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 (Anderson): G Major (Songer). AEae or standard. AABB. Anderson says his two versions of the tune are very old, both featuring "raised strings" (scordatura tuning) similar in some ways to the tunings of the Hardingfele in Norway (the Shetlands were a possession of Norway for some time). The title means 'fields of Foula', but the 'shaalds' are in fact hidden reefs at the north end of the Island of Foula, which lies off the west coast of the main island of the Shetlands. The Boys of the Lough remark that it was on these shallows that many ships have been lost, including the Oceanic in World War I, so many so that "the possibility of salvage is celebrated in this piece of local doggerel:

***

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 (Seattle) via Sue Songer & Lanny Martin (Portland, Oregon) [Songer]. Anderson (Ringing Strings), 1983; pg. 38. Plain Brown Tune Book, 1997; pg. 26. Songer (Portland Collection), 1997; pg. 180. Laurie Andres - “Fantastic Hornpipe: Fiddle Tunes on Accordion and Piano” (1991).

 


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. Anderson (Ringing Strings), 1983; pg. 38. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 15. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 13, pg. 63. Martin (Traditional Scottish Fiddling), 2002; pg. 99. Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, Vol. 2" (1978) {appears as "Da Foula Shaalds"}.

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. USA, southwestern Pa. G Major. Standard tuning. ABB. The name, thinks Bayard (1981), is a floater, appearing in Messer's collection of Canadian tunes as "The Chatagee," though to a very different tune. Source for notated version: Steffy (Pa., 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; 336G, pg. 320.

           

SHADES OF THE YELLOW ROSE. Old-Time, Waltz. Reed Island Rounders - “Wolves in the Woods” (1997).

                       

SHADOW OF THE MOUNTAIN. American, Waltz. C Major. Standard tuning. ABA. The first section, notes Stacy Phillips, is related to "Westphalia Waltz." Source for notated version: Ken Campbell [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 306.

                       

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. USA, North Carolina. A Minor. Standard tuning. AA. There are towns called Shady Grove in Virginia or Kentucky, though the title may refer to a place.

***

Shady Grove, my little love, Shady Grove I know

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

***

When I was a little boy, I wanted a Barlow knife

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 Southern Appalachians" (1956).

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. USA; Virginia, West Virginia. A Dorian (Krassen): A Mixolydian (Phillips). Standard tuning. AB (Krassen): AABB (Phillips). The 'A' and 'B' parts are reversed between Krassen's and Phillips' versions. Wright’s version was slower and more plaintive than Henry Reed’s version (below), points out musicologist Alan Jabbour. Source for notated verision: Oscar Wright (Mercer County, West Virginia) [Krassen]; Armin Barnett and Oscar Wright [Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg. 118. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 125. County 717, Sidna and Fulton Myers. Rounder 0089, Oscar and Eugene Wright ‑."Old‑Time Fiddle and Guitar Music from West Virginia." Rounder 0132, Bob Carlin ‑ "Fiddle Tunes for Clawhammer Banjo" (1980. Learned from a recording of southwest Virginia fiddler Sam Connor, who knew the tune under the title "Salt River"). Rounder 0241, The Chicken Chokers ‑ "Shoot Your Radio" (1987. Learned from Wade Ward, Galax, Va.). In the repertoires of Luther Davis, Galax, Va., and Fiddlin' Cowan Powers (b. 1877, S.W. Va.) {and who recorded it for Okeh in September, 1927, though apparently unissued}. The Whistlepigs - "Out of Their Hole" (Learned from the playing of Kentucky fiddler John Salyer).

 

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 British Isles practice of low-to-high strain order. Source for notated version: fiddler Henry Reed (Glen Lyn, Virginia) [Johnson]. Johnson (The Kitchen Musician: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1982/1988; pg. 4. Rounder 0024, “Hollow Rock String Band” (1974. Learned from Henry Reed). CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).

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. USA, north Georgia. A Mixolydian (Spandaro): G Mixolydian (Rosenbaum): G Major (Johnson). AEae or Standard tunings. AABB.

***

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, Chattooga County, Georgia) [Rosenbaum]. Johnson (The Kitchen Musician: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), No. 2, 1982 (revised 1988, 2003); pg. 4. Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pgs. 138‑139. Spandaro (10 Cents a Dance), 1980; pg. 38. Fretless 136, Arm and Hammer String Band ‑ "Stay on the Farm."

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 GROVES [5] (Tor-Coillte Sgatmar). Irish, Air (4/4 time). G Major/A Dorian. Standard tuning. AB. Source for notated version: Chicago police sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 226, pg. 39.

X:1

T:Shady Groves [5]

M:C

L:1/8

R:Air

S:O’Neill – Music of Ireland (1903), No. 226

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 Ireland: 1001 Gems), 1907/1986; No. 409, pg. 81.

X:1

T:Shady Lane, The

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 409

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, British Columbia) [Gibbons]. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 5, pgs. 17‑18 (includes variations).

                       

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 Alstead, New Hampshire, fiddler and composer Randy Miller. The title refers to a mythical creature in Maine, having two bear forefeet and two moose hindfeet, which it varies alternately, making it difficult to track. Miller (Fiddler’s Throne), 2004; No. 245, pg. 149.

           

SHAKE EM' UP EARLY. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

SHAKE IT UP JULIE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

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. USA, Missouri. G Major. Standard tuning. One Part. Source for notated version: African-American fiddler Bill Driver (Miller County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 132‑133.

                                   

SHAKER BEN. Old‑Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AABB. The tune was recorded for Gennett Records by a Jessamine County, Kentucky, band called The Walter Family (Draper Walter, fiddler) in 1933. The name derives, according to Guthrie Meade (1980), from a Shaker community located in Pleasant Hill, just west of Jessamine. Jeff Titon (2001) notes that Shaker Bend is a place name in the Kentucky River below Shakertown. The title has also been collected from Anderson County, Kentucky, and was played by Jessamine County fiddler Jim Booker. Sources for notated versions: Draper Walter and Mel Marshall [Phillips]; John Masters (1904-1986, Lexington, Fayette County, Ky., c. mid-1970’s) [Titon]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 216. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 148, pg. 174. Morning Star 45005, Walter Family - "Way Down South in Dixie."

                       

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 Douglas about it Wilson did not recognize the tune. Nevertheless, Seegar has a tape of Douglas playing the tune.

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 America, that are sometimes called ‘circular’ because they do not stop on the tonic at the end of each strain but move directly into the next strain.” It was also in the repertoire of Edden Hammons (who called it “Shaking Off the Acorns”), who also played it in ADae tuning. Source for notated version: Danny Gardella [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 217. Edden Hammons Collection vol. 1.

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 Forth Bridge (road bridge) was built even this income ended and he returned to Aberdeen, where he died, an invalid (Alburger, 1983). The title refers to a time when Milne and Skinner, both impoverished, had to pool their meagre resources together just to afford the price of one dram (‘pocky’ meaning a bag, especially a beggar’s bag for meal). "The Shakin's o' the Pocky" is also a Scottish expression meaning the smallest pig in a litter, or the smallest child in a family. According to Paul Cranford, the tune has been a favorite of Cape Breton fiddler Buddy MacMaster. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 104, pg. 173. Hardie (Caledonian Companion), 1992; pg. 59. MacDonald (The Skye Collection), 1887; pg. 164. Rounder CD 11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

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, (Island of) Whalsay.

           

SHAKY TREE. In the repertoire of Fiddlin' Cowan Powers 1877‑1952? (Russell County, S.W. Va.).

                                   

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. Limerick" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 239, pg. 116.

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 Limerick, c. 1840. Joyce (Old Irish Folk Music and Song), 1909; No. 125, pg. 63.

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. Ireland, Munster. A favorite air and song of the Irish Volunteers (1774‑1784) set to the air of "Ally Croker," and popular in Munster.

                       

SHAMROCK HILL. Irish, Reel. Composed by Tipperary fiddler Seán Ryan (d. 1985). Feldman & O’Doherty (Northern Fiddler), 1979; pg. 242b (appears as untitled tune). Ryan (The Hidden Ireland), pg. 37. Nimbus NI 5415, Martin O'Connor - "Across the Waters."

                       

SHAMROCK SHODDY. Old‑Time. USA, Ky. D Major. Standard. AABB. The melody was probably a schottische originally. The original source is southern Kentucky fiddler Pat Kingery. Source for notated version: Greg Canote [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 39.

                       

SHAMROCK SHORE, THE (An Traig Seam Roga). Irish, Air (4/4 time). D Major (Joyce, 1909; O’Neill): E Flat Major (Howe, Joyce, 1890). Standard. One part. "This air, and one verse of the song, was published for the first time by me in my Ancient Irish Music, from which it is reprinted here. It was a favourite in my young days, and I have several copies of the words printed on ballad‑sheets" (Joyce). It was mentioned in travellers' accounts as having been a favorite air played on the bagpipes in the latter 18th century (Flood, 1906). Howe’s and Joyce’s (1890) versions are identical.

***

In early spring when small birds sing and lambkins sport and play,

My way I took, my friends forsook, and came to Dublin quay;

I enter’d as a passenger, and to England I sailed o’er;

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 Derry quay we sailed away on the twenty-third of May

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 New York far away from the shamrock shore.

***

Then fare thee well, sweet Liza dear and likewise unto Derry town

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 Munster [Joyce]. Howe (1000 Jigs and Reels), c. 1867; pg. 20.  Joyce (Ancient Irish Music), 1890; No. 42, pg. 44. Joyce (Old Irish Folk Music and Song), 1909; no. 415, pgs. 226‑227. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 48, pg. 9.

X:1

T:Shamrock Shore, The

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). USA, southwestern Louisiana. G Major. Standard tuning. One part. An instrumental named for a night club in Lake Charles, Louisaiana, according to Raymond Francois (1990), who thinks the tune probably has Mexican influence. Source for notated version: Aldus Roger (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pg. 467. La Louisiane Records LL-8131, Aldus Roger.

                       


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 (Portland Collection), 1997; pg. 180.

                       

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). USA; Michigan, Missouri, Arkansas, Arizona. G Major. Standard tuning. AB (Johnson, O'Neill): ABB (Ford). “Shamus O’Brien” was a song composed by Kentucky-born William Shakespeare (“Will S.”) Hays (1837-1907), a prolific writer of popular songs in the mid-to-latter 19th century, although none of his over 300 published songs have been enduring. It was published in New York in 1867 under the title “Sheamus O’Brien; Answer to Nora O’Neal,” referring to a song also written by Hays, in 1866. The tune was in the repertoires of Arizona fiddlers Kenner C. Kartchner and Viola “Mom” Ruth as “Chamois O’Brien.” Another spelling is often given as "Shamus O'Brien," presumably a corruption of the Gaelic name Séamus, and may have been brought to the United States from Ireland in the 1890's. For a long time it was a popular waltz in the Mid-west, and sometimes appears in New England and Canadian Maritime repertory. Sources for notated versions: Bob Hubbach (Michigan) [Johnson]; Art Galbraith (1909-1993, near Springfield, Mo.), who learned the tune late in life, probably from Cyril Stinnett (Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 41. Ford (Traditional Music is America), 1940; pg. 140 (lyrics to song on page 405). Johnson (The Kitchen Musician's No. 7: Michigan Tunes), vol. 7, 1986‑87; pg. 13. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 92, pg. 52 (appears as "Sheamus O'Brien"). Ruth (Pioneer Western Folk Tunes), 1948; No. 32, pg. 13 (appears as “Chamois O’Brien”). Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home Rag" (appears as "Shamus O'Brien's Waltz"). Rounder Records 0133, Art Galbraith – “Dixie Blossoms” (1981).

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 Dumfries. As a Jacobite, it was said that he was imprisoned in Edinburgh Castle after the defeat of 1745, until his skill as a fiddler helped free him.

                       

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

Says the Shan Van Vocht

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 Orange will decay

Says the Shan Van Vocht.

***

Joyce (Old Irish Folk Music and Song), 1909; No. 119, pg. 60. Ó Lochlainn, Colm (More Irish Street Ballads), No. 60. Stanford-Petrie (Complete Collection), 1905; No. 1204 (appears as “An t‑sean bean boct”).

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 "London and Castle Island" [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 322.

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:

***

To be true to each other and our friends, to attend all meetings

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 Tipperary, Waterford, Kilkenny, Limerick and Cork.. Its violence was unprecedented with clashes between the two groups often involving firearms and frequent deaths. At the end the conflict was reduced to faction fights, gang fights, with allegiance to a political cause more and more a transparency.

***

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, County Kerry in June, 1834. A 19th century account goes:

***

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 St. Johns Day, the Lawlors/Mulvihills encountered

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. USA, New England. Canada; Ottawa Valley, Ontario, Prince Edward Island. D Major. Standard tuning. AA'B (O'Neill/1850 & 1001): AABB (Miller & Perron, Perlman): AA'BB (O'Neill/Krassen & 1915): AA’BB’ (Begin). The tune is named for a bell tower in the city of Cork. According to Francis O’Neill (in Irish Folk Music, pg. 87), “No double jig ever introduced in Chicago met with such immediate popularity among musicians and dancers as Shandon Bells.” Sources for notated versions: Chicago fiddler Edward Cronin, originally from Limerick Junction, County Tipperary, who “learned it in his youth…but it was entirely unknown, it seems, except in that locality” [O’Neill]; Allan MacDonald (b. c. 1950, Bangor, North-East Kings County, Prince Edward Island) [Perlman]; Dawson Girdwood (Perth, Ottawa) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 2, pg. 16. Feldman & O’Doherty (The Northern Fiddler), 1976; 101 (appears as untitled jig). Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 28. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 156, pg. 88. O'Neill (Krassen), 1976; pg. 27. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 814, pg. 152. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 1, pg. 17. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 125. Sannella, Balance and Swing (CDSS). Fretless 200a, Yankee Ingenuity‑‑"Kitchen Junket" (1977). Green Linnet GLCD 1128, Brendan Mulvihill & Donna Long - “The Morning Dew” (1993). Rounder CD 7014, Anastasia DesRoches – “Fiddlers of Western Prince Edward Island” (1997). Smithsonian Folkways SFW CD 40126, Lamprey River Band – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

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 Ulster and with the English. Shane eliminated his rivals one by one until Elizabeth finally agreed to his succession as chieftain of Tyrone. However, Shane soon was back to fighting, next with the MacDonnells, Scottish immigrants in County Antrim, and then with the English themselves. He was finally defeated by the O’Donnells at Letterkenny, and having little choice about where to turn he vainly sought refuge with his old enemies the MacDonnells. They murdered him. Not surprisingly, this march is a favourite of Ulster marching bands. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1806, p. 339. Janet Harbison – “O’Neill’s Harper.”

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. England, Northumberland. G Major. Standard tuning (fiddle). AABB. Hall & Stafford (Charlton Tune Book), 1974; p. 3.

                       


SHANGHAI. American, Reel. USA; soutwestern Pa., Maryland. A Major. Standard tuning (fiddle). ABCC'CC'. There was a tune called “Shanghai” in the repertoire of West Virginia fiddler Burl Hammons. Gerry Milnes (Play of a Fiddle, 1999) speculates that the title may be associated with a winter solstice tradition of the same name in eastern West Virginia (the tradition survives in Lewisburg, Greenbriar County, W.Va., which hosts a Shanghai Parade every New Years Day, featuring costumed marchers banging pots and pans). Akin to British Isles mumming, the tradition involves dressing up in masquerade and going from house to house making mischief and/or “begging” for food. In Pendleton County the event was staged the week before Christmas. Milnes believes the word Shanghai evolved from the Gaelic sean aghaidh, or ‘old face’, which he believes associates it with the masquerading essential to the tradition. Source for notated version: Walter Neal (fiddler from Armstrong County, Pa., 1952; Neal learned the tune from Abel Browning, a fiddler from Garrett County, Maryland who was quite famous in the Md./southwestern Pa. area) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 178, p. 134.

                       

SHANGHAI ROOSTER, THE. Old‑Time, Breakdown. USA, Midwest. G Major. Standard tuning. AABB. R.P. A ‘Shanghai’ rooster was a fixture in the American barnyard, and as such has been celebrated in American vernacular song. A piece called “Crow Out, Shanghai” is one of a medley of tunes arranged by New York bandleader David L. Downing, a prominent Civil War era arranger of such pieces as “Dixie’s Land Medley Quick Step” (1861) and the “Kazoodie Ko Whirl Overture” (1852). Downing’s tune resembles “Cluck Old Hen,” and the text appears on an undated broadside published by J.H. Johnson of Philadelphia. It compares men’s extravagant social displays with a strutting barnyard cock, and begins:

***

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 Logansville, Georgia, in the Georgia Old-Time Fiddler’s Convention of 1913, according to the Atlanta Constitution, while the night before C.C. Moon played a tune called “Shanghai.” . Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 90.

                       

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 County ClareToss the Feathers.” Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926, who learned it from his father, Barrel Rafferty [Harker]. Harker (300 Tunes from Mike Raffety), 2005; No. 71, pg. 22. Larraga LR090098, Mike and Mary Rafferty – “The Old Fireside Music” (1998).

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||

           

SHANNON BREEZE [1]. AKA and see "Boil the Kettle Early," "The Brown Red Girl," "The Connachtman's Rambles [1]," "The Kilfinane Reel," "Kitty got a clinking (coming from the races) [1]," "The Ladies Tight Dress," “The Ladies Top Dress,” "The Lady on the Railroad," "The Listowel Lasses," "Love among the Roses", "Maureen Playboy," "McCaffrey's Reel," "Old Molly Ahern," "Piper's Lass," "Punch for the Ladies [2]", "The Railway Station," "Rathkeale Hunt," "Roll her on the banks," "Rolling On the Ryegrass," “The Telegraph,” "What the Devil Ails You [2]?" Irish, Reel. D Major. Standard tuning. ABB’ (Harker/Rafferty): AABB (Mulvihill, Russell). Russell (1989) remarks that there is indeed a big breeze to be experienced on the Shannon, and gives the following words to the tune:

***

Where the river Shannon flows

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 Shannon flows.

***

New York accordion player Luke O’Malley maintains the piece was written by Peter Flynn, who lived near Belmullet in Mayo. Sources for notated versions: “from my mother” [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 7, pg. 2. Mulvihill (1st Collection), 1986; No. 50, pg. 13. Russell (The Piper’s Chair), 1989; pg. 16.

See also listings at:

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

Alan Ng’s Irishtune.info

 

SHANNON BREEZE [2]. AKA and see “The Banks of the Ilen,” "The Barrack Street Boys," "Cheese It," "Corney is Coming," "Crawford's Reel [1]," "I Saw Her," "Kelly's Reel," "Knit the Pocky," “The Lumberjack,” "Merry Bits of Timber," “Miss Grant of Grant [1],” "Miss Wilson," "My Love is in America," "My Love is in the House [1]," "Six Mile Bridge."

           

SHANNON SHORE, THE. Irish, Reel. D Mixolydian/Major. Standard tuning. AA’BB’. Source for notated version: Martin Connolly & Maureen Glynn (Ennis, County Clare) [Black]. Black (Music’s the Very Best Thing), 1996; No. 364, pg. 193.

X:1

T: Shannon Shore

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

GA | B>cBG ceeg | d>e e/d/c/B/ Bc/d/ AG/A/ | B>cBG ceeg | d>GA>B G3 G/A/ |

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" (Pa.), "Douglas('s) Favorite Hornpipe," “Woody’s Hornpipe.” William Shape was an elderly Greene County (southwestern Pa.) fiddler who attached his name to the tune usually known as "Mountain Hornpipe," at least in his own mind. Collected from him by Samuel Bayard in 1944 (Bayard, 1981; No. 258).

 

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||

 

SHASKAN. See “Shaskeen.”

 

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: Chicago fiddle player John McFadden, originally from Westport, County Mayo [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1703, pg. 317.

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 Highland dance, commonly referred to as ‘Sean Truis’, but occasionally as ‘Willichan’. The full name as above given is the same in Glenn's Analytical Table, and in Bremner's Collections of Scots Reels, or Country Dances 1757-61. After Robert Bremner's death in 1789 his collections were reprinted by Preston, a great London publisher.” Source for notated version: copied from Preston’s reprint of Bremner’s Collections (London, 1789) [O’Neill]. Bremner (Scots Reels), 1757; pg. 71. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 103.

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. England, Northumberland. G Major. Standard tuning. AABBCCDD. Seattle (William Vickers), 1987, Part 2; No. 385.

                       

SHAVE THE DONKEY. English, Morris Dance Tune (4/4 time). G Major. Standard tuning. AABBB (x3), AA. Collected from the village of Bampton, Oxfordshire, in England's Cotswolds. The melody was recorded in both 1959 and again in 1962 from the playing of multi-instrumentalist Walter Bulwer (1888-c.1972), of Shipdham, Norfolk, England. Bulwer played the fiddle, accompanied on the latter occasion by his wife Daisy, who sang:

***

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. USA, West Virginia. The tune first received its alternate title only in the 1970's in an attempt to purge it of racist origins. Shaving a male corpse is often done as preparation for buriel. Rounder 0010, "Fuzzy Mountain String Band" (learned from Oscar Wright). Rounder 0089, Oscar & Eugene Wright ‑ "Old Time Fiddle and Guitar Music from West Virginia" (learned from Ambrose Dunigan).

 

SHAVNAMON HORNPIPE. See "Sliavnamon Hornpipe."

 

SHAWL DANCE. Old‑Time, Quadrille? C Major. Standard tuning. ABC. Ford (Traditional Music in America), 1940; pg. 42.

X:1

T:Shawl Dance

M:6/8

L:1/8

R:Jig or Quadrille

S:Ford – Traditional Music in America (1940)

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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