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, 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
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.
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.
SHOEMAKER [1], THE. English, Air (2/4 time).
***
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} (
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
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
N:until the seventies, when it was record by Seamus Connelly,
N:the well-known
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 (
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.
***
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 (
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
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.
***
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,
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
SHOOT TWO BITS. Old-Time, Breakdown.
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
SHOOTIN'
CREEK [1]. Old‑Time, Breakdown.
SHOOTIN'
CREEK [2]. Old‑Time, Breakdown.
SHOOTIN' CREEK [3]. Old‑Time, Breakdown.
SHOOYL INNEENYN.
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
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
SHORES OF
SHORES OF
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
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
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
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
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.
***
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" (
SHORTENIN' BREAD [2]. AKA – “My Baby Loves Shortenin’ Bread.” Old-Time, Breakdown.
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
X:1
T:Should our praise of
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.
***
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
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.
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 (
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:
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:
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 (
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:|
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.
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
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,
***
Sources for notated versions: copied
from
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:||
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