)A/ EA,|A/B/A/G/ (3G/4A/4G/4 F/D/|ff/e/ fA/^c/|
d/>e/ (3d/4e/4d/4^c/
dA|(^c{d}c/A/) GE/G/|1 FG/E/ [F2A2]:|2 [FA][FA] [FA]z||
SCHOTTISCHE. A couple dance from the mid-1800's which followed on the heels of the
Polka. The Oxford English Dictionary gives the date of 1859 for the first
appearance of the dance. 'Schottisch' is the German word for 'Scottish' and the
dance, probably of German or Bohemian origin, was meant to mimic a Scottish
dance. In the United States the dance became popular during the latter 19th
century, first in the centers of populace, then filtering into rural
entertainments, and followed the trend of couple-dances supplanting the older
line and square forms. Although it was known at one time in most parts of the
country, the schottische disappeared from the South, but was retained in
tradition in the North and Mid-West. See also the Irish terms “Highland” for
Highland Schottische, and “German,” for German Schottische.
SCHWANDA POLKA. German (?), Polka. F Major. Standard tuning. One part. A polka from the
opera "Schwanda the Bagpipe Player" by J. Weinberger (which
disappointingly does not employ any bagpipe music), used by caller Dudley
Laufman (Canterbury, New Hampshire) for contra dancing. Laufman (Okay, Let's Try a Contra, Men on the Right,
Ladies on the Left, Up and Down the Hall), 1973; pg. 33.
SCILLÉD DUBH. See “Enniskillen Dragoon(s) [1].”
SCILLING
NA BAINRIOGNA. AKA and see "The Queen's Shilling."
SCLÉIP NA hOÍCHE ARÉIR. AKA and see “Last Night’s Fun [5].”
SCOLAIRE, AN. AKA and see "The Scholar."
SCOLDING WIFE [1], THE (An Bean Cainseoract). AKA and see “The Clare Reel,” "Last Word." Irish, Reel. D
Major/Mixolydian (Kennedy, O’Neill): D Mixolydian (Stanford/Petrie). Standard
tuning. AB (O'Neill/1850 & 1001): ABB' (O'Neill/Krassen): AABB (Kennedy,
Levey, Stanford/Petrie). Perhaps the most famous ‘scolding wife’ in classical
literature is Socrates’ scathing mate, Xanthippe. See also the related “Old Bush (Reel).” Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 178, pg. 42. Levey (Dance Music of Ireland, 2nd
Collection), 1873; No. 4, pg. 2. O'Neill (Krassen), 1976; pg. 137. O'Neill
(Music of Ireland: 1850 Melodies), 1903/1979; No. 1430, pg. 265. O'Neill
(Dance Music of Ireland: 1001 Gems),
1907/1986; No. 667, pg. 119. Stanford/Petrie (Complete Collection), 1905; No. 476, pg. 120. Shanachie 78033, Connie O’Connell – “Music from Cill Na Martra”
(2000). Virgin 7234 8 44559 2 7, Altan – “Runaway Sunday” (1997).
X:1
T:Scolding Wife, The [1]
M:4/4
L:1/8
R:Reel
Z:transcribed by Jeff Weismiller
K:Dmix
"[cran]"(D{G}D{F}D)E
FEFD|~G2GA BGAF|"cran"D2DE FEFG|AdcA GECE|
"cran"D2DE FEFD|~G2GA
BGAF|"[cran]"d{g}d{f}dg fdcA|fdcA AG{A}(3GFG|
|:fdcd fgaf|~g2ga bgag|1 fdcd
fgag|fdcA AG{A}(3GFG:|2 bgag fgag|fdcA AG{A}(3GAG||
X:2
T:Scolding Wife, The [1]
M:2/4
L:1/8
R:Reel
S:Stanford/Petrie (1905), No. 476
Z:AK/Fiddler’s Companion
K:G
DD/E/ F/E/F/D/ | G/F/G/A/ B/G/A/F/ |
DD/E/ F/E/F/G/ | A/d/c/A/ GG :|
|: g/d/c/d/ f/g/a/f/ | g/f/g/a/
b/g/a/g/ | f/d/c/d/ f/g/a/g/ | f/d/c/A/ GG :|
SCOLDING WIFE [2], THE. Old‑Time, Breakdown. USA, Nebraska. A
Major. Standard tuning. AABB. Source for notated version: Bob Walters (Burt
County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 7, pg. 6.
SCOLDING WIFE [3], THE. Irish, Air (2/4 time). D Major. Standard
tuning. AB. Learned by Joyce as a child in Limerick (c. 1840’s).
***
Soon after I was married a happy man to be,
My wife turned out a saucy jade, we never could agree;
I dare not call the house my own, or anything that’s in’t;
For if I only speak a word she’s just like fire from flint.
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 138, pg. 71.
X:1
T:Scolding Wife, The [3]
M:2/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:D
A|dcde|dB AF|A>B AF|E3A|dcde|dB
AB|AFEF|D3||D|FAAF|GBBG|
FAAF|E3F|DFAB|d>efe|dB AF|D3||
SCOLDING WIFE [4]. Old-Time, Breakdown. C Major. Standard tuning. AA'BBCC. The title of a
tune recorded by the Thomasson Brothers for Okeh Records in 1929, whom Charles
Wolfe (1997) believes were the father and uncle of Benny Thomasson (credited as
being one of the founders of modern contest fiddling). Source for notated
version: Kerry Blech (Seattle, Wash.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 216.
SCOLDING WIFE [5]. Irish, Reel. Ireland, County Donegal. Composed by the late Francie
Dearg (red-haired) O’Byrne (Cashel, Kilcar, Donegal).
SCOLDING
WIFE [6]. American (?), Reel. D Major.
Standard tuning. AABBCCB’B’C’C’. From the music manuscripts of Setauket, Long
Island, painter and fiddler William Sydney Mount (1807-1868), who indicated he
had the tune “From John Allen Cogs, Westport, Conn.” He transcribed it probably
in the 1840’s or early 1850’s. The fourth and fifth parts are simply octave
variations of earlier parts.
X:1
T:Scolding
Wife [6]
M:C
L:1/8
R:Reel
S:The William
Sydney Mount music manuscripts (c. 1840’s)
Z:AK/Fiddler’s Companion
K:D
A,2 DF EDA,E | F2 DF EDCE | A,DDF EDA,C | EFED CA, A,2 :|
|: ABAF GFGE | ABAF GE E2 | ABAF GAGE | EFED C2 A,A, :|
|: Addd e2 cA | f2 ed cdec | Addd e2 cA | (3def ed cA A2 :|
|:fg | abaf gage | abaf g2 ee | abaf gage | (3def ed cA A2:|
A,DDD
E2 CA, | F2 ED CDEC | A,DDD E2 CA, | (3DEF ED CA, A,2 :|
SCOLDING WIVES OF
ABERTARFF, THE (Mnathan trodach
Obair-thairbh).
Scottish, Reel. G Dorian (Athole, Fraser): A Minor (Johnson). Standard tuning.
AAB. "This air had its origin from an observation of the late parochial
minister of Abertarff, who used to say, that of a number of respectable people,
who loved there, they were never wthout some disputes that embittered their
lives, chiefly among the females. These must have run high, when the minister
christened the place by the epithet of 'Little Hell.' There are words by
MacGruer" (Fraser). Said by Lowe to have been composed by Capt. Simon
Fraser, though not directly claimed by him. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 52, pg. 18. Johnson (The
Kitchen Musician's No. 10: Airs & Melodies of Scotland's Past), 1992
(revised 2001); pg. 15. Stewart-Robertson (The
Athole Collection), 1884; pg. 193. Culburnie
Records CUL102, Alisdair Fraser ‑ "Skyedance" (1986).
X:1
T:Scolding Wives of Abertarff, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Gmin
f|dGBG B/c/d f2|cFAF A/B/c =e2|dGBG B/c/d g2|dg ^f/g/a ~g2g:|
a|bgdg dgbg|fdcf AFcA|bgdg dgbg|dg ^f/g/a g2 ga|bgdb caBg|
Afcf
AFcA|dGBG B/c/d g2|dg ^f/g/a ~g2g||
SCOLLAY’S REEL. AKA – “Sculley’s Reel.” Irish, Reel. E Minor. Standard tuning. AABB. A
version of the hornpipe “King of the
Fairies.” Songer (Portland Collection),
1997; pg. 178. Appal 014, John McCutcheon ‑
"The Wind that Shakes the Barley" (1977. Appears as “Scullay’s Reel,”
learned from Dudley Laufman {N.H.}). Rooster Records 117, Swallowtail -
“Swallowtail” (1982).
X:1
T: Scollay's Reel
R: reel
Z: 1997 by John Chambers
<jc@ecf-guest.mit.edu > http://eddie.mit.edu/~jc/music/abc/
N: This is a 32‑bar version of
King of the Fairies
M: C|
L: 1/8
K: Em
|: "Em"E3F G3A | BcBA GEGA
| B2E2 E2G2 | "D"FGAF D2F2 \
|
"Em"E3F G3A | BcBA GEGA | B2Bc "B7"BAFA |
"Em"G2E2 E4 :|
|: "Em"efge B2B2 | g2g2 B4
| "Am"c2BA "Em"G2G2 | "D"FGAF D3F \
|
"Em"E2EF G2GA | BABd e2d2 | B2Bc "B7"BAFA |
"Em"G2E2 E4 :|
SCONE PALACE. Scottish, Reel. F Sharp Minor. Standard tuning. AABB'. Composed by
Alexander Walker. Scone, Perth and Kinross, lies not far from the city of
Perth, Scotland. It was the site of an abbey and the Stone of Destiny on which
the Scottish kings were crowned since Kenneth I. Kenneth MacAlpin made Scone
the capitol of his kingdom of Alba around the year 843 when he united the Picts
and Scots. The abbey and Bishop’s Palace were destroyed during the Scottish
Reformation (1559). James, the Old Pretender, established his court there in
1716, and Bonnie Prince Charlie slept there in 1745. Since 1606 the palace has
been the family home of the earls of Mansfield. Walker (A Collection of Strathspeys, Reels, Marches, &c), 1866; No.
163, pg. 56.
SCORNACH NA WALLIGE (Scora Na Wallige). Irish, Air (6/8 time). G Major. Standard
tuning. AAB. "A drinking song" (Joyce). Source for notated version:
William Elliot Hudson, "a well known Irish patriot and scholar of the last
century" (Joyce). Joyce (Old Irish
Folk Music and Songs), 1909; No. 770, pg. 377.
SCORNFUL SALLY. Irish, Air (2/4 time). F Major. Standard tuning. One part. Source for
notated vesion: “From Mr. MacDowell” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 728, pg.
183.
X:1
T:Scornful Sally
M:2/4
L:1/8
S:Stanford/Petrie (1905), No. 728
Z:AK/Fiddler’s Companion
K:F
F | {A}B>c dc/B/ | AF D E/F/ |
G>A FF | F3F | Ac de | fc A=B/c/ | d>e cc | c3B |
Ac de | fc Ac | de fe/d/ | dc BA |
Bc dc/B/ | AF DE/F/ | G>A FF | F3 ||
SCOT AN POBUIL. AKA and see "Flower of
the Flock."
SCOT NA MAIDNE. AKA and see "The Top
of the Morning [1]."
SCOTCH AYRE, A. AKA and see "The Birks
O' Abergeldie." The tune appears under the generic Scots title in
Playford's Dancing Master of 1657.
Robert Burns wrote words to this air in 1787 while standing under the Falls of
Moness during a trip to the Highlands with his friend William Nicol.
SCOTCH BAMBLE, THE. See “The Scotch
Ramble.” English, Jig.
SCOTCH BLACKBIRD, THE. Scotch?, Pipe Reel. A Major. Standard tuning.
ABCD. Source for notated version: Frazer McGlinn, arranged by Liam Donnelly
(Lisburn, County Antrim) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 55, pg. 131.
SCOTCH BONNET, THE. AKA and see "Miss Fargherson's New Reel,"
"A Short Way to Heaven,"
"The Tap Room," "Lord Edward," "Granshaw
Glens," "Roll out the
Barrel," "The Rakes of Abbey,"
"Scotch Maggie," "The Blossom of the New Tree,"
"Fitzgerald's Reel."
Perhaps the "Scots Bonnet" in Bremner's
1757 collection. See Breathnach, vol. 2, 1976; No. 292.
SCOTCH BONNET [2]. English, Reel. G Major.
Standard tuning. ABC. The melody first appears in John Johnson’s Choice
Collection of 200 Favourite Country Dances, vol. 4 (London, 1748), some two
years after the Battle of Culloden and the defeat of Bonnie Prince Charlie.
This was followed by printings in John Walsh’s Compleat Country Dancing
Master, volume the Third (London, 1749) and Charles and Samuel Thompson’s 1757
country dance collection. The reel was entered into several musicians’
manuscript books, including those of Walter Rainstorp (Cheapside, London, begun
1747), William Vickers (Northumberland, 1770), Thomas Hammersley (London,
1790), and the1842 music manuscript collection of Cumbrian musician John Rook.
In America, it appears in the copybooks of flute player John Hoff (Lancaster
County, Pa., 1797) and fiddler Eleazer Cary (Mansfield, Conn., 1797). Thompson
(Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 196.
X:1
T:Scotch Bonnet [2]
M:C
L:1/8
S:John Rook manuscripts (Cumbria,
1842)
K:G
B|GABc dBGB|ABcd e/e/e e2|GABc
egfe|dBcA G/G/G G2||
BGAB cFED|dBcd E/E/E E2|BGAB
AFED|dBcA G/G/G G2||
gdBG gdBG|cABG E/E/E E2|gdBG
gdBG|dBcA G/G/G G2||
X:2
T:Scotch Bonnet [2]
M:C|
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:G
GAB>c
d>Bc>B|A>Bc>d e/e/e e2|G>AB>c e>fg>e|d>Bc>A G/G/G
G2:|
|:B>GA>B A>FE>D|B>GA>B E/E/E
E2|B>GA>BA>FE>D|d>Bc>A G/G/G G2:|
|:g>dB>G g>DB>G|B>GA>B E/E/E E2|g>dB>G
g>dB>G|d>Bc>A G/G/G G2:||
SCOTCH BRAES, THE. AKA and see "The
Drinking Reel," "The
Drunken Tailor," "Gallagher's
Best," "Lagan Slashers," "League and Slasher," "Pigeon on the Pier [2],"
"The Pigeon on the Gate [1],"
"Reidy's Reel,” “The Wandering Tinker.”
SCOTCH CAP, THE. Scottish, English; Country Dance Tune (6/8 time).
D Dorian. Standard tuning. ABB (Sharp): AABB (Karpeles, Raven): AA'BB'
(Barnes). The melody was published by Playford in his English Dancing Master (editions 1651 and 1657). Williamson
suggests the title might refer to a nightcap or last drink prior to retiring,
otherwise he believes the composer would have referred to the Scottish head‑gear
as a bonnet. Barnes (English Country
Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1965; pg. 18. Raven (English Country Dance Tunes), 1984; pg.
21 & 47 (the latter is a facsimile reprint of the Playford original). Sharp
(Country Dance Tunes), 1909/1994; pg.
44. Flying
Fish FF 358, Robin Willaimson ‑ "Legacy of the Scottish Harpers,
Vol. 1." Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).
X:1
T:Scotch Cap, The
M:6/8
L:1/8
S:Sharp – Country Dance Tunes
Z:AK/Fiddler’s Companion
K:D Minor
D2D d2d|e2d c2A|=B2d B2A|=B3 d3|D2D
d2d|e2d c2A|=B2d B2A|=B3 d2||
|:d/e/|f2A A2 d/e/|f2A A2d/e/|f2A A2F|A3
d3|=B2B A2F|G2G d2d|=B2B A F2|E3 D2:|
SCOTCH COME OVER THE
BORDER. AKA and see "Scotchman Over the Border," “Scotsman Over the Border,” "Blue Bonnets Over the
Border [1]," "Over the
Border [1]," "Blue
Bonnets [2]," "Dublin
Streets." Irish, American; Jig. USA, southwestern Pa. D Major (most
versions): D Major/Mixolydian (Taylor). Standard tuning. AABB. The tune is a
form of the Scots jig "Blue Bonnets Over the Border," a variant of
the 3/4 time "O
Dear Minnie/Mother (What Shall I Do?)" which in the 18th century was
fashioned into a 4/4 dancing piece variously called "The Braes of Auchtertyre [1],"
"The Belles of Tipperary [1],"
and "The Beaus of Albany [1]."
Both Stenhouse and Bayard, contradicting Gow, think that the "Braes of
Auchtertyre" is derived from "O Dear Minnie." The melody is also
similar to "The Carraroe (Jig)."
Sources for notated versions: William Shape (elderly fiddler from Greene County,
Pa. 1944) [Bayard]; fiddler Jimmy Murphy (b. 1938, Meelick, near Swinford,
County Sligo) [Flaherty]. Bayard (Dance
to the Fiddle), 1981; No. 583, pg. 515. Flaherty (Trip to Sligo), 1990; pg. 44 (appears as "Scotchman Over the
Border"). Mallinson (Essential),
1995; No. 89, pg. 38 (appears as “Scotsman over the Border”). O'Neill (1850),
1979; No. 1064, pg. 200 (appears as "Blue Bonnets Jig"). Taylor (Through the Half-door), 1992; No. 57,
pg. 40 (appears as "Scotsman Over the Border"). Shaskeen - "Atlantic Breeze."
SCOTCH COVE. AKA and see “Jimmy
MacKinnon of Smelt Brook.” Canadian, Jig. Canada, Cape Breton. G
Mixolydian/Major. Standard tuning. AABB (Welling): AA’BB’ (Cranford). Composed
by Cape Breton fiddler Winston Fitzgerald. Source for notated version: Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Fitzgerald), 1997; No. 201, pg. 78. Welling (Welling’s Harford Tune Book), 1976; pg. 25 (appears as 2nd tune of
“Scotch Cove Medley”). Breton Books and Records BOC
1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX
44).
SCOTCH CURRANT, THE. Scottish. A originally a corranto in 3/4 time, the melody is printed in Playford's Apollo's Banquet (5th Ed.) where it appears under the title "Jenny come tye my Cravat."
SCOTCH FUSILEERS’ MARCH. Scottish, March. G Major. Standard tuning. AABB. The Scots Fusileers (or Fusiliers) were a regiment raised in 1678 during the Covenanting troubles in Scotland by the Earl of Mar. The regiment saw action throughout the 18th century, including at Culloden, where they contributed to the defeat of the Highland forces. Howe (1000 Jigs and Reels), c. 1867; pg. 134.
X:1
T:Scotch Fusileers’ March
M:4/4
L:1/8
R:March
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
d2 | g2 f>e d>c B>A | ~G2 B>G ~A2 c>A | B>d e>d c>B A>G | F2 D>D D2d2 |
g2 f>e d>c B>A | ~G2 B>G ~A2 cA | Bg/b/ (a/g/).f/.e/ d2 “tr”^c2 | d2 d>d d2 :|
|: B>c | d>Bg>d b>gd>B | c>Af>c a>fd>c | B>dg>f e>dc>B | A>GF>E D2d2 |
g2 f>e d>c B>A | ~G2 B>G ~A2 c>A | (3Bcd (3efg B2 “tr”A2 | {G/A/}G2 G>G G2 :|
SCOTCH
GREY’S MARCH. The tune appears in Cushing Eells Manuscript, written in Norwich, Connecticut,
1786-1790. The Scotch Greys were a regiment of dragoons first raised in 1681 by
Sir Thomas Dalyell, to oppose the militant Covenanters in Scotland. Their
uniforms were completely stone gray and they rode gray horses (the spelling
‘grey’ is English). Known as the Scots Greys from about the year 1700, the name
was given official status in 1877, although the regiment is now part of the
Royal Armoured Corps.
SCOTCH HORNPIPE [1]. AKA and see "March of the Third
Regiment of Guards." Scottish, Hornpipe. D Major. Standard tuning. AB
(Bayard): AABB (Cole, Miller & Perron): AA'BB (Kerr). Not the "Scots
Hornpipe" in Gow. The "London
March" has the same first part, but a differing second part. Bayard
(1981) says the title "Scotch Hornpipe," joined to versions fairly
close to these, became common early in the 19th century. The earliest version
found by him is in James Aird (Selections), Vol. 3, No. 593 (in three
parts) published at the end of the 18th century. The ‘A’ part has some
similarity to the ‘A’ part to the American tune “Dubuque.”
Sources for notated versions: Hogg (fiddler from Pa., 1948) and George Clever
(elderly fiddler from Jefferson County, Pa., 1948) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 282,
pgs. 235‑236. Cole (1000 Fiddle
Tunes), 1940; pg. 86. Howe (Diamond
School For the Violin), 1961; pgs. 48 and pg. 39 (the latter untitled).
Kerr (Merry Melodies), vol. 2; No.
343, pg. 38. Miller & Perron (New
England Fiddlers Repertoire), 1983; No. pg. Ryan’s Mammoth Collection, 1883; pg. 120. White's Unique Collection, 1896; No. 100, pg. 18. F&W Records 5, Canterbury Dance Orchestra‑‑"Mistwold."
X:1
M:C|
L:1/8
K:D
D3D D2FE|DE
FA B2A2|BA FA BA FD|EF ED B,D A,2|
D3D D2FE|DE
FA B2A2|BA FA Bc de|fa ec d4:|
|:f3f fg
fe|de fd B2A2|Bd Ad Bd AF|EF ED B,D A,2|
D2DD
D2FE|DE FA B2A2|BA FA Bcde|fa ec d4:|
X:2
T:Scotch
Hornpipe [1]
M:2/4
L:1/8
S:White’s Unique Collection (1896), No.
100
Z:AK/Fiddler’s Companion
K:D
F>F F/G/F/E/ | D/F/A/F/ BA |
(B/F/)(A/F/) (B/F/)(A/F/) | E/D/E/F/ E/D/B,/D/ |
A,/D/D/E/ F/G/F/E/ | D/F/A/F/ BA |
(B/F/)(A/B/) c/d/e/g/ | f/d/e/c/ dd :|
|: f>f f/g/f/e/ (d/e/)(f/d/) BA |
(B/d/)(A/d/) (B/d/)(A/F/) | E/D/E/F/ E/D/B,/D/ |
A,/D/D/E/ F/G/F/E/ | D/F/A/F/ BA |
(B/F/)(A/B/) (c/d/)e/g/ | (f/e/)d/c/ dd :|
SCOTCH HORNPIPE [2]. AKA and see “Souters o’
Selkirk.” Published by Playford in Apollo’s
Banquet.
SCOTCH HUNT. See “Rover [4].”
SCOTCH HUNT [2] (An Fiach Albanach).
Irish, Reel. E
Minor. Standard tuning. AB. Editor Jackie Small (CRÉ V) notes Breathnach’s reel is nowadays known as "The Eel in the Sink," and that the
melody is a version of “The Hills of
Kesh.” Paul de Grae, however, says the “Eel in the Sink” (as printed by Bulmer
and Sharpley) is much closer to “The Hills
of Kesh” and “Blackthorn [2],”/"The Irishman's Blackthorn" than
to Breathnach’s tune. Source for notated version: fiddler Jim Mulqueeny
[Breathnach]. Breathnach (CRÉ V),
1999; No. 176, pg. 85.
SCOTCH JENNY. English, Country Dance Tune (2/4
time). G Major. Standard tuning. The melody was composed by dancing master
Nathaniel Kynaston (1683-1757). Although very little is known about him,
Kynaston appears to have been active from 1705 to about 1722 in the
Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and
dances over several publications; this tune in (1711). The Selattyn parish
register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs.
Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although
whether this was the dancing master is unknown. Kynaston appears to have been a
not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston,
a notorious 16th century highwayman and Robin Hood figure, who
preyed on the wool merchants of Shrewsbury. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 116.
SCOTCH JIG.
AKA and see "The Moudiewart" (The Mole). Scottish,
Jig. G Major. Standard tuning. AABB. The air, a set of "The Moudiewart,"
appears in James Oswald's Caledonian
Pocket Companion, iv, 1752. Emmerson (Rantin’
Pipe and Tremblin’ String), 1971; No. 82, pg. 160.
SCOTCH LADDIE, THE. AKA and see "Garryowen," "Finnegan's Dream." American, Jig
and March. USA, southwestern Pa. D Major (Bayard): G Major (Bayard). Standard
tuning. AB. Moffat states that the tune, usually known as "Garryowen," first gained popularity from
its use in a pantomime in 1800. It has since become quite popular as a dance
and march tune with fiddlers and fifers, and as a melody for vocal sets. Bayard
(1981) notes the tendency for American musicians to modify tunes to end on the
tonic at the close of phrases instead of the second, as often is the practice
in British Isles tunes. Sources for notated versions: Samuel Wiltrout (Fayette
and Westmoreland Counties, Pa., 1944), Thomas Patterson (Elizabeth, Pa.,
1930's) and George Fisher (Somerset County, Pa., 1962) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 632A‑C,
pgs. 554‑555.
X:1
T:Scotch Laddie [1]
T:Garryowen
M:6/8
L:1/8
K:D
d/c/|BAG FED|.F2F .F2d|BAG FED|.E2E
.E2d|BAG FED|.F2F .F2A|
ABc .d2F|E3 D2::F|:A2F A2F|A2F .A2d|.B2G
.B2G|B3 z2B/c/|.d2d .f2d|
dcB .A2A|ABc .d2F|1 (E3 E2) F/G/:|2
E2 F/E/ D z||
SCOTCH LADDIE [2]. English, March (2/4 time). D Major. Standard tuning. AABB. Source for
notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons
(1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner
(Lincolnshire Collections, vol. 1: The
Joshua Gibbons Manuscript), 1997; pg. 8.
X:1
T:Scotch Laddie [2]
M:2/4
L:1/8
K:D
dDFA|d>efd|dBAF|GE E2|d>DFA
d>efe|dBAF|dD D2:|
|:faeg|d>efd|dBAF|GE
E2|faef|d>efe|dBAF|dD D2:|
SCOTCH LADY. English, Strathspey (?). F
Major. Standard tuning. AABB. From the music manuscript copybook of fiddler
John Burks, date 1821, of whom unfortunately nothing is known. He may have been
from the north of England. The tune rather seems like an English imitation of a
Scottish strathspey. The unvaried placement of the dotted-eighth followed by
the sixteenth note of the first part, up until the fourth measure of the ‘B’
part where the dotted rhythm is reversed, feels somewhat un-genuine. There is
another “Scotch Lady” tune, printed in England by John Johnson in his Choice Collection of 200 Favourite Country
Dances, vol. 6th (1751), the Universal
Magazine of 1751 and at least one musicians manuscript of 1790 (Hammersley),
but this is a different tune than the one in Burks manuscript. Again, the
second part would not be repeated in modern playing, although it is clearly
noted in the ms.
X:1
T:Scotch Lady
M:C|
L:1/8
S:John Burks music manuscript copybook,
dated 1821
K:F
F2 f>d c>A G>A|F>D
D>C F>DD>D|F2 f>d c>A G>A|F>FD>D F2 z2:|
f2 f>g a>f g>a|g>ed>c
g>ed>c|f2 f>g a>f g>a|g<e a<g d3e|
f2 a>f g>e f>c|c<A
f<d G>FG>A|F2 f>d c<A G>A|F>FD>D F2||
SCOTCH LASSIE. AKA and see "Oh!
Lassie, Art Thou Sleeping Yet." Ostling, 1939; pg. 23.
SCOTCH LASSIE-O, THE.
Scottish, Reel. D Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 179, pg. 42.
SCOTCH LILT. English, Reel. England, Northumberland. E Dorian. Standard tuning.
AABB'. Seattle (William Vickers),
1987, Part 3; No. 514.
SCOTCH MAGGIE. AKA and see "Scotch Bonnet,"
"A Short Way to Heaven,"
"Granshaw Glens," "The Rakes of Abbey," "The Ladies Tight Dress," "The Blossom of the New Tree,"
"Fitzgeralds Reel,"
"Lord Edward," "The Tap Room," "Miss Fargherson's New Reel,"
"Bhaintreach na
Radaireacht."
SCOTCH MAN'S DANCE, THE. English, Air (cut time) or Scottish Measure. G Major. Standard tuning. One part. The imitation Scottish air appears in Richared Broome's The Northern Lass,first performed at the Globe Theatre in London in 1632 (revived in 1684) and published by John Playford in his Apollo's Banquet, 6th edition, 1690 (Emmerson, 1972). Emmerson (Rantin’ Pipe and Tremblin’ String: A History of Scottish Dance Music), 1971; No. 56, pg. 147.
SCOTCH MARCH [1]. AKA and see "Montrosse's March,"
"The Onehorned Cow [2],"
"Páinneach na nUbh [1],"
"Carawith Jig," "The Retreat," "Pretender's March," "Green Goose Fair [1]," "A Rock and the/a Wee Pickle Tow,"
"O'Sullivan's March,"
"O'Sullivan Mor('s
March) [1]." The air appears in Playford's Musick's Hand‑Maid of 1663 and 1678, with an extra bar in the
turn from the usual versions.
SCOTCH MARCH [2]. Howe (School for the Violin),
1851; pg. 24.
SCOTCH MARY (Maire Albanac). AKA and see "Baile na Finne," “Dimen Dru Deelish/Drimin Dhu Dheelish,” “Fintown Reel,” "Irish Molly," “Knocknagow (Reel),” “Mary o’ the Wisp,” "My Love is Far Away." Irish,
English; Reel. A Dorian. Standard tuning. AB (Mulvihill, O'Neill/1850 &
1001, Sheilds/Goodman): AAB (Kennedy, Raven): AA'B (Carlin): AA'BB'
(O'Neill/Krassen): ABC (Feldman & O’Doherty). A popular reel in County
Donegal, where it is often rendered in A Mixolydian (especially the second
part). A third part is also sometimes played in County Donegal (see abc below),
although the two part version seems to prevail elsewhere. An early version of
the melody in Ireland is in Church of Ireland cleric James Goodman’s mid-19th
century music manuscripts, as an untitled reel. 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. See also the D Mixolydian version called “The Abbey Reel” and a version in A
Major/Mixolydian in the Ellis Knowles manuscript (c. 1847) from Lancashire
where it appears under the title “Drowsy
Maggie [3]." The melody was recorded (as “Knocknagow”) by the East
Galway Ballinakill Ceilidhe Band in November, 1931, in London. It appeared on
record in the 78 RPM era played by the famous piper Patsy Touhey (1865-1923),
in two-part form. Sources for notated versions: Jim McElhone (County Derry)
[Mulvihill]; fiddlers Francie and Mickey Byrne (County Donegal) [Feldman &
O’Doherty]; piper Patsy Tuohey [Moylan]. Carlin (Master Collection), 1984; No. 219, pg. 128 (appears as "Baile
na Finne"). Feldman & O’Doherty (The
Northern Fiddler), 1979; pg. 168. Kennedy (Fiddler’s Fakebook), vol. 2, 1954; pg. 14. Moylan (An Piobaoire Nos. 1-34). Mulvihill (1st Collection), 1986; No.
131, pg. 35. O'Neill (Krassen), 1976; pg. 153. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1510, pg. 279. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 729, pg. 128. Raven (English Country
Dance Tunes), 1984; pg. 178. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 482 (appears as untitled
reel). Claddagh CCF 31 John Doherty - “The Floating
Bow.” Cló Iar-Chonnachta Records, CICD 148, Mick Conneely – “Selkie” (2001).
Leader LEA 2004, Martin Byrnes (appears as “Irish Molly”). Topic TSCD 602, The
Flanagan Brothers – “Irish Dance Music” (1995. A reissue of the 1925 original).
Virgin VIR 44559, Altan - “Runaway Sunday” (A three part version learned from
Donegal fiddler John Doherty).
X:1
T:Scotch Mary
B:O'Neill's Dance Music of Ireland, no. 729
Z:transcribed by Paul de Grae
M:C|
L:1/8
R:reel
K:Ador
AB|cE ~E2 cded|cEEF G2 AB|cE ~E2
cded|cABG A2 AB|
cE ~E2 cded|cEEF G2 AB|cEEG
cded|cABG A2 ||
cd|eaag efed|^cdef g2 fg|eaag
efed|cABG A2 ^cd|
eaag efed|cdef g2 fg|afge fded|cABG
A2 ||
P:3
S:John Doherty (Donegal)
K:AMix
|:AB|cded cded|=cE~E2 FGAB|cded cded|=cAGB
A2AB|\
cded cded|=cE~E2 FGAB|cdea
fded|=cAGB A2:|
SCOTCH MEASURE. English, Reel. England, Northumberland. D Major. Standard tuning. AABB. A generic title, as the Scotch Measure is a form of dance tune (see entry for "Scots Measure"). Seattle (William Vickers), 1987, Part 2; No. 209.
SCOTCH MILITIA, THE. Scottish, Reel. A Major. Standard tuning. AABB’. The tune appears in the Calvert Collection (1799), assembled by Thomas Calvert, a musician from Kelso, Scotland. A note with the collection states that Calvert supplied “a variety of music and instruments, instruments lent out, tun’d and repaired.” Jack Campin suggests the tune may be a recruiting tune or a promotional piece for the new militia in 1796-97. The militia was a working-class conscript force.
X: 1
T:The Scotch Militia
M:C
L:1/8
B:The Calvert Collection (1799) - Page 15
Z:AK/Fiddler’s Companion
K:A
e|cA (3cde ~a2 ae|”tr” fece fBBd|cA (3cde ~a2 ae|fefg aAA:|
|:d|(cA)eA (fA)eA|(cA)(eA) {c}(dB)Bd|1 (cA)(eA) (fA)eA|
“tr”
fe f/e/f/g/ aAA:|2 (3cBA dB ecfd|(3fga ef {d}(cA) [CA]||
SCOTCH MIST [1]. Scottish, Strathspey. C Major. Standard tuning. AABB'. ‘Scotch mist’ is
a thick drizzly mist often found in the Highlands. Kerr (Merry Melodies), vol. 3; No. 135, pg. 16.
X:1
T:Scotch Mist [1]
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 3
(135)
Z:AK/Fiddler’s Companion
K:C
e<e d>c (e<g) g2 | e<e
d>c (3dfg (3fga | e<e d>c A>Bc>A | G>EG>c (B<d) d2 ::
c>eg>e a>ge>g |
c>de>c A<c G<c | c>eg>e a>ge>g |1 f>ed>c (B<d)
d2 :|2 (3edc (3BAG (G<c) c2 :|
SCOTCH MIST [2]. Scottish, Strathspey. D Major. Standard tuning. AA’BB’. A different
tune than “Scotch Mist [1]." Kerr (Merry
Melodies), vol. 4; No. 68, pg. 10.
X:1
T:Scotch Mist [2]
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, Vol. 4
(68)
Z:AK/Fiddler’s Companion
K:D
A>F A<d B>G B<d |
c>de>c d2f2 | g>f g<b a<f e<d |1 B<B g>f (3efd (3cdB
:|2
B<g f>e d3f |: a>b a<g
d>e f<d | g>ab>g e2 (3efg | a>b a<f d>e f<d |1
B<B g>f e3f :|2 B<g f>e
d3z ||
SCOTCH MIST [3]. AKA and see “The Haughs O' Cromdale.” Scottish,
Strathspey. E Dorian. Standard tuning. AAB. Source for notated version: a c.
1847 music manuscript by Ellis Knowles, a musician from Radcliffe, Lancashire,
England [Plain Brown Tune Book]. Plain Brown Tune Book, 1997; pg.
48.
X:1
T:Scotch
Mist [3]
M:C
L:1/8
R:Strathpspey
S:Ellis
Knowles MS (c. 1847)
Z:AK/Fiddler’s
Companion
K:Edor
G | B<E
E>F B<AFA | B<E E>F D>EFA | BEEF B>AFB | B=c/d/ B/A/G/F/ E2E
:|
F | D<d
d>e d/=c/B/c/ d2 | F<AAB AG/F/ A2 | Be ef/g/ fe/^d/ e2 |
B/A/B/d/
B/A/G/F/ E2 E>F | D<d d>e d/=c/B/c/ d2 | F<AAB AG/F/ A2 |
e<e
e>f g<efd | Bd AG/F/ E2 E ||
SCOTCH MORRIS. English, Country Dance Tune (cut time). A Minor/Dorian. Standard
tuning. AABB. The tune dates to c. 1727. Barnes (English Country Dance Tunes), 1986. Flying
Fish FF90564, Bare Necessities ‑ "Take a Dance" (1991).
SCOTCH NUMBER 2 (Scotch No. 2). AKA and see "Lane."
SCOTCH PATRIOT'S REEL, THE. AKA and see "The
Scotch Rose," "Lord
Gordon’s Reel," "Duke Gordon,"
"The Duke of Gordon's Rant,"
"The Duke of Gordon's
Favourite," “(A) Taste of Gaelic,”
"The Waterloo Reel [5],"
"The Rocks of Antiluce,"
"The Pride of Kildare [3],"
"My Heart with Love is
Breaking." Scottish, Reel. D Major. Standard tuning. AABB. New York
writer and musician Don Meade points out the tune is the same as Ryan’s “Lord Gordon’s” (pg. 29). Cole (1000 Fiddle Tunes), 1940; pg. 3. Ryan’s Mammoth Collection, 1883; pg. 24.
X:1
T:Scotch Patriot’s Reel
M:C|
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
{c}d2 | ADFD ADFD | ADFD A2 (GF) |
EFGA B(E ~E2) | defd B2 (AB) | defd e(cdB) |
AFDF A2 (Bc) | dBcA BGAF |1 EFGA B2
:|2 EFGA B2z |: Adfd Adfd | Adfd a2 (gf) |
efga b(ee2) | defd B2 (AB) | defd
e(cdB) | AFDF A2 (Bc) | dBcA BGAF | EFGA B2 {c}d2 :||
SCOTCH POLKA. AKA - “Fred’s Scotch Polka.” English, Polka. A tune from the playing of
East Devon fiddler Fred Pidgeon (1880-1970), of the village of Stockland.
SCOTCH RAMBLE, THE.
English, Jig. D Major (Winder): C Major (Thompson). Standard tuning.
AABB. A different “Scotch Ramble” appears in John Johnson’s Two Hundred
Favourite Country Dances, vol. 8 (London, 1758). This “Scotch Ramble” was
first published by Charles and Samuel Thompson in their Compleat Collection,
vol. 3 (London, 1773). A version appears in the 1801 commonplace book of Abel
Shattuck (Colrain, Mass.) In England, it can be found in the Winder manuscript
collection (as “The Scotch Bramble”). The ‘A’ part is similar to the Irish jig
“Kinnegad Slashers.” Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 89.
X:1
T:Scotch Bamble, The
R:Jig
M:6/8
%%RR Original Collection:
<URL:http://www.leeds.ac.uk/music/Info/RRTuneBk/>
O:England
A:Lancashire
Z:Richard Robinson <richard@beulah.demon.co.uk>
B:Winder collection
K:D
A | ded dAF | dAF def | ded dAF | EFE E2f |
ded dAF | dAFd2e | fgf edc | d3-d2 :|
|:A | def afd | afd d2a | def afd | bge e2a |
def afd | afd d2e | fgf edc | d3-d2 :|
X:2
T:Scotch Ramble
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:C
e|c>dc cGE|cGE cde|cdc cGE|DDD D2e|c>dc cGE|cGE cGE|FGF EFD|[Cc][Cc][Cc] [C2c2]:|
|:e|c>de/f/
gec|gec c2g|c>de/f/ gec|afd d2a|c>de/f/ gec|gec gec|fgf efd|[Cc][Cc][Cc]
[C2c2]:||
SCOTCH REEL. Edison 52295 (78 RPM), 1928, John Baltzell
(Mt. Vernon, Ohio).
SCOTCH ROSE. AKA and see "The Scotch Patriot's
Reel," "The Waterloo Reel
[5]," "The Rocks of Antiluce,"
"The Pride of Kildare,"
"My Heart with Love is
Breaking," "Duke Gordon,"
"The Duke of Gordon's
Favourite," "The Rakes of
Drumlish," "The Duke
of Gordon's Rant," "Lord
Gordon."
SCOTCH SALLY. Irish, Reel. D Dorian. Standard tuning. AAB. Roche Collection, 1982, vol. 1; No. 175, pg. 68.
SCOTCH SONG, A. AKA and see "Gin
Thou Wert Mine Own Thing," "An thou were my ain thing."
SCOTCHMAN IN AMERICA, THE. Scottish, Highland Schottische. G Major.
Standard tuning. AABB. Kerr (Merry
Melodies), vol. 2; No. 215, pg. 24.
X:1
T:Scotchman in America, The
M:C
L:1/8
R:Highland Schottische
S:Kerr – Merry Melodies, vol. 2, No. 215
Z:AK/Fiddler’s Companion
K:G
({D/E/F/}G2) (G>A)
(B<d)(b>a) | (g<e)(e>g) (d<B)(B>d) | (e>c)(A>c)
(d>B)(G>B) | (A>G)(F>E) (D>C)(B>A,) |
G,2 (G>A) (B<d)(b>a) |
(g<e)(e>g) (d<B)(B>d) | (e>c)(A<c) (d>B)(G>B) |
A>DE>F G2G2 :|
|: (B<d)(d>e) d>BA>G |
(c>e)e>d e>fg>e | (B<d)(d>e) (d>B)(G>B) |
(A>G)(F>E) D>CB,>A, |
(B<d)(d>e) d>BA>G |
(c>e)(e>d) e>fg>e | (B<d)d>e d>BG>B | B>AG>F G2G2
:|
SCOTCHMAN OVER THE
BORDER. AKA and see "Scotch Come Over the Border,"
"Scotsman Over the Border,"
"Blue Bonnets Jig."
SCOTCHMAN’S BONNET. Scottish, Reel. G Major.
Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 180, pg.
42.
SCOTIA GIRL HORNPIPE, THE.
American, Hornpipe. D Major. Standard tuning. AABB. Composed by Ralph
Page (1903-1985, New Hampshire), the “dean of the contra dance callers,” and a
seminal figure in New England traditional dance and music for 40 years (see www.izaak.unh.edu/nhltmd/pagehome.htm).
It appeared in Page’s periodical Northern
Junket, vol. 8, No. 4, 1965. Miller (Fiddler’s
Throne), 2004; No. 311, pg. 183.
SCOTIA'S REEL. English, Reel. England, North‑West.
A Minor. Standard tuning. AAB. Dotted rhythm more in keeping with a hornpipe
than a reel. Knowles (Northern Frisk),
1988; No. 122.
SCOTLAND [1]. AKA and see "The Yairds o' Finnigirth,"
"Andrew Carey [1]." English
(Scottish?), Country Dance (9/4 or 9/8 time). G Major. Standard tuning. One
part. "Scotch tunes" enjoyed a vogue in late 19th century England;
some were composed in the Scottish style and others were appropriated. This
tune appears in John Playford's The
English Dancing Master in editions from 1657‑1709. The Shetlands have
produced a ornamental slow version of the tune called "The Yairds o'
Finnigirth," and Merryweather (1989) begs comparison with "Drops of Brandy." Cooke (The Fiddle Tradition of the Shetland Isles),
1986; Ex. 38a, pg. 91. Merryweather (Merryweather's
Tunes for English Bagpipes), 1989; pg. 47.
SCOTLAND [2]. Bluegrass, Breakdown. USA,
Kentucky. Composed by mandolinist Bill Monroe, the "father of
bluegrass." Bee Balm 302, “The Corndrinkers.”
Flying Fish FF‑247, "Fiddle Fever" (1981).
SCOTLAND [3]. See “Bride’s
a Bonnie Thing (The).”
SCOTLAND FOREVER. AKA and see "Brave
Scotland," "Scotland the Brave."
McDonald (The Gesto Collection),
1895; pg. 110.
SCOTLAND – IRELAND. Irish, Jig. Composed by County Fermanagh flute player and singer Cathal
McConnell. He wrote the first part at home in Edinburgh, but the second part
escaped him until he went to Ireland, when the muse finally hit; hence the
title. Compass 7 4287 2, Cathal McConnell – “Long
Expectant Comes at Last” (2000).
SCOTLAND IS MY AIN
HAME. Scottish, Country Dance Tune (2/4
time). A Major. Standard tuning. AABB'. Kennedy (Fiddlers Tune Book), Vol. 2, 1954; pg. 21.
X:1
T:Scotland is My Ain Hame
M:2/4
L:1/8
R:Country Dance
K:A
|: (c/B/) | A>c eA | df a>g |
ec cB/A/ | ce/c/ Bc/B/ | A>c eA | df a>f |
ea/e/ ce/c/ | BAA :: g | a2 ae | fd
a>f | ec cB/A/ | ce/c/ Bg |1 a2 ae |
fd a>f | ea/e/ ce/c/ | BAA :|2
(c/B/) | Ac eA | df a>f | ea/e/ ce/c/ | BAA :|
SCOTLAND THE BRAVE. AKA and see "My Bonnie
Lass(ie)," "Brave
Scotland," "Scotland Forever."
Scottish, March (2/4 time); English, Morris Dance Tune. G Major (Brody, Wade):
D Major (Reiner). Standard tuning. AB (Wade): AA’B (Johnson): AABB (Brody):
AA'BB (Reiner). Tune used for a polka step in the North‑West (England)
morris dance tradition, and a march in Scotland and Shetland. Jack Campin
believes it first appeared around the turn of the 20th century, with
words set to it in 1950 by Cliff Hanley (which may be tongue-in-cheek—there is
a story that Hanly, a great humorist, tried to put as many cliches about
Scotland into the lyric as possible!). Another story told regarding the lyric
is told by Harry Burns:
***
Robert Wilson, who was at the time at the peak of his career, was
looking for a new song for his stage show. Hanley was commissioned
to write the song. The fee was £25 and Wilson was to get the copyright.
agreed £25 then refused to let Hanley sign away the rights. "Naw,
naw
son, this is far too good. I'd be cheating you if I took the rights to
this,"
said Wilson.
***
The oldest appearance of the melody
Campin has seen was in a Boys’ Brigade pipe tune book from about 1911 where the
title appeared as “Scotland, the Brave!!!” Charles Gore say the tune appears to
date from about 1891-5, when it was
published in Keith Norman Macdonald’s Gesto
Collection of Highland Music under the title "Brave Scotland"
and/or "Scotland for Ever.” Brody (Fiddler’s
Fakebook), 1983; pg. 252. S. Johnson (The
Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001);
pg. 10. Reid, pg. 5. Reiner (Anthology of
Fiddle Styles), 1979; pg. 16 (includes variations). Sweet (Fifer’s Delight), 1965; pg. 50. Wade (Mally’s North West Morris Book), 1988;
pg. 18. F&W Records 6, Fireside String Band‑‑"Square
Dance Tunes for a Yankee Caller." Front Hall 01, Fennigs All Stars‑
"The Hammered Dulcimer." Tradition 2118, Jim MacLeod & His Band ‑
"Scottish Dances: Jigs, Waltzes and Reels" (1979).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Scotland the Brave
M:C
L:1/8
Z:AK/Fiddler’s Companion
K:D
D2 D>E FD FA | d2 d>c dA FD |
G2 B>G F<A FD |1 E2 A>B AG FE :|2 E2 D>C D2 z2 ||
e2 e>^d ec Ac | d2 f>e dc BA |
d2 d>d c2 c>c | Bd cB AG FE | D2 D>E FD FA |
d2 d>c dA FD | G2 B>G F<A
FD | E2 D>C C2 z2 ||
SCOTLAND YET. Scottish, March (4/4 time) or Strathspey. C Major (Neil): D Major
(Kerr). Standard tuning. One part (Neil): AABB (Kerr). Composed by the amateur
composer Peter McLeod, who lived at Bonnington, near Edinburgh, from 1797 to
1859. Fervent, patriotic words were set to the tune by Henry Scott Ridell (1798‑1870)
of Dumfriesshire. Kerr (Merry Melodies), vol. 4; No. 36, pg. 7.
Neil (The Scots Fiddle), 1991; No.
21, pg. 29.
X:1
T:Scotland Yet
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 36
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:K
A|F<D A>F d>BG>B|A<F
F>D (E2 E)G|F<D A>F d>BB>d|c<e E>^G (A2A2):|
|:A|d>Ae>A f>ed>f|e>d
c<B (A2 A)G|F<A d>A f>dB>d|A<d f>e (d2d):|
SCOTLAND’S FIRST JAMES.
See “Birks of Invermay.”
SCOTS BONNET. Scottish, Reel. G Major. Standard tuning. AABBCC. John Glen (1891)
finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection (pg.
28). Bremner (A Collection of Scots Reels),
1757; pg. 28. Glen (The Glen Collection
of Scottish Dance Music), vol. 1, 1891; pg. 7.
X:1
T:Scots Bonnet
M:C|
L:1/8
S:Bremner – Scots Reels (1757)
Z:AK/Fiddler’s Companion
K:G
GABc dedB | ABcd e/e/e e2 | GABc
(de/f/ g)e | dBcA G/G/G [B,2G2] :|
|: BGAB A(F”tr”ED) | BGAB E/E/E E2 |
BGAB A(F”tr”ED) | dBcA G/G/G [B,2g2] :|
|: gdBG gdBG | “tr”(A>GA)B E/E/E
E2 | gdBG gdBG | cAdB G/G/G [B,2G2] :|
SCOTS HALL. English, Jig. B Minor. Standard tuning. AABB. “Scots Hall” was
published by Charles and Samuel Thompson in their Compleat Collection of 200
Favourite Country Dances (London, 1757). The Fleischmann index links this
tune with “The Gold Ring.” The melody
appears in the music manuscript collections of Northumbrian musician William
Vickers (1770) and Cumbrian musician John Rook (1840), and in the American
manuscript of flute player Henry Beck (1786). There was a manor called Scots
Hall in Smeeth, Kent, home of the Scott family, descendents of Norman conquerors.
Scots Hall was demolished in 1808, after a long period of decline in the family
fortunes. There was an old Kentish proverb about the four largest estates in
the region:
***
Scot's
Hall shall have a fall;
Ostenhangre was built in angre (pride),
Somerfield will have to yielde;
And Mersham Hatch shall win the Match
***
Seattle (William Vickers), 1987, Part 2; No. 256. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 114.
X:1
T:The Scots Hall
B:Thompson's Compleat Collection
of 200 Favourite Country Dances, 1757
M:6/8
L:1/8
K:D
g|fdB BdB|fdB B2g|fdB BdB|ecA A2g|
fdB BdB|fdB B2g|gba faf|ecA A2 :||
g|f/g/af def|fdB B2g|f/g/af def|ecA
A2g|
f/g/af def|gbg faf|geg fdf|ecA A2
:||
X:2
T:Scots Hall
M:6/8
L:1/8
R:Jig
S:John Rook Manuscript (Cumbria,
1840)
K:G
f|ecA AcA|ecA A2g|ecA AcA|dBG
G2f|ecA AcA|ecA A2e|faf geg|dBG G2:|
|:f|e/f/ge cde|ecA A2f|e/f/ge
cde|dBG G2f|e/f/ge cde|faf ege|fdf ece|dBG G2:|
SCOTS HORNPIPE. Scottish, Hornpipe. D Major. Standard tuning. AAB. "Very old"
(Gow). Not the "Scotch Hornpipe" in Cole and Kerr. Carlin (Gow Collection), 1986; No. 582.
SCOT'S LAMENT, A. Scottish, Slow Air. Composed by James Oswald (1711‑69), an
expatriate Scottish composer in London. It appears in Oswald’s Second Collection
of Curious Scots Tunes of 1744. Redwing Music RWMCD 5410, Abby Newton – “Castles, Kirks and
Caves” (2001).
SCOTS LEGACY, THE. Scottish, Reel. G Major. Standard tuning. AAB. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2.
X:1
T:The Scots Legacy.
M:C
L:1/8
B:Complete Tutor Violin (c. 1815)
Z:Dr. Evan Jones [Ed.]
K:G
B | ~G2 (GA) GDB,D | ~d2 (de) dcBA | (GFGA) BGBd | EGFA G/G/G G :|] B | G2 (Bd) g2 g2 | fedg (ed) B2 |
G2 (Bd) g2 g2 | fedf e/e/e (e>f) | g2 (eg) (fd) B2 | {cd}e2 ce dcBA | G2 (GA) BG Bd | EGFA G/G/G G |]
SCOTS MARCH, THE. Scottish, March (4/4 time). G Major. Standard
tuning. AABB. A Lowland air. The tune appears om Elizabeth Rogers' virginal
book. Winstock (1970, pg. 19) remarks that there is a tradition that the melody
was composed during the seige of Tantallon Castle in 1527, in which the
rebellious lord Archibald Douglas was subdued by James V of Scotland. The
cadence is supposed to express the sound 'ding down Tantallon'. If that story
cannot be substantiated, however, it is undisputable that the melody was the
march of the Scots Brigade, a unit which fought with distinction for the
Protestant cause during the Thirty Years Wars, first in the service of Denmark,
then under the Swedish monarch, Gustavus Adolphus. Carlin (Master Collection), 1984; No. 188, pg. 108. Appears in Winstock (Songs and Music of the Redcoats), 1970.
SCOTS MARY. See “Scotch Mary.”
SCOTS MEASURE. AKA - "Scottish Measure," "Scotch Measure." A generic form of Scottish melody written in a slow or leisurely paced common-time hornpipe rhythm. The Scots Measure form has an eight-bar phrase structure and emphasizes the first three beats of the bar, with the phrase beginning on the upbeat. Emmerson (1971) explains that in certain bars the second and third beats are frequently stressed by use of the same note, and the phrase usually ends in the repetition of three same notes for emphasis. The origin of the name is uncertain, and may have been a dance or a distinctive type of tune, and in fact, the pavan and bass dance in the courts of Elizabeth and James were known as ‘measures’, and thus the Scots Measure may have been an English description of a dance thought to have originated in Scotland. D.G. MacLennan, in his Highland and Traditional Dances of Scotland describes it as 'a pleasing type of dance tune to which was danced a Twosome or Twasome Strathspey, and in this form the Highland Schottische evolved'. The musical form actually dates from the 17th century (it can be found, for example, in Playford’s Apollo’s Banquet), but the appellation ‘Scots measure’ is more recent, having been coined in the following (18th) century. One of the first tunes with this name is "Queensbury's Scots Measure", printed in Margaret Sinkler's MS. Music Book (c. 1710). James Oswald also published “A Scots Measure” in his 1744 A Second Collection of Curious Scots Tunes, although John Purser says he may not have composed the tune himself. He later called this tune “Aberdeen’s Scots Measure.”
SCOTS RANT. English (Scottish?), Jig (6/4
time). D Major. Standard tuning. AAB. The melody appears in the Supplement of
John Playford’s (1623-1686) 3rd edition of his English Dancing Master (1657).
Scottish music enjoyed a vogue in London for some time. Johnson (The Kitchen Musician No. 14: Songs, Airs and
Dances of the 18th Century), 1997; pg. 13. Dorian Records 90238, The Baltimore Consort – “A Trip to
Killburn” (1996).
X:1
T:Scots Rant
M:6/4
L:1/8
S:Playford – English Dancing Master (1657)
K:D
A4A2 d4e2|e2f4 e4d2|e2f4 e4d2|e2f4
B4A2|B2d2d2 d4z2:|
fg|a4 b2 a3 gf|e4 d2 e4fg|a4 b2 a3g
f2|e4d2 e4de|
f6 B4A2|B2d2d2 d4e2|f6 B4A2|G2d2d2
d4||
SCOTS REEL. Scottish, Reel. D Major. Standard tuning. AABB. Source for notated
version: Jack O'Connor (Hebert). Hinds/Hebert (Grumbling Old Woman), 1981; pg. 9. London
EB44, "Andy DeJarlis and His Early Settlers." GH536, Jim MacLeod ‑
"Golden Hour of Scottish Country Dancing."
SCOTS WHA HAE (WI’ WALLACE BLED). AKA and see "Hey Tuttie Taiti," "Fill up
your bumpers high." Scottish, Air and Highland Schottische. D Major.
Standard tuning. AABB. Kidson (1915) says the tune comes from "remote
antiquity;" it was said to have been played at the battle of Bannockburn.
"Hey Tutti Taiti" is the air to which Robert Burns set his famous
lyric "Scots Wha Hae,” having been partly inspired by the French
Revolution (Purser, 1992). The Burns song “Scots Wha Hae” appears in the James
Johnson’s Scots Musical Museum, No.
577 (published in six volumes, 1787-1803). A standard version of this tune (set
as a schottische) appears in the music manuscript copybook of John Burks, dated
1821, who was probably from the north of England. Kerr (Merry Melodies), vol. 3; No. 202, pg. 24.
X:1
T:Scots Wha Hae
M:3/4
L:1/4
R:Air
K:F
"C7"C | "F"C2C |
"C7"C2D | "F"C2D | F3 \
| "Bb"D2D | D2C | D2E |
F2G | "F"A2A | "A7"G2F | "Dm"F2G |
"A7"A2G \
| "Dm"FD2 |
"Bb"D2C | "F"C3- | "C7"C3 | "F"A2A |
A2G | A2B | c3 \
| "C"G2G |
"G7"G2F | "C"G2A | "C7"B3 | "F"c2A |
"A7"G2F | "Dm"F2"A7"G | A3 \
| "Bb"FD2 | D2C |
"F"C3- | "(C7)"C2 |]
SCOTSMAN OVER THE
BORDER. AKA and see "Scotch Come Over the Border,"
"Blue Bonnets Jig,"
"Scotchman Over the Border,"
"Over the Border [3]."
Also see "Mist on the Meadow,"
"Mist in the Glen."
Irish, Jig. D Major. Standard tuning. AA’B (Feldman & O’Doherty): AABB
(most versions): AABBCCDD (Kennedy). A variant of the Scottish jig “Blue
Bonnets Over the Border.” The tune was recorded on a 78 RPM disc by Paddy
Killoran (1904-1965) in 1934 (paired with “Tenpenny
Bit”). Killoran emigrated to New York from near Ballymote, County Sligo, in
1922, settled in the Bronx, recorded, played and owned a bar. The tune appears
in O’Neill’s as “Blue Bonnet’s Jig.” Sources for notated versions: fiddler
Peter Turbit [Feldman & O’Doherty]; concertina player Noel Hill and fiddler
Tony Linnane [Taylor/Tweed]. Colclough (Tutor
for the Irish Union Pipes), c. 1830; pg. 19. Feldman & O’Doherty (The Northern Fiddler), 1978; pg. 233
(appears as first “Untitled Jig” on page). Flaherty (Trip to Sligo), 1990; pg. 44. Kennedy (Traditional Dance Music
of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997;
No. 143, pg. 35 (appears as “Over the
Border”). Mallinson (Essential), 1995; No. 89, pg. 38.
McGuire & Keegan (Irish Tunes by the
100), 1975; pg. 1. Taylor (Traditional
Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 7. Coleman Center CD CC004, Jim Murphy, James Murray, Kevin
Brehony – “The Mountain Road” (1999. Various artists. “A Compilation of tunes
popular in South Sligo”). Green Linnet
SIF 3018 – “Molloy/Peoples/Brady” (1978. In a set with “Killavil Jig”). Rounder
CD 1087, Paddy Killoran – “From Galway to Dublin” (1992. Reissue of 1934
original). Smithsonian
Folkways SFW CD 40481, Brian Conway – “First Through the Gate” (2002).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
Z:Transcribed by Rick Gagne
R:Jig
L:1/8
M:6/8
K: D
A | ~D2D FDF | AFA d2A | B2B BAB |
def edB |
ADD FDF | AFA d2A | B2B AFA |1 dAF
EFE :||2 dAF EFD ||
dfa afa | bag fge | dfa afd | def
ecA |
dfa afa | bag f2f | B2B AFA |1 dAF
EFD :||2 dAF EFE ||
X:2
T:Scots Came O’er the Borders, The
M:6/8
L:1/8
R:Jig
S:Colclough – Tutor for the Irish Union Pipes
(c. 1830)
Z:AK/Fiddler’s Companion
K:D
D3 F2A | dfe e2A | BcB B2 (g/b/) |
baf fed | DED F2A | dd/e/f/e/ d2A |
({B/c/}d2)B AFA | D2F FED ::
(3A/B/c/ | dfa afa | baf fed | dfa bc’d’ |
def “tr”e2d | dfa afa | baf fed |
(B/c/d)B AFA | dAF FED :|
“Variations”
DFA DFA } dfe d2A | DGB DGB | def
e2d | DFA DFA | dfe d2A |
BdB AGA | D2F FED :: dfa dfa | baf
fed | df/g/a/f/ | af/g/a/f/ | def e2d |
dfa dfa | baf fed | dBB AGA |
({B/c/}d2)F FED :|
SCOTSVILLE REEL. Canadian, Reel. Canada, Cape Breton. A Major. Standard tuning. ABCD. Composed
by Allan MacFarlane. The melody was first published in Gordon MacQuarrie’s Cape
Breton Collection of Violin Music, according to piper Barry Shears.
Composer Allan MacFarlane was well-known as a brilliant dance fiddler
originally from South West Margaree. He died around 1939 and is buried at the
cemetery at Christmas Island, Cape Breton (settled largely by immigrants from
Barra, Scotland). Paul Stewart Cranford says the tune was a great favorite at
the dances of the famous Cape Breton fiddler Donald Angus Beaton. Shears (Gathering of the Clans Collection, vol. 1),
1986; pg. 55 (pipe setting). Rounder 7011, "The
Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978). Rounder
CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000). WMT002,
Wendy MacIsaac – “That’s What You Get” (1998?).
SCOTT NUMBER ONE. Old‑Time, Breakdown. USA, Missouri. G Major. Standard tuning.
AABB. Source Driver was an African-American fiddler from whom Bob Christeson
collected a number of tunes in the mid-20th century. Source for
notated version: Bill Driver (Iberia, Monroe County, Missouri) [Christeson,
Phillips]. R.P. Christeson (Old Time
Fiddlers Repertory, vol. 1), 1973; pg. 98. Phillips (Traditional American Fiddle Tunes), 1994; pg. 216. Missouri State Old Time Fiddlers' Association, Bill Driver -
"Old Time Fiddler's Repertory" (1976).
SCOTT NUMBER TWO. AKA and see "Lane," "Fever in the South." Old‑Time,
Breakdown. USA; Mississippi, Arkansas, Missouri. G Major. Standard tuning.
AABB. The tune was recorded for the Library of Congress by
musicologist/folklorist Vance Randolph, from the playing of Ozark Mountian
fiddlers in the early 1940's, and also recorded for the same institution in
1939 by Herbert Halpert from the playing of Tishomingo County, Mississippi,
fiddler John Hatcher. Source for notated version: Bill Driver (Monroe County,
Missouri) [Christeson). R.P. Christeson (Old
Time Fiddlers Repertory, vol. 1), 1973; pg. 98. Missouri
State Old Time Fiddlers' Association, Bill Driver - "Old Time Fiddler's
Repertory" (1976).
SCOTT SKINNER. AKA ‑ "Scott Skinner's Reel." Scottish, Reel. A Major.
Standard tuning. AB. Composed by the famous Scots violinist and composer J. Scott Skinner (1848-1927). Skinner (The Scottish Violinist), pg. 9.
X:1
T:Scott Skinner
M:2/4
L:1/8
R:Reel
C:Scott Skinner
Z:AK/Fiddler’s Companion
K:A
(e/4f/4g/4) | a(g/a/) e/c/A/F/ |
E/A/G/A/ c/B/B/g/ | ({g}a)(g/a/) e/c/A/a/ | e/c/d/B/ c/A/A/g/ |
({g}a)g/a/ e/c/A/F/ | E/A/G/A/
c/B/B/c/ | A/c/B/d/ c/e/d/f/ | e/c/d/B/ c/A/A/ || e/ |
c/4c/4c/ A/e/ c/4c/4c/ A/a/ |
E/a/g/a/ c/B/B/g/ |({g}a)(g/a/) e/c/A/F/ | E/C/D/B,/ C/A,/A,/ ||
SCOTT
SKINNER'S COMPLIMENTS TO DR. MACDONALD. Scottish, Marching Air. A Major.
Standard tuning. AAB (Martin, Skinner): AABCCD (Hunter). Composed by J. Scott Skinner in honor of Dr. Keith Norman McDonald
(1834‑1913) of Ord in Skye, an excellent musician and violinist, and a
physician who practiced in Skye, Lochaber, Edinburgh and Burma. McDonald edited
both the Skye Collection of Reels and
Strathsepys (1897) and the Gesto
Collection of Highland Music (1895). The march has become quite popular,
according to Christine Martin (2002). Hunter (Fiddle Music of Scotland), 1988; No. 345. Martin (Traditional Scottish Fiddling), 2002;
pg. 117 (includes variations). Skinner (The
Scottish Violinist, with variation), pg. 31. Olympic
6151, Angus Cameron ‑ "Scottish Traditional Fiddle Music"
(1978). Temple Records COMD2034, Battlefield Band – “Home Ground” (1989).
X:1
T:Scott Skinner’s Compliments to Dr.
MacDonald
M:C
L:1/8
R:March
N:”light bowing” directed for
variantions
B:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:A
E | {G}A2 a>f e/d/c/B/ A.B/.c/ |
.d.f (ea) {c/d/}(cB) (Bc) | (de/f/) (ef/g/) .a.e.c.A |
d/B/e/D/ c/A/B/G/ (EA) A :| g |
{g}a2 ef/g/ .a.e.c.A | (df) (ea) {c/d/}(cB) (Bg) |
{g}a2 ef/g/ a.e .c.A | d/B/e/d/
c/A/B/G/ .E(.A.A).e | ag/f/ ef/g/ {g}.a.e.c.A |
(df) (ea) {c/d/}cB B2 | AB/c/ de/f/
ef/g/ ae/c/ | d/B/e/d/ c/A/B/G/ (EA) A ||
“variations”
E | .A/.B/.c/.d/ .e/.f/.g/.a/
.e/.c/.B/.A/ .G/.A/.B/.c/ | {e}d/c/d/f/ e/A/a/e/ {c/d/}(cB) (Bc) |
d/c/d/f/ ^d/e/f/g/ a/g/f/e/
=d/c/B/A/ | d/B/e/d/ c/A/B/G/ (EA) A :| e |
a/g/f/e/ ^d/e/f/g/ .a.e.c.A |
d/e/f/d/ e/f/g/a/ {c/d/}(cB) (Be) |
a/g/f/e/ ^d/e/f/g/ a/e/c/a/ e/c/A/c/
| d/B/e/d/ c/A/B/G/ E(AA) (3e/f/g/ |
a/g/f/e/ ^d/e/f/g/ .a.e.c.A |
d/e/f/d/ e/f/g/a/ {c/d/}(cB) (Bc) |
A/c/B/d/ c/e/d/f/ e/f/g/a/ e/c/B/A/
| d/B/e/d/ c/A/B/G/ (EA) A :|
SCOTT SKINNER'S
ROCKIN' STEP. AKA – “Manson’s Highland Fling.”
Scottish, Strathspey. A Mixolydian. Standard tuning. AAB. Composed by J. Scott Skinner, appearing first in his 1903 Harp and Claymore collection, along with
the alternate title “Manson’s Highland Fling” (a reference to Skinner’s son,
named Manson). The title refers to a specific dance step, the Rocking Step of
the Highland Fling. However, Nigel Gatherer notes that in 18th
century Scotland a "rocking" was the Lowland equivalent of the
Highland "ceilidh", and thus a rocking step could mean a more
idiosyncratic dance step performed at a ceilidh. M.A. Alburger records that
Aberdeenshire fiddler Bill Duguid, received advice from Skinner himself about
his tune "The Rockin Step":
***
Play four time sthrough with great force. This will be the leading
strathspey in my future collection (ed. Harp and Claymore), 50% of
which is ready...Learn this tune as I want to associate it with the
Reel o'Tulloch and Highland Fling.
***
Skinner included, below the music in
his manuscript copy, verses by William Martin:
***
Ho! Fiddler tune your strings aright
And play a strain of mirth and might,
While lads an’ lasses tripping light,
Glide gaily through the Reel
Hurrah! the Rocking Step rings out,
Hurrah! with clap and snap and shout
To right, to left, and round about
With nimble foot they wheel.
***
Still louder peals the strain on high,
And forces the fire in cheek and eye,
The flounces flout, the ribbons fly
Like pennons in the gale;
Black Care the blinking one has fled,
Or if he dare to lift his head
Beneath their feet they ? him
dead
And laugh to hear his wail.
***
Skinner (The Scottish Violinist), pg. 13. Skinner (Harp and Claymore), 1904; pg. 114 (appears as “The Rockin’ Step”).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Scott Skinner' Rockin' Step
C:James Scott Skinner
B:Harp & Claymore, 1903 (via The
Scottish Violinist)
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
e|c>e A/A/e c>eA>e|c>e
A/A/e A/A/e a>e|\
c>e A/A/e c/e/e A/e/e|G,/B/B
g/B/B d2 d:|]
f|e>ac>a A/A/A a2|A/A/A a2 f2
e<a|\
e>ac>a A/A/A g2|G,/B/B g/B/B
d2 df|
e>ac>a A/A/A a2|A/A/A a2 f2
e/f/g|\
a/f/a g/e/g f/d/f e/c/e|G,/B/B g/B/B
d2 d|]
SCOTTDALE STOMP.
Old-Time. The
tune was recorded in Atlanta by the Scottdale String Band, named in honor of
the mill village of Scottdale, near Atlanta, and home to the band members
(Wayne W. Daniel, Pickin’ on Peachtree,
1990). Their first recording was made for the OKeh studios on October 28, 1926,
and between that date and 1932 the group recorded nearly thirty sides (all but
two—released by Paramount—for OKeh). Bill Rattray wrote about the group in Old Time Music magazine (“Scottdale
Boys,” OTM, Summer, 1971) and said the group’s records sold “well, or at least
fairly well,” and that “their instrumentation was profoundly different from
that of the other, more well-known Georgia bands like the Skillet-Lickers, and
gave their music a more sophisticated sound that that of the ‘rough North
Georgia’ school.” The group’s repertoire varied more than usual for string
bands from the region, and included “a wider range of material including tunes
used chiefly by the jazz bands…the more traditional breakdowns, songs and
ballads are hardly featured at all.” [quoted by Daniel].
SCOTTEN’S. Canadian, Hornpipe. 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.
72.
SCOTTISH A CADET. French, Scottish (2/4 time). G Major. Standard tuning. AA'BB. Stevens (Massif Central), 1988, vol. 2; No. 6.
SCOTTISH A CATINAUX. French, Scottish (2/4 time). C Major. Standard tuning. AA'BB'. Stevens
(Massif Central), vol. 1, 1987; No.
5.
SCOTTISH A LEON. French, Scottish (2/4 time). G Major. Standard tuning. AABB. Composed
by Mazou Heintzen. Stevens (Massif
Central), 1988, vol. 2; No. 3.
SCOTTISH A PLUMET. French, Scottish (2/4 time). G Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 7.
SCOTTISH DE LA
REPUBLIQUE. French, Scottish (2/4 time). C
Major. Standard tuning. AB. Stevens (Massif
Central), 1987, vol. 1; No. 13.
SCOTTISH DE LEA [1]. French, Scottish (2/4 time). C Major. Standard tuning. AA'BB. Stevens (Massif Central), 1988, vol. 2; No. 1.
SCOTTISH DE LEA [2]. French, Scottish (2/4 time). C Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 13.
SCOTTISH DU CRASSIER. French, Scottish (2/4 time). G major. Standard tuning. AA'B.
Traditional tune from central France. Stevens (Massif Central), 1987, vol. 1; No. 17.
SCOTTISH DU MARRONNIER. French, Scottish (2/4 time). G Minor ('A' part) & G Major ('B'
part). Standard tuning. AB. Composed by Gilles Chabenat. Stevens (Massif Central), 1988, vol. 2; No. 14.
SCOTTISH JIGG, A. Scottish, Jig. C Major. Standard tuning. AA. Published by John Playford in Apollo's Banquet (1663). Although "Scottish Jig" was used in the 18th century to describe a class of tunes (like "The Campbell's are Coming") that we recognize as jigs today, there was an actual dance called the Scots Jig, taught in 18th century Edinburgh dance schools, according to Emmerson (1972). It was mentioned in Sir Walter Scott's Redgauntlet (1867), where Darsie Latimer remarks:
***
The dance to be performed was the old Scots
Jigg, in which you
are aware I used to play no sorry figure at
La Pique's, when thy
clumsy movements used to be rebuked by raps
over the knuckles
with that great professor's fiddlestick. The
choice of the tune was
left to my comrade Willie, who having
finished his drink feloniously
struck up the well-known and popular measure,
Merrily danced the Quaker's wife,
And merrily danced the Quaker.
My partner danced admirably, and I like one
who was determined,
if outshone, which I could not help, not to
be altogether thrown
in the shade.
***
Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 6a & 6b, pg. 21.
SCOTTISH LEGACY, THE.
Scottish, Reel. G Major. Standard tuning. AAB. Composed by Nathaniel
Gow (1766-1831). Gow (Third Collection of Niel Gow’s Reels), 3rd
ed., originally 1792; pg. 38.
X:1
T:Scottish Legacy, The
M:C|
L:1/8
R:Reel
B:Gow – Third Collection of Niel
Gow’s Reels (1792)
Z:AK/Fiddler’s Companion
K:G
d|~G2 GA GDB,D|~d2 de dcBA|~(GFG).A
BGBd|EGFA G/G/G G:||
B|G2 Bd g2g2|fedg ed B2|G2 Bd g2g2|fedf e/e/e e>f|
g2 eg fd B2|({c/d/}e2) ce dcBA|G2 GA
BG Bd|EGFA G/G/G G||
SCOTTISH LOVERS, THE. Irish, Air (6/8 time). G Major. Standard
tuning. AB. Source for notated version: "from an old MS. written before
1770, belonging to Mr. T.S. Head" of Cork (Joyce). Joyce (Old Irish Folk Music and Songs), 1909;
No. 769, pg. 377.
SCOTTISH MARCH, A. AKA and see "Montrose's March,"
"A Rock and the/a Wee
Pickle Tow," "O'Sullivan
Mor(e's March) [1]," "The
Highlander's March," "Captain
Collins." Scottish, March (6/4 time). G Major. Standard tuning. AAB.
The tune under this title was from J. Playford's The First Part of Musick's Handmaid, 1678; Glen says it was also in
the 1663 edition of that work. Playford included it in his 1669 Musick's Recreation under the name
"Montrose's March," as did Oswald in his Curious Collection of 1740. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 32a, pg. 84.
SCOTTISH MEASURE. See "Scots Measure."
SCOTTISH NERONDAISE. French, Scottish (2/4 time). G Major. Standard tuning. AABB. Stevens (Massif Central), vol. 1, 1987; No. 11.
SCOTTISH PERRIGORDIEN. AKA and see "Nancy Dawson [1]."
SCOTTISH SNAP, THE. Scottish, Strathspey. Composed in 1933 by
Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972), dedicated
to R.E. Cahill, manager of The Playhouse, Aberdeen. ‘Scottish snap’ refers to the
characteristic manner of ornamenting a melody, roughly substituting a whole
note for a sixteenth followed by a dotted eighth note on important beats.
Henderson (Flowers of Scottish Melody),
1935.
SCOTTISH-VALSE. French, Dance Tune (4/4 and 3/4). C Major. Standard tuning. AABB. A
combination of a "Scottish" and a "Valse". Stevens (Massif Central), 1988; No. 111.
SCOTT'S FAVORITE. AKA and see "The Duke
of Gordon's Rant," American, Reel. D Major. Standard tuning. AABB. The melody, a distanced American variant of
the Scottish “Duke of Gordon’s Rant,” was published in George P. Knauff’s Virginia
Reels, vol. III (Baltimore, 1839). The similar title "Scott's Return" may be a possibly be a related
tune. "Hounds in the
Briar Patch" has also been suggested as an alternate title.
X:1
T:Scott’s
Favorite
M:2/4
L:1/8
R:reel
B:George
P. Knauff – Virginia Reels, vol. III (Baltimore, 1839)
Z:AK/Fiddler’s
Companion
K:D
B|(A/D/F/A/) A>B|(A/D/F/A/)
A>A|(B/A/B/c/) Bc|(d/e/f/d/) BA|dd/d/ fd|
BB/d/ A>g|fe/d/ B/d/A/F/|E
E/F/E::a|af a>b|af a>a|(b/a/b/c’/) (b/g/f/e/)|
(d/e/f/d/) (B/A/B/c/)|dd/d/
fd|(B/c/d/B/) Ag|(g/f/e/d/) (B/d/A/F/)|(F/D/F/A/) d:||
SCOTT'S
LAMENTATION {FOR THE BARON OF LOUGHMORE}
(Cumha Caoine an Albanaigh). Irish, Air (3/4 time). G Major. Standard tuning. ABC. This hexatonic
melody, which occurs twice in Edward Bunting's 1840 collection (with different
basses) was noted from the playing of Denis Hempson, the last of the very old
brass-strung harpers at the time of the Belfast Festival, "precisely as he
learned it from Bridget O'Cahan. This specimen probably belongs to that highly
finished school of performance which so much excited the admiration of Giraldus
in the twelfth century." Bunting also said, "This is one of the Old
Irish Lessons for the harp," and states that the composer of the air was a
16th century harper John Scott, a native of Co. Westmeath. The caoine, or
lament, he explains, was a solemn piece of music, a tribute of respect to the
deceased, and "the greatest test of the abilities of the harper."
Caoine's were airs in three parts and were listening pieces, not intended to be
sung. There apparently was no historical Baron of Loughmore, although Bunting
identifies one Thomas Purcell, who died in either 1599 or 1607, as the
self-styled Baron. O'Sullivan (1983) finds no record of any such Barony in
Irish peerage records. However, Wikipedia gives information on the Barons of
Loughmoe (http://en.wikipedia.org/wiki/Barons_of_Loughmoe
), and identifies the holding as a feudal barony located in northern Tipperary.
The title (note that there is no ‘r’ in Loughmoe), it is suggested, was perhaps
a Jacobite peerage, raised in 1690 while James II was in exile.
O'Sullivan/Bunting, 1983; No. 8, pgs. 11-13. RCA
09026-61490-2, The Chieftains - "The Celtic Harp" (1993).
SCOTT'S NUMBER ONE. See "Scott No. 1."
SCOTTS REEL. English, Reel. E Minor. Standard tuning. AAB. Huntington (William Litten's), 1977; pg. 24.
SCOTT'S RETURN. AKA and see "Scott's Farewell,"
"Hounds in the Briar
Patch." Old‑Time, Breakdown. USA; Virginia, Southern Ky. Played
by Milo Biggers of Glasgow, southern Ky., born around 1890. Biggers, according
to fiddler and collector Bruce Greene, learned the tune from Henry Carver, an
influential regional fiddler and head of a musical family that included the
Carver Boys, Cousin Emmy and Noble (Uncle Bozo) Carver. The Carver Boys were a
group that recorded in the 1920’s. Fiddler Biggers maintained the tune was a
Civil War melody, ant thought it had to do with an old soldier returning from
the war. Herbert Halpert recorded a “Scott’s Return” for the Library of Congress
(2743-A-4), 1939, from the playing of H.L. Maxey (of Ferrum, Franklin County,
Va.). Kerry Blech records that “Maxey was born in Bedford Co., VA on
Dec. 9, 1882. He moved to Ferrum, in Franklin Co., VA and in addition to
playing music, he worked as a barber and had a stint as sheriff. He died on
August 6, 1947.” Maxey can be
heard on the recording associating his tune with “the war” as well, probably
referring to the Civil War, and both Biggers and Maxey maintained the tune was
for listening, not for dancing. There is a slight possibility “Scott’s Return”
is related to the tune was published by George P. Knauff under the title "Scott's Favorite" in his Virginia Reels,
volume III (Baltimore, 1839), which itself is a distanced variant of Alexander
McGlashan’s strathspey "The Duke of Gordon's Rant,” published in 1786.
“Hounds in the Briar Patch” has also been suggested as an alternate title.
SCOTTSVILLE REEL. Canadian, Reel. See "Scotsville Reel." Composed by Allan MacFarlen.
SCOTTY FITZGERALD’S JIG. Canadian, Jig. Canada, Cape Breton. A Major.
Standard tuning. AAB. Composed by Cape Breton/Ontario fiddler Sandy MacIntyre
in 1962, a friend of Fitzgerald’s. Paul Cranford says the tune is a popular set
tune at local Cape Breton dances. Source for notated version: Winston “Scotty”
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 180, pg. 71. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing”
(2000).
SCOTTY O'NEILL. American, Polka. D Major. Standard
tuning. AABB. Composed by Peterborough, New Hampshire, contra dance musician
and composer Bob McQuillen in 1973 for a friend ("with love to Becky and
Scott").
SCOTTY'S FAVORITE
(JIG). Canadian, Jig. Canada, Cape Breton.
E Dorian. Standard tuning. AABB. Named for Paddy “Scotty” LeBlanc. Source for
notated version: Buddy MacMaster (Cape Breton) [Dunlay & Reich]; Paddy
LeBlanc (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape
Breton), 1996; pg. 113. Dunlay & Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg.
74. Welling (Welling’s Hartford Tune Book), 1976; pg. 25. AM1 92, Ashley MacIsaac -“Close to the Floor” (1992). A
& M 79602 2000-2, Ashley MacIsaac - “Hi, How Are You Today?” (1995). Celtic
CX 47, (SCX) 57, Scotty LeBlanc‑ "The Fiddlers of Cape Breton"
(various artists).
SCOURDINESS. Scottish (originally), Canadian; Reel. Canada; Cape Breton, Prince
Edward Island. D Major. Standard tuning. AA’BB’. Composed by the late Scottish
musician Charles F. “Charlie” Sherritt, who published many of his compositions.
Source for notated version: Peter Chaisson, Jr. (Bear River, North-East Kings
County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 76. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to
the Floor” (1992). Rounder Records, Buddy MacMaster – “Cape Breton Tradition.”
SCRATCH YOUR HEAD. Old-Time, Hornpipe. B Flat Major. Standard tuning. AABB. Composed by
Mel Marshall. Source for notated vesion: Mel Marshall [Phillips]. Phillips (Traditional American Fiddle Tunes), Vol.
2, 1995; pg. 224.
SCREECH
OWL FROZE TO DEATH IN THE SUMMERTIME. Old‑Time, Breakdown. USA, Alabama.
The name of a fiddle tune played by Henry Ledlow (Ala.) to win an early 1920's
fiddle contest (Cauthan, pg. 80).
SCUABAIRE, AN. AKA and see "The Sweep's
Hornpipe [2]."
SCUDDING THROUGH THE
WHINNS. Irish, Reel. G Major. Standard
tuning. AA'B. Carlin (Master Collection),
1984; No. 218, pg. 128.
SCULLION PEASANT, THE. English, Jig. D Major. Standard tuning. AABB.
Huntington (William Litten's), 1977;
pg. 29.
SCULLION’S WIFE, THE. Irish. Emer Maycock –
“Merry Bits of Timber.” (learned from Donegal-style, Dublin fiddler Dermot
McLaughlin).
SCULLY CASEY’S
(HORNPIPE).
Irish, Hornpipe. Breathnach (CRÉ
III), 1986; No. 212 (appears as untitled hornpipe).
SCULLY CASEY'S (JIG) [1]. AKA and see "Bobby Casey's Jig [1]." Irish, Jig. D Major. Standard tuning. AABB. John “Scully” Casey was a fiddler, brother to dancer, dancing master and fiddler Thady Casey, and father of fiddler Bobby Casey. He lived near Miltown Malbay, across the street from a music pub called the Crosses of Annagh. Although he never recorded he was an influential musician, especially through his son Bobby, and Junior Crehan, a student who said of him: "He was a great fiddle player ... the best practitioner of the ornamental style that I ever heard ... This unique style of his came down to his son Bobby whose music is full of grace and beauty." Miltown Malbay piper Willie Clancy said that Scully’s playing had "a flow and melancholy about it ... full of meaning". (preceding quotes from Barry Taylor’s article on Junior Crehan in Musical Traditions, No. 10, Spring 1992). Barry Taylor records:
***
Whenever the conversation in the Annagh area
turns to Scully Casey, someone is sure
to remark on his 'relaxed' attitude to
life. Junior tells of a time playing by the fireside in
the Casey cottage while a fierce storm raged
outside. Thunder shook the tiny building,
and the lightning darted around.
Junior became more and more nervous until at last,
casting an eye on a somewhat insecure
ceiling, he enquired whether Scully was not a
bit nervous: "Not at all", replied
Scully, impervious to the storm, “Sure, we’re playing
God’s music anyway.”
***
Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 31.
X:1
T:Scully Casey’s (Jig) [1]
M:6/8
L:1/8
R:Jig
K:D
A|~d3 cBA|FAB ABc|~d3 ede|fab
afe|(3d3 cBA|
FAB ABc|dcd ecA|cBA B2c:|
|:d2d ede|fab afe|f2b bab|c’ba
b2b|fbb d’bb|
bc’b afe|1 dcd ecA|cBA B2c:|2 dcd
ecA|cBA B2z||
SCULLY CASEY'S JIG [2] (Port Scolai Uí Chathasaigh). Irish, Slide (12/8 time). D
Mixolydian/Major. Standard tuning. AA'BB'. The tune was recorded by the Wyper
Brothers in the early part of the 20th century. Source for notated
version: fiddler Bobby Casey (County Clare, Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 38, pg. 19. Mitchell
(Dance Music of Willie Clancy), 1983;
No. 126 (appears as untitled slide). Mulligan Records
LUN 018, Bobby Casey ‑ "Taking Flight" (1979).
SCULLY CASEY’S JIG [3]. Irish, Jig. A Minor (Breathnach): A Mixolydian (Feldman &
O’Doherty). Standard tuning. AABB. The tune has been called a dorian mode
setting of “The Mouse in the
Cupboard,” originally in the major mode. Source for notated version:
fiddler Peter Turbit [Feldman & O’Doherty]. Breathnach (CRÉ III), 1985; No. 16, pg. 9. Bulmer
& Sharpley (Music from Ireland),
vol. 3; 60. Feldman & O’Doherty (The
Northern Fiddler), 1978; pg. 233 (appears as second “Untitled Jig” on
page). Miller (Fiddler’s Throne),
2004; No. 98, pg. 68. Green Linnet SIF 3002, Kevin
Burke & Jackie Daly – “Eavsedropper.”
X:1
T:Scully Casey’s Jig [3]
R:jig
H:Related to “The Mouse in the Cupboard”, #54
Z:id:hn-jig-115
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
L:1/8
K:A Dorian
cBc BAG|EGA GAB|cBc dcd|ega ged|cBc BAG|EGA GAB|cBc dBG|BAG A2B:|
|:cBc dcd|ega ged|eaa aga|bag a2g|eaa c’aa|ac’a ged|cBc dBG|BAG A2B:|
“Version 2:”
cBA BAG|EAA =FAA|cBc dcd|ega ged|cBA BAG|EAA =FA|ceg dBG|BAG A2B:|
|:cBc dcd|ega ged|efg ~a3|aba ged|~c3 dcd|ega ged|ceg dBG|BAG A2B:|
SCULLY CASEY'S (REEL)
[1]. Irish, Reel. Ireland, County Clare.
D Major. Standard tuning. AB. Black (Music’s
the Very Best Thing), 1996; No. 218, pg. 117. Green
Linnett GLCD 1087, Seamus Connolly - "Notes From My Mind" (1988.
"It was more than 25 years ago when I first heard the great fiddler Bobby
Casey playing (it). I never heard it played by anyone else, so I named it for
Bobby's father (Uncle?), Sculley Casey from Miltown Malbay, County
Clare").
X:1
T: Scully Casey's
S: Seamus Connolly
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: Dmix
B2 AG FDDE | (3FGA DF ADFA | B2 AG FDDE | EC C2 EFGA |
B2 AG FDDE | (3FGA DF ADFA | B2 AG FDDE | E2 ED EFGA ||
d^cde f2 ed | gefd eBBA | Add^c defd | (3gag fg efge |
d^cde
f2 ed | gefd edBe | (3d^cB cA Bcde | f2 af fedA ||
SCULLEY'S REEL. AKA and see “Scollay’s Reel.” Old-Time,
Breakdown. E Minor. Standard tuning. AB. Similar to the hornpipe “King of the Fairies.” Source for
notated version: Terry Wergeland [Silberberg]. Silberberg (Tunes I Learned
at Tractor Tavern), 2002; pg. 142 (appears as “Scully’s Reel”). June Appal 014, John McCutcheon ‑ "The Wind that
Shakes the Barley" (1977. Learned from Dudley Laufman {N.H.}). Rounder
Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music”
(reissues, orig. released 1977).
__________________________________________
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