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, 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 tuning. 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 tuning.  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 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 LIMERICK. English, Country Dance Tune (3/2 time). D Minor. Standard tuning (fiddle). AB. The title refers to an event in 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, and Sarsfield was one, fleeing with his very young wife Honora de Burgo. He died a few years later, still in service to King James in France. The melody is a composition of English composer Henry Purcell, first appearing as part of his incidental music to the The Prophetess, staged in London 1690. The play was an old one, written by Fletcher and Massinger some seventy years before, writes Graham Christian (in CDSS News, issue #190, May/June 2006), but updated with topical and satirical references to the current government’s Irish policies. Henry Playford published the tune in the 9th edition of the Dancing Master (London, 1695) a date which Christian brilliantly links with the exiled, and recently widowed wife of Sarsfield. Honora captivated the French and is credited with introducing English style contra dancing to the French court, where les contredanses anglaises became exceedingly popular. She herself was hailed as “the first flower of her generation…a nymph.” Proving how fickle is such fame, upon the death of her husband Patrick in 1693, Honora quickly fell into extreme poverty in the town of Huy where the family had been living. She was noticed along with her infant son in her distress by the Duke of Berwick, a young Scottish man of means. He became infatuated, placed them under his protection, and eventually married Honora in the same year that Playford published the melody. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 343, p. 83. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909; p. 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: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 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’Neill – Music 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 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 (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 tuning (fiddle). 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, p. 109.

           

SELKIE STANE, DA (The Seal Stone). Shetland, Polka. G Major. Standard tuning (fiddle). 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; p. 34.

           

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" (Anderson). Anderson (Ringing Strings), 1983; p. 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 (fiddle). 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; 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. 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 [1],” “Higher Up the Monkey Climbs,” "John Hoban's Polka,” “Running from the Federals,” “Shelby’s Mules,” "Waiting for the Federals." Old‑Time, Breakdown. USA; Oklahoma, Arkansas, Missouri. G Major. Standard tuning (fiddle). AB (Johnson): ABB (Ford): AABB (Phillips, Songer); AA’BB’ (Beissenger & McCann).

***

 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 that 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, 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, 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 (in Burns, 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 (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 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. County Records CD-3506, Sam Long – “Echoes of the Ozarks, vol. 1” (1995. Reissue recordings, various artists). Gennett Records (78 RPM), Sam Long (1928). PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996). Revonah RS‑932, The West Orrtanna String Band ‑ "An Orrtanna Home Companion" (1978). Kerry Elkin et al - “Tradition Today.”

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."

                       

SEOL NA nGEAGHAIGH. AKA and see “My Grandfather’s Nightcap,” “The Geese in the Bog.” Irish, Double Jig. Ireland, County Donegal. G Major. Collected in 1904 by Padraig Mac Aodh O’Neill from the playing of Dan An Tailluir Mor Mac Lochlainn, published in the Journal of the Irish Folk Song Society (1904). Caoimhin Mac Aodh (1994) gives an alternate title as “My Grandfather’s Nightcap” and says it also is known as one of the several “Geese in the Bog” jigs.

                       

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 Denmark's national soccer coach by Sonnich Christensen. Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' up the Hall" (1989).

                       

SEPTEMBER. Irish, Hornpipe. F Major. Standard. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 72.

                       


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 Highlands of Scotland and the Isles), 1874; No. 107, pg. 41.

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 Tenn. fiddle champion Jess Young (Chattanooga, Tenn.) for Gennett, but apparently unissued. Charles Wolfe thinks it is a misspelling of "Sequatchie Valley Hornpipe," "associated with Young and also played by Bob Douglas and his fiddling father, Tom Douglas" (The Devil's Box, Dec. 1981, vol. 15, #4, p. 54.

 

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 East Texas Serenaders, 1927‑1936."

 

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 Ireland), 1974, Vol. 3, No. 16. Flaherty (Trip to Sligo), 1990; pg. 53. Mulvihill (1st Collection), 1986; No. 199, pg. 54. O'Neill (Krassen), 1976; pg. 135. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1419, pg. 263. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 656, pg. 117. Celtic Music CM005, Shegui (John Skelton, John Coakley, Sean Keane) – “Around the World for Sport” (1980). Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001). FG 9601, Randall Bays & Joel Bernstein - “Pigtown Fling.” Gael-Linn CEF-068, Seamus Glackin – “An Fhidil: Sraith 1” (1978). Paddy Caney - “Paddy Caney” (1997). Paddy O’Brien - “Paddy O’Brien Collection.” Shegui - “Around the World for Sport.” Mainstream Records PKCD9701, Pat Kirtley - “Irish Guitar” (1997). Mick Coneely – “Selkie.” Kathleen Collins – “Traditional Music of Ireland.” Ensemble Galilei – “From the Isles to the Courts.” Kieran Fahy – “Woman from Tuam.” 

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 Ireland: 1001 Gems (1907), No. 25

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 Ireland: 1001 Gems (1907), No. 241

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 ‑ "Reel de la Baie St. Paul." French-Canadian, New England; Reel. D Major. Standard tuning (fiddle). AABB. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 160. Page (Ralph Page Book of Contras), 1969; p. 11. Fretless 200a, Yankee Ingenuity‑‑"Kitchen Junket" (1977).

X:1

T:Set de la Baíe St. Paul

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:Set de la Baie St Paul

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 Montreal fiddler Jean Carignan's "Reel de Portneuf" which uses melodic material from Soucy's tune. Joyal (Danses d'ici: Musique Traditionnelle du Québec), 1994; pgs. 49 & 102-103. Starr 19059-B (78 RPM), Isidore Soucy (1930).

           

SET HER AGAINST THE WALL. English, Jig. E Minor. Standard tuning. AABB.

X:1
T:Set her against the wall
R:Jig
O:England
M:6/8

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 (Baltimore, MD). Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].  Harker (300 Tunes from Mike Rafferty), 2005; No. 135, pg. 41.

 


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 Ireland (1903), No. 111

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 (County Cavan) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 103, pg. 54.

 

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. Canada, Cape Breton. D Minor. Standard tuning. AABB. Composed by piano player Matthew Cook, editor of The Night in the Kitchen Collection and presently a student at St. Mary's Universtiy, Halifax, Nova Scotia. Cook (Night in the Kitchen Collection), 1996; pg. 21.

 

SETTIN' UPSTAIRS EATIN' ALL THE VITTLES UP. Old‑Time, Breakdown. USA, southwestern Pa. D Major. Standard tuning. AB. Source for notated version: John Filby (elderly fiddler from Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 62, pgs. 44‑45.

                       

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). England; Northumberland. D Major. Standard tuning. AABB. The ‘seven stars’ are the constellation of the Pleiades, the seven sisters, easily found in northern hemisphere skies. "Seven Stars" is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Knowles (1995) and Callaghan (2007) remark that the tune is a popular jig, then and now, found in many northern English manuscripts. An influential version appears in the c. 1798 Joshua Jackson (1763-1839) manuscript from north Yorkshire, a version many modern fiddlers learned after it was included on the “Trip to Harrowgate” album. It also appears in the 19th century music manuscripts of the Rev. Robert Harrison (Brampton, Cumbria, 1820), the Hardy family (Dorset), William Vickers (Northumberland, 1770), Laurence Leadley (Thirsk, North Yorkshire, as “The Grand Parade”), and John Winder (Wyresdale, Lancashire, 1789).  James Aird included the melody in his Selection of Scotch, English, Irish and Foreign Airs, vol. 1 (1782, pg. 4), published in Glasgow, Scotland. Its origins, however, can be traced to David Rutherford's Compleat Collection of 200 of the Most Celebrated Country Dances, vol. 1 (pg. 11), published in London in 1756. Charles and Samuel Thompson published it again in 1780 in Thompson’s Compleat Collection of 200 Country Dances, vol. 4. The tune (sometimes as "The Moon and Seven Stars") was very popular in America after the Revolutionary War, with the Elisha Belknap (Framingham, Mass., 1784), Ira Clark (Simsbury, Conn., c. 1801), Micah Hawkins (New York, 1794), Luther Kingsley (Mansfield, Conn., 1795-c. 1815), Thomas Nixon (Danbury, Conn., c. 1776-1778) and Whittier Perkins (Massachusetts, 1790) manuscripts dating between 1776 and 1801 all listing the tune. See also note for "The Moon and Seven Stars."

***

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 (Anderson): ABB (Miller & Perron). "Collected from the late Jean Pole of Waas, Shetland, and used for the dance of the same name. There are variants of this tune in other countries, Sweden, England, Denmark, and parts of the USA" (Anderson). It is regarded as one of the few traditional Shetland Polkas, along with “The Bonnie Polka” and “Sister Jean.” Caoimhin Mac Aoidh (1994) finds this to be a close version of a tune still played in west Donegal called the “Eight Step Polka,” and it is known in northern Ireland as “The Ulster 7-Step.” While Anderson’s Shetland single-part version has 12 bars, the Donegal one only has 8. Many Irish fiddlers today know a version of the tune as “Lucy Farr’s Barn Dance,” after the famous London fiddler, born in County Galway. Anderson (Ringing Strings), 1983; pg. 35. Miller & Perron (101 Polkas), 1978; No. 29. Olympic 6151, The Shetland Fiddlers' Society ‑ "Scottish Traditional Fiddle Music" (1978).

 

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]." England, Ireland, Scotland; Air. The title is a maid's "most modest" reply to a question about her age in this popular British Isles song and air, which Albert L. Lloyd states (quoted in Cazden, et al, 1982) is a testimony to the permissive, almost pagan spirit surviving in British folkways that is probably the commonest and most popular folk song found in the British Isles today.     

***

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 Catskill Mountain (New York) collected "Where Are You Going, My Pretty Fair Maid?"

           

SEVENTEEN DAYS IN GEORGIA. Old‑Time, Breakdown. C Major. Standard tuning. ABCC. Source for notated version: Jack Link [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 141. Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' up the Hall" (1989).

           

SEVENTH CITY. Irish, Reel. A Dorian. Standard tuning. AABBCC. Composed by Falmouth, Massachusetts, musician and writer Bill Black. The title is a reference to Dublin, the “seventh city of Christendom.” Black (Music’s the Very Best Thing), 1996; No. 210, pg. 113.

X:1

T: Seventh City

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 Conn.) in O’Neill’s Music of Ireland (1903), and is well-known among Irish traditional musicians today as the hornpipe “The Flowing Tide.” New York’s 7th Regiment was a mid-19th century militia to which New York’s upper-crust belonged, formed decades before the Civil War and headquartered at the old armory at the foot of 3rd Avenue. They were ready to serve when President Lincoln asked for emergency troops in 1861 to help defend Washington, although the 7th’s original commitment was brief (it must be said that at the time few foresaw the war developing into an extended conflict).  When the troops marched down Broadway out of New York City in April, 1861, so many turned out to cheer them that the noise eclipsed the sound of the unit’s splendid regimental band. However, by June of that same year they were back in their home city, their initial commitment fulfilled. Nevertheless, many men from the 7th were commissioned and mustered into regular army units, and the 7th responded twice more during the war when called up. They were in line for the Gettysburg campaign in 1863 when the unit was hastily recalled to New York to help quell the huge draft riots that broke out.  A period song parodied the rather brief dates of service of the regiment, penned by Albert F. Dawson (sung to the melody of the “Star Spangled Banner”). It concludes:

***

'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 Minorca (off the coast of Spain), emigrated to the United States at age 28 and became a member of Lothiers Brass Band, a New York City organization. This band was attached to the 7th Regiment, although Grafulla subsequently became the director of the unit’s own 7th Regiment Band, which gained considerable fame. In 1860 Grafulla added woodwinds to a reorganized band and continued as director until his death in 1880. Cole (1000 Fiddle Tunes), 1940; pg. 48. Ryan’s Mammoth Collection, 1884; pg. 75.

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 India where the regiment had been sent to recuperate from a severe epidemic. They lost five hundred and thirty-five officers and soldiers and two hundred wives and children in a cholera epidemic while stationed at Sukkur in the province of Sind. Some unidentified piper composed this tune when the regiment left Begaum for Bombay (David Murray, Music of the Scottish Regiments, Edinburgh, 1994, pg. 119). See also note for “Barren Rocks of Aden” for another fine march to come out of the 78th's station overseas at the time.

 

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 Mull Fiddler” (1969).

 

SEVENTY FOURTH'S FAREWELL TO EDINBURGH, THE. Scottish, March (2/4 time). A Major. Standard tuning. AABBCCDD' (Hardie): AABBCDD (Martin). Composed by William MacKinnon (1840-1918). The 74th Regiment was the 2nd Battalion of the Highland Light Infantry. The march appears in Logan's Collection, Book 4. Hardie (Caledonian Companion), 1986; pg. 32. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 22. A & M Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992. Appears as “74th Highlanders’”).

 

SEVENTY SECOND HIGHLANDER'S FAREWELL TO EDINBURGH. Scottish, March (2/4 time). D Mixolydian. Standard tuning. AABB. Composed by Pipe Major J. MacDonald. The 72nd Highland Regiment was known as the (1st Battalion of the) Seaforth Highlanders, which included the Ross-shire Buffs and The Duke of Albany's. The regiment became close to the 5th Gurkhas while serving in India in Victorian times, perhaps the model Kipling alluded to in With the Main Guard when Private Mulvaney says: "Scotchies and Gurkys are twins bekaze they're so onlike, an' they get dhrunk together when God plazes." Martin (Ceol na Fidhle), vol. 2, 1988; pg. 10.

 

SEVENTY SECOND'S (72nd's) FAREWELL TO ABERDEEN, THE. AKA and see “The Boy’s Lament for His Dragon.” Scottish, March. D Major. Standard tuning. AABB. The tune was composed as “The Boy’s Lament for His Dragon” by William MacKay. The 72nd Regiment was the 1st Battalion of the Seaforth Highlanders (prior to the 19th century reorganization known as the Ross-Shire Buffs and the Duke of Albany’s). Lerwick (The Kilted Fiddler), 1985; pg. 66. Ossian (first album).

 


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 Gibraltar. The 79th was originally supposed to have gone to the West Indies, a post notorious for its unhealthy climate and the inordinate amount of casualties due to fever, however, at the last minute the regiment was posted to Canada due to the fortuitous intervention of the Secretary of State (who controlled such things and who happened to be the commanding officer’s brother and an old 79th officer himself). The title, however, may have been somewhat “tongue in cheek, as the transport lay off Gibraltar for some days, delayed by contrary winds” (Murray, Music of the Scottish Regiments, 1994, pg. 120). The 79th Regiment was (and still is) known as the Queen's Own Cameron Highlanders, the only single-battalion regiment in the British army until 1897. It consisted not only of Scotsmen, but, even in Victorian times was noted for the number of Englishmen in its ranks. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 34. Miller (Fiddler’s Throne), 2004; No. 325, pg. 192. Philo 1051, Boys of the Lough ‑ "Good Friends, Good Music" (1977). Shanachie Shan‑79017, John & Phill Cunningham ‑ "Against the Storm" (1980).

See also listings at:

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

X:1

T:79th’s Farewell to Gibraltar, The

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 BELL. AKA and see “The North Side Tune.”

                       

SEYMOUR’S FANCY. AKA and see “Comely Jane Downing.” Irish (?), Reel. G Major. Standard tuning. AAB. Source for notated version: copied from Wilson’s Companion to the Ballroom (1816) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 255. Wilson (Companion to the Ballroom), 1816; pg. 85

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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