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] |
SHE DIDN’T DANCE AND
DANCE. AKA and see “Pete Sullivan’s.” Irish, Slide (12/8
time).
SHE FAVORITE, THE.
English, Country Dance Tune (3/2 time). A Minor. Standard tuning. AABB. The
melody was composed by dancing master Nathaniel Kynaston (1683-1757). Although
very little is known about him, Kynaston appears to have been active from 1705
to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of
Kynaston’s tunes and dances over several publications. The Selattyn parish
register in
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
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’Neill – O’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
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
***
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
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. D Major. Standard tuning. AA’BB’. “She Oughta Been a Lady”
is the title by which the tune is generally referred to in
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”:
***
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:Emin
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:Emin
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:McGibbon – Scots 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
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 [
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 [
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
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,
SHEAMUS O'BRIEN. AKA and see "Shamus O'Brien."
SHEAN TREWS. See “Sean Trews.”
SHEAR ‘EM. AKA and see “Share ‘Em.” “Cotton Baggin,” “Julianne Flanagan,” “Old Sharon,” “Sharon,”
“Shear My Sheep, Stephen,” “Shear
the Sheep, Bobbie.”
SHEAR MY SHEEP,
STEPHEN. Old‑Time. The tune was
recorded by the Troy Herald of
SHEAR THE SHEEP, BOBBIE.
AKA and see “Cotton Baggin,” “Julianne Flanagan,” “Old Sharon,” “Share
‘Em,” “Sharon,” “Shear
‘Em.”
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
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’Neill – Dance Music of
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:Joyce – Old 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||
SHEBA’S JIG. Canadian, Jig. Canada, Cape
Breton. B Flat Major. Standard tuning. AABB’. Composed by the late Cape Breton
fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The
Second Collection), 2000; No. 245, pg. 89.
SHEE CALAUGH AWARA MEA. Irish, Jig. G Major. Standard
tuning. AABB. Kennedy (Traditional Dance Music of Britain and
Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 167, pg.
40.
SHEE LA NA QUIRA. See “Sheela O’Gara [2].”
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.
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:
A:Irish (
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
***
Source for
notated version: Rev. Father Gaynor, C.M. (
X:1
T:Sheela
Nee Guira
T:Síghile
Ni Ghadhra
M:3/4
L:1/8
N:”Moderate”
S:Joyce – Old
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’Farrell
– Pocket Companion (c. 1805)
Z:AK/Fiddler’s Companion
K:G
|: 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 :|
SHEELA O’GARA [2].
AKA – “Shee La Na Quira,” "Sheela O'Gara,"
"Sheela Nee Guira," "Sighile Ní Ghadhra," “Sile Ní Ghuire.”
Irish, Jig. G Major. Standard tuning. AABB.
X:1
T:Shee La Na Quira
T:Sheela O’Gara [2]
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 c3|Ace
a2g|
fdd d3|GBd
g2d|ecc d2c|BGB cAd|BGG G2:|
SHEELA O’GARA [3]. AKA and see “Oh, Sheela My Love.”
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)."
X:1
T:Sheela’s
Kiss
M:9/8
L:1/8
R:Slip Jig
S:Levey – Dance Music of
Z:AK/Fiddler’s Companion
K:D
(FGA) (ABc)
d3 | (FGA) (AB=c) B3 | (FGA) (ABc) d3 |
d2d d2d cBA
| B2B B2B AFD | d2d ded cBA | B2B Bcd AFD ||
G2A
(BGE) (BGE) | G2A (BGE) (AFD) | G2A (BGE) (BGE) | (FGA) (Bcd) (AFD) ||
SHEELINA GRA WILL YOU BE MINE. Irish, Air (6/8 time). A Minor. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 55.
X:1
T:Sheelina Gra Will You Be Mine
M:6/8
L:1/8
R:Air
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:A Minor
efe dec | BGE c2d | efe de(d/c/) | BGG GAB | cdc BAG | AGE
E2 ||
SHEEP, THE. English, Hornpipe.
SHEEP ALL IN CLUSTERS.
English, Air (6/8 time). G Major. Standard tuning. AB. This unusual air (with
11 bars per strain) appears in the 1840 music manuscript collection of musician
John Rook, Cumbria. Alexander Wilson (1766-1816), in his poetical works,
directs his song “Matilda” be sung to the air of “Her Sheep all in Clusters.”
Likewise, Robert Tannahill directs his song “Though Humble My Lot” to the air
“Her Sheep had in Clusters.” The song “Her sheep had in clusters crept close to
a grove” appears in a number of late 18th and early 19th
century songsters on both sides of the Atlantic. American publications include
Samuel Campbell’s American Songster (New York, 1788), William
Spotswood’s Vocal Remembrance (Philadelphia, 1790), Livingston’s Vocal
Muse (Philadelphia, 1792), The Medley (Philadelphia, 1795), Isaiah
Thomas’s Skylark (Worcester, 1795 & 1797), The Columbian Songster
(New York, 1797), Daniel Wright’s American Musical Miscellany
(Northampton, 1798), and The Nightingale (Dedham, 1800). In addition,
the air appears in several American musicians’ manuscript copybooks of the
period, including Luther Kingsley (Mansfield, Conn., 1795), John Turner
(Norwich, Conn., 1788), Jonathan Shipley Copp (1799), and Wilkes Allen
(1790-1801). The song is a setting of Cunningham’s pastoral poem “Corydon and
Phylis,” which begins:
***
Her
sheep had in clusters crept close by the grove,
To hide
from the rigours of day;
And
Phillis herself, in a woodbine alcove
Among
the fresh violets lay:
A
youngling, it seems, had been stole from its dam
(Twixt
Cupid and Hymen a plot)
That
Corydon might, as he search’d for his lamb
Arrive
at this critical spot.
***
X:1
T:Sheep all
in Clusters
M:6/8
L:1/8
R:Air
S:John Rook
manuscript (1840, Cumbria)
Z:AK/Fiddler’s
Companion
K:G
D|GBA
Bcd|dge d2e|dBd cBA|G2 z2 G/A/B|ABc dAA|GEG FGA|BAG FGE|
DFF FAA|Add
d2B|{d}AGF {A}GFE|D3 z2||d/B/|GAB cde|FGA B2D|EcB cAG|
{A}F2
z2D|GBA Bcd|dge d2e|dBd cBA|GBB .B.d.d|.d.g.g g2e|dBd cBA|G3 z2||
SHEEP
AND HOGS WALKING THROUGH THE PASTURE. Old‑Time, Breakdown.
SHEEP IN THE BOAT, THE.
Irish, Jig. A reworking of the air “Anach
Cuain” by Clare fiddler Junior Crehan.
SHEEP ON THE MOUNTAINS, THE ("Na Caoire Air/Ar na Sleibtib" or
"Na Caoirigh ar na Sléibhte"). Irish, Double Jig. D Mixolydian (Breathnach):
D Major (O'Neill). Standard tuning. AB. Breathnach (1976) notes this was the
version played in Fingal, North County Dublin, and that O’Neill prints another
version. See also the related “Oh!
Hag You Have Killed Me [1].” P.W. Joyce (1909) printed a version of the
tune as an untitled jig from the Pigot Collection. Source for notated version:
piper Jack Wade, 1968 (Clones,
X:1
T:Sheep on the Mountains, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:D
D||F3G3|A<dB cAG|A3 ~d3|A3
~d3|F3G3|A2d cAF|~G3 AFD|G3 AFD|F3G3|
A<dB cAG|AB/A/G/A/ D3|AB/A/G/A/
d3|FFF GGG|A<dB cAF|~G3 AFD|GFE D2||
f|fed efg|afd cAG|A3 ~d3|A3 ~d3|fed
efg|afd cAF|~G3 AFD|G3 AFD|
fed efg|afd cAG|A3 ~d3|A3 ~d3|f3
~g3|afd cAF|~G3 AFD|~G3 AFD||
X:2
T:Untitled
M:6/8
L:1/8
R:Jig
N:”Softly and not too quick” (Miss G.).
B:P.W. Joyce – Old Irish Folk Music and Songs, No. 833 (1909)
Z:AK/Fiddler’s Companion
K:D Mixolydian
F3 G3|A3 cAG|A3 d3|A3 d3|F3 G3|A2d
cAF|
G3 AFD|~G3 AFD|~F3 G3|A3 cAG|c
B/A/G/A/ d3|
A B/A/G/A/ d3|FF/E/F/F/
GG/F/G/G/|A2d cAF|GGG G2A|GGG G3||
=fed e^fg|{a}afd cAG|A3 d3|~A3
d3|=fed e^fg|
afd cAF|G3 AFD|~G3 AFD|=fe3d
e^fg|{f}afd cAG|
A3 d3|A3 d3|~f3 g3|{f}afd cAF|~G3
AFD|~G3 AFD||
SHEEP SHANKS. AKA and see “Miss Maule’s Reel.” Scottish, Reel.
A Major. Standard tuning. AAB (Athole, Hunter): AABB' (Gatherer, Kerr). An 18th
century composition by Robert ‘Red Rob’
MacIntosh (1745-1807), a contemporary of Niel Gow, originally titled “Miss
Maule’s Reel.” It is among MacIntosh’s more popular melodies among
X:1
T:Sheep Shanks
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
g|a2ed cAec|Bcde fBbg|a2ed cAec|dfec A/A/A A:|
e|cAEA cAec|Bcde fBfd|cAEA cAec|dfec A/A/A Ae|cAEA cAec|
Bcde
fBfd|deae dfba|gefg aAA||
SHEEP-SHEARERS, THE. AKA and see "Next
Oars." Irish, Slip Jig or Air (9/8 time). D Mixolydian. Standard tuning.
AB. Joyce obtained the melody from the Pigot collection. Joyce (Old Irish Folk Music and Songs), 1909;
No. 723, pg. 360.
X:1
T:Sheep-Shearers, The
T:Next Oars
M:9/8
L:1/8
R:
S:Joyce – Old Irish Folk Music and Songs, No. 723 (1909)
Z:AK/Fiddler’s Companion
K:Dmix
dAc BGB AFA|c3 c>dc B2A|dAc BGB
AFA|d3 d>ec d2A||
dAG F2G A3|c3 c>dc B2A|dAG F2G
A3|d3 d>ec d2A||
SHEEP SHEERING.
English, Jig. G Major. Standard tuning. AABB. The melody is unique to
Charles and Samuel Thompson’s third country dance collection (London, 1773).
Thompson (Compleat Collection of 200 Favourite Country Dances, vol.
3), 1773; No. 36.
X:1
T:Sheep Sheering, The
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
d2g B2g|ABG FED|dgB ced|cBA G3:|
|:BGB
cec|BGB cec|g2f g2d|cBA G3:||
SHEEP
SHELL CORN BY THE RATTLING OF HIS HORN. AKA and see "Fuller's Reel." Old‑Time,
Breakdown.
***
Never seen the like since I was born,
Sheep shell corn by the rattlin' of his horn.
***
Corn's in the cupboard and the butter's in the churn,
Never seen the like since I was born.
***
Sheep shell corn by the rattle of his horn,
Never seen the like since I was born.
***
Sheep shell corn by the rattle of his horn,
Swing that gal with the red dress on.
(Highwoods)
***
African-American collector Thomas
Talley (born c. 1870) printed a song called “Sheep Shell Corn” in his 1922 book
Negro Folk Rhymes (set to a
completely different tune), that contains the first line of the Highwood’s
song, but introduces a supernatural element to the lyric:
***
De Ram blow de ho’n an’ de sheep shell co’n;
An’ he sen’ it to de mill by de buck-eyed Whoppoorwill.
Ole Joe’s dead an’ gone but his Hant blows de ho’n;
An’ his hound howls still from de top o’ dat hill.
***
De Fish-hawk said unto Mistah Crane;
I wishes to de Lawd dat you’d sen’ a liddle rain;
Fer de water’s all muddy, an de creek’s gone dry;
If it ‘twasn’t fer de tadpoles we’d all die.
***
When de sheep shell co’n wid de rattle of his ho’n,
I wishes to de Lawd I’d never been bo’n;
Caze when he Hant blows de ho’n, de sperits all dance,
An’ de hosses an’ de cattle, dey whirls ‘round an’ prance.
***
Yonder comes Skilled an’ dere goes Pot;
An here comes Jawbone ‘cross de lot.
Walk Jawbone! Beat de Skilled an’ de Pat!
You cut dat Pigeon’s Wing, Black Man!
***
Take keer, gemmuns, an’ let me through,
Caze I’se gwinter dance wid liddle Mollie Lou.
But I’se never seed de lak since I’se been born,
When de sheep shell co’on wid de rattle of his ho’n!
***
Sources for notated versions: Emmet Lundy (
X:1
T:Sheep Shell Corn by the Rattling
of his Horn
L:1/8
M:2/4
B:Kuntz – Ragged but Right
K:A
(e|e/)f/e/d/ c/B/A/c/|B/A/B/c/ d(e|e/)f/e/d/
c/B/A/c/|B/A/B/c/ A:|
K:D
|:(3A/B/c/|df e/d/B/A/|d/e/f
g(3A/B/c/|df e/d/B/A/|B/A/B/c/ A:|
K:A
(e|e/)c/c/c/ e/c/c/c/|B/A/B/c/
d(e|e/)c/c/c/ e/c/c/c/|B/A/B/c/ A(e|
e/)(A/c/)(e/ e/)(A/c/)(A/|B/)A/B/(c/
d)(e|e/)(A/c/)(e/ e/)(A/c/)(A/|
B/)A/B/c/ A(3A/B/c/||
K:D
d/d/f/d/ e/(d/B/A/)|d/e/f/(f/
g)(3A/B/c/|d/d/f/d/ e/(d/c/A/|B/A/B/(c/ A)(3A/B/c/|
d/d/f/d/ e/(d/B/A/)|d/[df][d/f/]
[d>g>](e|f/)(g/a/f/) ec/A/|B/A/B/(c/ A||
SHEEP SHUCKIN' CORN. See "Sheep
Shell Corn by the Rattling of His Horn"
SHEEP SKIN AND BEES
WAX. Canadian, Reel.
***
Sheepskin and
beeswax,
It made the mighty plaster
The more you tried to get it off
The more it stuck too faster.
***
The tune
has been recorded by La Bottine Souriante and by
X:1
T:Sheepskin and Bee’s Wax
M:4/4
Z:David Clark x97xvp@stfx.ca
K:Ador
A2 AA BAGB | AGAa gfef | g2 fd efed
| Beed BAAG |
EA (3AAA BAGB | AGAa gfef | gefd
efed Beed BAAB |
a2 ab agga | bagf edef | gefd efed |
Beed BAAB |
a2 ab agga | bagf edef | gefd efed |
Beed BAAG :|
X:2
T:Bee’s
Wax, Sheep Skins
M:2/4
L:1/8
R:Reel
S:Pacal
Gemme
K:Amix
E/A/A/A/
B/A/G/B/|A/G/A/a/ g/f/e/f/|g/e/f/d/ e/f/e/d/|B/e/e/d/ B/A/A:| x4
|:aa/b/ a/g/g/a/|b/a/g/f/
e/d/e/f/|g/e/f/d/ e/f/e/d/|B/e/e/d/ B/A/ A:| x4
SHEEP
UNDER THE SNOW. Manx, Slow Air (3/2 time). G
Dorian. Standard tuning. One part. A traditional Manx air from the 18th century.
The song tells of a farmer who has lost his sheep in the snow, and, when he
finds them frozen to death he dies of sorrow.
X:1
T:Sheep
under the snow, The
M:3/2
L:1/8
S:
K:Gdor
G3A|B4 D4
D3C|D4F4 G3F|D4d4c4|d4 d3c|f4e4 f3d|d2c2A4 F3A|
G3F D3C
D3F|G4 G3A|B3c d4 B2d2|c3A F4 G3A|B4c4 d3e|
f4 G3A|B3c d4 B2d2|c2A2 F4 B3A|G3F
D3C D3F|G4||
SHEEPS AND COWS A-WALKING THROUGH
THE PASTURE. Old-Time, Breakdown. From Roscoe Parish.
SHEEPS
AND HOGS WALKING THROUGH THE PASTURE. Old-Time, Breakdown.
SHEEP’S IN THE MEADOW. Old-Time, Breakdown. G Major. Standard tuning. AABB. From the playing
of fiddler Gaither Carlton of Deep Gap,
X:1
T:Sheep's In The Meadow
C:Traditional
S:Gaither Carlton, Deep Gap, NC
H:From tape of Mr. Carlton recorded
by
H:Tom Carter,
Z:Joel Shimberg
M:C|
L:1/8
K:G
A2d2 BAGB|A2d2 G3G|A2d2
BAGB|A2A2G4::d2g2eddg|
ega2a3g|egag edBB|AGG2G4:|
SHEEPSKIN AND BEESWAX. See “Sheep Skin and Bees Wax.” Canadian, Reel.
SHEEPSKINS. See “Three Jolly
Sheepskins.”
X:1
T:
M:C|
L:1/8
R:Hornpipe
K:D
FE|D2 FA d2 dc|BGBd A2 Ad|c2 ce d2
df|ecdB AFGE|
D2 FA d2 dc|BGBd A2 Ad|BGBd
cAce|d2f2d2:|
|:cd|ecA/A/A A2 de|fdA/A/A A2 ef|gefd
ecdf|ecdB AFGE|
D2 FA d2 dc|BGBd A2 Ad|BGBd
cAce|d2f2d2:|
SHEILA COYLE’S. Irish, Reel. D Major. Standard tuning. AABB. Bill Black (1996) states
that the tune is popular in
***
Sheila is eleven years old and lives in River Grove,
lessons from Mrs. Wurman in
Carroll, who won the Senior All-Ireland Fiddle Championship in 1975.
Sheila won first place under
twelve in the
listening to her father since she was born.
***
The second part of “Sheila Coyles”
is closely shared with the second strain of “Jim Donaghue’s/Donoghue’s” (1910-1990), a whistle player from Drimacoo, Monasteraden, Co. Sligo, and both resemble the third part of
“Jackson’s Reel [3].” Black (Music’s the Very Best Thing), 1996; No.
283, pg. 152. Four Men and a Dog – “Barking
X:1
T: Sheila Coyle's
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
AG |: FA A2 FADF | ADFA BAFA | GBBA B3 d | ABdf edBA |
FA A2 FADF | ADFA BAFA | GABd AF (3FEF | EFGE FD D2 :|
df (3fef fgfe | dcdB AFDA | ce e2 fcec | BcdB AFDA |
df
(3fef fgfe | dcdB AFDA | GABd AF (3FEF | EFGE FD D2 :|
SHEILA MULHAIRE’S. Irish, Jig. D Major. Standard tuning. AABB. Composed by Martin Mulhaire
for one of his daughters. Black (Music’s
the Very Best Thing), 1996; No. 357, pg. 190.
X:1
T: Sheila Mulhaire's
C: M. Mulhaire
Q: 325
R: jig
M: 6/8
L: 1/8
K: D
d/e/ | f2 a gfe | fed cAG | FAD FAD | dAF G2 d |
f2 a gfe | fed cAG | FED EFG | Adc d2 :|
A | d2 f afd | Adf afd | ecA AcA | AcA ecA |
d2
f afd | Adf afd | ecA ABc | d3 d2 :||
SHEILA NI GOWNA. AKA and see "The Boyne Water
[1]." The title is an Anglicized form of the original Gaelic.
SHEILA NÍ GUIRA.
See “Oh, Sheela My Love,” “Sheela O’Gara [3].”
SHEILA Ó GARA (Sile Ni Ghadhra). See “Sheela Ó Gara.”
SHEILA’S KISS. Irish, Slip Jig. D Major.
Standard tuning (fiddle). AABBCC. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 73, p. 17.
SHEILING SONG, THE. AKA and see "Maighdeannan Na H‑Airidh."
SHELAH O'NEAL. Scottish, Slow Air (6/8 time). F Major. Standard tuning. AAB.
"Composed and communicated by Mr. Boswell of Auchinleck" (Gow). Nathaniel Gow refers not to James
Boswell (1740-1795), the 9th Laird of Auchinleck, Ayrshire,
anemensis to Dr. Samuel Johnson’s in addition to being an author and diarist, and
lawyer. Rather the song is the work of his
son Alexander, himself a lawyer and a poet. It may be that the father did
compose the reel “Honorable
Mrs. Leslie Cumming.” Carlin (The Gow
Collection), 1986; No. 374. Gow (Fifth Collection of Strathspey Reels),
1809; p. 11.
X;1
T:Shelah O’Neal
M:6/8
L:1/8
R:Slow Air
C:Mr. Boswelll of Auchinleck
B:Gow – Fifth Collection of Niel
Gow’s Reels (1809)
Z:AK/Fiddler’s Companion
K:F
C|~F>GA (cf)d|(cA)F
(GE)C|~F>GA (cf)d|c>Ac F2:||(c/4d/4e/)|f>ed cBA|fe{de}f {d}cBA|
“tr”f>ed cBA|G>FG/A/ D2
(C/D/)|[A,F][A,F][A,F] (AF)A|(cA)c [A2f2] (f/g/)|a(b/a/)(g/f/) ~d>ef|c>Ac
F2||
SHELBURNE REEL. American, Canadian; Reel.
SHELBURNE ROTARY REEL. Canadian, Reel. Alcazar Dance Series ALC‑201,
Jerry Robichaud ‑ "Maritime Dance Party" (1978).
SHELDER/SHELDOR/SHALDER
GEO. Shetland; Shetland Reel. Shetland,
district of Nesting. D Mixolydian. Standard tuning (fiddle). ABB. "A
'shelder' is the local name for an oyster catcher, and 'geo' is the name for an
inlet" (Boys of the Lough). "A traditional reel describing the sound
of the Oyster Catcher called 'Shelders' in Shetland. Shelder Geo is a place in
the North of Shetland where the Shelders nest" (
SHELDON MACNEIL’S REEL. Canadian, Reel.
SHELVIN ROCK [1]. Old‑Time, Breakdown.
SHELVIN
ROCK [2]. AKA - “Shelby Rock.” Old‑Time,
Breakdown.
***
Ernie Carpenter. Photo by Michael Keller. Courtesy Goldenseal Magazine
www.wvculture.org/goldenseal
***
Wilson
Douglas, maintains that "old Saul Carpenter" (French Carpenter's
grandfather) composed the tune, calling it "Shelvin' Rock" for an
outcropping in Webster County, W.Va., that was used as a sheltering campsite
"back in the Civil War days when the people were all on the move, (and) there
weren't no houses in the country at that time..." There is a confusion of
Sauls or Solomons, objects Gerry Milnes (1999), who clarifies that although
French’s grandfather was named Solomon, he was a good forty to fifty years
younger than his ancestor, also named Solomon.
French’s grandfather Solomon lived during the time of the Civil War (see
note for “
SHELVIN ROCK [3]. Old‑Time, Breakdown.
SHELVIN ROCK [4]. Old-Time, Breakdown. AEae tuning. A different version that either #1 or
#2.
SHENANDOAH. AKA and see "The York Fusiliers."
American, March (2/4 time).
SHENANDOAH FALLS. Old-Time, Breakdown. A
Major. Standard tuning. AABB (Johnson): AA'BB (Phillips). Clyde Curley and
Susan Songer, in notes to The Portland
Collection, traces the tune. Vermont fiddler Pete Sutherland learned it
from West Coast musician Carol Robinson, originally from Sebastapol, who
herself learned it as an untitled reel from a mandolin player named 'Cookie',
once a fellow student with her at Sonoma State College. It is thought
Sutherland titled it, perhaps thinking it reminiscent of Bill Monroe's bluegrass
composition "Shenandoah Breakdown." Source for notated version: Pete
Sutherland (
X:1
T:
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
cd |: “A”e2 ef edcB | AB c2 “D”d4 | “A”c2 cd cBAc | “E”BAGF E2 cd |
“A”e2 ef edcB | AB (3cBA “D”d4 | “A”cBAc “E”BA G2 |1 “A”A4 A2 cd :|2 “A”A6 G2 ||
|: “Bm”F4 B3B | A2 (B2B4) | “A”ABcA BcAB | cAB(c c)B A2 |
“Bm”F4 B3B | A2 (B2B2) Bd | “A”cBAc “E”BA G2 |1 “A”A4 A3G :|2 “A”A6 ||
SHENANDOAH WALTZ. Old‑Time, Waltz. C Major. Standard tuning. One part. Does not
appear to be "Shenandoah Valley Waltz". Ford (Traditional Music in America), 1940; pg. 132.
__________________________________________
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