The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

SEBASTAPOL HORNPIPE. American, Hornpipe. E Major (Cole, Ryan): D Major (Miller). Standard tuning. AABB. The town is best known as the location of a Russian fortress laid siege and captured by the British in 1855, during the Crimean War. Cole (1000 Fiddle Tunes), 1940; pg. 86. Miller (Fiddler’s Throne), 2004; No. 312, pg. 184. Ryan’s Mammoth Collection, 1883; pg. 120.

X:1

T:Sebastapol Hornpipe

M:2/4

L:1/8
R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:E

E | B,/E/G/B/ e/g/b/a/ | g/b/f/g/ e/B/G/E/ | A/B/c/d/ e/f/g/a/ | g/b/a/g/ ff |

B,/E/G/B/ e/g/b/g/ | f/g/a/f/ e/d/c/B/ | B/g/f/a/ g/b/f/d/ | eee :|

|: B | (3d/c/B/ (3d/c/B/ f/d/c/B/ | (3g/f/e/ (3g/f/e/ b/g/f/e/ | (3d/c/B/.f/.B/ (3d/c/B/.b.B |

f/e/d/c/ B/a/g/f/ | (3d/c/B/ (3d/c/B/ f/d/c/B/ | (3g/f/e (3g/f/e/ b/g/f/e/ | (3d/c/B.f/B/ g/B/f/B/ | eee :|

           

SECESH. Old-Time, Breakdown. G Major. Standard tuning. AABB. The tune (as “Secech”) was mentioned in the Atlanta Journal as being “one of the best selections” of the group the Mud Creek Symphony, who broadcast in 1924 on WSB, the Atlanta station. The group, from Pea Ridge, Habersham County, Georgia, consisted of two pair of brothers, the older two uncles of the younger set. New and Ed Tench, both fiddlers, were in their sixties at the time and claimed to have been fiddling for forty-five years or more. The Journal wrote they had played so long that “harmony between the two is merely a matter of second nature” [see Wayne Daniel, Pickin’ on Peachtree, 1990, pg. 54). Devil’s Box, vol.. 22, No. 2, Summer 1988; pg. 49.

X:1

T:Se-cesh (a colloquialism meaning ‘secession’)

M:2/4

L:1/8

S:Howdy Forrester; transcribed by John Hartford

N:Sung to the ‘A’ part: “Tie my knapsack on my back, my rifle on my shoulder, I’ll

N:go away to Shiloh and there I’ll be a soldier.” Vocal melody is third part.

K:G

B/c/|dd/e/ d/c/B/A/|GG/A/ GD/G/|BB/c/ B/A/G/A/|A2 AA/B/|

cc/d/ c/B/A/G/|F>G FF/E/|D/E/D/F/ EF|G>A G:|

|:B/c/|d/B/G/c/ B/d/g/a/|g/(b/b) b>c’|baab|c’>d cB/c/|

dB/d/ fa|b>c’ b(a|a/)b/d/f/ ef|g>a g:|

||dddB|DGGA|BBBG|A2A2|cc/c/ cA|F2 FE|DDEF|G2G2||

           

SECOND GOLL AND HALF CHORUS. AKA and see "An Caoine."

           

SECOND JOHN HENRY. AKA and see "Swing Your Partner [1].”

           

SECOND SATURDAY.  American, Reel. D Major. Standard tuning. AABB. Composed by Alstead, New Hampshire, fiddler and composer Randy Miller. Miller (Fiddler’s Throne), 2004; No. 244, pg. 148. RM-01, Randy Miller – “Lore of the Fingerboard” (1990).

 

SECOND STAR HORNPIPE, THE. Scottish, Hornpipe. B Flat Major. Standard tuning. AABBCCDD. Composed by G. Tate. Hunter (Fiddle Music of Scotland), 1988; No. 339 (arrangement and variations with Arthur S. Robertson).

See also listing at:

Alan Snyder’s Cape Breton Fiddle Recording Index

                          

SECOND STORY, THE.  American, Reel. B Minor. Standard tuning. AA’BB’. Composed by Vermont fiddler Pete Sutherland. Sutherland (Bareface), 1984; pg. 7.

 

SECOND VICTORY, THE. Irish, Jig. A Dorian. Standard tuning. AA’BB’. Composed by County Offaly musician Paddy O’Brien. Source for notated version: flute player and singer Siobhán O’Donnell (London) [Taylor/Tweed]. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 4.

                       

SECOND WEDDING, THE (An Dara Banais). Irish, Reel. G Major. Standard tuning. AB (Connolly & Martin, O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). Source for notated version: Dinny O’Brien, father of Paddy O’Brien (Neenagh) [Connolly & Martin]. Connolly & Martin (Forget Me Not), 2002; pgs. 102-103. O'Neill (Krassen), 1976; pg. 139. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1440, pg. 267. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 677, pg. 120.

X:1

T:Second Wedding, The

M:C|

L:1/8

R:Reel

S:O’Neill – 1001 Gems (1907), No. 677

Z:AK/Fiddler’s Companion

K:G

dc|BGAG BGAF|G2 Bd gedc|BGAG BGAG|EAAG ABcA|

BGAG BGAF|G2 Bd gedc|BGAG BGAG|FDEF G2||Bd|

gfge fgaf|g2 bg afdf|gfge fgaf|bgef g2 Bd|gfge fgaf|

g2 bg afdf|{a}gfge {g}fefd|egfa gedc||

           

SECULERE, LA. Scottish, Scots Measure. B Flat Major. Standard tuning. AABBCC. McGlashan (Collection of Scots Measures), 177?; pg. 4.

X:1

T:La Seculaere

M:2/4

L:1/8

B:McGlashan – Colleciton of Scots Measures

Z:AK/Fiddler’s Companion

K:B_

BF/D/|B,/D/F/B/ A/B/c/e/|dBff|g/f/e/d/ e/d/c/B/|AF BF/D/|B,/D/F/B/ A/B/c/e/|

e/d/c/B/ d/c/B/A/|c/B/A/G/ F=E|F2:|

|:fc/A/|FAce|d/B/A/B/ c/B/A/B/|e/d/g/f/ e/d/c/B/|AF ba|g/b/d/f/ A/B/G/=E/|

F/G/A/B/ c/d/e/f/|dc/B/ FA|B2:|

|:DE|F2ED|C/E/A/c/ e/c/A/F/|E2 DC|B,/D/F/B/ d/B/F/D/|E/G/e/d/ c/B/A/G/|

F/A/c/A/ e/c/A/F/|B/d/f/d/ b/f/e/d/|c2DE|F2ED|C/E/A/c/ e/c/A/F/|E2DC|

B,/D/F/B/ e/B/F/D/|E/G/e/d/ c/B/A/G/|F/A/c/f/ e/d/c/B/|g/e/d/c/ BA|B2:|

                       

SEDANY. AKA and see "The Shropshire Wakes," "Dargason/Dargison," "The Irish Washerwoman." English, Country Dance Tune. The direct ancestor of the well‑known "Irish Washerwoman." "Sedany" was published in Playford's English Dancing Master (1651), but the earliest printing of the tune appears in Ravencroft's Pammelia (1609), and Bayard (1981) speculates the tune goes back to the 16th century. Bruce Olson suggests that the title "Sedany" is a version of the Welsh feminine name Sidanen, and it has also been suggested that the alternate title “Dargason” is of Welsh derivation as well. The English collector Chappell printed sixteen verses set to the tune in the 17th century, collected from the county of Shropshire, near the Welsh border. They begin:

***

Come Robin, Ralph, and little Harry

And merry Thomas to our green

Where we shall meet with Bridget and Sary

And the finest girls that e'er were seen

Then hey for Christmas a once year

When we have cakes, with ale and beer

For at Christmas every day

Young men and maids may dance away

***

Raven (English Country Dance Tunes), 1984; pg. 44.

X:1

T:Sedauny

T:Dargason

R:Jig

M:6/8

L:1/8

Q:120

K:F

A2F F2F|A2B c>BA|B2G G2G|B2c d>cB|A2 F F2F|f2f e>dc|B2G G2G|g2f e>dc:|

           

SEDORWOOD JIG.  Scottish, Jig. A Minor. Standard tuning. AABB. Composed by Scottish national champion fiddler Arthur Scott Robertson. Miller (Fiddler’s Throne), 2004; No. 99, pg. 69. Robertson (Musical Reflections, book 3).

                          

SEE THE CONQUERING HERO COMES. English, Scottish; March (cut time). G Major. Standard tuning. AABA. Composed by the renowned composer George Fredrick Handel, although not, as popular belief would have it, for the Duke of Cumberland, the king’s son and the victor at battle of Culloden (1745). It was written for Handel's oratorio Joshua (1748), but was later inserted into performances of the more popular Judas Maccabaeus (1746) which was written to celebrate Culloden. Then English army soon adopted it, though for different reasons than either Culloden or Cumberland (Winstock, 1970). Cumberland was called “Butcher Cumberland” by the vanquished Scots, for his vigorous suppressing of the rebellion and harsh aftermath. 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]. Kerr (Merry Melodies), vol. 4; No. 373, pg. 40. Trim (Thomas Hardy), 1990; No. 61. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 85 (appears as “Conquering Hero,” originally set in the key of ‘C’ major in the ms.).

X:1

T:See the Conqu’ring Hero Comes

M:C|

L:1/8

R:March

S:Kerr – Merry Melodies, vol. 4, No. 373  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

d4 B3c|d4G4|ABcd c2B2|B4A4|Bcde d2d2|g4d4|dcBc B2A2|1 GDEF GABc:|2G6z2||

BABc B2B2|A4G4|c2B2A2G2|F6f2|e^def e2f2|g4e4|f2 ed ^c3d|d6z2||

 

SEELY SIMPKINS. AKA and see "Running Through the Rain to Keep Your Hair Dry." A fife tune printed in Dan Emmett’s Fife Instructor and also Bruce‑Emmett (The Drummers and Fifers Guide), 1880, pg. 78. The “Seely Simpkins Jig” was composed by minstrel Dan Emmett and named for Knox County, Ohio’s first fiddler. Simpkins, born in 1799, was a man who reportedly “frequented race tracks, and drew crowds and supplied hoe-downs on demand.” Hans Nathan (Dan Emmett and Negro Minstrelsy, Univ. of Oklahoma Press, 1962, pg. 106) writes:

***

Mount Vernon (Ohio, birthplace of Dan Emmett) counted a highly unconventional,

droll character among its citizens—Seeley Simpkins. Dan must have known him and

been impressed by his antics, because he set him a “monument,” many years later,

by naming after him one of the tunes in his Fife Instructor. This Simplins was as

grotesque as the Ohio wilderness itself: a musician, dancer, self-styled actor, and

backwoodsman all at once. While others were content to ride on horseback, he

proudly perched on the nick of a bull, taking “an airing around the town, whistling

as he went.” In the words of a pioneer history, he was “a great favorite with the squaws

and papooses, by reason of his uncommon musical talent.  He could mimic any sound

of varmint of human, surpassed the lute of Orpheus, and outwhistled all creation.  He

furnished the music for early musters, and when it took four counties to make a

regiment, he gave a challenge to outwhistle any man within them…He frequented

race tracks, and drew crowds and supplied hoe-downs on demand.” (Quoted from Norton, History of Knox County)

 

SEIGE OF DELHI, THE. English, Scottish; March (2/4 time) or Hornpipe. G Major (Raven): A Major (Martin). Standard. ABCD (Raven): AABBCCDD (Martin). The title of this pipe tune refers to an action during the Sepoy Rebellion or Indian Mutiny of the mid-19th century. Martin (Ceol na Fidhle), Vol. 2, 1988; pg. 46. Raven (English Country Dance Tunes), 1984; pg. 158.

 

SEIGE OF ENNIS [1], THE (“Ionsai na Hinse” or “Suide na h-Inse”). Irish, Polka (Set or Long Dance). Ireland, West Kerry. G Major. Standard.  AABBCD (Roche): AABBCCDD (Mac Amhlaoibh & Durham). Standard. The tune is used for a group dance. See also note for “Lark in the Morning.” Mac Accordion player Joe Burke (b. 1939), originally from Coorhoor, above Loughrea in County Galway, remembers playing with the Leitrim (parish) Céilí Band for set dancers in the 1950’s at Irish dance venues in London, and was impressed by the  “thousands of people” who danced the sets and old-time waltzes at the halls.  Later he played gigs in New York, Chicago and Boston, playing on a circuit for Bill Fuller’s dance halls along with piano player Felix Dolan and fiddler Paddy Killoran. They dressed formally and had a fifteen minute spot between the Fintan Ward Band’s sets, giving them time to play “The Seige of Ennis,” “Stack of Barley” and an old-time waltz (Vallely & Piggott, Blooming Meadows, 1998). It should be noted that the Seige of Ennis is the name of a céilí dance, and that any group of three reels (or less frequently polkas) will suffice for the dance. Amhlaoibh & Durham (An Pota Stóir/The Set Dance Music of West Kerry), No. 37, pg. 27. Roche Collection, 1982, vol. 3; No. 139, pg. 43.

X:1

T:Siege of Ennis, The

R:polka

M:2/4

L:1/8

K:A

E>F EC|EF A>B|ce Bc/B/|AF dF|

 

SEIGE OF ENNIS [2], THE. Irish, Set Dance. D Major ('A', 'B','E', and 'F' parts) & G Major ('C' and 'D' parts). Standard. AABBCCDDEEFF. The first parts of the tune are recognizable as the melody popularly sung to “High-Ho, the Rattlin’ Bog” (“The Bog Down in the Valley-O”) while the next two parts are the Scottish tune “Farewell to Whiskey [1],” followed by the tune used for “Spanish Lady.” Since the “Seige of Ennis” is the name of a dance rather than a tune, several tunes have been employed as vehicles for the steps. Allan's Irish Fiddler, No. 118, pg. 30.

                       

SIEGE OF LIMERICK. English, Country Dance Tune (3/2 time). D Minor. Standard. AB. The tune dates to the year 1691 when William of Orange invaded Ireland and defeated the native Irish forces. Limerick, an ancient city on the Shannon, was the last bastion of the Jacobite rebels, held by the Earl of Lucan (Patrick Sarsfield) who had broken a siege of the same city by the English the year before. This time, however, the English under General Godert de Ginkel (later the Earl of Athlone) prevailed. The city capitulated, but on terms, and Sarsfield and the Irish were given the choice of taking an oath of allegiance to William and Mary or exile. Many chose exile, to be called the Wild Geese. The melody appears in Playford. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 69.

X:1

T:Seige of Limerick

M:3/2

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:D Minor

d3e f2d2 a4 | e3f g2 ^c2 f4 | =B3d ^c2 e2 de f2 | A2 d4 ^c2 d4 |

d3e f2d2 a4 | e3f g2c2 f4 | =B3d ^c2e2 de f2 | A2 d4 ^c2 d4 ||

(c3d) cB A2 AB c2 | (d3e) de f2 ef g2 | a2 f4 c2e2 cB | AB c4 e2 f4 |

a3b a2f2 d4 | g3a g2e2 ^c4 | f3g f2d2 =B2e2 | ^c2 A4 c2 d4 |

a3b a2f2 d4 | g3a g2e2 ^c4 | f3g f2d2 =B2e2 | ^c2 A4 c2 d4 ||

                                   

SEIGE OF PLATTSBURG. AKA and see "Boyne Water [1]," "Backside Albany."

                                   


SEIGE OF ROCHELLE, THE (Seagad Na Rocelle). Irish, Air (4/4 time, "spirited"). C Major. Standard tuning. AB. A composition by Balfe included in O’Neill’s book of mainly traditional melodies. Though Balfe was a native Irishman, O’Neill was criticized in some circles for his inclusion of his compositions when “several of the traditional school” thought his compositions were “not Irish at all, even if he was” (O’Neill, 1913). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 495, pg. 87.

X:1

T:Seige of Rochelle, The

M:4/4

L:1/8

R:Air

N:”Spirited”

S:O’NeillMusic of Ireland (1903), No. 495

Z:AK/Fiddler’s Companion

K:C

(3GAG|=^F2 G2 c2d2|e6 fe|d2^c2d2e2|d4 g2 (3GAG|

^F2 G2 c2d2|e6 ^fg|g2 Be d2 AB|G6||(3GAG|^F2 G2 =f2 e2|d6 (3GAG|

^F2G2 =f2e2|d6 (3GAG|^F2 G2 c2e2|a4 gfed|feBc edAB|c6||

                                   

SEIGE OF SEVASTOPOL. AKA – “Vastapol,” “Vestapol.” Old‑Time. The tune, well known in the American south as a guitar solo, is "a mood piece found in 19th century instructors for parlor guitar” (Mark Wilson), and takes its name from an incident in the Crimean War. The guitar was tuned in open tuning and was sometimes played with drum effects induced by taping or knocking the belly of the instrument. In the southern tradition the title is often found corrupted as “Veastapol” or “Vestapol,” and sometimes the open tuning was referred to as Vestapol tuning.  It was recorded by country blues guitarist Elizbeth Cotton and others.

                                   

SEIGE OF TROY, THE (Seagad Na Traige). Irish, Slow Air (6/8 time). G Dorian. Standard tuning. AB. Source for notated version: Sergeant James O’Neill [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 14, pg. 3.

X:1

T:Seige of Troy, The

M:6/8

L:1/8

R:Air

S:O’NeillMusic of Ireland (1903), No. 14

Z:AK/Fiddler’s Companion

N:”Slow”

K:G Minor

B/c/|d>dd cA^F|G>GG G2 A/B/|cAB cAG|FDE D2B/c/|d=Bc dBc|d=e^f g2 d/=e/|

fdB {d}cA^F|G>GG G2||B/d/|g^fg gag|{g}f=ef d2 d/e/|f=ed cdc|BAG F2 G/A/|

BAB c=Bc|d=e^f g2 d/e/|fdB {d}cAF|G>GG G2||

                                   

SEILG NA BOINNE. AKA and see "The Boyne Hunt."

                                   

SEISD NA CLAISCEADAL. AKA and see "Chorus Jig."

                                   

SELDOM CLEANLY. AKA and see "Clarty Bitch the Maiden." English, Dance Tune (3/4 time). England, Northumberland. A Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 308.

                                   

SELF [1], THE. AKA ‑ "A Trip to the Cottage [1]." English, Jig. G Major. Standard tuning. AABB. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 84, pg. 41. Raven (English Country Dance Tunes), 1984; pg. 108.

X:1

T:Self, The [1]

T:Trip to the Cottage

M:6/8

L:1/8

R:Jig

K:G

B/c/|d^cd BGB|cBc AFD|DGG FGA|BGB ABc|

|d^cd BGB|cBc AFD|DGG FGA|BGG G2:|

|:B/d/|gfe dBd|ecA Bcd|ecA dBG|GAG AFD|gfe dcd|

ecA Bcd|efg eag|fdd d2:|

 

SELF [2], THE. AKA and see “The Sylph.” English, Jig. D Major. Standard. AABB. A different jig than “The Self [1].” See listings under the title “The Sylph,” for which the title “The Self” is a corruption. Gibbons originally set the tune in the key of ‘C’ major. 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; pgs. 55 (set for three instruments) & 71.

           

SELJORD WEDDING PROCESSIONAL. Norwegian, Slatt or March (4/4 time). Norway, West Coast. D Major. AEae. AA'B. A slatt is a Norwegian air for the hardanger fiddle. This piece is from the town of Seljord, Telemark, Norway, though it is now commonly played in all parts of the country. Source for notated version: Finn Vabo (Bergen, Norway) [Hopkins]. Hopkins, 1986; Ex. 3, pg. 109.

           

SELKIE STANE, DA (The Seal Stone). Shetland, Polka. G Major. Standard. One part. "A rock in Eshaness where Tom (Anderson) learned to dive when he was twelve years old. Composed in 1954 when he visited the place" (Anderson). Anderson (Ringing Strings), 1983; pg. 34.

           

SELKIE'S LAMENT, DA. Shetland, Air. B Flat Major. Standard tuning. AAB. "Written (by Shetland fiddler, teacher and composer Tom Anderson) as a protest to the culling of seal pups in Orkney in 1978. It tries to describe the lamentation of the mother seal for the killing of her pup" (Anderson). Anderson (Ringing Strings), 1983; pg. 54.

           


SELLINGER'S/SELLENGER'S ROUND. AKA and see "St. Leger's Round," "The Beginning of the World." English, Irish; Country Dance Tune (6/8 time). G Major. Standard tuning. AA (Chappell): ABB (Raven, Sharp): AABB (Merryweather): AA'BB' (Barnes). Kidson, writing in Groves, says “Sellinger’s Round” is a 16th century tune and round dance of unknown authorship, which had immense popularity in the 16th and 17th centuries. It has been called “a singularly perfect example of a Mixolydian (tune) superficially resembling a major-scale melody” (Walker, 1924). Flood (1906) states that Sir John Hawkins saw it danced in Ireland in 1540; when he retired eight years later he brought the dance back to England with him, "where its popularity was so great it was arranged by the famous master Dr. William Byrd" (pg. 159). Flood further argues the English Round ("Sellinger's Round") and Country Dance had origins as the Irish "Heie" or "Hey". Merryweather dates it later and states that "the most plausible explanation" for the tune's beginnings is that it originated in Ireland around 1590, and agrees with Kidson that the original title was "St. Leger's Round." Kidson thinks the original dance was a May-pole dance, and offers as evidence a rude wood-cut on the title-page of a 17th century ‘Garland’ (i.e. songster), where figures are depicted dancing round a May-pole with the title “Hey for Sellinger’s Round” inscribed above them.

***

Chappell (1859) finds numerous references to it in the literature of the late sixteenth and early seventeenth century, some indicating it had been a long‑established and very popular air in England. For example, he quotes a passage from Bacchus' Bountie (1593):

***

While thus they tippled, the fiddler he fiddled, and the pots

danced for joy the old hop‑about commonly called 'Sellinger's Round'.

***

Morley mentions the tune in Plaine and Easie Introduction (1597).  Sir John Hawkins also disdainfully mentioned the piece in his 1676 A General History of the Science and Practice of Music:

***

...Fidlers and others, hired by the master of the house; such

as in the night season were wont to parade the city and suburbs

under the title of Waits...Half a dozen of fidlers would scrape

"Sellenger's Round," or "John, Come Kiss Me," or "Old Simon

the King" with divisions, till themselves and their audience were

tired, after which as many players on the hautboy would in the

most harsh and discordant tones grate forth "Greensleeves,"

"Yellow Stockings," "Gillean of Croydon", or some such

common dance tune, and the people thought it fine music.

***

The Englisn composer William Byrd's arrangement appears in Lady Neville's Manuscript book of 1590 and the Fitzwilliam Virginal Book of 1610 (No. 64), and is the one used by Cecil Sharp in his Country Dance Tunes (1909). Other early versions appear in William Ballet's Lute Book of 1594 and Musick's Handmaid of 1678. It retained its popularity as a dance and ballad tune from this latter 16th century period through the next century when it was published by Playford in his Dancing Master editions. John Cleveland mentions the tune in this bit of verse:

***

Who should he but hear, our organs once sound,

Could scarce keep his hoof from Sellenger's Round.

***

Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 257. Fleming‑Williams (English Dance Airs; Popular Selection, Book 1), 1965; pg. 9. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 17.  Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 33. Raven (English Country Dance Tunes), 1984; pg. 27. Sharp (Country Dance Tunes), 1909; pg. 41. Antilles (Island) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1973. Appears as "The Beginning of the World").

X:1

T:Sellinger’s Round

M:6/8

L:1/8

K:C

G3 G>AB|c3 c>de|d2c B>AB|c6|G2G G>AB|c3 c>de|

d2c B>AB|(c3 c2)d|e3 e>dc|(d3 d2)d|B>cd d>cB|A3 d2B|

c>dc B2G|A>Bc B2G|A2G ^F>EF|(G3 G2>)AB|

c>dc B2G|A>Bc B2G|A>BG ^F>EF|G6||

X:2

T:Sellenger’s Round

M:6/4

L:1/8

S:Fitzwilliam Virginal Book

Z:AK/Fiddler’s Companion

K:C

G6 G3A B2|(c4 c3)d e2|d4 c2 B3A B2|c12|G4 G2 G3A B2|

c6 c3d e2|d4 c2B3A B2|(c6 c4)d2|e6 e3d c2|(d6 d4)d2|

B3c d2 d3c B2|A6 d4 B2|c3d c2 B4G2|A3B c2 B4G2|A4 G2^F3E F2|

(G6 G3)A B2|c3d c2 B4G2|A3B c2 B4G2|A3B G2 ^F3E F2|G12||

           

SELLS’ BROTHERS CIRCUS RAG. AKA and see "Still on the Hill."

                       

SEME RUNE RALLANACH. AKA and see "Fouller's Rant." Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Angus Cumming's 1780 collection (pg. 2).

                                   

SE'N RIGH A TH' AGAINN IS FEARR LEINN (We Prefer Our Own King). AKA and see "Wha'll (Who’ll) Be King But Charlie," "Over the River to Charlie [2]," "Behind the Bush in the Garden [1]," "More Power to Ye," "Fy Buckle Your Belt,” “We Prefer Our Own King."

                       

SENECA SQUARE DANCE. AKA and see “The Federal Hornpipe,” "Georgia Boys," “Got a Little Home to Go To,” “Higher Up the Monkey Climbs,” "John Hoban's Polka,” “Running from the Federals,” “Shelby’s Mules,” "Waiting for the Federals." Old‑Time, Breakdown. USA; Arkansas, Missouri. G Major. Standard tuning. AB (Johnson): ABB (Ford): AABB (Phillips, Songer).

***

 The origin of the title is obscure. Jim Kimball, a musicologist from Genesco, NY, points out that many Seneca indians (part of the Iroquois nation) were relocated to Oklahoma after the War of 1812, and that there is still a large community of Seneca in the northeastern part of the state, not far from southwest Missouri. They were located between the Wyandot reserve and the Cherokee Nation on the Grand River. The tune may also be called after the town of Seneca, Missouri, in the southwestern part of the state (which may itself have taken its name from the Indian tribe). It appears to have had a long history in the United States, judging from some of the alternate title that suggest pre-Civil War times and hiding from authority. A Civil War connection is made with the alternate title “Shelby’s Mules,” a reference to the Confederate cavalry commander General Joseph Shelby.

***

Johnson (1982/1988) notes that there is an old hymn set to this tune, but does not give specifics. The melody is known to Irish musicians as "John Hoban's Polka" and appears to be related to the tune “(What Shall We Do with a) Drunken Sailor” and perhaps the gospel song “Rock-a My Soul (in the Bosom of Abraham).” A distanced, somewhat odd although regularly phrased version appears in Pioneer Western Folk Tunes (1948) by champion Arizona fiddler Viola “Mom” Ruth, under the title “Get Away from the Federals” with “Fall of Paris” given as an alternate title.

***

 “Seneca Square Dance” appeared on the Challenge label (a subsidiary of Sears and Roebuck) on a 78 RPM recording by one ‘Fiddlin’ Sam Long of the Ozarks’ (1876-1931, who actually was from Oklahoma but won a big contest in Missouri, according to Charles Wolfe) and was reissued by County on an LP entitled “Echoes of the Ozarks” in the 1970's. Long lived in the northeastern part of the state, near both the reservation and Seneca, Missouri, just across the state line. Long recorded the tune via acoustic, not electronic methods in 1926, and despite the rather poor quality of the sound it sold well in the Mid-west and West. Gus Meade and W.L. McNeil researched Long and discovered he had been born in 1876 and died sometime in March 1931 (perhaps in Wichita, Kansas). He was the first Ozark fiddler to have been recorded.

***

“Seneca Squaredance” has been, and continues to be, a popular tune among regional fiddlers. Fiddlin' Bob Larkin recorded a version with words called "The Higher Up the Monkey Climbs." Alton Jones of Theodosia calls it "Seneca War Dance" and Cliff Bryan of West Plains calls it "Got No Little Home to Go to."  It is infrequently called “Echoes of the Ozarks,” the name of a different tune (by Clyde Davenport, for one). John Hartford (2001) notes similarities with “Turkey Buzzard.”

***

The melody was featured in the score by Ry Cooder for the film The Long Riders. It seems that one of Cooder’s associates, David Lindley, previously performed an idiosyncratic version when he played with folk-rock musician Jackson Browne. There was no name attached to it and it was called “David's Fiddle Tune” at the time.

***

Source for notated version: John Hartford [Phillips]. Ford (Traditional Music in America), 1940; pg. 122. Johnson (The Kitchen Musician No. 2: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988 & 2003); pg. 12. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 125. Songer (Portland Collection), 1997; pg. 179. Recorded by Ozark fiddler Sam Long for Gennett Records c. 1928. Revonah RS‑932, The West Orrtanna String Band ‑ "An Orrtanna Home Companion" (1978). Kerry Elkin et al - “Tradition Today.” Jim Taylor – “The Civil War Collection” (1996).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

X:1

T:Seneca Square Dance

M:C

L:1/8

S:Jay Ungar

Z:AK/Fiddler’s Companion

K:G

D/D/D G|{A}B2 B>A d B2 A/G/|{A}B2 B>B A G2 E/D/|{A}B2 B>A d B2 A/G/| A/B/A/G/ EF G:|

|:Bd|[B2g2] g>g d B3|[B2g2] g>a b e3|g/a/b/a/ ge d2 B/A/G|A/B/A/G/ EF G2:|

                       

SENT FOR MY FIDDLE.  Old-Time. A dance tune in the repertoire of Chapel Hill, North Carolina, guitarist and banjo player Elizabeth Cotten.

                       


SENTINEL HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. The two-bar opening phrase in the ‘B’ part (repeated several bars later) harkens to “Harvest Home.” Cole (1000 Fiddle Tunes), 1940; pg. 86. Kerr (Merry Melodies), Vol. 2; No. 370, pg. 41. Ryan’s Mammoth Collection, 1883; pg. 119.

X:1

T:Sentinel Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

A/d/ | f/g/f/e/ d/c/d/B/ | A/B/A/G/ F/G/F/E/ | D/C/D/E/ F/E/F/G/ | A/B/A/^G/ .A(e/f/) |

g/a/g/f/ e/f/e/d/ | c/d/c/B/ A/B/A/G/ | F/A/d/f/ e/A/B/c/ | dfd :|

|: c/d/ | .e/A/A/A/ .f/A/A/A/ | .g/.A/.f/.A/ .e/A/A/A/ | d/F/A/d/ c/E/A/c/ | d/c/d/f/ e/a/g/f/ |

.e/A/A/A/ .f/A/A/A/ | .g/.A/.f/.A/ .e/A/A/A/ | d/F/A/d/ c/E/A/c/ | dfd :|

                       

SEO LIBH, A MHNÁ, CHUN TAE! AKA and see “Ladies, Step up to Tea.”

                       

SEO THÓ THOIL. Irish, Slow Air (cut time, “Plaintive”). G Major. Standard tuning. One part. A note with the tune indicates the title is “Lullaby vocables”). Source for notated version: a manuscript collection dated 1861, compiled by Church of Ireland cleric and uilleann piper James Goodman (1828-1896) who collected largely in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 2001; No. 31, pg. 15.

                       

SEOIRSE BRABSTON. AKA and see "Planxty George Brabazon [2]," "George Brabazon."