The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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SHE - SHEN

 

 

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]

 

 

 


SHE DIDN’T DANCE AND DANCE. AKA and see “Pete Sullivan’s.” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. E Dorian. Standard tuning. AA’B. See also the related slip jig “My Mind Will Never be Aisy.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Ceol, vol. 2, No. 4 (appears as “Pete Sullivan’s”). Moylan (Johnny O’Leary), 1994; No. 123, pgs. 71-72. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

 

SHE GRIPPED AT THE GREATEST ON'T. AKA and see "East Neuk of Fife." Scottish, Air (cut time). G Major. Standard tuning. AABB. Composed by James Oswald (1711‑69), but, with slight alterations, better known and still popular today as "The East Neuk of Fife." Oswald was an expatriate Scotsman living in London who published several important collections of airs, this tune appearing in one of the fifteen volume c. 1747‑69 Caledonian Pocket Companion (vol. iii, no. 116). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 26, pg. 47.

 

SHE HUNG HER PETTICOAT OUT TO DRY. Irish, Air (6/8 time). G Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 851, pg. 212. 

X:1

T:She hung her petticoat out to dry
M:6/8

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 851

Z:AK/Fiddler’s Companion

K:G

d | d2g BAG | A2A A2B | c2B AGA | G2G G2 B/c/ | d2g BAG | A2A A2B |

c2B AGA | G3 G2 || g/f/ | e2d ded | c2B BcB | A2G c2B | AFD D2 g/f/ | e2d ded |

c2B BcB | A2G c2B | B3 A2 ||

 

SHE IS A LOVELY GIRL. Irish, Air (3/4 time). G Minor. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 80, pg. 47.

X:1

T:She is a Lovely Girl

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’NeillO’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G Minor

G/F/ | D2G2 G/A/ | B2G2A2 | B2d2 cA | G2 GA BG | A2 G>A GF |

D4 FB | d2e2dc | B2d2f2 | g2G2 GA | B2G2 AB | d2 A>B AG | G4 ||

Bd | =f2d2e2 | d3e dc | B2G2 FG | B3c de | f2d2f2 | g4 fd |

d3e dc | B2c2d2 | G2F2 DF | B2G2AB | d2 A>B A>G | G4 ||

 

SHE IS FIT FOR A KISS.  See also the related tunes "The Old Dutch Churn," "Humours of Bottle Hill," "Gliogar an Mheadair" (Gurgling of the Churn), "Dublin Streets," "The Dublin Boys," "The Night of the Fun [2]," "A Fig for a Kiss [1]," "Two in a Gig," "Gáire na mBan."

 

SHE IS THE BLACKBERRY'S FAIR BLOSSOM (Si Blath Geal Na Smeur). Irish, Slow Air (3/4 time). C Minor. Standard tuning. One part. Joyce (Old Irish Folk Music and Song), 1909; No. 765, pg. 376.

 

SHE IS/SHE'S THE GIRL THAT CAN DO IT. AKA and see "O My Dear Father Pity Your Daughter," "Sonny Dan," "The Bottle of Brandy," "Bully for you," "The Western Jig," "Nelly's Jig," "Teddy/Thady You Gander," "The Bonny Highlander," "The Leg of (a) Duck," "Petticoat Loose [1]," "O My Dear Judy," "Girls of the West," "I Gave to My Nelly," "Daniel of the Sun," "'Tis Sweet to Think," "Bucky Highlander," "From the Court to the Cottage."

                       

SHE LIVED BESIDE THE ANNER. Irish, Slow Air. The title and melody of a still-popular song by Charles J. Kickham (1828-1882), a Fenian novelist from County Tipperary, about emigration, with political undertones. Tara CD4011, Frankie Gavin – “Fierce Traditional” (2001. A great favorite of his father’s).

           

SHE MOVED THROUGH THE FAIR. AKA – “Our Wedding Day,” “Out of the Window.” Irish, Air (3/4 time). D Mixolydian. Standard tuning. One part.  John Loesberg records that the song was collected in County Donegal by Herbert Hughes, and the words were rewritten by Padraic Colum. They begin:

***

My young love said to me, 'My mother won't mind

And my father won't slight you for your lack of kine

And she stepp'd away from me and this she did say:

'It will not be long love till our wedding day.

***

She walked away from me and she moved through the fair;

She won several goldfish and one teddy bear;

And then she went onward with one star awake;

It was too dark to see, and she fell in the lake.

***

John Moulden remarks that a song called “Out of the Window” is an antecedent version of the song Colum transformed into "She moved through the fair." He notes there are three sources for the song: one recorded from Robert Cinnamond, another from Eddie Butcher and a third printed in the Sam Henry collection. All modern performances seem to stem from those sources, including the late Paddy Tunney, who adapted Robert Cinnamond’s version. Colum (A Treasury of Irish Folklore). Loesberg (Folksongs and Ballads Popular in Ireland), 1979; pg. 19. GIFT 10006, Mary Black – “Collected.” MCA/BMG MCVD 30012, Margaret Barry – “Margaret Barry & Pecker Dunne: Travellin' People" (1996). Polygram 834496, The Chieftains & Van Morrison – “Irish Heartbeat.” RCA 5798-2-RC, "James Galway and the Chieftains" (1986). RCA 62702, Chieftains & Sinead O’Connor – “Long Black Veil.” Rounder CD, Margaret Barry – “I Sang Through the Fairs” (1998. A compilation of Alan Lomax field recordings). Varrik 026, Pentangle – "Pentagle in the Round.” McPeake Family – "The Rights of Man". Meg Davis – "The Claddagh Walk.” Alison Pearce & Susan Drakes – "My Lagan Love and Other Songs of Ireland.”

X:1

T:She Moved Through the Fair

Z:transcribed by Gregory Taylor

M:4/4

L:1/8

K:D Mix

(D4 DE)F2|G3 F3 G2|A3 ((AA4)|A6) (GE)| (C4 C)D E2|(D8|D6) AB|

c3 d3 A2|B3 (AA4|A6) F2|G3 F3 G2|(A8|A6) AB|

c3 d3 A2|B3 ((A A4)|A6) F2|G3 F3 G2|(A8|A8)|(D4 D)E F2|

G3 F3 G2|(A4 A)A (A2|A6) (GE)|(C4 C)C D2|((D8|D8)|D8) ||

X:2

T:She Moved Through the Fair

R:Air

Z:Paul Kinder

M:3/4

L:1/4

Q:55

K:Bb

"Bb"(3B,/2C/2D/2|"Ab"E "Gm"D "Ab"E|"Bb"F F2-|"Bb"F2 E/2C/2|!

"Ab"_A,3/2 B,/2 B,|"Bb"B,3-|"Bb"B,2 F/2G/2|"Bb"_A B3/2 F/2|!

"Gm"G F3/2 D/2|"Ab"E D E|"Bb"F3-|"Bb"F2 F/2G/2|!

"Bb"_A B3/2 F/2|"Gm"G F3/2 D/2|"Ab"{EF}E D E|"Bb"F3-|"Bb"F2 (3B,/2C/2D/2|!

"Ab"E "Gm"D "Ab"E|"Bb"F F2-|"Bb"F2 E/2C/2|"Ab"_A,2 B,|"Bb"B,3-|"Bb'B,2||!

                       

SHE OUGHTA BEEN A LADY. AKA and see “Hell on the Wabash [4]," “Pussy and the Baby,” “Silver Lake [4].” Old-Time, Breakdown.She Oughta Been a Lady” is the title by which the tune is generally referred to in Missouri. Related to the Irish Hornpipe "Beaux of Oak Hill [1]"/"Boys of Bluehill."

                       

SHE PUT HER KNEE ON THE OLD MAN. See "Chuir/Cuir i Glun Air a Bhodach."

                       

SHE ROSE AND LET ME IN. Scottish, Air (4/4 time). E Minor. Standard tuning. AABBCCDD. The tune is in a corrupt form in Thomson’s Orpheus Caledonius (ii. 14, 1733), and in Ramsay’s Tea Table Miscellany (1734), where it is marked as being old. Ritson (Essay on Scottish Song) decided it was an “English song of great merit, which has be scotified by the Scots themselves.” Chappell cites the melody’s use by Thomas D’Urfey for his song “The Fair one let me in” (music credited to Thomas Farmer) in A New Collection of Songs and Poems (1683). Stenhouse strenuously argued for Scottish provenance. John Glen (Early Scottish Melodies) dismisses English claims with his finding of an fine set of the tune in the Scottish Margaret Skinkler’s Manuscript Musick Book 1710, under the title of “She roase and let ‘m In.” Glen says the Sinkler version “is natural and assuredly superior to the strained artificial set presented by Chappell from D’Urfey.” The tune appears as the theme for the third section of James Oswald's variation sonata from his Curious Collection of Scots Tunes (c. 1739), each section of which is based on a traditional Scottish air, and also appears in the Gillespie Manuscript of Perth, 1768, under the heading "Scots Tunes." Chappell (1859) takes exception to the national origin of both words and music to this song and categorically states they are English, not Scottish. He acknowledges the tune is popularly claimed as Scotch, and quotes a letter from Dr. Beattie (appearing in The Life of James Beattie, L.L.D.), who says of "the celebrated Mrs. Siddons”:

***

She loves music, and is fond of Scotch tunes, many of which I

played to her on the violin‑cello. One of these, 'She rose and let

me in,' which you know is a favourite of mine, made the tears

start from her eyes. 'Go on,' said she, 'and you will soon have

your revenge;' meaning that I should draw as many tears from

her as she had drawn from me (by her acting).

***

McGibbon (Scots Tunes, Book 1), c. 1746; pg. 9.

X:1

T:The Fair one let me in

M:C
L:1/8

S:Thomas D’Urfey (1683)

K:E Minor

B2|G2 FE B2e2|d3c B2 AG|c3B A2 GF|^D6B2|G2 FE B2 e2|

^d3e f2g2|e2 d^c c3B|B6||Bc|d3d edcB|c2d2 e3d|c2 BA A3G|

G6 g2|e3B c2 BA|f2g2 ^d3B|cBAG A2B2|d6||

X:2

T:She roase and let ‘m in

M:C

L:1/8

S:Margaret Sinkler MS (1710)

K:E Minor

GF|E2B2B2e2|d3c B2c2|A4G FGAB|F6 G>F|E2B2B2e2|

d3c B2B2|g2 fe e3^d|e6||ef|g3e d2cB|edef g2 Bc|A3G FG A2|

F4 E<F ef|g3e d2cB|edef g2 Bc|A4G A2B2|e6||

X:3

T:She rose & let me inn

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbonScots Tunes, Book 1 (c. 1746)

Z:AK/Fiddler’s Companion

K:E Minor

G>F | E2 B>c B2e2 | “tr”^d3^c B2 =c2 | {c}B2 AG (F>G)AG | G2F2 z2 G>F |

E2 (B>c) B2e2 | “tr”^d3e f2 B>c | B2f2 (gf)”tr”(e^d) | e6 :: (e>f) | g2 “tr”(fe) {e}^d2 “tr”(^cB) | (e>^de)f g2 B2 |

A>cBA G>BAG | “tr”(G2F2) z2 (ef) | (gfg)e (^d^c)(dB) | “tr”(e^de)f g2B2 | “tr”A3G A2 (B^d) | e6:: (B>A) |

(GB)(FB) e2g2 | (f^d)(ec) B2c2 | (BA)(cB) (A/B/c/)B/ AG | “tr”(G2F2) z2 B>A | GBFB e2 e>f | (g/f/e/^d/) e>g f2 (Bc) |

Bbag (fe)(B^d) | e6 :: ef | g2 “tr”(fe) (^de/f/) (B^d) | “tr”e>d (e/g/f/a/) g2B2 | (cB)(AG) (FE) (A/G/F/G/) | “tr”(G2F2) z2b2 |

(ag)”tr”(fe) “tr”(^d^cd)B | (e/4f/4g/) (f/4g/4a/) (g/4a/4b/) (a/4b/4c’/) b2 B2 | (cB)”tr”(AG) A2 (B^d) | e6 :|

                       

SHE SAYS SHE’S CONFUSED. American, Jig. A Minor. Standard tuning. AABB’. Composed by Denver, Colorado, mandolin player and dance caller Larry Edelman. Songer (Portland Collection), 1997; pg. 181. D & R 128, Larry Edelman - “Timepieces” (1988).

                       

SHE WANTS A FELLOW. English, Jig. D Major. Standard tuning. AABB.

X: 1
T:She Wants A Fellow
M:6/8
L:1/8
R:Jig
Z:C.G.P
K:D
c|d2DF2D|ABA ABc|d2A GFE|FDD Dfe|d2DF2D|!ABA ABc|d2A GFE|FDDD2:|
|:A|dcd Bcd|efd cBA|!dcd efg|fdd def|gfg Bcd|efd cBA|d2A GFE|FDDD2:|]

                       

SHE WAS THE PROUD ONE. AKA and see “Swaggering Jig [1],” “Give Us a Drink of Water [2]." Irish, Slip Jig.

                       

SHEÁIN COUGHLAN’S [1]. Irish, Slide. G Major. Standard tuning. AABB. Source for notated version: set dance session music at Na Píobairí Uilleann, recorded in the 1980's [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 37.

 

SHEÁIN COUGHLAN’S [2]. Irish, Slide. A Major. Standard tuning. AABB. Source for notated version: set dance session music at Na Píobairí Uilleann, recorded in the 1980's [Taylor].Taylor (Music for the Sets: Yellow Book), 1995; pg. 38.

                       

SHEALA NI CHONALLAIN. AKA and see "Little Celia Connellan [1]."

                       

SHEALING IN THE BRAES OF RANNOCH, THE (Bothan airidh 'm braighe Raineach). Scottish, Slow Air (3/4 time). G Dorian. Standard tuning. AB. "The Shieling in the Braes of Rannoch is also given as acquired from the same gentlemen, and more recently sung by Colonel John Ross of the 86th Regiment" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 54, pg. 19.

X:1

T:Shealing in the Braes of Rannoch, The

T:Bothan airidh ‘m braighe Raineach

M:3/4

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G Minor

G>A|d2f2 =e>c | d2c zG>A | d2 f2 =e>d | c2F zc>A | c2d2 c>d | F2G zd>c |

A2F2G2| A2G z || d>^f | g2b2a>g | f2d zd>^f | g2b2a>g | f2d zf>=e | d2c zA>G |

F2G zd>c| A2F2G2 | A2G z ||

                       

SHEAMUIS BHIG A’ bhFUIL OCRAS ORT?, A (Little Seamus are you Hungry?). AKA and see “The Roving Bachelor.” Irish, Highland. Ireland, Donegal. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 92 (bottom. Appears as “Untitled Barndance” although it is a Highland).

                       

SHEAMUS O'BRIEN. AKA and see "Shamus O'Brien."

                       

SHEAN TREWS. See “Sean Trews.”

                       


SHEAR MY SHEEP, STEPHEN. Old‑Time. The tune was recorded by the Troy Herald of July 6, 1926, as having been played at a fiddlers' convention at the Pike County (Alabama) Fairgrounds.

                       

SHEARING THE SHEEP [1] ("Ag Bearrad na Caoire" or "Ag Lomairt na Gcaorac"). AKA and see "The Red-Haired Lass." AKA – “Dipping the Sheep.” Irish, Reel. A Major. Standard tuning. AABB. Very similar to the well-known “Red-Haired Lass.” Parts of the tune bear a striking resemblance to parts of "The Boys of Portaferry." AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen). Miller (Fiddler’s Throne), 2004; No. 245, pg. 149. O'Neill (Krassen), 1976; pg. 154. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 734, pg. 129. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1515, pg. 280. Atlantica Music 02 77657 50222 26, Kim Vincent - “Atlantic Fiddles” (1994). Islander Records, Kim Vincent - “Welcome Paddy Home” (1989).

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:Shearing the Sheep [1]

M:C|

L:1/8

R:Reel

S:O’NeillDance Music of Ireland: 1001 Gems (1907), No. 734

Z:AK/Fiddler’s Companion

K:A

EAAB ABcB|ABcA BF F2|EAAB ABce|faec d2 cB|A3B ABcB|ABcA BF F2|

EA (3ABA ABce|faec A2 cd||e2 ae feaf|eaec d2 cd|e2 ae fefb|afec d2 cd|

e2 ae feaf|eaec d2 cB|c2 cB cefb|afec dBcA||

 

SHEARING THE SHEEP [2]. Irish, Air (3/4 time). D Minor/F Major. Standard tuning. One part. Source for notated version: "Mr. John Healy, Teacher of Smithstown National School near Castle comer, Co. Kilkenny (c. 1884). He was then over 70 years of age, and had learned these tunes early in life" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 339, pg. 156.

X:1

T:Shearing the Sheep [2]

M:3/4

L:1/8

R:Air

S:JoyceOld Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:F

AG|F2D2D2|F2G2A2|c2A2G2|F4F2|F4G2|A2c2c2|d2e2f2|e2d2c2|

d4c2|c4AG|A2c2c2|d2e2f2|e2d2c2|c2d2e2|f4d2|c2A2F2|F2G2A2|c2A2G2|F4F2|F4||

                       

SHEE LA NA QUIRA. AKA and see "Sheela O'Gara," "Sheela Nee Guira," "Sighile Ní Ghadhra," “Sile Ní Ghuire.” Irish, Jig. G Major. Standard. AABB. New York City researcher, writer and musician Don Meade identifies the title as a “corruption of Sile Ní Ghadhra or Sheela Nee Iyer, who symbolized Ireland in the song of that name.” Breathnach (CRÉ V), 10 (appears as untitled jig, source unknown). Cole (1000 Fiddle Tunes), 1940; pg. 62. Ryan’s Mammoth Collection, 1883; pg. 92.

X:1

T:Shee La Na QUira

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | GBB Acc | GBB c2e | dcB Adc | BFA GDB, | GBB Acc | GBB c2e |

dcB Adc | BGG G2 :: B | GBd g2d | ecc ce | Ace a2g | fdd d3 |

GBd g2d | ecc d2c | BGB cAd | BGG G2 :|

                       

SHEEBEG, SHEEMORE ("Si B(h)eag, Si M(h)or"). AKA and see “Si Bheag, Si Mhor.”

                       

SHEEHAN’S (JIG).  AKA and see “Tom Billy Murphy’s.”

 


SHEEHAN'S REEL ("Seisd Uí Seadacain" or "Cor Uí Seadacain"). AKA – “Sheahan’s Reel.” AKA and see "Black-Eyed Sailor," “Broom Reel,” “Joe O’Connell’s,” "Lord Wellington [2]," “Wellington’s Reel [1].” Irish, Canadian, American; Reel. USA, New England. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. AB (O'Neill/1850, 1001 & 1915, Silberberg): AAB (Taylor): AABB (most versions). Perlman (1996) notes this is one of the most widely played tunes on Prince Edward Island. The great Sligo/New York fiddler Michael Coleman called the tune “Wellington’s,” although that title also refers to other tunes. Philippe Varlet says the tune was popular in the 78 RPM era and recorded often. Fiddler Hugh Gillespie recorded it on a 78 under the title “Joe O’Connell’s,” while Sligo born James Morrison recorded it as “Lord Wellington’s.” Pipers Leo Rowsome and Liam Walsh recorded the tune separately in the same year, under the title “Broom Reel.” Sources for notated versions: Frank Ferrel (Seattle/Mass.) [Brody]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; set dance music recorded live at Na Píobairí Uilleann, in the 1980’s [Taylor]; Ruthie Dornfeld [Silberberg]. Breathnach (CRÉ II), 1976; No. 161 (appears as “Gan anim/Untilted Reel”). Breathnach (CRÉ III), 1986; No. 110. Brody (Fiddler’s Fakebook), 1983; pg. 254. Miller & Perron (Irish Traditional Fiddle Music), 1983; No. 131. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 242, pg. 127 (appears as “Sheahan’s Reel”). O'Neill (Krassen), 1976; pg. 98. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1213, pg. 229. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 490, pg. 94. Peoples (Fifty Irish Fiddle Tunes), 1986; 19. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 53. Sannella, Balance and Swing. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 142. Songer (Portland Collection), 1997; pg. 181. Taylor (Crossroads Dance), 1992; No. 19, pg. 15. Taylor (Music for the Sets: Yellow Book), 1995; pg. 16. Tolman (The Nelson Music Collection), 1969; pg. 12. Atlantica Music 02 77657 50222 26, Natalie MacMaster - “Atlantic Fiddles” (1994). Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Front Hall 08, Alister Anderson‑ "Traditional Tunes" (1976. Learned from piccolo player John Doonan). Kicking Mule 706, Tom Gilfellon‑ "Kicking Mule's Flat Picking Guitar Festival." Rounder 7004, Joe Cormier‑ "The Dances Down Home" (1977). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000). Shanachie - "The Pure Genius of James Morrison." Shaskeen - "Atlantic Breeze" & "Shaskeen Live." Voyager 320‑S, Frank Ferrel & Graham Townsend ‑ "Fiddle Tunes" (1977). De Dannan – “Star Spangled Molly.” “Temple House Ceili Band” (1st album). Dubliners – “Dubliners’s Dublin.” Jerry Holland – “The Fiddlesticks Collection.”

X:1

T:Sheehan’s

M:4/4

L:1/8

S:learned from David Kidd

R:reel

Z:Lorna LaVerne

K:G

|: G2BG DGBG | AGAB cBAG | EAAG ABAG | FGAG FDEF |

G2BG DGBG | cBAB cdef | gedB c2Bc | dBcA BGG2 :|

(3ggg bg dgbg | gbag fdde | (3fff af dfaf | gbag fdef |

(3ggg bg dgbg | gbag fdef | gedB c2Bc | dBcA BG G2 |

(3ggg bg dgbg | gbag fdde | (3fff af dfaf | gbag fdef |

g3b a3f | gbag fdef | gedB c2Bc | dBcA BG G2 |

N:The first phrase is also played G2BG DGBG | ABcA BGGB | A3 B cABG | EAAG FDEF |...

X:2

T:Sheehan’s Reel

M:C|

L:1/8

K:G
G2BG DG BG|AB cA BG GB|AE AB cB cA|EA AG FD EF|

G2BG DG Bd|cB AB cd ef|ge dB c2Bc|dB cA BG G2:|

|:g2bg dg bg|gb ag fd de|=f2af df af|gb ag =fd d^f|

g2bg dg bg|gb ag fd de|(3gfe dB c2Bc|dB cA BG G2:|

X:3

T:Sheehan’s

S:Paul O'Shaughnessy

Z:Juergen.Gier@post.rwth-aachen.de

M:C|

L:1/8

K:G

G2BG DGBG|ABcd BGGF|EAAB cBcA|EcAG FDEF|\

G2BG DGBd|ceAB cdef|gedB c2Bc|1dBcA BGAF:|2dBcA BGBd|:\

g2bg dgbd|gbag fddg|f2af cfaf|gbag fdef|\

g2bg dgbd|gbag fdef|gedB c2Bc|1dBcA BGBd:|2dBcA BdAF|]

"Var. 2nd part"g2bg gabg|gfga fddg|fgaf dfaf|ge^ce fdef|\

gfgb agba|gbag fdef|gedB ~c2Bc|dBcA BdAF|]

X:4
T:Sheehan's Reel
T:
Wellington's Reel
A:Irish (
Cape Breton Setting)
S:David Greenberg/John Erdman
D:Natalie MacMaster - Fit as a Fiddle
M:C|

L:1/8
E:7
R:reel
K:G
"G"G2 BG DGBG | "D"ABcA "G"BGGB | "Am"A^GAB cAB=G | EAAG "D"FDEF|
"G"G2 BG DGBd | "C"cBAB "D"cdef | "G"gedB "C"c/c/c Bc | "D"dBcA "G"BG G2 :|
"G"g2 bg dgbg | gbag fdde | "D"f2 af dfaf | gbag fdef|
"G"g/g/g bg dgbg | gbag "D"fdef |"G"gedB "C"c/c/c Bc | "D"dBcA "G"BGG2 :|

                       

SHEEHAN’S (SLIDE).  See the related “Is Your Wallet Made of Silk?”

 

SHEELA BEG NI CHONALLAIN. AKA and see "Little Celia Connellan [1]."

                       

SHEELA NA GIGG. Irish, Air. Sheela na Gig is the name of a Celtic fertility goddess. Used in Kane O’Hara’s ballad opera Midas (1764).

                       

SHEELA NI KELLY. AKA and see "Susai Ni Chellaigh."

                       


SHEELA O'GARA ("Sighile/Síle Ní Ghadhra" or "Sigle Ní Gadra"). AKA ‑ “Sheila na Guira,” "Shee La Na Quira," "Sheela Nee Ghadra." AKA and see “Drunken Parson.” Irish, Air (3/4 time). G Mixolydian. Standard tuning. AAB. "Of this fine air there are two very distinct versions, of which one is represented in Moore's Melodies, with the words 'Oh, had we some bright little isle of our own;' with sixteen bars in each Part. The version generally known in Cork and Limerick has twenty bars in the second Part; and in other respects it is considerably different from Moore's setting. The songs composed to sing to this‑‑whether Irish or English‑‑have always five lines in  the second part of each verse to correspond with the twenty bars of the air (instead of four lines as in Moore's song). I find among the Pigot MSS a setting of this version: but on the whole I prefer my own, which I give here, with one verse of the English song‑‑both from memory as I learned them in boyhood. 'Sheela Nee Guira' was one of the numerous allegorical names of Ireland; and this song was a patriotic one, though it could be sung with safety in the time of the Penal Laws, as it was in the guise of a love song. See 'The Blackbird'..." (Joyce). Darley & McCall also identify the song as symbolic of Ireland, and say the Irish lyric was written by Tadg O'Sullivan, to whom it is credited in O’Daly’s Poets and Poetry of Munster (1849). Kane O’Hara used the melody for his ballad opera Midas (1764). Other early sources in which the air appears are Burke Thumoth’s 12 Scottish and 12 Irish Airs collection of c. 1750 (or 1744, depending on the opinion--it appears as “Chiling O guiry”) and Walker’s Historical Memoirs of the Irish Bards (1786). O’Farrell printed it with six sets of variations in his National Irish Music for the Union Pipes (1804) under the title “Sheeling O Guira.” It is still very much a part of the living tradition (Ó Canainn, 1978).

***

Source for notated version: Rev. Father Gaynor, C.M. (Cork, Ireland), collected from his playing at one of the Feis Ceoil competitions of the early 20th century [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Traditional Irish Dance Music), 1914/1984; No. 57, pg. 25. Joyce (Old Irish Folk Music and Song), 1909; No. 742, pg. 367. O’Farrell (National Irish Music for the Union Pipes), 1804; pgs. 24-25 (appears as “Sheeling O Guira, with new Variations”). O’Farrell (Pocket Companion), c. 1805; pg. 13.

X:1

T:Sheela Nee Guira

T:Síghile Ni Ghadhra

M:3/4

L:1/8

N:”Moderate”

S:JoyceOld Irish Folk Music and Song (1909)

Z:AK/Fiddler’s Companion

K:G

BA | G2B2B2 | B2d2d2 | c2d2B2 | B2d3c | B2G2G2 | B2d2 (3cAG | {B}A2G2G2 |                                         

G6 :| BA | B2=f2e2 | =f2g2g2 | =f2 d2 dc | B3c (3AGF | G2 =f2e2 | =f2g2g2 |

=f2 dcBc | d4G2 | G2 =f2e2 | =f2g2 ag | =f2 d2 (3de^f | g4 ag | f2d2B2 |

B2d2d2 | c2d2B2 | B2d3c | B2G2G2 | B2d2 (3cAG | A2G2G2 | G4 ||

X:2

T:Sheeling O Guira with new Variations

M:3/4

L:1/8

R:Air

S:O’FarrellPocket Companion (c. 1805)

Z:AK/Fiddler’s Companion

K:G

BA | G2B2B2 | A2c2c2 | G2B2B2 | c4 BA | G2B2d2 | c2A2d2 | B2G2G2 | G4 :|

|: D | GA(Bc)(de) | =f4 ag | f2d2B2 | c4 BA | G2B2d2 | g4 ag | f2d2f2 | g4 BA |

G2B2B2 | A2c2c2 | G2B2B2 | c2e2g2 | (ed)(cB)(AG) | (FG)(AB)(cA) | B2G2G2 |

G4 :: (GB)(dB)(AG) | (Ac)(ec)(BA) | (GB)(dB)(cB) | (Ac)(ec)(BA) | (GB)(dB)(AG) |

(FG)(AB)(cA) | B2G2G2 | G4 :: d | g3ag2 | g2b2g2 | e2c2c2 | c4 fg | a3b a2 | a2b2g2 |

f2d2d2 | d4 ef | g3ag2 | g2b2g2 | e2c2B2 | c2e2g2 | (ed)(cB)(AG) | (FG)(AB)(cA) |

B2G2G2 | G4 :: G | (DG)(BG)(BG) | DAcAcA | DGBGBG | c2e2g2 | (ed)(cB)(AG) |

(FG)(AB)(cA) | B2G2G2 | G4 :: d | gdgbag | fdfagf | gdgbag | fdfagf | g2d2B2 |

c2A2d2 | B2G2G2 | G4 :: D | GdBdGd | FdAdFd | GdBdGd | FdAdFd |

EcEcEc | DcDcDc | B2G2G2 | G4 :: GABcde | =f4 ag | f2d2B2 | c4 BA | G2B2d2 |

g4 g2 | e2c2c2 | f2d2d2 | g2 bgdB | c2e2g2 | edcBAG | FGABcA | B2G2G2 | G4 :|

                       

SHEELAH IN SORROW. AKA and see "Be Easy, You Rogue!"

                       

SHEELAH O'SHANNON. AKA and see "Denis Delaney."

                       

SHEELAH'S WEDDING. AKA and see "St. Patrick's Day (in the Morning)."

                       

SHEELA’S KISS. Irish, Slip Jig. D Major. Standard tuning. AABBCC. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 82, pg. 37.

X:1

T:Sheela’s Kiss

M:9/8

L:1/8

R:Slip Jig

S:LeveyDance Music of Ireland, 2nd Collection (1873)

Z