The Fiddler’s
Companion
© 1996-2009 Andrew Kuntz
_______________________________
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with your
cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.
[AK] |
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,
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
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
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
SECOND VICTORY, THE. Irish, Jig. A
Dorian. Standard tuning. AA’BB’. Composed by
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
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||
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
***
Come Robin, Ralph, and little Harry
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
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
***
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
grotesque as the
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
SEIGE OF
SEIGE
OF ENNIS [1], THE (“Ionsai na
Hinse” or “Suide na h-Inse”). Irish, Polka (Set or Long Dance).
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 tuning. 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 “Siege 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, p. 30.
SIEGE OF
X:1
T:Seige of
M:3/2
L:1/8
S:Sharp – Country Dance Tunes
(1909)
Z:AK/Fiddler’s Companion
K:Dmin
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 RODRIGO (THE).
X:1
T:Seige of Rodrigo, The
M:6/8
L:1/8
S:William Mackie ms. (Aberdeen, early 19th century)
N:A piping ms.
Z:AK/Fiddler’s Companion
K:D
A/F/|DFA dfa|gfe fdB|AFA fed|c<ee e2 f/g/|
Afd bge|fed cBA|BGB Aag|fdd d2:|
|:f/a/|d’af bge|afd ecA|bgd’ afd|cee e2 (f/g/)|
(f/g/)af (g/a/)bg|fdf ecA|dcB AFA |B<dd d2:||
SEIGE OF ROCHELLE, THE (Seagad Na Rocelle). Irish, Air (4/4 time,
"spirited"). C Major. Standard tuning (fiddle). 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;
No. 495, p. 87.
X:1
T:Seige of Rochelle, The
M:4/4
L:1/8
R:Air
N:”Spirited”
S:O’Neill – Music of
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
SEIGE OF
X:1
T:Seige of
M:6/8
L:1/8
R:Air
S:O’Neill – Music of
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).
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 tuning.
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 (
SELJORD WEDDING
PROCESSIONAL. Norwegian, Slatt or March (4/4
time).
SELKIE STANE, DA (The Seal Stone). Shetland, Polka. G Major. Standard tuning
(fiddle). One part. "A rock in Eshaness where Tom (
SELKIE'S LAMENT, DA. Shetland, Air. B Flat Major. Standard tuning (fiddle). 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" (
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
(fiddle). AA (Chappell): ABB (Raven, Sharp): AABB (Merryweather): AA'BB'
(Barnes). Kidson, writing in
***
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
***
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; p. 257. Fleming‑Williams
(English Dance Airs; Popular Selection,
Book 1), 1965; p. 9. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; p. 17. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; p. 33. Raven (English Country Dance Tunes), 1984; p.
27. Sharp (Country Dance Tunes),
1909; p. 41.
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 [1],”
“Higher Up the Monkey Climbs,”
"John Hoban's Polka,” “Running from the Federals,” “Shelby’s Mules,” "Waiting for the Federals."
Old‑Time, Breakdown.
***
The origin of the title is obscure. Jim Kimball, a musicologist
from
***
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, born in Kansas, resident of Oklahoma and
Missouri at various times, who actually but won a big contest in Missouri when
living in Oklahoma) 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 of
Oklahoma, near both the reservation and
***
“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 (1918-2002) of Theodosia, Mo., 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). The late John Hartford (2001) notes similarities with “Turkey Buzzard,” and there are musical similarities
to “Shoot that 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.
***
Sources for notated versions: John
Hartford [Phillips]; Sam Long (early-mid 20th century, Mid-West)
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music),
2008; pg. 90. Ford (Traditional Music in
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
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
SEOIRSE BRABSTON. AKA and see "Planxty
George Brabazon [2]," "George Brabazon."
SEOL NA nGEAGHAIGH. AKA and see “My
Grandfather’s Nightcap,” “The
Geese in the Bog.” Irish, Double Jig.
SEOLADH NA N-GAMHAN (The Driving of the Calves). AKA and see "The Boyne Water [1]," “The Driving of the Calves.”
SEOMRA IN UACHTAR, AN (The Upper Room). AKA and see “The
Upper Room.”
SEPARATION OF SOUL AND
BODY. Irish, Air. G Minor. Standard. AB.
Petrie notes the air is attributed to blind harper Turlough O’Carolan
(1670-1738), though does specify by which authority. Stanford/Petrie (Complete Collection), 1905; No. 671, pg.
168.
X:1
T:Separation of Soul and Body
M:C|
L:1/8
N:”Attributed to Carolan”
S:Stanford/Petrie (1905), No. 671
Z:AK/Fiddler’s Companion
K:Gm
d2g2 gfga | b2ag g2fg | b2ag f2dc | cd fg b3a |\
g2gf d2cB | Bcde f2ag | fdcB A2GF | G2g2 g4 :|
|: D2G2 GFGA | B2AG G2FG | Bcde fdg2 | g6 d2 |\
B2AG
G2AB | cAGF F2fe | fdcA GFDF | G2A2 G4:|]
SEPP PIONTIK. Danish, Jig. Composed in honor of
SEPTEMBER. Irish, Hornpipe. F Major. Standard. AABB. Composed by fiddler and
pianist Josephine Keegan (b. 1935), of Mullaghbawn, south
SEQUESTERED BEAUTY, THE (An Euchdag). Scottish, Slow Air (3/4 time). B Flat Major.
Standard. AABB. "This air the editor never heard from any individual save his
father, who acquired it, with the words, through the gentlemen in the
prospectus. Both the air and words must have been addressed to a lady of
superior beauty and accomplishment. The music with which she commenced in the
morning, is represented to be so delightful, that the songsters of the grove
ceased, and approached her chamber to listen. The verses contain many other
beautiful allusions. But the editor regrets to say that, on submitting the
manuscript of this work to Mr. G. Thomson, with the intention of offering him
some of the best of these airs to be associated with poetry, and brought into
repute, this air, and another which shall be noticed were all which that
gentleman deemed worthy of being incorporated with his Scottish melodies,
which, nevertheless, includes 'Jenny Dang the Weaver', 'Jenny's Bawbee',
&c. The public can now judge of both the accuracy and object of such an
opinion" (Fraser). Fraser (The Airs
and Melodies Peculiar to the
X:1
T:Seqestered Beauty, The
T:An Euchdag
M:3/4
L:1/8
R:Air
Q:130
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Bb
B>c|d2B2f2|(c2 B)z A>c|d2G2B2|(F2 D)z D>E|F3G B2|(B2 c)z d>e|d2B2c2|B3z:|
|:d>e|f2d2f2|(g2
G)z A>B|c2A2f2|(A2 F)z B>G|F3G B2|(B2 c)z d>e|d2B2c2|B3 z:|
SEQUETHIC. Old‑Time. Recorded by 1925
SERCH HUDOL (The Allurements of Love).
AKA and see “Draw, Cupid, Draw.”
Welsh, Air. A harper’s air from Edward Jones’ Relicks (1794) and in his Cambro-British
Melodies (1820). The air previously appeared in Pills to Purge
Melancholy (vol. V) under the title “A Song. Set by Mr. Motley” (pp.
305-306), which begins: “Draw Cupid draw and make fai Sylvia know, The mighty
Pain her suffering Swain does for her undergo.”
SERENADE, THE. English?, Reel. G Major. Standard tuning (fiddle). AABB. O’Farrell (Pocket Companion, vol. II), c. 1806; pp. 124-125.
X:1
T:Serenade, The
M:C
L:1/8
S:O’Farrell – Pocket Companion, vol. II (c. 1806)
Z:AK/Fiddler’s
Companion
K:G
d2 | g2 d>c Bd/B/ GD | E/G/E/G/ c/B/A/G/ F/G/E/F/ DD | g2 d>c Bd/B/ G>D |
E/G/e/c/ B/A/G/F/ A2 G2 :: dd e/f/g/e/ f/a/fa/ d/c/B/A/ | dd e/f/g/e/ f/a/f/a/ de/f/ |
g/b/g/b/ g/f/e/d/ e/g/e/g/ e/d/c/B/ | c/e/a/c/ B/d/g/B/ A/G/F/E/ DD |
G/B/G/B/
EE A/c/F/A/ G/F/E/D/ | G/g/e/c/ B/G/A/F/ G2G2 :|
SERENADE POLKA, THE. Scottish, Polka. C Major ('A' & 'B' parts)
& F Major ('C' part). Standard tuning. AABBC. Composed by F. Lutte. Kerr (Merry Melodies), vol. 1; No. 15, pg. 51.
SERENADER'S WALTZ. Old‑Time, Waltz. USA, east Texas. County
410, "The
SERGEANT CAHILL'S
FAVORITE (Roga Maor Uí
Catail). Irish,
Single Jig. G Major. Standard tuning (fiddle). AABB. Source for notated
version: set dance music recorded at Na Píobairí Uilleann, late 1980’s
[Taylor]. O'Neill (O’Neill’s Irish Music),
1915; No. 215, p. 114. O'Neill (Music of
Ireland: 1850 Melodies), 1903; No. 834, p. 155. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 373, p. 76. Taylor (Music
for the Sets: Blue Book), 1995; p. 16. Tubridy (Irish Traditional Music, vol. 1), 1999; p. 26. Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks”
(2002).
X:1
T:Sergeant Cahill's Favorite
R: Slide
M: 12/8
L: 1/8
K: G
D2E G2A B2d dBG|BcB ABA G2A BGE|D2E
G2A B2d dBG|BcB ABA G3 G3:||
g2d e2d Bcd e2d|BcB ABA G2A BGE|D2E
G2A B2d dBG|BcB ABA G3 G3:||
SERGEANT EARLY'S DREAM (Aisling Maor Maelmoiceirge). AKA - “Sgt. Early’s Dream.” Irish,
Reel. D Dorian (Mulvihill): D Dorian/Mixolydian (Flaherty, O'Neill/Krassen): A
Mixolydian (O'Neill/1850). Standard tuning. AB (Mulvihill, O'Neill/1850 &
1001): AA'B (O'Neill/Krassen): AABB (Flaherty). A London-based group, Ballet
Rambert, performed a folk-ballet with this title in 1986—music for the
production was by a group drawn
mainly from the then London-based Boyle/McCarthy families, according to Barry
Riley. 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]; tenor banjo player Tommy Finn (b. 1964, Marlow,
Ballymote, Co. Sligo) [Flaherty]; fiddler Brendan Mulvihill (Baltimore, Md.)
[Mulvihill]. Bulmer & Sharpley (Music
from
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Sergeant Early’s Dream
M:C|
L:1/8
K:Ddor
cB|ADDE FAcA|GECD ~E3F|DA,DE FEFG|Adde fedc|
ADDE FAcA|GECD ~E3F|DA,DE FAcA|GFEF D2:|
|:dc|Addc ~d3e|f2ed cAGF|ECEG ~c3d|ecdc AcGc|
Addc ~d3e|f2ed cAGc|AE~E2 cE~E2|CDEC D2:|
"variations"
|:dc|AD (3FED FAcA|GECD EFGE|DA,~A,2 DEFG|Ad~d2 fedc|
AD (3FED FAcA|GECD EGFE|DCDE FAcA|GFEF D2:|
|:dc|Addc ~d3e|f2ed cAGF|~E3G cBcd|ecdB cdBc|
Addc ~d3e|fded cAGc|AEGE cAGE|CE~E2 D2:|
X:2
T:Sergeant Early’s Dream
M:C|
L:1/8
S:Mulvihill – 1st Collection (1986)
K:Ddor
(dB) | AD (3FED FAcA | GECD E3F | DCDE FEFG | Ad {e}(3dcd fedc |
AD (3FED FAcA | GECED E3F | DCDE FAcA | GFEF D3 || G | Ad{e}dc d3e |
f2 ed cAGF | ECEG cBcd | (3edc (3dcB cdBc | Ad{e}dc d3e | fged cAGF |
DE {F}(3EDE cE {F}(3EDE | CE {F}(3EDE DcBc ||
SERGEANT EARLY'S JIG (Port Maor Maelmoceirge). Irish, Double Jig. D Mixolydian.
Standard tuning. AABB. The title refers to Chicago Police Sergeant James Early,
a piper originally from County Leitrim, who had a store of tunes in a
manuscript consisting of the first few bars of each. O’Neill said of him:
“Kindly, unassuming, patient, tolerant, helpful and hospitable.” Early often
played in duet with fiddler John McFadden, originally from County Mayo. See the
“Maid at the Spinning Wheel”
family of tunes. One of many variants appears in the Carl Hardebeck (1869-1945)
collection under the title “Tune the Fiddle.”
O'Neill (Krassen), 1976; pg. 73. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 725, pg. 135. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 25, pg. 21. Drumlin Records, Brain
McNamara – “A Piper’s Dream.”
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Sergeant Early’s Jig
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
A|FED DED|GEG =c2e|dcA e<fd|ecA
A2G|GED EFG|AGE =c2e|dcA GEA|DED D2:|
|:d|cBA Bcd|efe e2d|dcd e<fd|ecA
A2d|cBA Bcd|eag e2d|dcA GEA|DED D2:|
SERGEANT FINLEY’S. Irish, Hornpipe. A Major. Standard
tuning. AA’BB’. O’Malley (Luke O’Malley’s
Collection of Irish Music, vol. 1), 1976; No. 149, pg. 75.
X:1
T:Sergeant Finley’s
M:C
L:1/8
R:Hornpipe
B:Luke O’Malley’s Collection of Irish Music, vol. 1, No. 149 (1976)
Z:AK/Fiddler’s Companion
K:A
ed|:(3cBA BG AFED|CA,CE Acec|dfBf
dfBa|(3gfe fg afed|
(3cBA BG AFED|CA,CE Acec|dfBa (3gfe
fd|1 (3cdc AG A2 ed:|2 c2 AG A2 cd||
|:efe ^df ecAE|AGAc eaga|fg (3agf
ecAc|(3dcB (3cBA BEGB|
AGAF EA,CE|AGAc eaga|fg (3agf (3edc
(3dcB|1 (3cdc AG A2 cd:|2 c2 AG A2z2||
SERGEANT MACDONALD’S
REEL. Scottish, Reel. Composed by Pipe
Sergeant E. MacDonald. Green Linnet GLCD1182, The
Tannahill Weavers - “Choice Cuts 1987-1996.”
SERGEANT O'LEARY. American, Jig or Quick Step (6/8 time). D Major. Standard tuning.
AA’BB. The first part is similar to an untitled Pennsylvania‑collected
quadrille in Bayard (Dance to the Fiddle…, 1981, No. 458, pg. 440).
Mattson & Walz (Old Fort Snelling
Book for the Fife), 1974; pg. 82 (from a MS collection of c. 1860's).
X:1
T:Sergeant O’Leary
M:6/8
L:1/8
K:D
A|:F2A d2f|F2A d2f|e2A (cBA)|e2A
(cBA)|F2A d2f|F2A d2f|
c2A cBA|1 f2e d2A:|2 f2e d2z||:g3
f3|d2d def|g2e f2d|
efe efg|a3 f3|d2d def|g2A cBA|f2e
d2z:||
SERGEANT STACK'S
FAVORITE (Roga Maor Staic). Irish, Double Jig. A Major. Standard
tuning. AB (O'Neill/1850 & 1001): AABB (O'Neill/Krassen). O'Neill
(Krassen), 1976; pg. 57. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1028, pg. 192. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 241, pg. 54.
X:1
T:Seageant Stack’s Favorite
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:A
A/B/|:c3 BcB|AGE GAB|c3 ede|e/f/ge
a/g/ed|c3 BcB|AGE GAB|cBA GED|EAA A2:|
|:A/B/|c/d/ef gfg|eaf ged/B/|c/d/ef
gfg|eag a2 A/B/|c/d/ef gfg|eab age/d/|~c3 ~d3| eec dfe/d/:|
SERIOUS POLKA. American, Polka. G Major ('A', 'B' and 'C' parts) & C Major ('D'
part). Standard tuning. AABBCDD. Ford (Traditional
Music in America), 1940; pg. 165.
SESSION JIG, THE. Irish, Jig. G Major. Standard tuning. AABB.
Source for notated version: flute player Colm O’Donnell (b. 1962, outside
Aclare, County Sligo) [Flaherty]. Flaherty (Trip
to Sligo), 1990; pg. 17 (appears as “Unknown”).
SET AMERICAIN (deuxieme partie). French-Canadian, Jig. A Major: D Major.
Standard tuning. ABB'. According to editor Joyal, the piece was recorded in the
key of A Major due to the limitations of Montmarquette's instrument, a diatonic
button accordion, though most fiddlers play it in D Major, an easier key on
that instrument. The first part (premiere partie) of accordion player Theodore
Duguay's recording of "Set Americain" can be found under the title
"Le Caledonia." Source for
notated version: influential accordion player Alfred Montmarquette
(Montreal, Québec, 1870-1944) [Joyal]. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pgs. 65
& 112-113 and 114-115. Starr 15577-B (78 RPM),
Alfred Montmarquette.
SET AMERICAIN [2]. French-Canadian, Reel. D Major
(‘A’ part) & B Minor (‘B’ part). Standard tuning (fiddle). AA’BB’. Fiddler
Pascal Gemme says this is the “Set Americain” (there are many) played in
Montréal.
X:1
T:Set Americain [2]
M:2/4
L:1/8
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum)
K:D
(3A/B/c/|:d/A/F/A/ D/A/F/A/|E/A/F/A/
D/A/B/c/|d/A/F/A/ D/A/F/A/|e/d/e/f/ e/A/B/c/|
d/A/F/A/ D/A/F/A/|E/A/F/A/
D(3A/B/c/|d/c/d/f/ e/A/B/c/|1 d/f/e/c/ d(3A/B/c/:|2 d/f/e/c/ dc||
|:B>c d/c/d/e/|ff/g/ f/e/d/c/|B/A/B/c/
d/c/B/A/|G/F/G/A/ G/G/F|BB/c/ d/c/d/e/|
ff/g/ f/e/d/c/|B/A/B/c/ d/c/B/A/|1
B/b/f/d/ BF:|2 B/b/f/d/ B(3A/B/c/||
SET DE LA BAIE ST.
PAUL. AKA ‑ "
X:1
T:
M:C|
L:1/8
K:D
A2 | f2f2f2e2 | d2d2d2cd | e2d2c2d2 | B6B2 |
ee ee e2d2 | c=c cd ^c2B2 | A2g2f2e2 | d6 :|
|:FG | AB AF D2FG | AB AF D2FG | A2d2c2d2|
E6EF | GF ED C2EF | GF ED C2EF | G2B2A2C2|D6 :|
X:2
T:
M:4/4
L:1/8
K:D
f3ff2e2 | d6cd | e2d2c2d2 | B8 | e3ee2d2 |
c6ef | g2e2dcBc |1 d2c2B2A2 :||2 d6FG ||
ABAFD2 FG | ABAFD2FG | A2d2c2d2 | E6EF |
GFED
CDEF | GFED CDEF | G2B2A2C2 |1 D6FG :||2 D8 ||
SET DE VAUDREUIL, 1st PART. French-Canadian, Jig. D Major.
Standard tuning (fiddle). AA’BB’. From the repertoire of Joseph Allard
(1873-1947), born near Montréal, but a resident of the Northeast United States
as a young man, where he won numerous fiddle contests. In 1917 he returned to
Montréal where he spent the remainder of his life, and this set is named for a
town near the city. “Set de Vaudreuil” is in four parts and was issued c. 1938
on two 78 RPM recordings for Victor of Canada. Ornstein (Quebec Fiddle Tour,
vol. 1); 2009.
(((♫))) Joseph Allard “Set de Vaudreuil” Part 1 |
SET D'EN BAS DE
QUÉBEC (deuxieme partie). AKA and see "Reel du
Petit-Minou." French-Canadian, Reel. A Major ('A' and 'B' parts) &
E Major ('C' part). Standard tuning (fiddle). AA'BB'CC'. This tune, though a
reel, is rhythmically very similar to a polka. See also
SET HER AGAINST THE WALL. English, Jig. E Minor. Standard tuning.
AABB.
X:1
T:Set her against the wall
R:Jig
O:
L:1/8
A:Westmorland
%%ID:0000055c
K:Em
A|G3 B2G|AcAB2G|c2A Bcd|e3-e2f|\
g2ef2d|B2a^g2e|dBGF2^D|E3E3:|
|:g2ef2d|eged2B|g2e faf|d3B2f|\
g2ef2d|B2a^g2e|dBGF2^D|E3E3:|
SET THE CLOCK. Irish, Reel. D Major. Standard
tuning. AABB. Composed by Brooklyn-born B/C accordion player Billy McComiskey (
SETTING OF THE SUN [1], THE (Luidean na Gréine). Irish, Slow Air (2/4 time). D
Minor. Standard tuning. AB. Source for notated version: Hartnett [O’Neill].
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 111, pg. 20.
X:1
T:Setting of the Sun, The [1]
M:2/4
L:1/8
N:”Slow”
R:Air
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:D Minor
DD | B2 (c/B/)/.A/.G/ | A2 .G.A |
B({c/B/}A/)B/ (c/B/A/B/) | G2 (.D.D) |
B2 Bc/B/ | A2 GG | (F/G/)A/>G/
({G}F)E | D2 || CC | F2 (A/G/)F/G/ |
A2 c>d | cBAG ({G}F)D | C2 (.D.D)
| B2 c/B/A/G/ | A2 GG |
F/G/A/G/ ({G}F)D | D2 ||
SETTING OF THE SUN [2], THE (Dul Faoi na Gréine). Irish, Reel. D Major. Standard
tuning. AABB. Source for notated verson: Dan Sheahan (
SETTING SUN, THE (An Ghrian ag dul Faoi).
Irish, Jig. D Major. Standard tuning. AABB. Source for notated version:
piper Seán McAloon [Breathnach]. Breathnach (CRÉ V), 1999; No. 48, pg. 24.
SETTING UP THE DECK. Canadian, Reel.
SETTIN'
UPSTAIRS EATIN' ALL THE VITTLES UP. Old‑Time, Breakdown.
SEUMAS MOR A' GHLINNE. Scottish, Reel. F Major. Standard tuning. AABB'. Composed by James
Stewart-Robertson, editor of The Athole
Collection. Stewart-Robertson
(The Athole Collection), 1884; pg.
207.
X:1
T:Seumas Mor a’ Ghlinne
M:C|
L:1/8
R:Reel
C:James Stewart-Robertson
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
A/G/|F>GAc defd|cAGF EGGA|F>GAc defg|afge ~f2 f:|
|:a|fc~c>f d>f^cA|B>AGF EGGe|1 ~fcc>f d>efg|afge ~f2f:|2 fcdB Acfg|afge f~f||
SEUMUS RUADH. AKA and see “Jamie Rae,” “Jamie Roy.”
SEVEN AND A HALF. Old-Time, Breakdown. A Major. AEae tuning. In the repertoire of J.E. Mainer. Mainer sang this ditty to it:
***
Sold my cow, sold my calf.
Sold the lot for seven and a half.
SEVEN COME ELEVEN. Old-Time, Breakdown. A Major. Standard tunint. AA'BBCC. The title
references the dice game craps. Source for notated version: Frankie McWhorter [Phillips].
Phillips (Traditional American Fiddle
Tunes), Vol. 2, 1995; pg. 126.
SEVEN LIGHT NIGHTS. See "Saith Nos Olau."
SEVEN STARS. AKA and see “The Grand Parade [1],” "The Moon and Seven Stars,"
"The True Briton." English,
Country Dance Tune (6/8 time).
***
The “Seven Stars” melody appears in the music manuscript collection of the brothers Bast, from Denmark, compiled during the years 1763-1782. In 1782 one of the brothers entered the priesthood, and presumably gave up recreational music at that time. It appears in their copybook under the title “Frederiks kontra.” The American variant title, “The Moon and Seven Stars,” is perhaps derived from freemasonry, writes New Hampshire fiddler Randy Miller, “where the moon rules the night, and the seven stars signify the Seven Sisters, the Pleiades star cluster, as well as the seven-day division of time.”
***
An inn called the Seven Stars in Withy Grove, Manchester, purports to be one of the oldest inns in existence, with documents indicating it was a hostelry prior to 1356. The name was a popular one, however, as there were many such-named. An establishment at Prestwich, England, was known by the title Same Yet, but was formerly known as the Seven Stars. At some point it had become necessary for the old sign of the Seven Stars to be repainted due to fading, and when the painter asked the landlord what he was to put upon the board he received the answer “The Same Yet.” And the man took him at his word (Hawkwood, 1909).
***
Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 1, 1782; pg. 4. Callaghan (Hardcore English), 2007; pg. 64. Knowles (A Northern Lass), 1995; pg. 16. Townsend (English Dance Music, vol. 1), 1993. FECD 175, Spiers & Boden – “Bellow.” OMM 2012D, Tiger Moth – “Mothballs.”
X:1
T:Moon and Seven Stars, The
T:Seven Stars
M:6/8
L:1/8
R:Jig
Z:AK/Fiddler’s Companion
K:D
d2A A2F | GAB A3 | Bcd efg | fed cBA | d2A A2F | GAB A3 | Bcd efg | Adc d2 :|
|: e2A A2f | efg f3 | efg fed | cde A3 | BGB AFA | BGB AFA | Bcd cde | Adc d2 :|
X:2
T:Frederiks kontra
M:6/8
L:1/8
S:Brothers Bast manuscript copybook (Denmark, 1763-1782)
K:D
d2A A2F|GAB {B}A3|Bcd efg|fed cBA|d2A A2F|
GAB {B}A3|Bcd efg|A2c d3::e2A A2e|efg g2f|
efg
fed|cde A3|BGB AFA BGB AFA|Bcd efg|A2c d3:|
SEVEN STEP POLKA(, DA). AKA and see “Lucy
Farr’s Barn Dance.” Shetland, Polka. G Major. Standard tuning. One part (
SEVEN UP. See “Cale Smith’s Pastime,”
“Fair and Forty,” "N....r and the White Man.” American,
Reel. G Major. Standard tuning. AABB. 'Seven Up' was a card game in which a
total of seven points was game. It is a variant of All-Fours or Old Sledge.
Cole (1000 Fiddle Tunes), 1940; pg.
35. Ryan’s Mammoth Collection, 1883.
X:1
T:Seven Up
M:2/4
L:1/8
R:Reel
B:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D|(3.G/.G/.G/ (B/G/)
d(B/d/)|e/f/g/e/ e/d/B/d/|c/e/A/c/ B/d/G/B/|A/B/c/A/ G/F/E/D/|(3.G/.G/.G/
(B/G/) d(B/d/)|
e/f/g/e/ e/d/B/d/|c/e/A/c/ B/d/G/B/|A/G/F/A/
G::d|g/f/g/a/ b/g/d/g/|e/d/e/f/ g/d/B/d/|g/f/g/a/ b/g/d/g/|
e/g/f/a/ gd|g/f/g/a/
b/g/e/g/|e/d/e/f/ g/d/B/G/|D/G/B/d/ g/d/B/d/|e/g/f/a/ g:||
SEVENTEEN COME SUNDAY. AKA and see "As I Roved
Out [2]."
***
A portion of the tune is thought to
be based on the old melody "Boyne
Water [1]," and though Lucy Broadwood traces the melody to the dance
tune "The Collier's
Bon(n)ie Lassie," printed in William Thompson's Orpheus Caledonius (1725), Cazden finds the resemblance quite
remote. The tune appears as the vehicle for a number of folksongs in the
English-speaking world, including the
SEVENTEEN DAYS IN
X:1
T:
C: © B.Black
Q: 350
R: reel
M: 4/4
L: 1/8
K: Ador
cd | eAcB AE E2 | Aece Aece | cA A2 GECE | AGAB c2 Bc |
eAcB AE E2 | Aece Aece | agfe dBBd | cABG A2 :|
AB | cG G2 EGGA | cdeg aged | cG G2 EDEG | ABcB A3 B |
cG G2 EGGA | cBcd edeg | a2 ba gedB | cABG A2 :|
eg | ae e2 aebe | ae e2 gedg | ae e2 gedB | AGAB c2 eg |
ae
e2 aebe | ae e2 gedB | cdeg aged | cABG A2 :|
SEVENTH REGIMENT. AKA and see “The Flowing Tide,”
“Higgins’ Best,” “Picnic (Reel) [2]." American,
Reel. A Major. Standard tuning. AABB. Composition of the tune is credited to
one Conn. Higgins in Ryan’s/Cole’s. The melody appears in a hornpipe setting as
“Higgins’ Best” (probably a reference to its composer, the aforementioned
***
'Tis true for our
country
They went for to fight,
And offered their service
In proud manly manner,
They went for a month
Or longer to stay,
But soon they got home-sick
And had to surrender,
I think if they'd stayed
A better part they'd played,
But returned, when were wanting
And in time of their need
Foolish Seventh, foolish Seventh,
Your deeds cannot be praised,
By those who have homes,
In the land of the Brave.
***
New York’s 7th Regiment, soon after
reaching Washington, April, 1861
***
The 7th Regiment had the
fortune to have Claudio Grafulla lead its band for many years. Grafulla, born
in 1810 on
X:1
T:7th Regiment
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
A(A/c/) e/A/c/e/ | a/c/e/a/
“tr”c’(b/a/) | f/a/e/a/ c/e/a/f/ | e/c/B/A/ F/A/E/C/ |
A,(A/c/) e/A/c/e/ | a/c/e/a/ “tr”c’(b/a/)
| f/a/e/a/ c/e/f/e/ | c/e/B/e/ A z :|
|: A(A/c/) B/A/F/A/ | a/g/a/f/
e/c/B/A/ | d/f/c/e/ B/d/A/c/ | d/B/c/A/ B/A/F/A/ |
E/A/c/e/ a/c/e/a/ | d’/b/c’/a/
b/a/f/a/ | e/a/c/f/ e/d’/b/g/ | aaaz :|
SEVENTIETH YEAR, THE. Scottish. Composed by Charlie McKerron. Tartan Tapes CDTT1004, Eilidh Shaw – “Heat the Hoose”
(1998).
SEVENTY EIGHTH’S
FAREWELL TO BEGAUM. Scottish, Pipe March (2/4 time). A
four-part pipe march composed in 1848, commemorating the departure of the
Ross-shire Buffs (as was known the 2nd Battalion of the Seaforth Highlanders)
from the little station in south-west
SEVENTY
FOURTH HIGHLANDERS QUICKSTEP,
THE. Scottish,
Quickstep March. A Major. Standard tuning. Kerr (Caledonian Collection), pg. 6. Kerr (Merry Melodies for the Piano), pg. 1. “Pibroch
MacKenzie, The
SEVENTY FOURTH'S FAREWELL TO
SEVENTY SECOND HIGHLANDER'S FAREWELL TO
SEVENTY SECOND'S (72nd's) FAREWELL TO
SEVENTY
NINTH'S FAREWELL TO GIBRALTER. AKA and see "Farewell to Gibralter."
Scottish, March (2/4 time). A Major. Standard tuning. ABCD (Miller): AABBCCDD
(Martin). “The finest pipe march ever written,” as it has been called, was
composed by Pipe Major John MacDonald in 1848, upon the occasion of the
regiment’s receiving orders to leave their post in
See also listings at: Jane
Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:79th’s Farewell to
M:2/4
L:1/8
R:Pipe March
Z:Nigel Gatherer
(www.nigelgatherer.com/tunes/abc/tb10.abc)
K:A
c/d/|e>f ec|A>B Aa/g/|fe/c/
e/f/a/e/|cB Bc/d/|e>f ec|
A>B Aa/g/|fe/c/ e/f/a/e/|cA
A::a|fe/c/ e/f/a/e/|f/a/e/c/ Ba|
fe/c/ e/f/a/e/|fB Ba|fe/c/
e/f/a/e/|f/a/e/c/ Ba|fe/c/ e/f/a/e/|cA A:|
|:c/B/|A>B ca|fe/c/
Bc/B/|A/B/c/d/ e/f/e/c/|fB Bc/B/|A>B ca|
fe/c/ Bc/B/|A/B/c/d/ e/f/e/c/|cA
A::c/d/|e>f ec|e>f ea|
fe/c/ Ba|fe/c/ e/f/a/e/|f/a/e/c/
Ba|fe/c/ e/f/a/e/|cA A:|
SEVENTY THREE SPECIAL. See "La Banane a None'
Adam." Cajun. Crazy Cajun Records, Rodney LeJeune.
SEX MAN ENGELSKA. Finnish. A version of "Soldier's
Joy [1]." See Bayard's note for "King's Head."
SEXTON RING THE
X:1
T:Seymour's Fancy
M:4/4
L:1/8
S:Wilson's Companion to the Ballroom 1816
Z:Paul Kinder
R:Reel
K:G
G2 BG Bd d2|c2 ec eg g2|G2 BG Bddg|edcB A2 G2:||
g2 fg afed|edef gdBd|g2 fg afed|edef g2 (3def|
gbaf edef|gfge dBAB|cBcd efge|dcBGA2 G2||
SEYMOUR’S WHIM. English, Jig. D Major. Standard tuning. AABB.
The melody was originally published in John Hinton’s periodical Universal
Magazine of Knowledge and Pleasure (London, 1759). Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 42.
X:1
T:Seymour’s Whim
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
B/c/|dAd edc|d2d d2e|fga agf|ecA A2 B/c/|dcd edc|d2d d2e|fga ba^g|(a3 a2):|
|:a|aAa
agf|g2g g2g|gGg gfe|f2f f2e|dAd eAe|fAf gab|agf edc|d3 D2:||
______________________________________
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