The Fiddler’s Companion

© 1996-2008 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. 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. 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. 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:ChappellPopular 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||

                       

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’NeillMusic 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 “Bunch of Roses [3].” 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’NeillDance 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. 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. 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:ChappellPopular 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:ChappellPopular 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||