The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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SEB - SEY |
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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).
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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. AABBCCDDEEFF. The first
parts of the tune are recognizable as the melody popularly sung to “High-Ho, the Rattlin’ Bog” (“The Bog Down
in the Valley-O”) while the next two parts are the Scottish tune “Farewell to Whiskey [1],” followed by the tune used for “Spanish Lady.” Since the “Seige of
Ennis” is the name of a dance rather than a tune, several tunes have been
employed as vehicles for the steps. Allan's
Irish Fiddler, No. 118, pg. 30.
SIEGE OF
X:1
T:Seige of
M:3/2
L:1/8
S:Sharp – Country Dance Tunes
(1909)
Z:AK/Fiddler’s Companion
K:D Minor
d3e f2d2 a4 | e3f g2 ^c2 f4 | =B3d
^c2 e2 de f2 | A2 d4 ^c2 d4 |
d3e f2d2 a4 | e3f g2c2 f4 | =B3d
^c2e2 de f2 | A2 d4 ^c2 d4 ||
(c3d) cB A2 AB c2 | (d3e) de f2 ef
g2 | a2 f4 c2e2 cB | AB c4 e2 f4 |
a3b a2f2 d4 | g3a g2e2 ^c4 | f3g
f2d2 =B2e2 | ^c2 A4 c2 d4 |
a3b a2f2 d4 | g3a g2e2 ^c4 | f3g
f2d2 =B2e2 | ^c2 A4 c2 d4 ||
SEIGE OF PLATTSBURG. AKA and see "Boyne Water [1],"
"Backside Albany."
SEIGE OF ROCHELLE, THE (Seagad Na Rocelle). Irish, Air (4/4 time,
"spirited"). C Major. Standard tuning. AB. A composition by Balfe included
in O’Neill’s book of mainly traditional melodies. Though Balfe was a native
Irishman, O’Neill was criticized in some circles for his inclusion of his
compositions when “several of the traditional school” thought his compositions
were “not Irish at all, even if he was” (O’Neill, 1913). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 495, pg. 87.
X:1
T:Seige of Rochelle, The
M:4/4
L:1/8
R:Air
N:”Spirited”
S:O’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. 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. One part. "A rock in Eshaness where Tom (
SELKIE'S LAMENT, DA. Shetland, Air. B Flat Major. Standard tuning. AAB. "Written (by
Shetland fiddler, teacher and composer Tom Anderson) as a protest to the
culling of seal pups in Orkney in 1978. It tries to describe the lamentation of
the mother seal for the killing of her pup" (
SELLINGER'S/SELLENGER'S
ROUND. AKA and see "St. Leger's Round," "The Beginning of the World."
English, Irish; Country Dance Tune (6/8 time). G Major. Standard tuning. AA
(Chappell): ABB (Raven, Sharp): AABB (Merryweather): AA'BB' (Barnes). Kidson,
writing in
***
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; pg. 257. Fleming‑Williams
(English Dance Airs; Popular Selection,
Book 1), 1965; pg. 9. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 17. Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 33. Raven
(English Country Dance Tunes), 1984;
pg. 27. Sharp (Country Dance Tunes),
1909; pg. 41.
X:1
T:Sellinger’s Round
M:6/8
L:1/8
K:C
G3 G>AB|c3 c>de|d2c B>AB|c6|G2G G>AB|c3 c>de|
d2c B>AB|(c3 c2)d|e3 e>dc|(d3 d2)d|B>cd d>cB|A3 d2B|
c>dc B2G|A>Bc B2G|A2G ^F>EF|(G3 G2>)AB|
c>dc B2G|A>Bc B2G|A>BG ^F>EF|G6||
X:2
T:Sellenger’s Round
M:6/4
L:1/8
S:Fitzwilliam Virginal
Book
Z:AK/Fiddler’s Companion
K:C
G6 G3A B2|(c4 c3)d e2|d4 c2 B3A B2|c12|G4 G2 G3A B2|
c6 c3d e2|d4 c2B3A B2|(c6 c4)d2|e6 e3d c2|(d6 d4)d2|
B3c d2 d3c B2|A6 d4 B2|c3d c2 B4G2|A3B c2 B4G2|A4 G2^F3E F2|
(G6 G3)A B2|c3d c2 B4G2|A3B c2 B4G2|A3B G2 ^F3E F2|G12||
SELLS’ BROTHERS CIRCUS
RAG. AKA and see "Still on the Hill."
SEME RUNE RALLANACH. AKA and see "Fouller's Rant."
Scottish. John Glen (1891) finds the earliest appearance of the tune in print
in Angus Cumming's 1780 collection
(pg. 2).
SE'N
RIGH A TH' AGAINN IS FEARR LEINN (We
Prefer Our Own King). AKA and see "Wha'll (Who’ll) Be King
But Charlie," "Over
the River to Charlie [2]," "Behind the Bush in the
Garden [1]," "More Power
to Ye," "Fy Buckle Your
Belt,” “We Prefer Our Own King."
SENECA SQUARE DANCE. AKA and see “The Federal Hornpipe,”
"Georgia Boys," “Got a Little Home to Go To,”
“Higher Up the Monkey Climbs,”
"John Hoban's Polka,” “Running from the Federals,” “Shelby’s Mules,” "Waiting for the Federals."
Old‑Time, Breakdown.
***
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, who actually was from
Oklahoma but won a big contest in Missouri, according to Charles Wolfe) and was
reissued by County on an LP entitled “Echoes of the Ozarks” in the 1970's. Long
lived in the northeastern part of the state, near both the reservation and
***
“Seneca Squaredance” has been, and
continues to be, a popular tune among regional fiddlers. Fiddlin' Bob Larkin
recorded a version with words called "The Higher Up the Monkey
Climbs." Alton Jones of Theodosia calls it "Seneca War Dance"
and Cliff Bryan of West Plains calls it "Got No Little Home to Go
to." It is infrequently called
“Echoes of the Ozarks,” the name of a different tune (by Clyde Davenport, for
one). John Hartford (2001) notes similarities with “Turkey Buzzard.”
***
The melody was featured in the score
by Ry Cooder for the film The Long Riders.
It seems that one of Cooder’s associates, David Lindley, previously performed
an idiosyncratic version when he played with folk-rock musician Jackson Browne.
There was no name attached to it and it was called “David's Fiddle Tune” at the
time.
***
Source for notated version: John
Hartford [Phillips]. Ford (Traditional
Music in
|
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."