The Fiddler’s Companion
© 1996-2010 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] |
SGAILE MIC SEOIN. AKA and see "Jackson's
Morning Brush."
SGARUINT NA gCOMPANACH (The Parting of Friends/Companions). AKA and see "The Parting of Friends." Irish,
Slow Air or Lament. Matt Molloy – “Music at Matt
Molloy’s.”
SGIAN DUBH (The Black Knife). Scottish, Jig. B Minor (Kerr, Miller): C Minor (Athole). Standard. AB (Kerr): AAB (Athole): AA’B (Miller). The sgian dubh (pron: 'skeean do'), or 'black dagger/knife', is the small knife worn in the stocking of a kilted Scotsman. Although quite sharp it is considered a utensil and therefore is allowed to be worn into another's home when visiting. It is the sharpest object allowed to be worn into the House of Commons, though they were supposedly temporarily confiscated by the United States Secret Service during a White House affair. Kerr (Merry Melodies), vol. 2; No. 319, pg. 35. Miller (Fiddler’s Throne), 2004; No. 8, pg. 18 (appears as “The Black Knife”). Stewart-Robertson (The Athole Collection), 1884; pg. 141.
X:1
T:Sgiandubh
L:1/8
M:6/8
R:Jig
B:The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C Minor
E/G/|C2c c2G|BGB FDB,|C2c c2G|cde d2c|C2c c2G|BGB FDB,|E3 F3|GEC C2:|
f|g2(c c)de|dcB fdB|g2(c c)dc|gaf gec|g2(c c)de|dcB fdB|e>fg fed|gec c2f|
g2c
cde|dcB fdB|g2(c c)dc|gaf gec|gbg fbe|dfb fdB|E>FG D>EF|GEC C2||
SGIAP AN MUNLOC. AKA and see "Scatter the Mud
[1]."
SHAALDS O' FOULA [1], DA. AKA and see "The Foula Shaalds."
Shetland, Jig. A Major (
***
Up wi' a light but and linka the wa' boys,
The shaalds will pay for a'."
***
The tunes are sometimes incorrectly
called "The Foulla Reel" which is really the name for the dance the
"Shaalds of Foula" is played for. Source for notated version: Mike
Richardson (
SHAALDS O' FOULA [2], DA. AKA
‑ "The Foula Shaalds," "Da Foula Reel," "Boanie Tammie Scollay,"
"The Aald/Auld Reel." Shetland,
Jig. Shetland, Yell. A Major (Anderson, Martin): G Major (Anderson & Georgeson).
AEae or Standard tunings. AABB. See note for version #1. "It is still
popular today and is occasionally still danced, but as a country dance in jig
time, not as a Shetland reel. An earlier version of this tune appears in
Hibbert (1822), but in the key of G and in 6/8 time throughout. Hibbert also
gives words associated with the tune. Today it is Hibbert's version which is
most commonly played and it is this version which appears in the folk Society's
collection, Da Mirrie Dancers
(Anderson & Georgeson). However, in the district known as the Herra in Yell
it is still played by members of the Robertson family in the key of A and with
the AEae tuning..." (Cooke, 1986). The collector Patrick Shuldham‑Shaw
found elsewhere in Shetland "Da Foula Reel" both reel time and jig
time variants. The melody, slightly altered, also appears married to words in a
well‑known Shetland song called "Boanie Tammie Scollay,"
printed by Hibbert, which is occasionally played by fiddlers under that name as
a reel. Cooke also says that the dance to the tune is the best known of the
'Shetland jigs' (a country dance), and Flett & Flett record it was danced
in the Wester Skeld district at least since 1870. Flett, in The Shetland Folk Book, vol. 6 (1976),
concluded that it was possibly brought to Shetland from Sweden via England, as
it was similar to the Swedish folk dance 'Vava Vadmal,' which was introduced to
Britain under the name 'Norwegian Country Dance.' Tom Anderson says "Fields of Foulla" is published in
Holburn's Airs from the Far North.
X:1
T:Shaalds o’ Foula, Da
T:Foula Reel, Da
L:1/8
M:6/8
K:G
D | E2G G2e | edB BAG | G2B A2B |
G2A GED |
E2G G2e | edB BAG | G2B A2B | d3 D3 :|
|: edB ABd | edB BAG | {f}g2B A2B |
G2A GED |
edB ABd | edB BAG | {f}g2B A2B | d3
D3 :|
SHAALDS O FOULA [3], DA. Shetland, Reel. D Major. Standard tuning. AABB. Source for notated
version: James Goudie (Shetland) [Anderson & Georgeson]. Anderson & Georgeson
(Da Mirrie Dancers), 1970; pg. 15.
SHACKLEY-HAY. AKA ‑ "Shackle de hay." English, Air (6/8 time). B Flat
Major. Standard tuning. AB. The song appears in the Skene MS of c. 1620.
Chappell (Popular Music of the Olden
Times), Vol. 2, 1859; pg. 83.
X:1
T:Shackley-Hay
L:1/8
M:6/8
S:Chappell – Popular Music of the Olden Times
Z:AK/Fiddler’s Companion
K:B_
B|B2G A2B|c2B AGF|B3 G2E|FGA B2B|B2G
A2B|c2B AGF|B3 G2E|FGA B2||
F|e2c d2B|c2A F2B|G2E F2D|E2F
G2A|BAG F2d|cBc B2B|BAG F2d|cBc B2||
SHADDIE, THE. AKA – “Shaddle,” “Miss Ray.” English, Jig. D Major. Standard tuning. AABB. The melody (in the key of B flat) is given as “Shaddie,” with “Miss Ray” as an alternate title, in the 1820 music manuscript collection of Frank Johnson, inscribed “Presented to Mrs. A. Rush, by Frank Johnson, a Black Musician” [Historical Society of Philadelphia]. The same title and alternate title appear with dance figures in dancing master Thomas Wilson’s Treasures of the Terpsichore, or Companion for the Ballroom (London, 1809). Cahusac (Annual Collection of Twenty Four Country Dances for the Year 1809), 1809; No. 6.
X:1
T:Shaddle, The
M:6/8
L:1/8
R:Jig
B:Cahusac – Twenty Four Country Dances for the Year 1809, No. 6 (London)
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblys.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
Z:AK/Fiddler’s Companion
K:D
A|f2e dcB|A2F D2E|F>GF {G}FED|CEE
E2A|f2 e dcB|
A2F D2E|FGF {F}EDE|(D3 D2)::A|g2e f2d|c2A
d2f|
g2e f2d|cee e2A|gfe fed|cBA def|gfe
fed|(f3 e2):|
SHADDIGHEE. AKA and see "The
Carrolltown Breakdown [2]," "Off to Charlestown." Amercian, Reel.
SHADES OF THE YELLOW
ROSE.
Old-Time, Waltz.
SHADOW OF THE MOUNTAIN. American, Waltz. C Major. Standard tuning.
SHADOWS ON THE LAWN. American (?), Jig. Composed by Doug Feeney. Great
Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).
SHAD(E)Y GROVE [1]. Old‑Time; Breakdown and Song
Tune.
***
Shady Grove, my little love, bound for the Shady Grove.
***
Cheeks as red as the blooming rose, eyes the deepest brown,
You are the darling of my heart, stay til the sun goes down.
***
Shady Grove, my little love, Shady Grove my darlin/
Shady Grove, my little love, I'm going away to Harlan.
***
Went to see my Shady Grove, she was standing in the door,
Shoes and stockings in her hand, little bare feet on the floor.
***
From Jean Ritchie's Singing Family of the Cumberlands (1955)
(condensed):
***
Dad remembered for us the first day he ever heard the fiddle
played. He was about nine years old and
going to school to old man Nick Gerhart... when Maggard Ritchie came in.
"He'd been off somewheres, courtin in Virginny, and he'd brought a
feller home... and they had come to the schoolhouse to visit with Nick. Nick told us not to look up while they
talked... But you know that stranger had a fiddle in his hand, and pretty soon
he propped it in the cradle of his arm and begun to play that thing. Lordie!
It was the prettiest sweepingest music. ... I just couldn't stand to sit still on that log bench and that
tune snaking around so.
No sir, that was one tune that didn't stay in one place no time at all.
... I thought I was going plum
crazy. You could hear feet a‑stomping
all over the house, benches a‑creaking, young uns a‑giggling...
"Finally I let out a yell and lept off'n that bench and commenced to dance and clog around.... some of the other boys jumped up too.... .... after a while they left, and the teacher tried to settle us, back to our books, but I couldn't even see the print. I kept seeing that old fiddle bow race around on "Shady Grove." We around there had always sung that tune middling fast, hopped around to it a little bit, but that fiddle had tuck out with that'n like the Devil was after her. ... I kept laughing and wiggling in my seat, and saying the words to "Shady Grove” instead of my lesson.
Cheeks as red as a bloomin rose,
Eyes of the deepest brown,
You are the darlin of my heart,
Stay till the Sun goes down.
Shady Grove, my little love,
Shady Grove I know,
Shady Grove, my little love,
Bound for the Shady Grove.
(more verses).
***
These verses have also been heard at
various times:
***
Shady Grove, my little love, Shady Grove my darling
Shady Grove, my little love, I'm going back to Harlan
(or)
Shady Grove, my little love, Shady Grove I know
Shady Grove, my little love, I'm bound for Shady Grove
***
Now I want little Shady Grove to say she'll be my wife
***
Cut a banjo from a gourd, string it up with twine
The only song that I can play is "Wish that gal was mine"
***
Apples in the summer time, peaches in the fall
If I can't have the girl I love, I don't want none at all
***
I've got a big fine horse, and corn to feed him on
All I need's little Shady Grove to feed him when I'm gone
***
Johnson (The Kitchen Musician: Occasional Collection of Old‑Timey Fiddle
Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1982 (revised 1988, 2003);
pg. 4. Rounder 0113, Trapezoid ‑ "Three
Forks of Cheat" (1979. Learned from Kilby Snow). Tradition TLP 1007, Mrs.
Edd Presnell ‑ "Instrumental Music of the
X:1
T:Shady Grove
S:Jean Ritchie's 'Singing Family of
the Cumberlands'
Q:45
M:2/4
L:1/8
N:”Very lively”
K:Em
E/E/ E/E/4E/4|F/E/ D|E/E/4E/4 F/A/|\
B3/2 B/|d3/4d/4 B/B/|A/(F/4E/4)D|\
E/F/4F/4 A/F/|E2||E/E/E|\
F/E/4E/4D|E3/4E/4 F/A/|B2|d3/4d/4B|\
A/F/4E/4D|E/F/4F/4 A/F/|E2|]
X:2
T:Shady Grove
M:4/4
L:1/8
K:A Dorian
E2|A2 AA A2 AA|BcBA G2 GE|A2 AA
B2d2|e3 d e2 ee|
g2 gg e2 ee|dB A2G2 GG|A2 BG
d2B2|A3G A2||
SHADY GROVE [2]. AKA and see "Salt River
[3]." Old‑Time, Breakdown.
SHADY GROVE [3]. Old‑Time, Breakdown. A Dorian. Standard tuning. AABB. According
to folklorist and musicologist Alan Jabbour (notes
to the tune at the Henry Reed collection) the ‘A’ part of the tune is
derived from “The Boyne Water.” Jabbour
believes that Henry Reed’s tune possibly derived from a version or versions of
“The Foggy Dew” (also a “Boyne Water” relative). This set of “Foggy Dew” is
found in O’Neill’s Old Irish Folk Music
and Songs (No. 58), and, finds Jabbour, a “Foggy Dew” that is similar to
Henry Reed’s “Shady Grove” was fiddled by J.H. Chisholm of Greenwood, Virginia.
The second strain of Reed’s “Shady Grove” corresponds to the usual Appalachian
song given in “Shad(e)y Grove [1],” albeit, as Jabbour points out, the part does
not begin on the tonic, as is usual with the song. Finally, the musicologist
notes that Reed’s tune begins on the high strain, followed by the low (“a
stylistic choice that is particularly characteristic of the old Upper South
frontier”), a reversal of the usual
X:1
T:Shady Grove [3]
M:C|
L:1/8
S:Henry Reed
K:G
|:(e|d)def g2e2|abaf e2d2|edef g2e2|a3b
a3(a|edef g3e|d2 BA G2A2|
BABc d2B2|[A3A3]B A3::(A|BABA G3B|d2
BA G3G|AABd d3e|
[e3e3] (e|e2f2 gage|d2 BA G2A2|BABc
d2B2|A3A A3:|
SHADY GROVE [4]. Old‑Time, Breakdown.
***
Shady Grove, sugar Betty Ann,
Shady Grove I say,
Shady Grove, sugar Betty Ann,
Bound to leave this place.
***
Shady Grove's a pretty little girl,
Mighty hard to please;
She went to sleep by herself one cold night,
And I hope, by jinks, she'll freeze. (Rosenbaum/Bruce)
***
Source for notated version: banjo
player W. Guy Bruce (Trion,
X:1
T:Shady Grove [4]
M:C|
L:1/8
K:A Mix
e|a4 a2f2|efec A2e2|a4 a2e2|f3a
f2e2|a4 a2f2|efed cBAB|cBcd edcA|B3c B3:|
e|B3c B2 AB|cA B2A2 Bc|BABA c2e2|f3a
f4|e2a2 a2f2|efec A2B2|cBcd e2c2|B3c B3:|
X:2
T:Shady Grove [4]
M:4/4
L:1/8
K:G
ef|g2 ef g2 e2|dedB G2 ef|g2 ga ge
d2|[c2e2] ef e2 ef |g2 ef g2e2|
dedB G2 GA|B2 Bc BA G2|[F3A3]B
A2::A3F A2 AF|BG A2G2 GG|
A2 AA B2d2|[c3e3]d e2 ef|g2 ef
g2e2|dedB G2 GA|[G2B2] Bc BA G2|[F3A3]B A4:|
SHADY
X:1
T:Shady
M:C
L:1/8
R:Air
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
G>A | (Bd)AB GFED | E2A2A2 (GA) |
(Bd)AB (GF)ED | E2G2G2 || AB |
cBcd e2 Bc | dBAG A2 (FG) | (Ad)^cB
(AG)FE | F2D2D2 (Fd) |
dcBA ^G2 ed | c2A2A2 (AB) | (cB)AG
F2 (dc) | B2G2G2 AB |cBcd e2 Bc | (dB)AG A2 ||
SHADY GROVE [6]. Old-Time. D Major. Standard. Rounder 0421,
Bruce Molsky - “Big Hoedown” (1997. Version from Galax area fiddlers Norman Edmonds and
Luther Davis).
SHADY GROVES OF
PEAMOUNT, THE. AKA and see “Banish Misfortune [1].”
SHADY LANE, THE (An Botarin Scatmar). Irish, Single Jig. D Minor.
Standard tuning. AABB'. See also the related “Basket of Oysters [2],” “Bunch of Roses [3],” "Christmas Comes but Once
a Year," "I've
got one daughter to marry," "I'm a Silly Old Man,” “The Little Bogtrotter,” “Spring in the Air.” O'Neill (Dance
Music of
X:1
T:Shady Lane, The
M:6/8
L:1/8
R:Single Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D Minor
e|f2e fga|g2f efg|f2d def|ecA
A2e|f2e fga|g2f efg|f2d e2^c|d3 d2:|
|:d|c2A AGF|c2A A2d|c2A BAG|F2D D2d|c2A
AGF|c2A A2e|f2d e2c|1 d2e f2d:|2 d3 d2||
SHADY MAPLE REEL. Canadian, Reel. G Major. Standard tuning. AABB. Source for notated
verison: Composed by Frank Lowery in 1980 (Prince Georges,
SHADY ROAD TO CLAMPER, THE. Irish, Polka. G Major. Standard tuning.
AA’BB’.
X:1
T:The Shady Road to Clamper
D:The Night of the Fair, Dan
Herlihy, track 3(a)
N:Jack O'Connell, a fiddle player
from Lighthouse,
N:Ballydesmond, loved to play the
first of these two tunes.
N:Jack had a huge influence on the
young musicians of our
N:area and was a tremendous help to
me when I began to
N:play the accordion in the early 50s
[note by Dan Herlihy]
N:also played in A
R:polka
Z:transcribed by Paul de Grae
M:2/4
L:1/8
K:G
D|:G2 Bd|gd ed|G2 Bd|eB d2|
G2 Bd|gd ed|e/f/g/e/ dB|1DE GD:|2 DE
GA|
|:B2 BA|Bd ed|B2 Bd|B/A/G A2|
B2 BA|Bd ed|e/f/g/e/ dB|1DE GA:|2 DE
G2||
SHAG POKE. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated
version: Pat Conte [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 127.
SHAGAMAW. American, Reel. D Major.
Standard tuning. AABB. Composed by
SHAKE EM' UP EARLY. Old‑Time. The title appears in a list of traditional
SHAKE IT UP JULIE. Old‑Time. The title appears in a list of traditional
SHAKE IT UP SHANNAHAN. Irish. Recorded as a pipe solo
by Shaun O’Nolan, the “Wicklow Piper” for Columbia Records on 78 RPM (No.
33070F) in the 1920’s. O’Nolan recorded a few piping solos, but then switched
to recording vocals.
SHAKE THE BOW. Old‑Time, Polka.
SHAKER BEN. Old‑Time, Breakdown.
SHAKING DOWN THE ACORNS
[1]. AKA and see "Rattlin' Down the Acorns [1],"
"Flattening the Acres."
Old-Time, Breakdown. D Mixolydian. Standard tuning. AABB. The low strain
(coarse part) starts on a ‘C’ chord. Mike Seegar was supposed to have learned
this from Wilson Douglas, writes Kerry Blech, but when Blech asked
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Shaking Down the Acorns [1]
M:C|
L:1/8
S:Wilson Douglas, via Bruce Molsky
Z:AK/Fiddler’s Companion
K:D Mixolydian
{A}[D3d3] (e dc)AB | [E2c2][E2c2]
(ce)(dc) | A2A2 (AB)(^cB) | (AB)AG F(D D2) :|
|: [C6E6][C2E2] | (DE)DC (A,C)G,A, |
C2D2E2G2 | (AG)(AG) (ED) D2 :|
SHAKING DOWN THE
ACORNS [2]. Old-Time, Breakdown. A Dorian.
Standard or ADae tunings. AA'BB. Burl Hammons used ADae tuning, and said his
tune came from his uncle Nige Cogar, who lived near the Hammons family when
Burl was young. Carl Felischauer says in notes to Rounder 0018 that “the tune
is one of those dance tunes, encountered often in British tradition but rarely
in
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Shakin’ Down the Acorns [2]
M:C
L:1/8
R:Reel
N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A Mixloydian
(G|:[AA]) AG (~ED)EG|A2 AG (ED)EG|A2 (AB) ~c2e2| (dc)BA (GA)BG:|
[AA] AG (~ED)EG|A2 AG (ED)EG|A2 AB ~c2e2|(dc)BA (GA)Bd||
e4 e2 (ef|e)(dB)A G2 (ef|~g2) (ga) g2e2|(dc)BA [A,2G2] Bd|e3 (e [e2e2]) (ef|
e)(dB)A G2 (ef|ga)(ba) (g^g)e2|(dc)BA [A,2G2]Bd|e4 e2(ef|e)(dB)A G2 eg|f2d2~g2e2|
(dc)BA [A,2G2] Bd|e3 (e[e2e2]) (ef|e)(dB)A G2 (ef|ga)(ba) (g^g)e2|(dc)BA GABG||
SHAKING OF THE SHEET(S) [1], THE. AKA and see "The Nightpiece," "Dance of Death," "Dance After My Pipe." English, Country Dance Tune (6/4 time). G Major. Standard tuning. AAB. This air, the earlier version of the two, appears in William Ballet's Lute Book (1590). Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 228.
X:1
T:Shaking of the Sheets, The [1]
M:6/4
L:1/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:G
d3e f2 d3e f2|g4 g2 g4 g2|d3e f2 d2 e2 ^c2|d4 d2 d4:|
||=f2|e4 d2c2B2A2|B2G2G2 G4 _B2|A2F2F2 F4 c2|
B2 G2 G2 G4f2|e4 d2 c2 B2 A2|B2 G2 G2 G6||
SHAKING OF THE SHEETS [2], THE. AKA and see "Dance After My Pipe," "The Nightpiece." English, Country Dance Tune (6/4 time). G Major. Standard tuning. AB or One part. This version of the air, which supplanted version #1 by the mid‑seventeenth century, appears in Playford's Dancing Master of 1650. Chappell (1859) says it became very popular and "was still in favour in 1783, when it appeared in a publication called The Vocal Enchantress." It's popularity may be attributed to its association with weddings in the 18th century, for the guests of the wedding party were known to have led the bride and groom to the bridal chamber dancing to the melody, no doubt enjoying the bawdy reference of the title. That the tune was used early for dances is attested to by a reference in Roxburghe Ballads in which it is mentioned with several other dance tunes (7, pgs. 342-44):
***
The Piper he stuck up and Merrily he did
play,
The shakeing of the sheets, and eke the
Irish hay
Then up with Aley, Aley, Up with Priss and
Prue;
In came wanton Willy, amongst the jovial crew.
***
To a merry Scotch tune, or Up with Aley,
Aley, & c.
***
The alternate title "Dance After My Pipe" seems to have been a proverbial expression, states the musicologist, as this quote from Vox Borealis (1641) illustrates:
***
I would teach them to sing another song, and
make
them dance after my pipe, ere I had done with them.
***
Francis Collinson (The Bagpipe, 1975, pg. 110) finds “Dance After My Pipe” mentioned by Ben Jonson in Every Man out of his Humour. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 229. Raven (English Country Dance Tunes), 1984; pg. 11.
X:1
T:Shaking of the Sheets, The [2]
M:6/4
L:1/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:G
A2|B4 G2 d4 B2|G4 D2G2 B4|A4 c2 B3A G2|G3F G2 A4 A2|
B4G2 d4B2|G4 D2 G2B4|A4 c2 B3A G2|F2A2B2 c4||
d2|e4 c2 d4 c2|B3A G2 A4 D2|G4 F2 G4 D2|B3A G2 A4 A2|
e4 c2 d4 c2|B3A G2 A4 D2|G4 F2 G4 D2|B2 A4 G6||
SHAKIN’S O' THE POCKY, THE. Scottish, Strathspey. B Flat Major. Standard
tuning. AB. Composed by J. Scott Skinner
(1843-1927), in collaboration with Peter
Milne (1824‑1908); it appears in Skinner's Miller o' Hirn Collection. Milne, a great strathspey player equally
at home with classical music, gave Skinner his first lessons in playing
strathspeys, but had the misfourtune to become an opium addict after taking
medicinal laudanum to relieve pain from an injury. He deteriorated, and finally
was reduced to busking for change on the ferries that travelled from
Queensferry and Burntisland. When the
X:1
T:Shakin's o' the Pocky, The
C:James Scott Skinner and Peter Milne
B:adapted from The Caledonian Companion
N:as played by Aly Bain
Z:Nigel Gatherer
M:4/4
L:1/8
K:Bb
B,>DF>G F<D B,>A|B>A G/A/B/c/ d4|e>cd>B c>A BG|F<D B>D C2 C>D|
B,>DF>G F<D B,>A|B>A G/A/B/c/ d4|e>cd>B c>AB>G|G/F/E/D/ F/E/D/C/ B,2 B|]
a|b>f d<B g<e c>a|b>f e/d/c/B/ f3 g/a/|b>f d<B g<ec>B|A>B c<f B2 B>a|
b>f d<B g<e c>a|b>f e/d/c/B/ f2 f>e|d>Be>c d/c/B/A/ B>G|\
G/F/E/D/
F/E/D/C/ B,2 B|]
SHAKKIN TREWS. AKA and see "Duncan
Davi(d)son." Shetland. Shetland, (
SHAKY TREE. In the repertoire of Fiddlin' Cowan Powers 1877‑1952? (
SHALDER GEO. See "Sheldor
Geo."
SHALL I GO WALK THE
WOODS SO WILD. AKA and see "The Woods So Wild."
SHALL I WASTING IN
DESPAIR. AKA and see “What Care I How Fair She Be.”
English, Ballad Air (4/4 time). F Major. Standard tuning. AB. This early
seventeenth century ballad Chappell (1859) found in a MS in the Advocates
Library, Edinburgh. Chappell (Popular
Music of the Olden Times), vol. 1, 1859; pg. 202.
X:1
T:Shall I Wasting in Despair
M:C
L:1/8
S:Chappell – Popular Music of the Olden Times (1859)
Z:AK/Fiddler’s Companion
K:F
c3d c2G2 | AG FE D4 | F3F B2G2 | c2 BA G4 | G3G A2F2 |
F2B2A3B | cB AG F2E2 | D3C C4 || G2 EF G2C2 | F2G2 A4 |
F3G
AB c2 | E2F2 G4 | G2 GA BG Bc | d2 cB A4 | A2F2 c3A | G3F F4 ||
SHALL WE EVER BE IN
ONE LODGING?? Irish, Air (3/4 time). D Minor.
Standard tuning. One part. Source for notated verison: Hugh O'Beirne, professional
fiddler from Ballinamore, Co. Leitrim, c. 1846. Joyce (Old Irish Folk Music and Songs), 1909; No. 589, pg. 307.
SHAM DOCTOR, THE. English, ‘Old’ Hornpipe (3/2 time).
A Major. Standard tuning. AABB. The tune dates to around the year 1690. Plain
Brown Tune Book, 1997; pg. 38.
SHAMBOE/SHAMBOY
BREEKS/BREECHES. AKA and see “Shammie Breeches.”
SHAMBUY/SHAMBUIE, THE. AKA and see "Sean Buidhe/Bui" (Yellow John),"
"Pot Stick," "Over the Water to Charlie."
The title is an Englished corruption of the original Gaelic, “Sean Buidhe.”
SHAME
FA THE GEAR AND THE BLATHRIE O'T. Scottish. "Kelly, in his Scottish Proverbs, 1721, mentions this
as the catchphrase of a Scottish song, old in his day, and as a saying spoken
when someone marries for money (Williamson)." Flying
Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, vol.
1."
SHAMMIE BREECHES. AKA – “Shamboe Breeches/Breeks.” AKA and see "Bernard's Well" or "St. Bernard's Well." Scottish,
English, Reel. G Major. Standard tuning. AABB. ‘Shammie breeches’ = a pair of
soft pants made from chamois cloth. John Glen (1891) finds the earliest
appearance of the tune in Neil Stewart's
1761 collection (pg. 35). Kidson (1890) names this as one of the "Keel
Row" family of tunes. Aird (Selections), vol. 2, 1782; No. 26, pg.
10.
X:1
T:Shammie
Breeches
M:C
L:1/8
S:Aird,
Vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
c | Bddg e(cc)d | B(GG)B A(FF)A | Bddg eccd | BGAF G/G/G G :|
|:
d | BGdG BGdG | AFcF AFcF | BGdG B/A/B/c/ dg | AFcF G/G/G G :|
SHAMROCK (REEL) [1], THE. AKA and see "(Next) Sunday is/was My Wedding Day,"
"The Misfortunate Rake,"
"The Unfortunate Rake [2],"
"The Squint‑eyed Piper,"
"General White's Jig,"
"Rattle the Quilt (to
Pieces)," "Kennedy's Jig,"
"Apples in Winter [1]."
Irish, Air and Double Jig. E Minor. Standard tuning. AABB. Source for notated
version: "Copied from two very old well‑written manuscripts lent to
me in 1873 by Mr. J. O'Sullivan, of Bruff, Co.
X:1
T:Shamrock, The [1]
M:C
L:1/8
R:Reel
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:D Dorian
dcAB cBcA |GEGA c4| dcAB cBcA| GEcE
D2D2 :|
Dddd dfed| cde^f gefd|Addd defd|edcB
A2A2|Ad ~d2 Ad ~d2 |
cde^f g2 fg | a^fge =fdec | Addc d4
||
SHAMROCK (REEL) [2], THE. Irish, Reel. D Dorian. Standard tuning. AAB.
Learned by Joyce as a child in
X:1
T:Shamrock Reel, The [4]
M:C
L:1/8
R:Reel
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:D Dorian
dcAB cBcA|GEGA c4|dcAB cBcA|GEcE
D2D2:|
Dddd dfed|cde^f gefd|Addd defd|edcB
A2A2|
Ad ~d2 Ad~d2|cde^f g2 fg|A^fge
=fdec|Addc d4||
SHAMROCK (JIG), THE. Irish, Air and Jig. G Major. Standard tuning.
AABB. Joyce (Old Irish Folk Music and
Songs), 1909; No. 239, pg. 116.
X:1
T:Shamrock, The [2]
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:G
g|dBB BAB|GAG Gge|dBB BAG|Bee
e2f|dBB BAB|GAG GBd|gfe fdB|Bee e2:|
|:f|gag fgf|efe dBd|gag fed|Bee
e2f|gbg faf|e/f/ge dBd|gfe fdB|Bee e2:|
SHAMROCK (SLIP JIG), THE (An tSeamróg). Irish, Scottish; Slip Jig. A Major. Standard.
AABB. See also the related “Waterford
Girls.” Source for notated version: Bernard Bogue (County Monaghan &
County Tyrone) [Breathnach]. Breathnach (CRÉ
IV), 1996; No. 33, pg. 20. Kennedy (Fiddler’s
Tune Book: Slip Jigs and Waltzes), 1999; No. 72, pg. 17. Kerr (Merry Melodies), vol. 3; No. 231, pg.
26.
X:1
T:Shamrock, The
M:9/8
L:1/8
R:Slip Jig
S:Kerr – Merry Melodies, vol. 3, No. 231
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
A2A cBA cde | A2A cBA GFE | A2A cBA
cde | fga e2d cBA :|
|: cde ece e3 | cde ecA GFE | cde
ece e3 | fga e2d cBA :|
SHAMROCK AND THISTLE
HIGHLANDS. A medley by Donegal fiddler Danny
O’Donnell of the tunes “Loudon’s Bonnie
Woods,” “Niel Gows Wife” and “Jenny’s Bawbee.”
SHAMROCK COCKADE. AKA and see "Allie/Ally
Cro(c)ker." Irish, Air.
SHAMROCK HILL. Irish, Reel. Composed by
SHAMROCK SHODDY. Old‑Time.
***
In early spring when small birds sing and lambkins sport and play,
My way I took, my friends forsook, and came to
I enter’d as a passenger, and to
I bade farewell to all my friends, and I left the shamrock shore.
(Joyce, 1890)
***
Ye muses mine, with me combine and grant me your relief,
While here alone I sigh and moan, I'm overwhelmed with grief:
While here alone I sigh and moan far from my friends and home;
My troubled mind no rest can find since I left the Shamrock shore. (Joyce, 1909)
***
The version usually heard in modern
times (as, for example, from the Boys of the Lough {“Piper’s Broken Finger”})
begins:
***
From
We were taken on board by a pleasant crew, bound for Amerikay
Fresh water then we did take on, five thousand gallons or more
In case we'd run short going to
***
Then fare thee well, sweet Liza dear and likewise unto
And twice farewell to my comrades brave that dwell on that sainted
ground
If fame or fortune shall favour me, and I to have money in store
I'll go back and I'll wed the wee lassie I left on Paddy's green
shamrock shore.
***
Source for
notated version: noted from the singing of Joseph Martin (Co. Limerick), but it
is well known in
X:1
T:
M:C
L:1/8
R:Air
S:Joyce – Ancient Irish Music (1890)
Z:AK/Fiddler’s Companion
K:Eb
E2 | A2 (GA) F2 (GB) | c2f2 (e>c)(BG) | (FE)(FG) E2 E2 | E6 (3Bcd | e2 (de) c2 (de) |
f2 (ed) (cB)(GB) | c3G (BG)(EG) | F6 B2 | e2 (de) c2 (de) | f2 (ed) (cB)GB | c3G (BG)(EG) |
F6 (3EFG | A2 (GA) F2 (GB) | c2f2 e>cBG | (FE)(FG) E2 E2 | E6 ||
SHAMROCK TWO-STEP. Cajun, Two-Step (4/4 time).
SHAMROCKS IN THE GALAX. American, Breakdown. B Minor (‘A’ part) & D Major (‘B’ part).
Standard tuning. AA’BB’. Composed by banjo and concertina player Bertram Levy.
Songer (
SHAMUS
O'BRIEN. AKA - "Sheamus O'Brien,"
“Seamus McManus.” AKA and see "Shamus O'Brien's Waltz," "James
O'Brien." American, Canadian, Irish; Waltz and Air (3/4 time).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Chamois
O’Brien
M:3/4
L:1/8
S:Viola
“Mom” Ruth, 1948
Z:AK/Fiddler’s
Companion
K:G
(dd)||(e2d2B2)|(G2A2B2)|(E2G2E2)|D4
(DD)|G3 (FGB)|(e2d2B2)|
(A6|A4)
(dd)|(e2d2B2)|(G2A2B2)|(E2F2G2)|e3 (fge)|(d2B2G2)|
(A2E2F2)|(G6|G4)
(dd)||:e3 (def)|(g2f2e2)|f3 (efd)|B4 (dd)|e3 (def)|
(g2f2e2)|(f6|f4)
(ge)|(d2B2A2)|(G2A2B2)|(E2F2G2)|e3 (fge)|
(d2B2G2)|(A2E2F2)|1
(G6|G4) (dd):|2 (G6|G2) B2d2|(g6|g4)||
SHAMUS O’THOMUSH. See “Seamus
O’Thomush.”
SHAN DOL GRIGRUGH. Scottish. Attributed to John Bruce, a fiddler from
SHAN TROWES. See "Sean Trews [1]."
SHAN VAN VOCHT [1], THE. AKA and see “Sean-B(h)ean B(h)ocht.” Irish, Hornpipe.
A Minor. Standard tuning. AABB. Allan's Irish Fiddler, No. 90, pg. 23.
SHAN
VAN VOCHT [2], THE (An t‑sean
bean boct). AKA
and see “The Poor Ould Woman [1].”
Irish, Air (4/4 time). G Major. Standard tuning. One part. The title is an
Englished version of the Gaelic “An
t-sean bean boct” or “A Sheana‑bhean bhochd,” which translates as
‘the poor old woman,’ or more literally, ‘the tight old hag.’ The old woman is
a personification of the Irish nation. The allegorical song is about the 1798
Irish uprising, and while Joyce sourced it from the Young Ireland movement of
the mid‑19th century others think it may date from 1707-98. Vic Gammon
(1989) points out that even if it were written later, the hopeful sentiments
would have been re-aroused in the Irish with the ascendance more than a decade
later of Napoleon. “Many settings of this air have been published. I give one
here which I think has not yet seen the light" (Joyce). A version of it
can be found in Patrick Galvin's Irish
Songs of Resistance. It begins:
***
O the French are on the sea
O the French are on the sea
Says the Shan Van Vocht
O the French are in the bay
They’ll be here without delay
And the
Says the Shan Van Vocht.
***
Joyce (Old Irish Folk Music and Song), 1909;
No. 119, pg. 60. Ó Lochlainn, Colm (
X:1
T:Shan Van
Vocht, The
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
B>c|dggf
d2 cA|G2G2G2 A>G|FGAB c>BAG|F2D2D2 G>F|
DGGF G2
A>F|GA {B}cd {e}^f2 d>g|g^fdc d2 cA|G2G2G2||
SHANAHAN’S
HORNPIPE. Irish, Hornpipe. G Major. Standard
tuning. AABB. See also the related “Billy
Taylor’s Fancy” and “Seán
Ryan’s (Hornpipe) [5].” Source for notated version: a manuscript from
Professor P.D. Reidy, a famous dancing master of "
X:1
T:Shanahan's Hornpipe
M:4/4
L:1/8
S:Prof. P.D. Reidy, manuscript
Z:Paul Kinder
R:Hornpipe
K:G
D2|GFGA BGBd|gfga bgdB|A^GAB cBce|(3agf (3gfe (3dcB (3cBA|
GFGA BGBd|gfga bgdB|Aedc BGAF|G2 G2 G2:|
|:Bc|dcde d2 ef|gfga bgdB|dcde fgaf|(3agf (3gfe (3dcB (3cBA|
GFGA
BGBd|gfga bgdB|Aedc BGAF|G2 G2 G2:||
SHANAHANS' RAMBLES. Irish, Double Jig. G Major. Standard. AABB. Roche Collection, 1982, vol. 3; No. 92, pg. 28.
SHANAVEST AND
CARAVAT/COROVOTH [1], THE. AKA and see "The Old Vest and Cravat."
Irish, Air (2/4 time, "with spirit"). D Major. Standard tuning. One
part. In Joyce's Ancient Irish Music
(p. 32) there is a different air with this name. Joyce (1909) observes that
"Shanavest" and "Caravat" were the names of two 'fighting
factions', or gangs, in and around Co. Kilkenny, about the beginning of the
last century (c. 1800). Shanavest signifies an old vest, while Caravat is a
cravat; they were tokens denoting the different gangs who would fight each
other at fairs, markets and meetings of all kinds throughout the 1700's and
even into the mid-1800's. Other ‘gang’ names were the “Black-feet’ and
‘White-feet’, ‘Three years old’ and ‘Four years old’. “When I was a boy (c.
1845) I often witnessed a furious fight with sticks and stones, between ‘Three
years’ and ‘Four years’, at the fairs of Ardpatrick and Kildorrery...” (Joyce,
1873).
***
The groups
grew out of agrarian unrest. The Caravats were primarily a Whiteboy
organization who recruited the poor in autonomous local gangs. They pitted themselves against the middle
class with intense hostility, and had an internal structure that rewarded
loyalty and solidarity. A recorded version of the Caravat oath goes:
***
when warned, no cause
to excuse absence but sickness, of which
sufficient proof must
be given, to keep all secrets, to suffer until
death rather than
betray each other or whatsoever may be seen
or heard of our cause,
and to stand by each other at all fairs
and patrons.
***
The Shanavests who opposed them were a middle class
anti-Whiteboy movement, who inhabited much the same geographic area as the
Caravats. They rallied around the cause of Irish nationalism and condemned the
Whiteboys as anti-nationalist. However, the Shanavests were smaller in number
and as a consequence tended to loose out in the faction fights between the two.
From 1806 to 1811 the Shanavest and Caravat conflict raged across large areas
of
***
Faction fighting was not only between rival gangs. In fact,
the incident that produced the greatest death toll, with over 200 people killed
and several hundred injured occurred between clan groups in a faction fight at
Ballyveigh Strand,
***
It had been rumored that a faction fight was
going to happen.
On 24th of June, 1834,
on the occasion of the Ballyeagh strand
horse races on
the Cooleens. The
battle was fought with special sticks called
Blackthorne sticks or
cudgels. Some were weighted with lead
and were not used free
swinging but were held in the middle to
protect the elbow. An
estimated 1,200 of the Cooleens crossed
the Feale in boats
from the north and were then in what was
considered
Mulvihill/Lawlor territory and was in itself considered
provocative. The
Cooleens attacked the Mulville/Lawlor people
who were generally
imbibing with poteen and whskey. The invaders
came forward in lines
with about 20 women on the sides with aprons
full of stones. The
authorities tried to stop them from coming but
were unsuccessful. At
first the Cooleens got the upper hand since
half of their adversaries
were still in their tents having a good time
with their whiskey.
Gradually the Mulville/Lawlor faction got organized
and about 1,500 of
them counter-attacked. They drove the invaders back
into the water and won the day.
***
P.W. Joyce
thinks it likely, from the character of the tune, that it was used as a march.
Bayard (1981) begs comparison of this tune with "The Blackbird," to which he sees a
close relationship, believing them to be different segments of the same tune‑family.
Howe (1000 Jigs and Reels), c. 1867;
pg. 24. Joyce (Old Irish Folk Music and
Songs), 1909; No. 264, pg. 126.
X:1
T:Shanavest and Caravat
L:1/8
M:2/4
N:”With spirit”
S:Joyce – Old Irish Folk Music
Z:AK/Fiddler’s Companion
K:D
A|d>ddd|cAFG|A>BcA|d2 d A|d2
f>g|a2 fa|gfed|c2 A>A|
d2 f>g|a2
fa|gfed|e>fga|fddd|cAFG|ABc>A|d2d2||
SHANAVEST AND COROVOTH
[2]. Irish, Air (4/4 time). D
Minor/Dorian. Standard tuning. AB (Petrie): AAB (Joyce, Mulvihill). “A faction
tune” states Joyce, while Martin Mulvihill notes, “a faction fighting tune of
the ‘Cooleens’ and ‘Black Mulvihills.’” Sources for notated versions: “(The
Irish collector) Mr. Joyce, from his grandmother, aged 90"
[Stanford/Petrie]; Joyce remarks he took it down from her in 1854, and that she
told him she learned it in her childhood [Joyce]; Mulvihill lists Joyce as his
source. See note for “Shanavest and Caravat [1]." Joyce (Ancient Irish Music), 1890; No. 30, pg.
32. Mulvihill (1st Collection),
1986; No. 56, pg. 131. Stanford/Petrie (Complete
Collection), 1905; No. 459, pg. 116.
X:1
T:Shanavest and Corovoth [2]
M:C
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie (1905), No. 459
Z:AK/Fiddler’s Companion
K:Dmin
F>G | A>B G>A F>G A=B |
c>=B cd f2 ef | d>f ed cAGE | D2D2D2 F>G |
A>B GA FGA=B | c=Bcd f2 ef |
d>f ed cAGE | {E}D2D2D2 || F>G |
A>d de f2 ed | d^cAG A3G |
A<dde f2 ed | d^cec d3c |
A<d d^c d>efg | fdcA cdef |
d>f ed cAGE | D2D2D2 ||
SHANBUIE. AKA and see "Sean Buidhe/Bui,"
"Over the Water to Charlie."
SHANDON BELLS (Clogaide/Cluig Sean-Duin). AKA and see "Punch for (the) Ladies [1],”
“Ronayne’s Jig." Irish (originally),
Canadian, American; Double Jig.
X:1
T:Shandon Bells
M:6/8
L:1/8
R:Jig
K:D
AFD DFA|ded cBA|BGE E2G|B2A Bcd|AFD DFA|ded cBA|Bcd ecA|d3 d2B:|
|:f2d
dcd|f2a afd|cAA eAA|cAc efg|f2d dcd|faa afd|Bcd ecA|d2d d3:|
SHANDRUM BOGGOON. AKA and see "(A)
Sprig of Shillelagh [1]."
SHANE O'NEILL'S MARCH (Triall Sean Uí Niall). Irish, March (4/4 time). G Major.
Standard tuning (fiddle). AABB. While the title may refer to anyone with the
relatively common Irish name, the historical Shane O’Neill (1530?-1567) was an
Irish chieftain, the eldest son of Con O’Neill, the 1st Earl of
Tyrone. Shane was passed over by his father in a political deal with the
English Queen Elizabeth, in favor of an illegitimate brother, and this plunged
Shane into a lifelong struggle of tribal warfare in
X:1
T:Shane O’Neill’s March
M:2/4
L:1/8
R:March
K:G
GA|B>c BA|B2 B/c/d|B>c BA|B2
AG|Bd g>e|
dB GB|A>B AG|A2 GA|B>c BA|B2
B/c/d|
B>c BA|B2 AG|Bd g>e|dB
AG|B>A GF|G2:|
|:ef|g2 f/g/f|e2 a>g|fe fd|B2
(3B/c/^c/|d2 d>e|
dB AG|g2 g>a|g2 (3f/g/a/|e2
(3e/f/g/|d2 (3e/f/g/|
dB AG|A2 Bd|ef ge|dB AB|G2
G>A|G2:|
SHANE'S FANCY. English, Jig.
SHANGHAI. American, Reel.
SHANGHAI
ROOSTER, THE. Old‑Time, Breakdown.
***
You may talk about your Shanghais, but
they are getting stale,
Our dandies now can take e'm down, for they've a longer tail;
With women's shawls upon their backs, they strut both night and day,
But when the tailor sends his bill they have no cash to pay.
***
A melody entitled “Shanghi Chicken”
was played by J.R. Simonton, of
SHANKS MARE. Irish, Reel. E Dorian. Standard tuning. AB. The term ‘shanks mare’
usually refers to travelling on foot, as in “the journey to the station by
shanks mare was long and tedious.” Shanks mare is a direct translation of the
German expression Schusters Rappen,
or in English "shoemakers horse” but the meaning is the same: one walks
because one cannot afford to travel by a real horse or other mode of transportation.
Harker (2005) identifies is as the
X:1
T:Shanks Mare
D:Mike and Mary Rafferty, the Old
Fireside Music.
Z:Lesl
M:C|
L:1/8
N:Bill's German grandmother used to
say "Shanks mare!" to him - it means
shake a leg.
K:Edor
E2BB{c}B ABz|e~e2B dBAF|E2B~B2
ABz|eefe dBAF|
E2B~B2 ABz|e~e2B dBAF|E2B~B2
ABz|eafe dBAz||
Beed efde|fede feez|fbba faaf|eafe
dBAz|
Beed ezde|fede feez|fbba faaf|ezfe
dBAF:|E8||
***
Where the river
Where the three leafed shamrock grows,
My heart is ever going
To my little Irish Rose.
***
The moment I meet her
With a hug and kiss I great her,
For there is nothing sweeter
Where the river
***
See also listings at: Jane
Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s
Irishtune.info |
X:1
T:
S: Maureen Glynn Connolly
Q: 350
R: reel
M: 4/4
L: 1/8
K: D
D3 d cAAB | =cded ^cAGE | D2 dB cABd | cAGE ADDG |
(3EFG AB =c2 AB | =cded ^cAde | (3fga ed d=cAB |1 =cAGE ED^CE :|
|2 =cAGE EDFA || d3 e fefg | afge d2 dc | Adde (3fga ec |
d=cAG FDFA | dcde f3 g | afge defg | afge dged |1 =cAGE FDFA :||2 =cAGE ED^CE ||
SHANNON WALTZ. Old‑Time, New England, Canadian; Waltz. USA; Texas, New England.
F Major (Christeson, Phillips, Silberberg): G Major (Hinds). Standard tuning.
AB (Christeson, Hinds, Silberberg): ABB'C (Phillips). Donna Hinds (ne' Hebert)
notes that, according to Tim Woodbridge of Hartford, Ct., this tune was
originally from Canadian fiddler Don Messer, though the source Woodbridge had
it from was from Texas. The story is partly true, for in actuality this is a
northern tune which found its way into the repertoire of the 1920's stringband
the East Texas Serenaders whose fiddler, D.H. Williams, learned the tune from a
northern fiddler of his acquaintance, one Mr. Brigsley. It in any event
predates Don Messer whose heyday was the mid-20th century. Sources for notated
versions: Red Williams (Dallas, Texas) [Christeson]; Ron West (Vt.) [Phillips].
R.P. Christeson (Old Time Fiddlers
Repertory, vol. 2), 1984; No. 213, pg. 163. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 30.
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 307. Silberberg (93 Fiddle Tunes I Didn’t Learn at the
Tractor Tavern), 2004; pg. 39. Arc LP A520, Al Cherny ‑ "North American Fiddle
Champion." Condor 977‑1489, "Graham & Eleanor Townsend Live
at Barre, Vermont." County 410, "The East Texas Serenaders, 1927‑1936."
Fretless 101, "The Campbell Family: Champion Fiddlers." Fretless 132,
"Ron West: Vermont Fiddler." MCA Records MCAD 4037, “The Very Best of
Don Messer” (1994).
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
SHANNON WAVES. AKA and see “Chaffpool Post [1],” “James Gannon’s (Barndance)
[2].” Irish, Barndance. Reg Hall (1995) defines an Irish barndance as “a
rural variant of the ballroom schottische…popular in the hey-day of
country-house dancing in Ireland…transplanted successfully in the dance halls
and clubs of Irish-America.” Topic TSCD 602, Erin’s
Pride Orchestra – “Irish Dance Music” (1995. A reissue of the original 1948
recording).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info (as “Chaffpool Post”). |
SHANNONAIRE’S JIG, THE. AKA
and see “Matt Molloy’s (Jig).”
SHANNON'S
FLOWERY BANKS [1], THE. Irish, Slow Air (4/4 time). G Major. Standard tuning. One part. Joyce (Old Irish Folk Music and Songs), 1909;
No. 219, pg. 106.
X:1
T:Shannon’s flowery banks, The
M:C
L:1/8
R:Air
N:”Slow”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
GE|D2E2G2 F/G/A|B2 Bc BGEF|G2 AB
AGE>D|D6 GA|B3A Bdef|
g2f2e2 (3def|e2 fd BABd|e6
(3def|g2g2 edef|e3d gedB|A3G EFGA|
B6 (3GBd|e2 e2 dB AG|B3G E2
GA|B>cBA G2G2|G6||
SHANNON'S
FLOWERY BANKS [2], THE. Irish, Air (6/8 time, "brightly"). F Major. Standard tuning.
One part. The air is the same as usually accompanies the song "Lakes of
Ponchetrain." Source for notated version: the singing of Mr. John McCall
(Co. Carlow, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of
Traditional Irish Dance Music), 1914; No. 56, pg. 24.
SHANNON'S FLOWERY BANKS [3], THE. Irish, Slow Air (4/4 time). G
Major. Standard tuning. One part. O’Farrell (Pocket Companion, vol. 1), c. 1805; pgs. 58-59.
X:1
T:Shannon’s
Flow’ry Banks [3]
M:C
L:1/8
R:Air
S:O’Farrell
– Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:G
B>cBG ceeg | d>e e/d/c/B/ Bc/d/ AG/A/ | B>cBG ce g f/e/ | d>GA>B G2 Bc |
d>ed=f ecge | dG G/A/B/c/ B2 {c/B/} AB/c/ | ded=f ecg=f | e>cd>e c3e |
d>edB c>dcA | BdGB B2 {A/B/}AG/A/ | BcBG ceg{ef/g/f/a/g}f/e/ | d>GAB G2 ga |
bb c’/b/a/g/ eg/a/ ge | de d/e/g/B/ BA/B/ Ag/a/ | bb c’/b/a/g/ e>f {a}g>{f}e |
d>G
A/>G/A/B/ G2 ||
SHANNON’S SHORES. AKA and see “Miss Mona(g)han(’s Reel).”
Irish, Reel. Morning Star 45001, various artists -
“Wheels of the World” (197-).
SHANTY BOAT WALTZ. American, Waltz. G Major. Standard tuning. AB. Ford (Traditional Music in America), 1940; pg. 134.
SHANVAGHERA. Irish, Reel. D Mixolydian/Major. Standard tuning. AABB. Composed by
County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). Ed’s son
Joe Reavy states the tune was named after Brigid’s school in County Mayo. Reavy
(The Collected Compositions of Ed Reavy),
No. 25, pg. 26.
X:1
T:Shanvaghera
M:2/2
L:1/8
C:Ed Reavy
R:Reel
N:The name of Brigid's school in County Mayo. Like so many
N:other place names in Ireland it has the sound of the tradition in it.
N:The school no longer stands, but Ed's tune, we trust, will live on to
N:honor the memory of Delia's little schoolhouse in the far west of Ireland.
Z:Joe Reavy
K:D
FG | Addc d2 AB | =cAG=F ECCE | DA,DE FEFG | (3ABA G_B Adde |
=fedf ed^ce | d^cA^F GE=CE | DEFG Ad=cA | GE=CE D2 :||
|: A2 | defg afdB | [E2=c2] Gc EcGc | defg afdf | e=c (3cBc Addf | afdf edce |
dcAF GE=CE | AEFG Ae=cA | GE=CE D2 :||
SHAPE'S HORNPIPE. AKA and see "Mountain
Hornpipe [1]," "Hopple's
Tune" (
SHARE AROUND LADIES.
See “Share ‘Em.”
SHARE ‘EM. AKA and see “Cotton Baggin,” “Julianne Flanagan,” “Old Sharon,” “Sharon,”
“Shear ‘Em,” “Shear the Sheep, Bobbie.” AKA –
“Share Around Ladies.” Old-Time, Breakdown. Florida fiddler Chubby Wise called
the tune “Share ‘Em,” and that is the name that north Florida fiddlers know the
tune by. See note for “Julianne Flanagan.”
SHARECROPPER’S BLUES.
Old-Time, Two-Step. D Major/Mixolydian. Standard tuning. AA’BB’. A true
12-bar blues progression, with flatted sevenths and thirds inserted at various
places. Two-Step round dances were often danced to upbeat blues melodies in the
Ozarks, points out Drew Beisswenger (2008). Oklahoma fiddler Uncle Dick
Hitchinson is associated with this tune which he claimed was one of his “own
arrangements.” Mark Wilson links the tune to “Drowning Creek Blues.” Source for
notated version: Jim Beeler (1938-2004, Old Kissee Mills, Missouri)
[Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music),
2008; pg. 169.
SHARK'S FAVORITE. AKA and see "Miss
Patterson," “Master
Crowley(’s Reel) [1].” Irish, Reel. The tune is better known as “Master
Crowley’s.” Rounder 1087, Eleanor Kane/Neary -
"From Galway to Dublin: Early Irish Traditional Music" (1992. A
reissue of the 1935 original).
SHARP’S HORNPIPE. AKA and see “John
Sharp’s Hornpipe.”
SHARON. See note for “Julianne Flanagan,” “Old Sharon,” “Sharon,”
“Shear ‘Em,” “Shear the Sheep, Bobbie.”
SHARON SHANNON’S
(POLKA). AKA and see “The Newmarket,” “Terry Teahan’s (Polka) [2].”
SHARON SHANNON’S
(SLIDE). AKA and see “Padraig Ó Caoim.” Irish, Slide (12/8
time). Ireland, West Kerry. D Major. Standard. AABB. Named for accordion player
Sharon Shannon. Mac Amhlaoibh & Durham (An
Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No.
85, pg. 47.
SHARPE’S LANE. Canadian, Jig. Canada, Cape Breton. G Major. Standard tuning. AABB.
Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
61.
SHARP'S HORNPIPE [1]. AKA and see “Same
Time Today as it Was Yesterday.” Old‑Time, Hornpipe. USA, Cumberland
Plateau region of Ky./Tenn. A Mixolydian/Major. Standard tuning. AA'BB'. Source
for notated version: John Sharp [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 225. County 787, John Lusk Band (Ky.) ‑ "Five Miles
Out of Town: Traditional Music From the Cumberland Plateau, vol. 2."
SHARP’S HORNPIPE [2]. Scottish, Hornpipe. D Major. Standard tuning. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 278, pg.
30.
X:1
T:Sharp’s Hornpipe [2]
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 278
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
F2F2 FdAF|G2G2 GdBG|g2ec g2ec|1 d2
(cd) fecA:|2 A2 Bc d2 z2||
|:Bcde fedc|BcB^A B2F2|Bcde
fedc|BcB^A B2z2|Bcde fedc|
BcB^A B2F2|f2 (3efe d2c2|1 B2d2B2z2:|2
BedB AGFE||
SHASKEEN (JIG), THE. Irish, Jig. Composed by Boston musician Brendan Tonra.
X:1
T:Shaskeen Jig
M:6/8
L:1/8
Q:150
C:Brendan Tonra
R:double jig
K:D
e | ~f3 edB | {d}BAF {G}FEF | EDB, DFA | {d}BAF Ade |
~f3 edB | {d}BAF {G}FEF | EDB, DFA | Bdc d2 :||:
e | ~f3 afe | dB/2c/2d BAF | AFE DFA | {d}BAF EFA |
~B3
AFE | DFA {d}BAF | Ade faf | edc d2 :||
SHASKEEN
(REEL) [1], THE (Cor na Seiscinne). AKA and see “The Ballinakill Shaskeen,”
“Shaskan,” “Shaskeen Clog.” Irish, Reel. G Major.
Standard tuning. AB (Mitchell, O'Neill/1915 & 1001): AAB (Taylor): AABB
(Mulvihill): AABB’ (Cranford/Holland, Mallinson): AA'BB' (Harker/Rafferty,
O'Neill/Krassen, Vallely). The word ‘shaskeen’ is derived from the Irish seisgeann, meaning either a marshy
country or fen, a truss of corn, or gleaned land. Seamus Ennis, once introduced
the tune in the Tradition Club by saying the word meant ‘a red piece of flannel
that was tied to the tail of a cow that had mastitis’, according to Finbar
Doyle, who points out Seamus sometimes had a “delicate conjunction with
veracity.” It is the name of a townland in County Sligo. Supposedly, the
tune was played by a piper from the area, but instead of being named for the
musician (as is often the case), the melody was called by the place the piper
lived. The first part is a
form of the "fundamental strain" of the tune "Johnnie
Cope," observes Bayard (1981). Dr. Henebry, the famous Irish collector,
musician and priest, once famously remarked that piper Patsy Touhey’s rendering
of “The Shaskeen” was a higher achievement than the Brooklyn Bridge (at the
time still an engineering marvel). Later, in the 1920’s, a famous recording was
made by Co. Sligo raised, New York fiddler, Michael Coleman. In fact, it was
the second recording Coleman ever made, although it was the first he waxed for
the Vocalion label, in April, 1921, backed by a competent piano player named
John Muller (“The Shaskeen” was paired with “The Bag of Potatoes”). Philippe
Varlet reports that Coleman for some reason re‑recorded the
"Shaskeen" side a year later for the same company, although he played
the tunes somewhat differently, and copies from both masters were issued under
the same catalogue number. Two versions of the “Shaskeen” are identified: the
East Galway, or Ballinakill, “Shaskeen,” and the more common “Shaskeen” as played
in Sligo. Flute player Mike Rafferty’s version (see Harker, 2005) is a prime
example of the East Galway version, as popularized by the Ballinakill Ceili
Band (on whose 78 RPM recording the “Shaskeen” was paired with “The Green
Blanket”). Sources for notated versions: piper Willie Clancy (1918-1973,
Miltown Malbay, west Clare) [Mitchell]; Buddy Fury (Co. Limerick) [Mulvihill];
set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor]; from
the playing of piper Séamus Ennis (Dublin), who learned them from his father, a
piper taught by Nicholas Markey who in turn had been taught by the renowned
piper and pipe-maker Billy Taylor of Drogheda and later Philadelphia
[Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Breathnach (Ceol
V, No. 2), 1982. Breathnach (The Man and
His Music), 1997; No. 3, pg. 72. Cranford (Jerry Holland: The Second
Collection), 2000; No. 208, pg. 77. Harker (300 Tunes from Mike Rafferty), 2005; No. 11, pg. 4 (Galway version)
& No. 25, pg. 8 (Sligo version). Lyth (Bowing
Styles in Irish Fiddle Playing, vol. 1), 1981; 28. Mallinson (Essential), 1995; No. 67, pg. 29.
Mitchell (The Dance Music of Willie
Clancy), 1993; No. 110, pg. 94. Mulvihill (1st Collection), 1986; No. 57, pg. 15. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
276, pg. 140. O'Neill (Krassen), 1976; pg. 90. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 802, pg. 139. O’Neill (Waifs and
Strays of Gaelic Melody), 1922; No. 327. Peoples (Fifty Irish Fiddle Tunes), 1986; 42. Reavy (The Music of Corktown), 1979; No. 68. Taylor (Crossroads Dance), 1992; No. 46, pg. 32. Taylor (Music for the Sets: Yellow Book), 1995;
pg. 8. Treoir, No. 2, vol. 33, 2001; pg. 27. Vallely (Learn to Play
the Fiddle with Armagh Pipers Club), 197?; No. 46, pg. 41. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry
Harrington – “The Merry Love to Play” (2007). Coleman Center CD CC004, Harry
McGowan & Mick Loftus – “The Mountain Road” (1999. Various artists. “A
Compilation of tunes popular in South Sligo”). Coleman Music Center CHC 009,
flute player Sonny McDonagh (1925-1991) – “The Coleman Archive, vol. 2: The
Home Place” (2005). Comhaltas Ceoltoiri CL13, Tommy Peoples. Intrepid Records,
Michael Coleman - “The Heyday of Michael Coleman” (1973). Larraga MOR 1302,
Mike & Mary Rafferty – “Speed 78” (2004). Leader LEA 2004, Martin Byrnes.
Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite”
(1996). Shaskeen - "Shaskeen Live.” Talcon Records KG240, Paddy Cronin – “The
House in the Glen” (197?). Jerry Holland – “Lively Steps” (1988).
See also listings at: Alan Snyder’s Cape Breton Fiddle
Recording Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Shaskeen, The [1]
M:C
L:1/8
S:Séamus
Ennis
K:G
A|:DG G2 A2
Bc|dfed cAAc|BG G2 AGFA|GBAG FAEF|
DG G2
ADFA|dfed cAAe|f3d ecAF|1 GBAF G3:|2 GBAF G2||
Bc|dggf
g3a|(3bag ag fddc|B2 BG AAAF|GBAG FDDc|
dggf g2
fg|abag fddc|B2 GB (3AcA FA|GBAG FAEF|
DG G2
ABcA|dfed cAAe|fadf ecAF|GBAF G2||
SHASKEEN [2], THE. AKA and see “Lady Anne Montgomery.” Irish,
Reel.
SHASKEEN [3], THE. Irish, Hornpipe. G
Major. Standard tuning. AABB. The tune was noted as a reel in the Grier MS.
Paddy Ryan maintains it plays better as a hornpipe, and says the title is
supposed to have come from the name of a river in County Longford, a tributary
of the Inny near Ballmahon. Source for notated version: the 1883 music
manuscript of Stephen Grier, a piper an native of Abbeylare, Granard, County
Longford, who lived in Bohey, Gortletteragh, County Leitrim [Treoir]. Treoir,
vol. 2, No. 33, 2001; pg. 27. Drumlin Records, The
McNamara Family – “Leitrim’s Hidden Treasure” (1998).
X:1
T:Shaskeen,
The [3]
M:C
L:1/8
R:Hornpipe
S:Stephen Grier
MS (1883)
K:G
(3DEF | G2
BG ABcA | dedB cBAc | B2 GB cAAc | BGdB AF (3DEF |
G2 BG ABcA
| dedB cBAf | g2 dg ecAc | BGAF G2 :: (3def |
g2 bg agef
| g2 bg afdf | g2 eg f2 df | ed^ce d2 d=c |
B2 BG AFDc
| B2 GB AFDf | g2 dg ecAc | BGAF G2 :|
SHASKEEN CLOG, THE (Crannciuil Seisgeann). Irish, Hornpipe. G Major. Standard
tuning. AABB. A dotted-rhythm form of the reel "The Shaskeen (Reel) [1]." Source for
notated version:
X:1
T:Shaskeen Clog, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland
(1903), No. 1703
Z:AK/Fiddler’s Companion
K:G
D>F | G3B A2 A>c |
d>ge>d c>AA>c | B>dB>G (3ABc A>F | G>BA>G
F>DE>F |
“tr”(GFG>)B A2 (3ABc |
d>ge>d cA>A>g | “tr”fef>a e>cA>c | B>GA>F G2 :|
|: B>c | dg{a}gf g2 f>g |
a>ba>g f>dd>c | B>cB>G (3ABc A>F | GBA>G F>D D2 |
dg{a}gf g2 f>g | a>ba>g
f>dd>e | “tr”fef>a e>cA>c | B>GA>F G2 :|
SHAUGRAUN, THE. Irish?, Jig. B Flat Major. Standard. AABB. Hardings All-Round Collection, 1905;
No. 106, pg. 33.
X:1
T:Shaugraun, The
M:6/8
L:1/8
R:Jig
S:Harding’s All Round Collection (1905), No. 106
Z:AK/Fiddler’s Companion
K:B_
F|BcB FDF|Bdf g2f|b2d dcB|eGG
G2F|BcB FDF|
Bdf g2f|b2d dcB|eGA B2::F|Bdf
Bdf|Bdf fec|
Bdf gab|aff f2F|BdB cAF|efg fdB|Bcd
ecf|dBc B2:|
SHAUN BWEE. AKA and see "Seán Buidhe/Bui,"
"Over the Water to Charlie."
SHAUN GLAS. AKA and see "The Black Rogue."
SHAUN TRUISH WILLIGHAN/WILLICHAN. AKA and see "Sean Triubhas," "Sean Trews [1]." Scottish, Hornpipe.
Standard tuning. AABBCC. Alan Cunningham in Scottish
Songs (1825) refers to this piece as a 'popular hornpipe air'. John Glen
(1891) finds the earliest printing of the air in Robert Bremner's 1757 collection.
O’Neill (1922) notes: “With this tune is associated a special
X:1
T:Shaun Truish Willichan
M:4/4
L:1/8
S:Preston's Reprint of Bremner's Collections, London 1789
Z:Paul Kinder
K:C
A,|D/2D/2D D>F "tr"E2 A,>F|F2 "tr" ED G/2F/2E/2D/2 CE|
D/2D/2D D>F E2 A,E|"tr"F2 ED C>A,A,:|
|:G|A>cAG G>AGF|F>GFD G/2F/2E/2D/2 CG|
A>cAF G>AGE|FD G/2F/2E/2D/2 CA,A,:|
|:A|d/2d/2d d>f "tr"e2 c>e|f2 "tr"ed g/2f/2e/2d/2 ce|
d/2d/2d d>f e2 Ae|fd g/2f/2e/2d/2 c>AA:|
|:g|aa _b/2a/2g/2f/2 gg a/2g/2f/2e/2|ff g/2f/2e/2d/2 eccg|
aa _b/2a/2g/2f/2 gg a/2g/2f/2e/2|fe g/2f/2e/2d/2 cAA:||
SHAUTLEY'S HORNPIPE. English, Hornpipe.
SHAVE THE DONKEY. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AABBB
(x3), AA. Collected from the
***
Sharp the razor,
Shave the donkey;
Don’t cut his tail off,
Pretty little dear.
***
Bacon (The Morris Ring), 1974; pg. 50. Mallinson (The Cotswold Morris Book), 1988; No. 39, pg. 25. Topic TSCD607, Walter & Daisy Bulwer – “English Country
Music” (2000. Originally recorded 1962). Veteran VT111, Francis Shergold -
"Greeny Up" (1988. Recorded from Bampton morris musicians).
SHAVING A DEAD MAN. AKA and see "Protect(ing)
the Innocent," “Shaving a Dead N....r.”
Old‑Time, Breakdown.
SHAVNAMON HORNPIPE. See "Sliavnamon Hornpipe."
SHAWL DANCE. Old‑Time, Quadrille? C Major. Standard tuning. ABC. Ford (Traditional Music in
X:1
T:Shawl Dance
M:6/8
L:1/8
R:Jig or Quadrille
S:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:C
g|gfe edc|cde efg|fed dcd|(e3 c2)g|gfe
edc|
cde efg|fed dcd|(c3 c3)||d|dcB
BAG|c2e g2f|fed dcd|
(e3 c2)d|dcB BAG|c2e g2f|fed dcd|(c3
c)z||c3 _e3|c3 _e3|
d2G g2f|ede c3|c3 _e3|c3 _e3|ded
G2B|1 [_E3c3][Ec] z||2 [_E3c3][E2c2]||
SHAW'S FAVORITE JIGS. Irish, Jig Medley. D Major. Standard tuning. AA'BVB'CC'DD'. Carlin (English Concertina), 1977; pgs. 34‑35.
SHAW'S REEL. AKA and see “Bashful
Bachelor [2],” “Obelisk Hornpipe,”
“Where Did You Find Her? [2]”
"The Wily Old Bachelor."
Old‑Time, Breakdown. USA, Nebraska. G Major. Standard tuning. AABB.
Source for notated version: “Uncle” Bob Walters (Burt County, Nebraska)
[Christeson]. Christeson (Old Time
Fiddler’s Repertory, vol. 2), 1984; No. 137, pg. 85. Cole (1000 Fiddle Tunes), 1940; pg. 49. Ryan’s Mammoth Collection, 1883.
X:1
T:Shaw’s Reel
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G
D/C/|B,/D/G/A/ B/G/D/B,|C/E/A/B/
.cD/C/|B,/D/G/A/ B/G/c/B/|A/G/F/E/ .DD/C/|B,/D/G/A/ B/G/D/B,/|
C/E/A/B/
.cD/C/|B,/G/F/G/E/C/A,/B,/|G,/B,/D/G/ G,::g/a/|b/g/f/g/
e/g/f/g/|d/g/B/g/d/g/B/g/|
b/g/f/g/ d/g/f/g/|e/a/a/g/ .a(g/a/)|b/g/f/g/
e/g/f/g|d/g/B/g/ d/B/G/B/|c/e/A/c/ B/d/G/B/|A/G/F/A/ G:|
SHAY’S MARCH. See note for “Santa Anna’s Retreat.”
______________________________________
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