The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME        ALPHABETICAL FILES        REFERENCES

 

SHO - SHU

 

 

 

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, 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]

 

 

 

SHOE COBBLER’S BLUES. Old-Time, Waltz. USA, Missouri. C Major. Standard tuning. ABB’. The Burke family, several of whom were musicians, tended to call any tune with sliding notes a ‘blues’ tune, according to Bob Holt, no matter what the style or genre. Source for notated version: Bob Holt (1930-2004, Ava, Missouri), learned from Waldo Burke (Dogwood, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 68. Rounder CD 0432, Bob Holt – “Got a Little Home to Go to” (1998).

 

SHOE THE DONKEY [1]. Irish, Mazurka (3/4 time). G Major. Standard tuning. AABBC. A version of "Varsovienne [1]" recorded on the Topic album 12T367, "John McGettigan"-- a reissue of late 1920's recording by McGettigan, a Donegal native transplanted to Philadelphia, Pa.  Other Donegal versions can be found in the repertory of Pat Kelly of Bundoran  and of Danny Meehan and his sister, Roseabelleplay.  See "Shoe the Donkey" [3] for yet another.

X:1

T:Shoe the Donkey [1]

M:3/4

L:1/4

Q:"Gaily"

K:G Major

B3/4c/4|BDB3/4c/4|BDB3/4c/4|ded|A2A3/4B/4|\

ADA3/4B/4|ADA/B/|ced|G2::B/c/|dgf|A2A3/4B/4|\

ced|B2B3/4c/4|BAB|c2A3/4B/4|ced|G2:|

"Trio   Tempo di Redowa"

B/c/|(dB)d|(g2d)|(fe)c|(A2G)|(FA)c|(f2e)|(e/d/)^c/d/e/d/|\

B2(B/c/)|(dB)d|(g2d)|(fe)c|(A2G)|(FA)c|f2e|(e/d/)c/A/F/D/|G2||

 

SHOE THE DONKEY [2]. Irish, Mazurka (3/4 time). G Major. Standard tuning. AABB’. Tubridy (Irish Traditional Music, Vol. 1), 1999; pg. 3.

X:1

T:Shoe the Donkey [2]

L:1/8

M:3/4

K:G

DG|B2B2DG|B2B2DG|B2c2B2|A4 DF|A2A2DF|A2A2DF|A2B2A2|G4:|

|:Bc|d2g2f2|A4AB|c2e2d2|B4BB|B2A2B2|c3Bcd|1 e2d2c2|B2BA:|2 e2d2F2|G4||

 


SHOE THE DONKEY [3]. Irish, Mazurka (3/4 time). G Major. Standard tuning. Not the usual version of the tune, but one particular to Gaoth Dobhair. Green Linnett GLCD 3090, Mairead Ni Mhaonaigh & Frankie Kennedy - "Ceol Aduaidh" (1983/1994. Learned from Mairead's father, Francie Mhaonaigh of Donegal).

X:1

T:Shoe the Donkey [3]

L:1/8

M:3/4

K:G

d^c|d2B2d^c|d2B2d^c|d2e2d2|c4 cB|c2A2cB|\

c2A2cB|c2e2d2|1B4:|2G3 ABA|:G2B2d2|g3 gag|f2e2d2|\

A3 BAG|F2G2A2|f3 ffe|1d2c2A2|B3 cBA:|2d2e2f2|g4||

                       

SHOE STRINGS, THE. English, Jig. England, North‑West. D Major. Standard tuning. AABBCC. Knowles (Northern Frisk), 1988; No. 81.

                       

SHOEHAMMER. AKA and see "Paddy Got Drunk on Fish and Potatoes," "Big Fat Gal's Good I Know, But a Little Fat Gal's Better O!" American, Jig. USA, southwestern Pa. G Major. Standard tuning. AABB. Source for notated version: Wellington Funk (fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 531B, pg. 474.

                       

SHOEMAKER [1], THE. English, Air (2/4 time). England, Northumberland. F Dorian. Standard tuning. AB.

***

My mother sent me to the school,

To learn to be a stocking‑knitter,

But I went wrang and play'd the fule,

And married with a shoemaker.

Shoemaker, leather cracker,

With all his stinking, dirty water,

I wish a thousand deaths I'd died

Ere I had wed a shoemaker. (Bruce & Stokoe)

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pgs. 96‑97.

X:1

T:Shoemakker, The

L:1/8

M:2/4
S:Bruce & Stokoe – Northumbrian Minstelsy

Z:AK/Fiddler’s Companion

K:B_

F||FB ce|dB cF|FB cd|B>c BF/F/|FB ce|dB cd/e/|f>d e>c|B2 AF||

A2 AG/F/|GG GF/G/|_AA AG|Bc BG/G/|_AA AG/F/|GG GF/G/|

FB ce|B2 AF||

 

SHOEMAKER [2]. American (?), Polka. G Major. Standard tuning. ABB. Source for notated version: transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who learned the tune in America [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 39.

 

SHOEMAKER'S DAUGHTER [1]. AKA and see "Duchess of Buccleugh [3]," "Suttor's Daughter," "Wilt thou be my dearie." Scottish. Used by Robert Burns for one of his songs. John Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 72).

 

SHOEMAKER'S DAUGHTER [2]. AKA and see “O’Dowd’s Reel [2].” Irish, Reel. G Major. Standard tuning. AABB. Composed in the 1950's by the late Philadelphia, Pa./County Cavan, Irish‑American fiddler and composer Ed Reavy (1898-1988). The melody was recorded in the 1970's by Galway-born fiddler Seamus Connelly. Reavy (The Collected Compositions of Ed Reavy), No. 37, pg. 39. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 3; 22. Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' up the Hall" (1989).

X:1

T:The Shoemaker's Daughter

R:Reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Ed wrote the tune in the fifties, but it did not become popular in Ireland

N:until the seventies, when it was record by Seamus Connelly,

N:the well-known Galway fiddler.

K:G

DF |: G2 DG BcdB | G=FDE FDCD | G2 DG Bcde | =fdBd c2 Bc |

dg (3gfg dc (3cBc | Bcde =fdcd | g^fdc BcdB | FGAF G2 :||

ef |:g2 dg bgdg | gfdg fdcd | g2 dg Bgdg | f2 (3cBA BGGf | g2 dc BGGE |

^FGAB c2 Bc | dg (3gfg de=fd | cA^FA G2 :||

 


SHOEMAKER'S FANCY. AKA and see "Boring the Leather [2]," "Tolladh an Leathair," "Down the back Lane," "The Kilfinane Jig," "Come with me now," "The Humours of Ayle House," "The Connaughtman [2]," "When you go home." Irish, Double Jig. D Major. Standard tuning. AABB. Breathnach (CRÉ II), 6 (appears as untitled jig). Roche Collection, 1982, vol. 1; No. 93, pg. 41.

 

SHOEMAKER'S REEL. AKA and see "Cobbler's Reel,” “(Le) Reel du cordonnier.” See "You Married My Daughter and (but) Yet You Didn't."

 

SHOES AND STOCKINGS. Old-Time, Breakdown. G Major. Standard tuning. AB (Silberberg): AABB (Songer). Source for notated version: Bruce Reid [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 143. Songer (Portland Collection), 1997; pg. 184. CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).

 

SHOGALLIE'S REEL. AKA and see "Cuddie's Wedding." Scottish, Reel. John Glen (1891) finds the earliest appearance of the tune in Angus Cumming's 1780 collection (pg. 20).

 

SHOO FLY. Old‑Time, Breakdown and Song Tune. USA; Arkansas, West Virginia, Virginia. D Major. Standard tuning. AABB (Phillips, Silberberg): AA’BB’ (Songer). The original “Shew Fly, Don’t Bother Me” was a “Comic Song and Dance, or Walk Round” (as the sheet music explained) hit for Billy Reeves (words) and Frank Campbell (music) who composed it in 1869. The two were blackface minstrels and claimed the tune, although it has been pointed out that the reference to ‘Company G’ in some song versions suggests Civil War origins. The tune was recorded on 78 RPM for Brunswick Records by Kanawha County, West Virginia, fiddler Clark Kessinger (1896-1975). The title appears in list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

***

I went down to Shoe-fly's house,

Shoe-fly wasn't home;

I ate up all the meat and bread,

And fed that dog a bone.

***

Chorus:

Shoe-fly, shoe-fly, don't you bother me,

Stay away from here shoe-fly, I'm as drunk as I can be.

***

Apple-jack, mollasses,

And lots of cornbread too;

If anyone can handle that,

It's more than I can do. 

***

Beware, beware,

That's what my mother said;

White folk pour mollases,

Upon that darkey's head.

***

or:

Little cat pour molasses,

Upon that big cat's head.

***

Sources for notated versions: Clark Kessinger (West Virginia) [Phillips]; Vivian Willaims (Seattle) [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 220. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 143. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 41. Songer (Portland Collection), 1997; pg. 184. Biograph RC6003, “The Original Bogtrotters” (1968). 5 String Productions 5SP05002, The Hoover Uprights – “Known by their Reputation” (2005. Based on the  playing of West Virginia fiddler Clark Kessinger).

See also listing at:

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

 

SHOOT HER WITH A LEATHER GUN. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 


SHOOT THAT TURKEY BUZZARD. AKA and see "Turkey Buzzard," (Closely related to) "Davy Dugger"?? "Engine on a Mogull," "Greasy String [1]," "Old Coon Dog [1]," "Higher Up the Monkey Climbs." Old‑Time, Breakdown. USA; east Tennessee, east Kentucky, north Georgia. G Major. Standard tuning. AB (Silberberg): AABB (most versions). It has been identified as an east Tennessee tune name, however Rosenbaum (1989) believes it to have been widespread in the Georgia Blue Ridge. The piece is in the repertoire of Montecello, Ky., fiddler Clyde Davenport, who learned it from his father, a Tennessee fiddler. There are various verses sung to the tune:

***

Shoot that turkey buzzard, shoot that turkey buzzard,

Shoot that turkey buzzard, flyin' round the mountain.

***

Old hen cackle and chickens flew,

Rooster swore that he'd go, too.

***

Shoot old Davy Dugger, shoot old Davy Dugger,

Shoot old Davy Dugger, catch his wife an' hug 'er.  (Rosenbaum/Chancey)

***   

Shoot that turkey buzzard, shoot that turkey buzzard,

Blam!, blam!, caw!, caw!   (Kuntz/Any Old Time)

***

Sources for notated versions: Ebenezer [Brody]: Any Old Time String Band (Ca.) [Kuntz]; Joe and Chesley Chancey (Boardtown Community, Cherry Log, Gilmer County, Georgia) [Rosenbaum]; Vivian Williams (Seattle) [Phillips];  Mel Durham [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 256. Kuntz (Ragged but Right), 1987; pg. 322. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 221. Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pgs. 168‑169. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 144. Arhoolie 4009, "Any Old Time String Band." Biograph 6007, Ebenezer‑ "Tell it to Me" (appears as "Turkey Buzzard"). County 405, "The Hillbillies" (appears as third tune of "Soldier's Joy Medley"). Folkways FA 2371, Roger Sprung‑ "Ragtime Bluegrass 2." Gennett 6775 (78 RPM), Doc Roberts (Ky.). Vetco 506, Fiddlin Van Kidwell‑ "Midnight Ride."

X:1

T:Shoot that Turkey Buzzard

L:1/8

M:2/4

S:Kuntz – Ragged but Right

K:A

[^GA]|[AA][A/f/][A/f/] [Ae][A/f/][A/f/]|e/c/B/A/ c>B|Af/f/ ef/f/|e/c/B A>B|

Af/f/ ef/f/|e/c/B/A/ c>B|Af/f/ ef/f/|e/c/B A:|

|:e/f/|aa/f/ aa/a/|f e2 (a|bb/a/ b>c’|b a2 (b|c’c’/c’/ b/a/a|f/a/f/e/ c/AB/|

cc/A/ B/A/A/F/|E/F/A/c/ B<A:|

 

SHOOT THE BUFFALO. The title is close to “Hunting the Buffalo,” although the play-party song “Shoot the Buffalo” is apparently not related to the “Hunting the Buffalo” tune. Still, there is confusion about the titles. 

 

SHOOT TWO BITS. Old-Time, Breakdown. USA, Nebraska.  D Major. Standard tuning. AABB. Source for notated version: Bob Walters (Burt County, Nebraska) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 221. Missouri State Old Time Fiddlers' Association, Bob Walters (1889-1960) - "Drunken Wagoneer."

 

SHOOTING. AKA and see "Beaux of London City [1]." English, Slip Jig and Morris Dance Tune (9/8 time). G Major. Standard tuning. AABB (Bacon‑Brackley, Mallinson, Williamson): AABBBAA j(Bacon‑Hinton). 'Shooting' is the name of the tune where it was collected in the villages of Adderbury, Brackley (Northamptonshire) and Hinton‑in‑the‑Hedges (Northamptonshire) of  England's Cotswolds. Bacon (The Morris Ring), 1074; pgs. 101 & 203. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 13, pg. 13.  Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 23. Carthage CGLP 4406, Hutchings et al - "Morris On" (1983. Reissue of Island HELP 5). Island Records HELP 5, "Morris On" (1972).

                       


SHOOTIN' CREEK [1]. Old‑Time, Breakdown. USA; West Virginia, southwestern Virginia. D Major. ADae or Standard tunings. AB (Krassen, Silberberg): AABB (Brody): AA'BB' (Phillips). A popular and common tune in the Franklin/Floyd County area of southwestern Va. Alan Jabbour identifies Shooting Creek as a quick-flowing stream that rises in the Blue Ridge Mountains along the Floyd/Franklin County line, and flows down eastwardly through Franklin County in the Virginia Piedmont. The hollow along the creek had a reputation as a locale for moonshining in the early 20th century; it was much favored by bootleggers and became notorious during Prohibition. See also note for "Cripple Creek." Joel Shimberg points out that Kentucky fiddler Manon Campbell’s “Coal Creek” is a close relative of this tune. Sources for notated versions: Oscar Wright (Princeton, Mercer County, West Virginia) [Krassen]; Bruce Reid [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 255. Kaufman (Beginning Old Time Fiddle), 1977; pgs. 84‑85. Krassen (Masters of Old Time Fiddling), 1983; pg. 119. Person (A Collection of Popular Airs), 1889; pg. 15 (appears as “Walk Around”). Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 220. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 144. Flying Fish FF260, Jabbour, Thompson, and Bradley‑ "Sandy's Fancy." Library of Congress (AFS2740-A-2), 1939, J.W. Thatcher/Hatcher (Franklin County, Va.). Library of Congress (AFS 13034b19), Oscar Wright. Rounder 0010, "Fuzzy Mountain String Band" (1972. Learned from Oscar Wright, Princeton, W.Va.). Rounder 0057, Sam Connor (Copper Hill, Floyd County, Va.) ‑ "Old Originals, Vol. 1" (1978).

 

SHOOTIN' CREEK [2]. Old‑Time, Breakdown. USA, southwestern Virginia. D Major. Standard tuning. Alan Jabbour feels this version of the tune, from the playing of Henry Reed, “is similar enough to be compared to (Shooting Creek [1]), but different enough that it cannot be flatly called a variant.” He says it is of the simpler variety of tune popular with Blue Ridge area musicians, lending itself to performance on the banjo. Library of Congress (AFS 13037b01), Henry Reed.

 

SHOOTIN' CREEK [3]. Old‑Time, Breakdown. USA, North Carolina. Musically version #2 is not related to version #1, however, the title refers to the same Franklin County, Va., bootlegging area. Members of the famous string band Charlie Poole and the North Carolina Ramblers spent a good deal of time in the area between 1924 and 1931 and recorded a tune under the title. Joel Shimberg points out the the Ramblers’ “Shootin’ Creek” is really a version of “Cripple Creek.” Columbia 15286‑D (78 RPM), Charlie Poole and the North Carolina Ramblers (1928).

                       

SHOOYL INNEENYN. Isle of Man, Dance Air. Maggie's Music MM107, "Music in the Great Hall" (1992).

                       

SHORE BAR, THE. Scottish, Reel. Composed by Lanarkshire flute player Niall Kenny.

                       

SHORES OF AMERIKAY, THE. AKA and see "Star of the County Down." Irish, Scottish; Slow Air (4/4 time). A Minor. Standard tuning. ABB. A 19th century Irish ballad (in 6/8 meter) by this title begins:

***

I'm bidding farewell to the land of my youth and the home I love so well,

And the mountains so grand in my own native land I am bidding them all farewell;

With an achin' heart I'll bid them adieu, for tomorrow I'll sail far away,

O'er the raging foam to seek a home on the shores of Amerikay.

(Loesberg, Folksongs & Ballads Popular in Ireland, Vol. 2, 1980).

***

Kerr (Merry Melodies), vol. 1; pg. 41.

                       

SHORES OF AUSTRIA, THE. Composed by whistle player Sean Ryan.

                       

SHORES OF BALLYBUNNION, THE (Cladaí Bhaile an Bhuinneánaigh).  Irish, Reel. G Major. Standard tuning. AA’BB’. Frank Lee’s Tara Ceilidh Band recorded this melody on a 78 RPM recording for Columbia in the 1930’s. The band was based in London, and leader Frank Lee was a piano player. Breathnach (CRÉ V), 1999; No. 128, pg. 65.

 

SHORES OF LAKE ERIE. American. Recorded by (Scottish?) fiddler William Craig on an Edison cylinder (#9893).

                       

SHORES OF LOCH GRANEY. AKA – “Shores of Lough Graney.” AKA and see “Andy McGann’s No. 42 Bunratty Reel,” “Drag Her Around the Road,” "The Pullet and the Cock." Irish, Reel. E Minor. Standard tuning. AB. Lough Greaney is in County Clare. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Miller (Fiddler’s Throne), 2004; No. 247, pg. 150 (appears as “Shores of Lough Graney”). Harker (300 Tunes from Mike Rafferty), 2005; No. 83, pg. 27.

                       


SHORES OF LOUGH GOWNA. AKA and see “The Ball of Ballynafeidh,” “Banks of Lough Gowna [1],” “Lough Gowna [2],” “The Slopes of Sliabh Luachra.” Irish, Jig. B Minor. Standard tuning. AABB. Sources for notated versions: Kenny Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]; Sligo fiddler Andrew Davey’s 1972 recording [Miller & Perron]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 36. Harker (300 Tunes from Mike Rafferty), 2005; No. 190, pg. 59. Mallinson (Essential), 1995; No. 97, pg. 42. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 55. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 36. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 136. Leader LER 2044, Andrew Davey (1928-2005) – “Music from the Coleman Country” (1972). Smithsonian Folkways SFW CD 40126, Rodney Miller  – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Shores of Lough Gowna

M:6/8

L:1/8

R:Jig

K:B Minor

~B3 BA(F|{G}F)EF DFA|~B3 BAF|d2e fed|

~B3 BA(F|{G}F)EF DFA|def gfe|fdB B2A:|

|:def ~a3|afb afe|dFA def|~g3 fdB|

def ~a3|afb afe|def geg|fd(B {c}B2)A:|

                       

SHORES OF LOUGH REAGH. AKA – “Shores of Loughrea.” AKA and see "Tommy Whelan's Reel," "Humours of  Loughrea." Irish, Reel. G Major. Standard tuning. AB (Harker): AABB (Breathnach, Flaherty). Breathnach (CRÉ II), 1976; No. 197 (appears as untitled reel). Flaherty (Trip to Sligo), 1994; pg. 26 (appears as untitled reel). Harker (300 Tunes from Mike Rafferty), 2005; No. 45, pg. 14 (includes variations). Bellbridge Records, Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded 1959). Kells KM 9509, Mike and Mary Rafferty – “The Dangerous Reel” (1995). 

X:1

T:Shores of Loughrea

T:Humors of Loughrae

T:Tommy Whelan's

M:C|

L:1/8

S:from Mike Rafferty

Z:Tom Madden

K:G

DE|:~G3A BAA2|bgag egdB|G2GA BAGE|ABAG E2DE| ~G3A BAA2|

bgag egdB|G2GA BAGE|ABAG E2DE::

g2eg fdBd|g2 ef gaba|geeg fdBd|egfd e2ef| g2eg fdBd|g2 ef gaba|

g2ge a2ag|eaag egdB:|"fine"G4 z4||

                       

SHORT AND SWEET. AKA and see "Orlabear's Maggot." Irish, Reel. G Major. Standard tuning. AABB. The tune appears under this title in O’Farrell’s Pocket Companion for the Irish or Union Pipes (vol. II, c. 1806). The first part bears some similarity to the march/air “Rising of the Moon.” O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 142.

X:1

T:Short and Sweet

M:C

L:1/8

S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:G

G | BcBc d>edB | cA(GF) G>A G>d | ecge eddB | cBAF G2G2 :|

|:FAAA GBBB | cAdB | g/f/e/d/ c/B/A/G/ | FAAA GBBB | cAGF G2G2 :|

|: BcBc d2d2 | ef a/g/f/e/ eddc | BcBc dedB | cAdB G2G2 :: d/e/d/c/ BG dBdB |

d/c/B/c/ AF AFcA | d/e/d/c/ Bg eg dg | dcAF G2 G2 :|

                       

SHORT APRON [1], THE. Scottish, Jig. F Major. Standard tuning. AABB. Directions to one version of this tune were written down in 1752 by John McGill, a dancing master in Girvan, for his students. John Glen (1891) finds the earliest appearance of the tune in Robert Bremner's 1757 collection; it also appears in the Gillespie Manuscript of Perth, 1768. Bremner (A Collection of Scots Reels), 1757; pg. 9. Carlin (The Gow Collection), 1986; No. 427. Gow (Complete Repository), Part 3, 1806; pg. 30.

X:1

T:Short Apron, The [1]

M:6/8

L:1/8

R:Jig

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:F

f | cAA fAA | aAA cGG | cAA fAA | aAc ~d2f | cAA fAA | aAA cGG|A>GF f>ga | ge^c d2 :|

|:c | Acd cAF | (A/B/c)A ~G2B | Acd cAF | ~f2e ~d2c | Acd cAF | (A/B/c)A ~G2B | AGF f>ga|ge^c d2 :|

 

SHORT APRON [2] (An t-aparan goirid). Scottish, Slow Air (3/4 time). C Major. Standard tuning. AAB. "Ancient Simple Set" (Fraser). "This air, from having been new modeled by Macgibbon or Oswald, is claimed as a Lowland Scots Melody,‑‑whilst the original will be found by far the most simple and beautiful of the two, as sung to Gaelic words by the same gentleman" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 39, pg. 14.

X:1

T:Short Apron [2]

T:An t-aparan goirid

M:3/4

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:C

G/A/B|c3 ded|c2 G2 GA|_B3 dcB|A4 G/A/=B|c3 de>d|c2G2B2|cBcdef|

g4 c’2|g2f2e2|d2c2B2|c2B2A2|G4 zg/f/|efgabc’|g2 e2 c/d/e/f/|e3f d2|c4:|

|:c>d|e2c2d2|c2G2GA|_B3 dcB|A4 c>d|e2c2d2|c2G2B2|cBcdef|g4 c/b/c’|

g2f2e2|d2c2B2|c2B2A2|G4 zc/4B/4A/|g2 F>EFA|G3 gaf|e3f d2|c4:|

                       

SHORT BLACK APRON, THE. Irish, Double Jig. A Minor. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 233, pg. 26.

X:1

T:Short Black Apron, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 233  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A Minor

A3 cAG | Add cAG | Add cde | gec (e2c) | A3 cAG |

Add cAG | AGA fga | gec ded :: cAA fAA | gAA fAA |

cAA fAA | gec ded | cAA fAA | gAA fAA | eaa aba | gec (d2c) :|

                       

SHORT COATED MARY. Scottish, Reel. A Dorian. Standard tuning. AABB’.

X:1
T:Short Coated Mary
M:C|
L:1/8

Z:Transcribed by Jack Campin
K:A Dor
A2e2 edef |g2dB GABG | A2e2 edef | g2dB A2A2:|\
g2ge a2a2 | g2g2 BBBG |[1 g2ge a2a2 | g2dB A2A2:|\

[2 A2e2 edef | g2dB A2A2 |]

                       

SHORT GRASS (An Feur Gearr). AKA and see "Put On Your Coat." Irish, Double Jig. C Major. Standard tuning (fiddle). AAB (O'Neill/1915}): AABB (Cole, Kerr): AABB' (O'Neill/1850, 1001 & Krassen). A few bars of this tune are reminiscent of Breathnach’s “Old John’s Jig,” while “Gap in the Woods (The)” also appears to be a related melody. Cole (1000 Fiddle Tunes), 1940; pg. 78. Kerr (Merry Melodies), vol. 2; No. 238, p. 26. O'Neill (Krassen), 1976; pg. 55. O'Neill (O’Neill’s Irish Music), 1915; No. 173, p. 95. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 981, p. 182. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 197, p. 47. Ryan’s Mammoth Collection, 1883; p. 110. WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

X:1

T:Short Grass, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 197

Z:AK/Fiddler’s Companion

K:C

e/d/|cGE cGE|EDE CEG|cGE cGE|Add ded|cGE cGE|EDE CEG|

cee e2d|cAA A2:||:z|gag ged|ecc cde|aba age|edd d2e|1 gag ged|

ecc cde|fed fed|ecA A2:|2 gfe agf|gfe dcB|cee e2d|cAA A2||

                       

SHORT LIFE TO ALL STEPMOTHERS.  Scottish, Strathspey. D Minor. Standard tuning (fiddle). AAB. The melody appears in the 4th collection of Malcolm MacDonald of Dunkeld, dedicated to the Countess of Breadalbane. Nathaniel Gow (1763-1831) produced an answer of sorts to MacDonald’s tune a few years later with his strathspey “Long Life to Stepmothers” (Fourth Collection of Strathspey Dances, 1800). MacDonald (A Fourth Collection of Strathspey Reels), 1797; pp. 12-13.

X:1

T:Short Life to all Stepmothers

M:C

L:1/8

R:Strathspey

S:MacDonald – 4th Collection of Strathspey Reels (1797)

Z:AK/Fiddler’s Companion

K:D Minor

D | A,<D D>F D>A,DF | E>CE>F G/F/E/D/ C>E | A,<D D>E F>G A<d | “tr”c>AcE D/D/D D :|

^c | “tr”d>edA “tr”d>edA | c>de>f g/f/e/d/ ce | d>edA d>ef>e | e<c ”tr”g>e d/d/d d2 |

d>edA d>edA | c>de>f g/f/e/d/ cg | a/g/f/a/ g/f/e/g/ f/e/d/f/ e/d/^c/e/ | {^c}d>A c>E D/D/D D ||

 

SHORT ROAD, THE. AKA and see “Baby Gavin,” “Burke’s [1],” “Charlie Mulvihill’s (Jig) [1],” “Connie O’Connell’s Jig [2],” “Coughlan’s,” “Gallagher’s [2],” “Lad O’Beirne’s (Jig),” “Matt Molloy’s (Jig),” “The Silver Vale.” Irish, Jig. Great Meadow GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004).

                       

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

                       


SHORT WAY TO HEAVEN, A. AKA and see "The Scotch Bonnet," "The Tap Room," "Scotch Maggie," "The Ladies Tight Dress," "Roll out the Barrel," "The Rakes of Abbey," "Granshaw Glens," "Fitzgerald's Reel," "Lord Edward," "Miss Fargherson's New Reel."

                       

SHORTENIN' BREAD [1]. Old‑Time, Breakdown. USA; east Tennessee, Kentucky, North Carolina, Virginia, West Virginia, Alabama, north Georgia, Arkansas. A Major (Krassen): D Major (Fuzzy Mountain String Band): G Major (Silberberg). Standard, ADad (Reaves White County Ramblers) or AEae tunings (fiddle). AABB. The melody has wide currency in the South, and appears in many traditional song collections starting with Perrow (1915). Perrow’s version was collected from East Tennessee white singers, and has been called an "east Tennessee favorite" by musicologist Charles Wolfe. Mattie Cole Stanford, in her 1963 book Sourwood Tonic and Sassafras Tea, listed it as one of the tunes played at the turn of the century by fiddler George Cole of Etowah County, Alabama (Cauthen, 1990). It was one of the first tunes recorded by Kentucky fiddler Doc Roberts in the 1920's and was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from the playing of Ozark Mountain fiddlers in the early 1940's.

***

African-American collector Thomas Talley, in his book Negro Folk Rhymes (1922, a new edition 1991 edited by Charles Wolfe), prints a unique version of the song as “Salt Rising Bread,” which goes:

***

I loves saltin’, saltin’ bread,

I loves saltin’, saltin’ bread.

Put on dat skillet, nev’ mind de lead,

Caze I’se gwinter cook dat saltin’ bread;

Yes, ever since my mammy’s been dead,

I’se been makin’ an’ cookin’ dat saltin’ bread.

***

‘Saltin’ bread’ seems to refer to bread made from water-ground corn meal, remarks Charles Wolfe, while the more common ‘shortenin’ bread’ is bread mixed with bacon bits or bacon gravy, sometimes called ‘cracklin’ bread.’ See also related tune "Three Little N.....s Layin' in Bed" (Pa.). Source for notated version: Alan Jabbour, after Henry Reed [Silberberg]. Krassen (Appalachian Fiddle), 1973; p. 15. Reiner (Anthology of Fiddle Styles), 1979; p. 12. Silberberg (Tunes I Learned at Tractor Taven), 2002; p. 144. County 519, Reaves White County Ramblers ‑ "Echoes of the Ozarks, vol. 2." County 526, "The Skillet Lickers, vol. 2" (1973). Gennett 6529 (78 RPM), 1928, Tweedy Brothers (W.Va. brothers Henry, Charles and George playing two fiddles and a piano). Mountain 310, Tommy Jarrell ‑ "Joke on the Puppy" (1976. Learned from his father). Old Homestead OHCSS 191, "Dykes Magic City Trio" (east Tenn.). Rounder 0035, Fuzzy Mountain String Band ‑ "Summer Oaks and Porch" (1973. Learned from Dan Tate, Fancy Gap, Va.). Rounder 0057, Fred Clifton ‑ "Old Originals, vol. 1" (1978). Rounder 0089, Oscar & Eugene Wright ‑ "Old‑Time Fiddle and Guitar Music from West Virginia." Rounder 0320, Bob Carlin & John Hartford - "The Fun of Open Discussion." Voyager VRLP 328‑S, "Kenny Hall and the Long Haul String Band" (learned from a Gid Tanner and the Skillet Lickers recording).

 

SHORTENIN' BREAD [2]. AKA – “My Baby Loves Shortenin’ Bread.” Old-Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AABCC'D. See also the closely related tune "Irish Cobbler" and accompanying notes. Kentucky fiddler Doc Roberts recorded the tune several times on 78 RPM recordings under the title “My Baby Loves Shortenin’ Bread.” He had the tune from an African-American barber by the name of Owen Walker, along with several other pieces with a cakewalk or ragtime flavour, says Mark Wilson (in liner notes to Rounder 0529, Dwight Lamb). Wilson notes it was played by Bethel, Kentucky, fiddler George Hawkins (under the title “Shortenin’ in the Bread.” Missouri fiddlers generally used the “Irish Cobbler” title. Source for notated version: James Bryan [Phillips]. Phillips (Traditional American Fiddle Tune, vol. 1), 1994; pg. 222. Conqueror 7975 (78 RPM), Doc Roberts (Ky). Rounder 0175, James Bryan ‑ "Lookout Blues" (1983. Learned from Doc Roberts' recording). Rounder Records 0533, Roger Cooper.

See also listings at:

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

 

SHORTENIN' BREAD [3]. Old-Time, Breakdown. G Major. Standard tuning. AA'BB'CC'DD'. A variation of version #2. Source for notated version: Gary Lee Moore [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 221.

                       

SHORT'S ADDITION. Old-Time, Breakdown. USA, Kentucky. D Major. Standard tuning. AA'BB. See note for “Rachel [1].” Source for notated version: Buddy Thomas (Ky.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 222.

                       


SHOTTIS FRÅN IDRE. Swedish, Schottische. D Minor. Standard tuning (fiddle). AABBCC. A schottische from the Swedish town of Idre. Source for notated version: John Chambers (Acton, Mass.) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 166 (includes variations).

                       

SHOTTISCH FRÅN HAVERO. Swedish, Schottishe. D Minor. Standard tuning (fiddle). AA’BB’.

X:1

T:Schottisch från Havero

M:4/4

L:1/8

R:Schottische

K:Dm

D2DE FGFE|D2A2 A4|d^cde f2f2|efe^c A2A2|D2DE FGFE|D2A2 A4|

d^cde f2f2|1e2 e^c d4:|2e2e^c d3f||: a2a^ga2a2|fgfe f2f2|e2e^c A2A2|

FGFE (3EFE D2|a2a^ga2a2|fgfe f2f2|e2e^c A cec|1d2d2d3f:|2d2d2d4||

X:2

T:Schottisch från Havero - countermelody

M:4/4

L:1/8

C:Alm Nils Ersson

R:Schottisch

K:Dm

F2FG ABAG|F2ED ^C2A,C|DEFA d2Ad|^cdc=B AGEG|F2FG ABAG|

F2ED ^C2A,C|DEFA d 2Ad|1c2AG [F4A4]:|2^cBAG [F4A4]||

|:f2fe f2A^c|ded^c d2A2|^c2cA E2A,2|ABAG (3GAG F2D2|f2fe f2A^c|

ded^c d2 A2|^c2cA G2EG|1F2GE [F4A4]:|2[F2A2][F2A2] [F4A4]||

                       

SHOTTIS FRÅN NORBOTTEN.  Swedish, Schottische. D Minor. Standard tuning (fiddle). AABB’CC’.

X:1

T:Shottis Från Norbotten

M:2/4

L:1/8

O:Sweden

R:Schottische

K:Dmin

A,|:DD/E/ FF/G/|AA/B/ AA|dd/e/ fe|d2 Ad/e/|fe dA/B/|cc/B/ AF/G/|

A/B/A/G/ FG|A3 d/e/|fe dA/B/|c/d/c/B/ AF/G/|A/B/A/G/ FE|D2 z:||

A|:A/F/D/F/ A/F/D/F/|Ad cB|A/B/A/G/ FG|A3 A|A/F/D/F/ A/F/D/F/|

Ad cB|A/B/A/G/ FE|D2 z:||d/e/|:fe dA/B/|c/d/c/B/ AF/G/|A/B/A/G/ FG|

A3 d/e/|fe dA/B/|c/d/c/B/ AF/G/|A/B/A/G/ FE|D3 z:||

 

SHOULD OUR PRAISE OF BRITAIN'S ISLE. Scottish, Air (6/8 time). G Major. Standard tuning (fiddle). AAB. Kerr (Merry Melodies), vol. 3; No. 401, p. 44.

X:1

T:Should our praise of Britain’s Isle

M:6/8

L:1/8

R:Air

S:Kerr – Merry Melodies, vol. 3, No. 401  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D | B2B BAB | d2B BAB | c2e g2e | d2B BAB | c2A AGA |

B2G GFG | E2e d2c | B2G G2 :: d | d2c Bcd | e2f g2a |

B2a gfe | d2c Bcd | e2e ecA | d2d dBG | c2A B2G | A3 d2 ||

                       

SHOULDER OF MUTTON, THE. English, Jig. England, Northumberland. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 41.

                       

SHOUT LULU. AKA – “Shout Little Lulu,” "Shout Lula," "Shout Lou," "Shout Old Lulu." AKA and see "Hook and Line," ”Roustabout.” Old‑Time, Breakdown. USA; east Tenn., southwestern Va., north Georgia, north Carolina, Ohio. G Major. GDad tuning. AABB. Art Rosenbaum (1989) says "this song is much more current in the tradition than its absence from printed collections would suggest." A banjo piece and dance tune, it goes by a variety of titles, including “Hook and Line,” “Banjo Sam,” “Fish on a Hook,” and others (see note for “Hook and Line”). Mike Yates (2002) suggests it may have derived from an early minstrel tune called “My Old Dad.” It was the repertoires of Dock Boggs and John Dykes (of the Dykes Magic City Trio) under the title "Hook and Line," while Hobart Smith fiddled it as “Katy Went Fishing with Her Hook and Line,” and said “It’s a real old piece, handed down from my fathers.”  Rufus Crisp, Woody Wachtel, Roscoe Holcomb, Pete Steele, Ralph Stanley, and Fiddlin' Cowan Powers 1877‑1952? (Russell County, southwest Va.) played it as well as Uncle John Patterson (Carroll County, Ga.), a sometimes Skillet Lickers hanger‑on who learned to pick the tune on the banjo "on his mother's {champion banjoist Bessie Patterson} lap when he was three years old" (Rosenbaum).

***

When I get sick and I have to go to bed,

Send for Lulu to hold my head.

Shout, Lulu, shout, Lulu, shout, shout.

***

Shout, little Lulu, sing and pray,

You gonna die some rainy day,

Shout, Lulu, shout, Lulu, shout, shout.

***

Shout, little Luly, shout your best,

Your old grandma's gone west!

Shout, Lulu, shout, Lulu shout, shout.

***

How many nickels will it take

To see little Lulu's body shake?

Two little nickels and a dime,

We'll see little Lulu shake and shine.

Shout, Lulu, shout, Lulu, shout, shout.

***

Shout little Lulu, shout your best,

Granny's got her head in a hornet's nest,

Shout, Lulu, shout, shout, Shout Lulu, shout, shout.  (Rosenbaum/Bruce)

***

Source for notated version: banjoist W. Guy Bruce (Trion, Chattooga County, Georgia) [Rosenbaum]. Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pg. 140. Columbia 146‑D (78 RPM), Samantha Bumgarner (Asheville, N.C.) {as "Shout Lou"}. Document Records 8054, Grayson & Whitter (Reissue. 1999). Folkways FA 2492, New Lost City Ramblers ‑ "String Band Instrumentals" (1964). Gennett 6373 (78 RPM), 1928, G.B. Grayson (E. Tenn.). Marimac 9060, Jim Bowles - "Railroading Through the Rocky Mountains" (1992). Old Homestead OHCS 191, "Dykes Magic City Trio" (East Tenn.). Smithsonian-Folkways SF CD 40097, Louis Foracre.

                                               

SHOVE INTO ME, SIOBHÁINÍN (Brúigh Isteach liom, a Shiobháinín). Irish, Polka. G Major. Standard tuning. AABB. Source for notated version: a manuscript written or in the possession of David Collins (Abbeyfeale, County Limerick) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 77, pg. 41.

                       

SHOVE THAT PIG'S FOOT A LITTLE FARTHER IN THE FIRE. Old-Time, Breakdown. G Major. Standard tuning. AB (Silberberg): AABB (Phillips, Songer). A ‘pig’s foot’ is a blacksmith’s tool that somewhat resembles a crowbar or poker, used to manipulate pieces of pig iron in a forge. The tune was originally recorded by western North Carolina fiddler Martin Marcus on an LP where he played it as a duet with his son Wayne. Marcus also recorded for the Library of Congress in the 1940's. Joel Shimberg (who says “Surely it’s a barbecue song”) learned the following verse to the (low part of the) tune from Mike Seegar:

***

Shove that pig's foot into the fire,

 Do it now, Miss Liza,

 Shove that pig's foot into the fire,

 Do it now, Miss Liza.

***

The melody can be heard in the film Cold Mountain, albeit the producers saw fit to rename it “Ruby with Eyes that Sparkle.” Sources for notated versions: fiddler and violin maker Armin Barnett and Jere Canote (Seattle, Washington) [Phillips, Songer]; Tony Mates [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 222. Silberberg (Tunes I Learned at Tractor Taven), 2002; pg. 145. Songer (Portland Collection), 1997; pg. 185. Rounder CD0421, Bruce Molsky - “Big Hoedown” (1997).

X:1

T:Shove that Pig’s Foot a Little Farther in the Fire

L:1/8

M:C|

Q:160

S:Bruce Molsky

Z:AK/Fiddler’s Companion

K:G

z(B|B)cBA G2 EF|GAGE D3 D|E(F G2) {A}B3c|B2 A6 z(B|

B)cBA G2 EF|GAGE D3D|EF G2 B3G|A (G G4):|

|:BA|B d2 e d3 d|e(dB)c dBGA|B2 d2 [d3g3]g|e2 d4 BA|

B d2 e d3 d|edBc d2 d2|B3 c BAGB|A (G G4):|

                       

SHOW ME THE WAY TO OXFORD.  English, Jig. G Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1757 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 59.

X:59

T:Show me the Way to Oxford

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

d|gaf g2d|gaf g2d|ece dBD|cAc B2G|gaf g2d|gaf g2d|afd e/f/ge|d3 D2:|
|:d|ec/d/e cac|dB/c/d BgB|dB/c/d cA/B/c|BG/A/B D2d|

ec/d/e cac|dB/c/d BgB||dBG fg/a/f|{f}(g3 g2):||

 

SHOW ME THE WAY TO WALLINGTON [1]. See "Shew's the Way to Wallington [1]."

 

SHOW ME THE WAY TO WALLINGTON [2]. English, Slip Jig. England, Northumberland. A quite different version that #1, this being unique to Northumbrian musician William Vickers’ 1770 music manuscript collection. Seattle (William Vickers), 1770;  Front Hall FHR‑08, Alistair Anderson ‑ "Traditional Tunes" (1976).

                       

SHOWMAN'S CLOG. AKA and see "Londonderry Clog," "Londonderry Hornpipe," "Delaney's Clog."

                       


SHOWMAN'S FANCY. AKA and see “City Life,” “The Londonbridge Hornpipe,” “O’Keeffe’s Hornpipe [2],” “Violetta.” Irish, Hornpipe. D Major. Standard tuning. AABB. The tune appears under the titles “City Life—a Clog” and “Violetta” in Ryan’s Mammoth Collection (1883). The tune was recorded by James Morrison, Ed Reavy and others in the 78 RPM era, according to Philippe Varlet. An elaborate version of “Showman’s Fancy” appears in Boston button accordion player Jerry O’Brien’s Irish Folk Dance Music, a version which contains both parts of another tune, “St. Johnston’s,” as well. Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 84, pg. 21. Harker (300 Tunes from Mike Rafferty), 2005; No. 269, pg. 83. O’Brien (Irish Folk Dance Music). O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976, No. 150, pg. 75. Roche Collection, 1927, vol. 2; No. 203, pg. 8. Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie” (2001). Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989. Appears latter tune in set "Hornpipe ui Chaoimh.").

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:Showman’s Fancy

M:C|

L:1/8

R:Hornpipe

S:Roche – vol. 2, No. 203  (1927)

Z:AK/Fiddler’s Companion

K:D

F>G|A>^GA>B A>df>d|B>Bg>f e>dc>B|A>^GA>B A>df>d|(3BcA (3GAF E2 F>G|

A>^GA<B A<df<d|B>Bg>f e>dc>B|A>df>a g>ec>A|d2d2d2::cd|e>^de>f g>ec2|

d>cd>e f>dA2|(3gag (3fgf (3efe d2|(3cdc (3BcB A2 F>G|A>^GA>B A>df>d|

B>Bg>f e>dc>B|A>af>d B>ge>c|d2 d>d d2:|

X:2

T:Showman’s Fancy

M:C
L:1/8

R:Hornpipe

S:O’Malley Collection, No. 150  (1976)

Z:AK/Fiddler’s Companion

K:D

A^GAB Adfd|(3Bcd gf edcB|A^GAB AFDF|E^DEF E2 (3EFG|

A^GAB Adfd|(3Bcd gf edcB|(3Adf (3afd (3Bce gec|1 (3dfa (3d’af d2 (3EFG:|2 dfec d2 cd||

|:e^def gece|dcde fdAf|(3gag (3fgf (3efe (3ded|(3cdc (3BcB AGFG|

A^GAB Adfd|(3Bcd gf edcB|(3Adf (3afd (3Bce (3gec|1 (3dfa (3c’af d2 cd:|2 dfec d2 z2||

                       

SHOWMAN'S JIG, THE. Irish, Jig. A Major. Standard tuning. AA’BB’. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 161.

X:1

T:Showman's Jig, The

M:6/8

L:1/8

S:Rice-Walsh manuscript

Z:Paul Kinder

K:A

c/2d/2|eaa fec|dfe dcB|AAA cBA|GBB Bcd|

eaa fec|dfe dcB|AAA Bcd|1cAA A2:|2cAA AGF|

|:EAA cAA|eAA cAA|EAA cBA|GBB Bcd|

EAA cAA|eAA cAA|DAA Bcd|1cAA AGF:|2cAA A2||

                       

SHOWMAN'S REEL. AKA and see "Spence's Reel [1]," "The Castlebar Traveller," "The Laurel Bush," "The Yeoman's Reel," "The West Gale," "The Reel of Bogie," "The Humours of Loughrea," "Lough Aisles Return," "Tuehey's Reel," "The Gossan that beat his father."


                       

SHREWSBURY JIG. English, Jig. D Major. Standard tuning. AABB. A modern composition by editor Michael Raven. Raven (English Country Dance Tunes), 1984; pg. 191.

                       

SHREWSBURY LASSES. English, Country Dance Tune (2/2 or cut time). D Major. Standard tuning. AABB. Shrewsbury, England, has been in existence since the 5th century when the former Celtic inhabitants of the Roman town of Wroxeter moved to a more easily defensible place. It was the capital of the Welsh kingdom of South Powys but was conquered by the Mercians in the 8th century, but it remained a border town for centuries. It was at Shrewsbury where Henry IV defeated the rebellious Percys of Northumberland in 1403. Published before 1730 according to Raven, though Barnes dates it to 1765. Barnes (English Country Dance Tunes), 1986. Fleming‑Williams & Shaw (English Dance Airs; Popular Selection, Book 1), 1965; pg. 14. Raven (English Country Dance Tunes), 1984; pg. 20.

X:1

T:Shrewsbury Lasses

M:2/2

L:1/8

R:Country Dance

K:D

(3ABc | d2 (A4G2) | (F2 D4 F2) | (E2G2) (F2E2) | F2D2F2A2 | d2 (f4d2) |

(c2 e4) A2 | (B2d2) (B2^G2) | A6 :: (3ABc | d2B4 (G2 | G2) E4 (a2 | a2) f4 (d2 |

d2) B4 (b2 | b2) g4 (e2 | e2) c4 A2 | G2 B4 G2 | (FG A2) F2D2 | G2B4 G2 |

(F2A2) (d2f2) | (f2e2) (d2c2) | d6 :|

                       

SHREWSBURY WALTZ. English, Waltz. England, Shropshire. G Major. Standard tuning. AABB. Shrewsbury, England, has been in existence since the 5th century when the former Celtic inhabitants of the Roman town of Wroxeter moved to a more easily defensible place. It was the capital of the Welsh kingdom of South Powys but was conquered by the Mercians in the 8th century, but it remained a border town for centuries. It was at Shrewsbury where Henry IV defeated the rebellious Percys of Northumberland in 1403. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 105a, pg. 42.

                       

SHRONE SLIDE, THE. AKA and see “Ned Connor’s Slide.” Irish, Slide.

 

SHROPSHIRE LASS. English, Country Dance Tune (cut time). D Major. Standard tuning. AABB. “Shropshire Lass” first appears in print in Walsh’s New Country Dancing Master, 2nd Book (London, 1710). It was printed a few years later in 1713 in John Young’s edition of Playford’s Dancing Master, vol. II, and again in the 1714, 1718 and 1728 editions of the long-running series. Walsh printed it again in his Second Book of the Compleat Country Dancing-Master (London, 1719), and his third book of his New Country Dancing Master (London, 1728). There are no further occurrences of the melody in print in older collections [Keller, Keller, Camus & Cifaldi, Early American Secular Music and Its European Sources, 1589-1839]. Barnes (English Country Dance Tunes), 1986. Bentley (The Fallibroome Collection, Book 4), 1971. Callaghan (Hardcore English), 2007; pg. 48. Kilpatrick & Haris (The Opus Pocus Tune Book).

X:1

T:Shropshire Lass (The)

M:4/4

L:1/8

Q:200

C:Trad 1713

S:The Dancing Master vol II 1713

K:D

ABc|d2d2c2B2|A4A2BA|G2F2E2FG|AGFE DABc|d2d2c2B2|

e4e2f2|gfed cdec|d6:|:de|!f2f2e2d2|g3a gagf|

efef gfge|a4a2bg|fgefd2ag|fgef dfga|bagfe3d|d6:|

                       

SHROPSHIRE MINER, THE.  English. Fellside Records FECD192, Spiers & Boden – “Tunes” (2005).

 

SHROPSHIRE ROUNDS. English, "An Old English Hornpipe" (3/4 time). D Major. Standard tuning. AABBCC. The tune appears in the second volumes of Playford's Dancing Master, and Walsh's Compleat Country Dancing Master, dating it to the mid-17th century. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 168. Plain Brown Tune Book, 1997; pg. 39. Raven (English Country Dance Tunes), 1984; pg. 11.

X:1

T:Shropshire Rounds

L:1/8

M:3/4

S:Chappell – Popular Music of the Olden Time  (1859)

Z:AK/Fiddler’s Companion

K:D

d2c2B2|A E2 G FE|d/e/d c/d/c B/c/B|A D2F ED:|

|:GEFDGE|A E2 G FA|dFEecA|d D2 F ED:|

|:fg/f/ ef/e/ cB|c e2B cA|f/g/a/c/ Be/d/ cA|dD D/E/F ED:|

                       

SHROPSHIRE WAKES. AKA and see "Sedany," "Dargason/Dargison."

                       

SHUCKING THE BRUSH. AKA – “Shuck in the Bush.” AKA  and see “Chuck in the Bush [1].” Old-Time, Breakdown. D Major. Not to be confused with “Bush in the Shucks,” a different tune.

                       

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

                       

SHUFFLE ABOUT [1]. Old-Time, Breakdown. D Major. Standard tuning. AABB'. Source for notated version: Pete Sutherland (Vermont) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 223.

 

SHUFFLE ABOUT [2]. Old-Time, Breakdown. D Major. Standard tuning. AABB'. Source for notated version: Ruthie Dornfeld (Seattle) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 263.

                       

SHUFFLE AND CUT (Cuir Tri N-a Ceile Agus Gearr). Irish, Slip Jig. D Mixolydian. Standard tuning. ABC (Cole, Kennedy, Ryan): AABBCC (Howe, O'Neill): ABAC DBDC EBEC FBFC GBGC HBHC (McFarlan). "An old Irish dance" states the note in Ryan/Cole’s, obviously copied from Howe (c. 1867) who previously made the statement, and who obtained the melody from “an English work on Dancing, published 1816.”  Howe prints the dance instructions with the tune.  O’Neill (1913) mentions that a special dance was performed to this tune, and indeed the title is suggestive of dance figures. The tune first appears in print in the Scottish McFarlan Manuscript from 1740. When and by what route it was picked up by Irish musicians is unknown. Cole (1000 Fiddle Tunes), 1940; pg. 76. Howe (1000 Jigs and Reels), c. 1867; pg. 85. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 74, pg. 17. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 997, pg. 171 (appears in the ‘Miscellaneous’ section). Ryan’s Mammoth Collection, 1883; pg. 107.

X:1

T:Suffle and Cut

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 997

Z:AK/Fiddler’s Companion

K:D

dBG FAF E/F/GE|=cEE E2B AFD|dBG FAF EGE|AFD D2B AFD:|

|:f/g/af e/f/ge B/c/dB|=cEE E2B AFD|f/g/af e/f/ge B/c/dB|AD D2B AFD:|

|:G2e F2d E2D|=cEE E2B AFD|G2e F2d E2B|AFD D2B AFD:|

X:2

T:Shuffle and Cut

S:McFarlan MS

M:9/8

L:1/8

Z:Jack Campin

K:D

dBG AGF G2 (B|B)GE E2(B A)FD | dBG AGF G2 (B|A)FD D2(B A)FD:|

 afd edc d2(B|B)GE E2(B A)FD | afd edc d2 (B|A)FD D2(B A)FD:|

(E/F/G)E (D/E/F)D (E/F/G)(B|B)GE E2(B A)FD |(E/F/G)E (D/E/F)D (E/F/G)(B|A)FD D2(B A)FD:|

(d/e/f)d (c/d/e)c (B/c/d)(B|B)GE E2(B A)FD |(d/e/f)d (c/d/e)c (B/c/d)(B|A)FD D2(B A)FD:|

 B,2E (E/F/G)E  E2 (B|B)GE E2(B A)FD | B,2E (E/F/G)E  E2 (B|A)FD D2(B A)FD:|

 G2d F2d E2 (d|B)GE E2(B A)FD | G2d F2d E2 (d|A)FD D2(B A)FD:|

                                   

SHUFFLE REEL. AKA and see "Athens," “Blodgett’s Reel,” "The Clogher Reel," "The Dublin Reel," "The Dublin Lasses [3]," "Jackson's Reel [2]," "Miss Daly's Reel," "The Twelve Locks," "The Twister,” "The Union Reel," "Victor Wild," "The Westmeath Hunt,"Irish, Reel. D Major. Standard tuning. AB. New York researcher, writer and musician Don Meade believes the tune is a relative of “Bucks of Oranmore.” Cole (1000 Fiddle Tunes), 1940; pg. 44. Ryan’s Mammoth Collection, 1883; pg. 72. White’s Unique Collection, 1896; No. 42, pg. 8.

X:1

T:Shuffle Reel

M:C

L:1/8

S:White’s Unique Collection (1896), No. 42

Z:AK/Fiddler’s Companion

K:D

(3ABc || (dA).F.A d2 {e}dc } | (dA).F.A (B<E) E2 | (dA).F.A d2 (dc) |

(Bd).c.B (BA).B.c | (dA).F.A d2 {e}dc  | (dA).F.A (B<E) E2 |

(dA).F.A d2 (dc) | BdcB (BA) (3Bcd || e2 .c.A {F}(E^D).E.A | e2 cA {c}(BA).F.A |

e2 cA {F}(E^D).E.A. | (Bd)(cB) (A<F) F2 | e2 cA {F}(E^D).E.A |

e2 cA {c}(BA).F.A | ee2e f2 ed | (ce).d.B {c}(BABc) ||

                       

SHUFFLE THE CARDS.  AKA and see “The Dairymaid [4].”

           

SHUFFLING BACK. AKA and see "Shuffle About [1]."

                                               


SHULE AGRA. AKA and see "Shule Aroon [2],” “Siúl a ghrá.” Scottish, Slow Air (4/4 time). A Minor. Standard tuning. AB. Kerr (Merry Melodies), vol. 1; pg. 41.

X:1

T:Shule Agra

M:C

L:1/8

R:Slow Air

B:Kerr – Merry Melodies, vol. 1, pg. 41 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

AB|c2c2 B2B2|ABAG E2 (E^F)|G2A2G2E2|G2E2D2 (ED)|C2C2D2D2|

E2E2 e2d2|c2c2 BdcB|A4 A2 z2||c4 B4|(AB)AG E4|G2A2G2E2|

G2E2D2 (ED)|C2C2 D2D2|E2E2e2d2|c2c2 BdcB|A4 A2||

                                   

SHULE AROON [1] (Siubal a Run). AKA and see "Siúl a ghrá.” Irish, Air (4/4 time, "plaintively"). D Minor/Dorian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 59, pg. 11.

X:1

T:Shule Aroon [1]

M:4/4

L:1/8

R:Air

N:”Plaintively”

S:O’Neill – Music of Ireland (1903), No. 59

Z:AK/Fiddler’s Companion

K:Dmin

fe|d2 dc ABGA|c2 dc A2 FG|A2A2 f2 ec|dcA^F G2 AG|=F2 EF D2 (3A=B^c|

d>cAG A2 a>g|f2 ed ^cdec|d4 d2 z2||f4 e4|d2 dc A2 AB|c2d2 f2 e2|dc A^F G2 AG|

F2 EF D2 (3A=B^c|d>c AG A2 a>g|f2 ed ^cdec|d4 d2||

 

SHULE AROON [2] (Siubal a Run). AKA and see "Shule Agra," “Siúl a ghrá.” Irish, Slow Air (4/4 time, "palintively"). A Minor. Standard tuning. AB. "This simple and pathetic little ballad is a favourite all over Ireland. The words have been printed in many collections for more than a century, including Duffy's 'Ballad Poetry of Ireland': and I have copies on sheets issued by 'Haly, Printer, North Main Street, Cork.' I have known both words and air from my earliest days. I give the air, partly from memory, and partly from Forde, who has half a dozen settings in his collection. It is sometimes written in 3/4 time, and indeed the version in my memory inclines to that. A version of the song was published, with the air harmonised, by a well‑known Dublin musician, the late Joseph Robinson. The ballad belongs to the time of the 'Wild Geese' or Irish Brigade (between 1691 and 1745), when thousands of young Irishmen went to the Continent to enlist in the armies there, chiefly French. For Mr. A.P. Graves's adaption of this old song, see his Irish Song Book, pg. 6. Gerald Griffin has a song to the air also, 'My Mary of the Curling Hair,' with the old chorus altered and adapted" (Joyce).

***

I wish I were on yonder hill, 'Tis there I'd sit and cry my fill,

Till every tear would turn a mill, 'Is go dee tu mavourneen slaun'.

Shule, shule, shule, aroon, Shule go suckir agus shule go cune,

Shule go deen durrus agus eilig lume, Is go dee tu mavourneen slaun. (Joyce)

***

Folksingers Peter, Paul and Mary recorded an American version based on the song “Johnny’s Gone for a Soldier,” stemming from Revolutionary War times. Their lyric goes:

***

Here I sit on Buttermilk Hill who could blame me, cry my fill

Every tear would turn a mill, Johnny's gone for a soldier.

***

Chorus:

Shule, shule, shule-a-roo, Shule-a-rak-shak, shule-a-ba-ba-coo.

When I saw my Sally Babby Beal, come bibble in the boo shy Lorey.

***

I sold my flax, I sold my wheel, to buy my love a sword of steel

So it in battle he might wield, Johnny's gone for a soldier.

***

Oh my baby, oh, my love, gone the rainbow, gone the dove.

Your father was my only love, Johnny's gone for a soldier.

***

Folksinger Sara Grey sang this version, collected in the early 20th century in the Midwestern United States:

***

I'll sell my hat, I'll sell my coat, to buy my Love a little flat boat.

Down the river we will float, come bibble in a bush aye lorie

***

I'll sell my (hat?), I'll sell my vest, to get enough money to go out West.

There I think I can do the best, come bibble in a bush aye lorie

***

Joyce (Old Irish Folk Music and Song), 1909; No. 425, pgs. 236‑237. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 60, pg. 11.

X:1

T:Shule Aroon [1]

M:4/4

L:1/8

R:Air

N:”Plaintively”

S:O’Neill – Music of Ireland (1903), No. 60

Z:AK/Fiddler’s Companion

K:Amin

AB|c2c2 B2B2|A>B AG E3G|G2 {B}A>G GE cB|A3 G E2 FE|E>F ED C2 CD|

EG AB  c2 cd|ed cB cB A^G|A4 A2 z2||c4 B4| A>B AG E2z2|G3 A GE cB|

A4 G E2 F>E|E>F ED C2 CD|EG AB c2 cd|ed cB cB A^G|A6||

 

SHULL CREEK.  American, Reel. Northwest Missouri fiddler Casey Jones’ (d. 1967) version of Don Messer’s “Swamplake Breakdown.”

                       

SHUNSTER'S HORNPIPE. AKA and see “St. Elmo Hornpipe,” "The Sunshine Hornpipe." American, Hornpipe. A Major. Standard tuning. AABB. "Can be used as a Clog" (Cole). Howe lists the tune among the schottisches. Curiously, Howe’s title is “Shunter’s Hornpipe,” but by the time of the Cole printing it the name had acquired an ‘s’—“Shunster’s Hornpipe.” Cole (1000 Fiddle Tunes), 1940; pg. 100. Howe (1000 Jigs and Reels), c. 1867; pg. 55. Ryan’s Mammoth Collection, 1883; pg. 136.

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:Shunter’s Hornpipe

M:4/4

L:1/8

R:Hornpipe

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:A

c/d/ | (3eae (3cec EA | CEAc ecAc | (3dfd (3cec (3BdB (3AcA | GBFd E2 cd |

eace AcEA | CEAc ecAc | (3dfd (3cec (3BdB (3GBG | AA A :: B/c/ | dBGB EGBc |

dBGB d2 (cd) | ec (3AcA EAcd | ec(3Ace a2 (ga) | fdBd (3fed (3cBA |

(3GAB (3AGF E2 cd | (3eag (3fed (3cBA (3BAG | AA A :|

                       

SHURLEY’S FANCY. Scottish, Reel. G Major. Standard tuning. AABBCCDD. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 61, pg. 23.

X:1

T:Shurley’s Fancy

M:C|

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:G

d/c/ | BGGB AFFd | BGGB dBgB | BGGB AFFe | dBcA G/G/G G :|

|: B/A/ | Ggfg dBdA | Ggfg d2 cB | Ggfg dBec | dBcA G/G/G G :|

|: g | gdde dgBc | dBgB d2 B2 | gdde dgBc | dgdB G/G/G G :|

|: D | GBBd ceAB | GBBd c2A2 | GBBd ceAc | BedB G/G/G G :|

                       

SHUT THE DOOR.  English, Jig. G Major. Standard tuning. AABB. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 23.

 

SHUT(T)ER'S HORNPIPE. AKA – “Shooter’s Hornpipe,” “Shutter’s Hornpipe.” English, Hornpipe. England; Northumberland, Yorkshire. A Major (Merryweather & Seattle, Seattle/Vickers): G Major (Bewick, Orford, O’Neill). Standard tuning. AABB. Composed by “Morgan.” This hornpipe was, according to Merryweather and Seattle (1994), once quite well-known--indeed, it is found in a number of collections--though is not heard often today. The editors suggest it was named after the 18th century comic actor, Ned Shuter (d. 1776). An article in the volume English Actors: From Shakespeare to Macready (Henry Hold and Co., New York. 1879) has this to say of Ned:

***

Garrick pronounced Ned Shuter to be the greatest comic genius he had ever

known. He was the original Old Hardcastle and Sir Anthony Absolute, Papillon

in The Liar, and Justice Woodcock in Love in a Village. Strange to say, he was a

follower of Whitefield’s, a constant attendant at the Tottenham Court Road Chapel,

and divided his time pretty equally between drinking, playing, and praying; when

drunk he could scarcely be restrained from going into the fields and preaching upon

original sin and regeneration. Tate Wilkinson, who was a hanger-on upon Shuter,

relates how he used to accompany him on Sunday mornings at six to the Tottenham

Court Road Chapel; at ten to another meeting-house in Long Acre; at eleven back to

Whitefield’s chapel; at three to some other; and in the evening to Moorfields. He was

very liberal to the Whitefieldites, and it is said that Whitefield himself, although a

bitter denouncer of all persons and things dramatic, on the occasion of Shuter’s benefit

recommended the congregation to attend the theatre for once, on that night only.

***

His first appearance was at Covent Garden in 1745, as The Schoolboy, for the benefit of an

actor named Chapman, and he was so young that he was announced in the bills as ‘Master

Shuter’, as he was in those of Drury Lane a twelvemonth afterwards. He died November 1st,

1776. His last performance was Falstaff, for his own benefit, in the preceding May; but

between the bottle and the tabernacle his faculties were nearly gone. “He was more bewildered

in his brain,” says Wilkinson, “by wishing to acquire imaginary grace than by all his drinking;

like Mawworm he believed he had a call.” In his reasonable moments he was a lively, shrewd

companion, full of originality, whim and humor; all he said an did was his own, for it was

with difficulty he could read his parts, and he could just sign his name and no more; but he

was the delight of all who knew him on or off the stage. John Taylor relates how he and his

father dined and passed an evening with him at the “Blue Posts” Tavern in Russell Street,

and how all the people in the neighboring boxes could do nothing but listen to his comic

stories and bon-mots. Another time they were at some gardens, when the people gathered

together in such crowds to hear his humorous sallies, that the waiters could not move about

to serve. “No person thought of retiring while Shuter remained, and I remember seeing him in

the midst of his friends, as if he were the monarch of merriment.”

***

He was equally a favourite with the most distinguished people in the realm. It is related that

One night two of the royal princes came behind the scenes to have a chat with him. Their

presence was anything but welcome on that occasion, as Shuter desired to study his part.

“By Jove,” he said suddenly, “the prompter has got my book; I must fetch it. Will your

Royal Highness,” addressing one of his visitors, “be so obliging as to hold my skull-cap to

the fire?” “Oh, certainly, Shuter,” replied the Prince. “And perhaps you, your Royal Highness,”

turning to the other, “will condescend to air my breeches while I am gone?” The second request

was as cheerfully complied with as the first. Returning presently with another actor, and peeping

through the keyhole, he saw his two visitors still engaged as he had left them, patiently awaiting

his return.

***

The melody is contained in an extraordinary number of 19th century musicians’ manuscripts, including: John Clare (Helpstone, Northants), George Spencer (Leeds, west Yorkshire, 1831), William Thomas Green (Northumberland, 1851), James Biggins (Leeds, west Yorkshire, 1779), William Winter (West Bagborough, Somerset), James Winter (Stanton, Gloucestershire,1833), John Miller (Perth, Scotland, 1799), Joshua Jackson (Harrogate, north Yorkshire, 1798), John Hall (Northumberland, 1833), Tiller,  W. Cock’s (a Northumbrian collection with various dates) and the Wolsnoume manuscript (Lancashire, c. 1798). See also the published manuscripts of William Vickers (Northumberland, 1770) and Lawrence Leadley (Helperby, Yorkshire), as noted below.

***

Sources for notated versions: copied from Wilson’s Companion to the Ballroom (1816) [O’Neill]; Lawrence Leadley (Helperby, Yorkshire) [Merryweather & Seattle]. Bewick's Pipe Tunes, 1986; No. 44. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 8, pg. 29. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 317. Orford (John of the Greeny Cheshire Way), 1985; pg. 95. Seattle (William Vickers), 1987, Part 2; No. 379.

X:1

T:Shuter's Hornpipe

M:4/4

L:1/8

S:Wilson's Companion to the Ballroom 1816

Z:Paul Kinder

R:Hornpipe

K:G

G2 G2 GABc|dcBA GABG|A2 A2 A2 ed|cBAG FAFD|

G2 G2 GABc|dcBA G2 g2|fafd ege^c|d2 d2 d2 z2:|

|:A2 A2 A2 B=c|dBAG FAFD|d2 d2 d2 ef|gedc BdBG|

e2 c2 c2 ge|d2 B2 B2 g2|ecec BAGF|G2 G2 G2 z2:||

                       


SHUTTER'S HUMOURS. AKA – “Shuter’s Humour.” English, Reel. D Major. Standard tuning. AAB. See note for "Shut(t)er's Hornpipe" for information on Shuter. The melody appears in Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances (London, 1757), John Johnson’s Two Hundred Favourite Country Dances (vol. 8, London, c. 1758), and William Vickers’ Northumbrian manuscript collection (1770). It also appears in the American music manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Seattle (William Vickers), 1987, Part 2; No. 359.

X:1

T:Shuter’s Humour

M:2/4

L:1/8

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:D

c | d2 (f/g/a) | fdec | d2 (f/g/a) | e2g2|fdec | dBAG|FdEc|D2d :|

|: e | fdec|fdec| dBcA|^G2B2|(A/B/c) (B/c/d) | A2Ac| d2(f/g/a) |

fdec|d2(f/g/a)|e2g2|(f/g/a) fd| ecdB|AGFE|D2d:|

X:2

T:Shuter’s Humour

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:D

c|d2 (f/g/a)|fdec|d2 (f/g/a)|e2 g2|fdec|dBAG|FdEc|D2 d:|

|:e|fdec|fdec|dBcA|^G2B2|(A/B/c) (B/c/d)|cefd|caB^g|A2 A c|

d2 (f/g/a)|fdec|d2 (f/g/a)|e2 g2|(f/g/a) fd|ecdB|AGFE|D2 d:||

                       

__________________________________

HOME        ALPHABETICAL FILES        REFERENCES

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.