The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

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SIA - SIO

 

 

Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

SI BHEAG, SI MHOR. AKA - "Sidh Beag Agus Sidh Mor," "Sheebag, Sheemore," “Sheebeg and Sheemore,” “Shebeg, Shemore,” “Shi Bheag, She Mhor.” AKA and see "The Hills of Habersham," "The Bonny Cuckoo." Irish, Air (3/4 time). D Major. Standard tuning. One part (Ó Canainn): AB (Cranitch, O’Sullivan): AABB (most versions). The air, according to O'Sullivan (1958) and tradition, was probably the first composed by blind Irish harper Turlough O'Carolan (1670-1738). The title of the air often appears as “Sheebag, Sheemore,” an Englished version of the original Gaelic "Si Bheag, Si Mhor" which means "so big, so little,” but it has been suggested that Si is derived from the medieval Irish siod, meaning "fairy hill" or "fairy mound;" thus the title may also refer to "big fairy hill, little fairy hill."

***

As a young man Carolan first found favor at the house of his first patron, Squire George Reynolds of Lough Scur at Letterfain, Co. Leitrim (himself a harper and poet). It is said that Carolan was at this time only moderately skilled at the harp and the Squire advised him to direct his talents to composing, as he “might make a better fist of his tongue than his fingers.” It is likely this was Carolan’s first attempt at composition. His inspiration was a story told to him by Reyonolds of Si Bheag and Si Mhor, two ranges of hills near Lough Scur, that according to local lore were the seats of two groups of fairies of opposing disposition. The these hosts engaged in a great battle, in which Finn McCool and his Fianna were defeated. Some versions of the legend relate that the mounds were topped by ancient ruins, with fairy castles underneath where heros were entombed after the battle between the two rivals. Squire Reynolds is supposed to have been much pleased by the composition. The ‘fairy mounds’ appear to have been ancient conical heaps of stones and earth called motes or raths, prehistoric remnants. See O’Sullivan (1958) notes to No. 202 (pgs. 295-296) for a more complete explanation. O'Sullivan believes the air to be an adaptation of an older piece called "An Chuaichín Mhaiseach" ("The Bonny Cuckoo" or "The Cuckoo"), which can be found in O'Neill, Bunting (1796) and Mulholland's Collection of Ancient Irish Airs (1810). Edward Bunting (1773-1843) included the ‘Cuckoo’ melody in his Ancient Music of Ireland (1840), with the note (Introduction, pg. 95): “From this ancient melody procured by the Editor in the poetical district of Ballinascreen [County Sligo], another tune, ‘The little and great mountain’ [‘Sheebeg and Sheemore’] seems to have been arranged with some slight variations.” A dance by Gail Tickner appeared in CDSS news #69, March/April 1986 by the title "The Bonny Cuckoo" to the melody. Under the title “The Irish Cuckow” the melody appears in the MacLean-Clephane MS., the work of either Echlin O’Cathain or Anna-Jane MacLean-Clephane, according to Bonnie Shaljean (Appendix to the 2001 edition of Donal O’Sullivan’s 1958 Carolan). Anna-Jane and her sisters were the wards of Sir Walter Scott after the death of their father, and Scott admired Anna-Jane’s accomplishments in music and poetry. The notation of the piece in the MS. includes a bottom line of music, not a bass, but rather a repeat of the opening line so that it forms a canon, and then a counter melody. Ms. Shaljean points out this would not have worked well on the sustained tones of Carolan’s wire-strung harp, but may have been added by Anna-Jane herself.

***

The following set of words for Si Bheag, Si Mhor was published by the Irish Text Society in The Poems of Carolan (Amhrain Chearbhallain):

***

Imreas mór tháinig eidir na ríoghna,

Mar fhíoch a d'fhás ón dá chnoc sí,

Mar dúirt an tSídh Mór go mb'fhearr í féin,

Faoi dhó go mór ná 'n tSídh Bheag.

***

"Ní raibh tú ariamh chomh uasal linn,

I gcéim dár ordaíoch i dtuath ná i gcill;

Beir uainn do chaint, níl suairceas ann,

Coinnigh do chos is do lámh uainn!"

***

An tráth chruinnigh na sluaite bhí an bualadh teann,

Ar feadh na machaireacha anonn 's anall;

'S níl aon ariamh dár ghluais ón mbinn

Nár chaill a cheann san ár sin.

***

"Parlaidh! Parlaidh! agus fáiltím daoibh,

Sin agaibh an námhaid  Charn Chlann Aoidh,

Ó bhinn Áth Chluain na sluaite díobh,

'S a cháirde grá dhach, bí páirteach!"

***

Source for notated version: Shetland fiddler Aly Bain via Fred Breunig (Putney, Vt.) [Miller]. Brody (Fiddler’s Fakebook), 1983; pg. 253. Bunting, 1796; No. 63. Cranitch (Irish Fiddle Book), 1996; pg. 98. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); pg.2. Matthiesen (Waltz Book I), 1992; pg. 42. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 58. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 147. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 24, pg. 27. O’Sullivan (Carolan: Life and Times of an Irish Harper), 1958; No. 202, pg. 214. Phillips (Fiddle Case Tunebook: British Isles), 1989 {B}; pg. 43. Reiner (Anthology of Fiddle Styles), 1979; pg. 55. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 41. Acorn Music, Tony Elman ‑ "Shakkin' Down the Acorns." CBS MK 42665, Pierre Bensusan – “Spices” (1988). Claddagh CC18, Derek Bell‑ "Carolan's Receipt" (appears as "Sidh Beag Agus Sidh Mor"). June Appal 014, John McCutcheon‑ "The Wind That Shakes The Barley" (1977. Appears as "Si Bheag, Si Mhor"). Kicking Mule 206, Tom Gilfellon‑ "Kicking Mule's Flat Picking Guitar Festival." Kicking Mule 301, Happy Traum ‑ "American Stranger" (1977. Learned from Boys of the Lough). North Star NS0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990). Rooster Records, "Swallowtail." Rounder 0113, Trapezoid ‑ "Three Forks of Cheat" (1979). Rounder 3038, Pierre Bensusan ‑ "Musiques" (1979). Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977). Shanachie 79002, "Boys of the Lough" (1973). Shanachie 79009, "Planxty" (appears as "Si Bheag, Si Mhor"). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987). Shanachie 97011, Dave Evans - "Irish Reels, Jigs, Airs and Hornpipes" (1990). Trailer 2086, "Boys of the Lough" (1973). Transatlantic 341, Dave Swarbrick‑ "Swarbrick 2." Warner Brothers, Dave Bromberg‑ "My Own House" (appears as "Si Bheag, Si Mhor").

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Si Bheag, Si Mhor

M:3/4

L:1/8

Q:225

K:D Major

de|f3ed2|d3ed2|B4 A2|F4 A2|BA Bc d2|e4 de|f4 e2|d4 f2|\

B4 e2|A4 d2|F4 E2|D4 f2|B4 e2|A4 dc|d6‑|d4:|*

de|f3 e d2|ed ef a2|b4a2|f4 ed|e4 a2|f4 e2|d4 B2|B4 BA|\

F4 E2|D4 f2|B4 e2|A4 a2|ba gf ed|e4 dc|d6‑|d4:|**

                       

SI BLATH GEAL NA SMEUR. AKA and see "She is the Blackberry's Fair Blossom."

                       

SI CASGAIRE AR LOCH (The Fisherman). Irish. The melody appears in the Irish collector Edward Bunting's 1809 volume (pg. 48), and is a variant of "Is Iascaire Ar Loch Ceara Me."

                       

SI HANKS WALTZ. American, Waltz. C Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 145.

X:1

T:Si Hanks Waltz

M:3/4

L:1/8

R:Waltz

S:FordTraditional Music in America  (1940)

Z:AK/Fiddler’s Companion

K:C

(EF)|G2(e2d2)|(c2E2)F2|(G6|G2)(E2F2)|(G2c2)A2|(G2D2)E2|(F6|F2)E2F2|

G2e2d2|c2B2A2|(A6|A4)A2|B3a a2|(a2g2)B2|[E3c3][Ec][E2c2]|[E2c2][E2c2]:|

(EF)|G2ee e2|(e2d2)c2|F2 dd d2|(d2c2)B2|F2 BB B2|(B2A2)G2|(F6|F2)(E2F2)|

G2ee e2|(e2d2)c2|A3A A2|a6|g3g g2|(g2A2)B2|[E3c3][Ec][E2c2]|[E2c2][E2c2]:|

                       

SÍ MO GHAOL A LAR DHONN. Irish, Slow Air (6/8 time). E Minor/G Major. Standard tuning. AB. "From Mr. Jeffries" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 778, pg. 380.

X:1

T: Mo Ghaol a Lar Dhonn

M:6/8

L:1/8

R:Air

N:”Slow”

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:E Minor

A/B/ | e2 d/B/ A2 {A}B/A/ | GED E2D/E/ | G<e d/4e/4B/ (A2 A/)G/ | G3G2 || B/c/ | d>ed d2 e/4f/4g/ |

a2 {c’}b/>a/ ged | (e3 e2)f/g/ | e2 d/4B/4A/ A2B/A/ | GED E2 D/E/ | G<e d/4e/4B/ A2 A/G/ | (G3G2) ||

                       


SIAMSA MHUILTE FARANNÁIN. AKA and see “Barr na Feirste,” “Behind the Haystack [1],” "Christmas Day in the Morning [3],” “(An) Bhláthach Mhuimhneach,” “Munster Buttermilk [4],” "The Sports of Multyfarnham," “Squeeze Your Thighs,” “Take Her or Leave Her.” Irish, Double Jig. D Mixolydian. Standard. AABB. Source for notated version: piper Seosamh Breathnach (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 43, pg. 18.

                          

SIAMSAÍOCHT AN RIANAIGH. AKA and see “Ryan’s Rant.”

                       

SIAR AN CNOC. AKA and see "West the Hill.”

           

SIAR COIS CHUAIN DOM. AKA and see "As I Was By the Bay Westwards.”

           

SIBÉIL NÍ BHRIAIN (Elizabeth O’Brien). Irish, Air (cut time, “Slow & distinct”). D Major. Standard tuning. AB. Source for notated version: a manuscript collection dated 1861 compiled by James Goodman, a Church of Ireland cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 25, pg. 13.

                       

SIC A WIFE AS I HAE GOTTEN. AKA and see “Lads of Leith [2],” “Lads of Laois{e},” “Sir Adam Ferguson.” Scottish, Reel. The tune appears under this title in Lowe’s Collection (1844).

                       

SICILIAN CIRCLE. American, Jig. D Major. Standard tuning. AABB. A 6/8 time setting of “Rickett’s Hornpipe.” The Sicilian Circle is a dance form. Ford (Traditional Music in America), 1940; pg. 92.

X:1

T:Sicilian Circle

M:6/8

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | dcd Adf | e^de Ace | fba gfe | dcB A2 (3A/B/c | dcd Adf |

e^de Beg | fba gfe | dAf d2 :: d/f/ | a^ga dfa | b^ab dgb | bag fed |

cBA gfe | dcd Adf | e^de Beg | fba gfe | dAf d2 :|

                       

SICILIAN DANCE.  AKA and see “Royal Albert.” English, Jig. F Major. Standard tuning. AABC. There was a vogue for period in the early 19th century for Sicilian melodies, or faux-Sicilian melodies, and “Sicilian Air,” “Siciliano Dance,” “The Sicilian Peasant,” “Sicialian Mariner’s Hymn,” “Sicilian Waltz,” etc. appear in various publications and musicians’ manuscripts of the last decade of the 18th century and the beginning decades of the next. Interest in Sicily intensified during the Napoleonic Era due to its strategic location. At the beginning of the 19th century the Kingdom of Sicily and Naples encompassed the entire southern part of the Italian peninsula, under the rule of Ferdinand IV, of the House of Bourbon, an opponent of the French. He made an alliance with the Third Coalition against Napoleon in 1805, but lost the Neapolitan portion of his Kingdom after the battle of Austerlitz. Ferdinand fled to the island of Sicily and managed to stem attacks from the French throughout the Napoleonic wars, until Napoleon’s defeat. However, this did not bring about an immediate return of his former empire, which Napoleon had entrusted to his capable commander Joachim Murat. It took an alliance of Tuscany, Austria and the United Kingdom to finally restore the Kingdom of Naples to Ferdinand, who, in 1816 united the two in the Kingdom of the Two Sicilies, which lasted until 1860 and Garibaldi’s Italian unification. The post-Napoleonic re-arranging of European territories under the leadership of an emergent Britain, is likely responsible for the vogue in popular music for ‘Sicilian’ (i.e. Italian) sounding airs and the inclusion of “Sicilian Dance” in Burk’s manuscript.

***

The melody by this title is also contained in a few other English musician’s manuscripts, including those of Joseph Kershaw and George Spencer. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The same melody and title appears in the George Spencer (Leeds, Yorkshire), dated 1831. Burk and Spencer’s versions are nearly identical and have extended melodic material: Burk as an extension of the third part, Spencer with an added fourth part. The melody (as “Sicialian Dance”) was printed in Riley’s Flute Melodies, vol. 2, published by E. Riley in New York around 1817 (pg. 126), and in Thomas Wilson’s Companion to the Ballroom, published in London in 1816. The latter volume gives the alternate title “La Mignionette” (The Sweet Flower). The melody has been associated with the Scottish country dance Royal Albert, and is printed with that title in Kohler’s Violin Repository (1881-1885).

***

The music manuscript of John Burk (1821) ascribes the tune to a “Mr. Fisher,” the only attribution ever found with the melody. Unfortunately, nothing is known of Burk although he may have been from the north of England. It is possible it was a composition of German composer Johann Christian Fischer (1733‑1800), a friend of Mozart's, or one James A. Fishar, a musical director and ballet master at Covent Garden during the 1770's who published Sixteen Cotillons, Sixteen Minuets, Twelve Allemands, and Twelve Hornpipes (John Rutherford, London, 1778). There was also an 18th century English fiddle player named J.W. Fisher. However, all of these individuals seem to predate Burk’s era, although the tune may be older.

 The Joseph Kershaw Manuscript, 1993; No. 17.

X:1

T:Sicilian Dance, The

M:6/8

L:1/8

S:John Burk’s music manuscript book (1821)                             

N:”By Mr. Fisher”

Z:AK/Fiddler’s Companion

K:F

C|FGF AGF|c2c c2B|ABa c2B|A2G2 F2C|FGF AGF|

c2c c2f|efe dc=B|c3 c2::f|g2c b2a|gfe f2 d/f/|

g2c b2a|afe f3|dbb caa|Bgg f2 A\BGG c2F|F3 F2:|

|:A3 GAG|F2F FAc|c2 BdB|A2A Ace|f2e e2d|

d2c c2B|ABc cBA|B3 G2c|f2 fd=B|Ad=B c3|

b3 bge|fge f3|f2f d2c|d2c B2A|GAG c2E|F3 F2:|

X:2

T:Sicilian Dance, The

M:6/8

L:1/8

Q:110

S:George Spencer m/s, Leeds, 1831

R:Jig

O:England

A:Leeds

N:The date 1831 is written on the stave after the double bar line.

H:1831

Z:vmp.Cherri Graebe

K:F Major

F>GF AGF|c2c c2B|ABa c2B|A2G F2C|FGF AGF|c2c c2f|

e>fe dc=B|c3 c3:|!|

g2c b2a|gfe fef|g2c b2a|gfe f2c|dbb caa|Bgg f2A|BAG c2E|F3 F3|!|

A3 GFG|F2F FAc|c3 BAB|A2A A2f|(f2e) (e2d)|(d2c) (c2B)|ABc cBA|(A3G2) z||!

(f3f) d=B|c2c c3|(b3b)ge|f2f f2c|dbb caa|Bgg f2A|BAG c2E|F3 F2||

 

SICILIAN DANCE [2]. English, Jig. D Major. Standard tuning. AABB. A different melody than “Sicilian Dance [1]” appears in poet and musician John Clare (1793-1864, Helpston, Northants) manuscript, and the same tune is an untitled jig in the Sussex Tunebook.

                       

SICILIANO.  German, Air (3/4 time). A Major. Standard tuning. AAB. The melody is from German baroque composer Georg Philipp Telemann (1681-1767) from his Concerto for Oboe d’amore and Strings in A (TWV 51). Although not originally composed as a waltz, it is employed as such at contra dances. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 3 (appears as “Alice”, the name of a dance set to the tune by Philippe Callens).

X:1

T:Siciliano [G]

C:G.Ph. Telemann (TWV 51)

N:Chords by Graham Christian

N:from Concerto for oboe d’amore and strings in A

M:3/4

L:1/8

F:http://trillion.mit.edu/~jc/music/abc/waltz/Alice_G.abc

K:G

|:GA|”G”B3 c d2|”C”c2B “D”A2|”G”B4 G2|G4:|

“C”e2|”G”d6-|d2 “C”ef ge|”G”d6- |d2 “C”ef gG|”Am”c3d c2|c4c2|

“D”a4f2|d4 “Ddim7”c2|”G”B3A “C”c2|”G”B3c “D”A2|”G”G6-|G4|]

 

SICK AND VERY BAD. English, Country Dance Tune (9/8 time). England, Northumberland. G Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 2; No. 283.

                       

SICK BOY, THE (An Bouchail Breoighte). AKA and see “Buachaill Dreoite [1].” Irish, Hornpipe and Air. G Major. Standard tuning. AABBCC. Sick, as "sick in love". "From my own memory‑‑as I learned it in childhood" (Joyce). See note for “Buachaill Dreoite [1].” Joyce (Old Irish Folk Music and Song), 1909; No. 8, pg. 7.

X:1

T:Sick Boy, The [1]

T:An Bouchail Breoighte

L:1/8

M:C

R:Hornpipe & Air

S:Joyce – Old Irish Folk Music

Z:AK/Fiddler’s Companion

K:G

GABG A2G2|A2G2G2D2|GABG A2G2|cBAG F2A2|

GABG A2G2|A2G2G2=f2|e2g2=f2d2|cBAG F2A2:|

|:BABG c2A2|dcBA G2A2|BABG DGBG|cBAG F2A2|

BABG cBcA|dcBA G2g2|gbag fefd|dcAG F2A2:|

|:gbag abag|abag g2d2|gbag abag|abag f2a2|

gbag abag|agfa g2de|=fefd defd|cBAG F2A2:|

 

SICK BOY [2], THE.  Scottish, Air. C Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 157.

X:1

T:Sick Boy, The [2]

M:C

L:1/8

C:J. Scott Skinner (1843-1927)

S:Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:C

E | A>BcG A2e2 | dcBA G2 (=F2 | E2) z2 z/(C/E/A/) z/(c/e/a/) | a2 z (^g a2 a) :|

e | a>Ae>A f2 ed | c>Ae>A B2 ze | a>Ae>A c2 AA | (DE/F/ E^G) (A2A) e |

a>Ae>A f2 ed | c>Ae>A B2 zE | (A>BcB) AECA, | (DE/F/ E ^G) (A,2 A,) ||

                       

SICK, SICK. AKA and see "The Sick Tune.” English, Ballad Air (4/4 time). Chappell (1859) prints two versions of this air, in F Major and G Dorian, from two different lute MSS of the late sixteenth century. The second tune, from Dorothy Welde's Lute Book, is similar to Raven's (1984) "Sick Tune.” The original ballad was based on an historical event that occurred in 1571; a massacre of a lady and her children and household, 37 people in all, by the Captain Care or Ker, who is named in the first stanza of the song. Shakespeare mentions the ballad in Much Ado About Nothing when Hero says:

***

Why, how now! Do you speak in the sick tune?

(Beatrice responds) I am out of all other tune, methinks.

***

Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pgs. 73‑74.

X:1

T:Sick, Sick

L:1/8

M:C

B:Chappell – Popular Music of the Olden Times
S:Anthony Holborne’s Cittharn Schoole (1597)

Z:AK/Fiddler’s Companion

K:F

C4 F2F2|E3F G2E2|A2c2A2B2|A4 d4|c3B A2 GA|B2G2E2C2|F2C2A,2D2|C4 D4:|

X:2

T:Sick, Sick

L:1/8

M:C

B:Chappell – Popular Music of the Olden Times

S:Dorothy Welde’s Lute Book

Z:AK/Fiddler’s Companion

K:G Dorian

G4B4|D4F4|G2G2 B2c2|A4G4||F2D2F2_E2|D2C2B,2D2|_E2G2G2^F2|G4:|

                                               

SICK TUNE, THE. AKA and see "Sick, Sick" "Captain Car." English, Country Dance Tune (4/4 time). F Major/D Minor. Standard tuning. AABB. The melody is from the Cittharn School (1597), while the lyrics are to be found in Ritson's Ancient Songs. Francis Child gives several versions of the poem under the title "Captain Care." The song tells of the massacre of a Lady and her household of 37 persons at the hands of that Captain Care, who set fire to her manor:

***

It befell at Martinmass when weather waxed cold,

Captain Care said to his men, "We must go take a holde."

Sick, sick and too, too sick, and sick and like to die,

The sickest night that ever I abode, God Lord have mercy on me!

***

Shakespeare makes reference to the tune in Much Ado About Nothing (act III, scene 5) when Hero says, "Why, how now! do you speak in the sick tune?" to which Beatrice answers, "I am out af all other tune, methinks." Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pgs. 42‑43. Raven (English Country Dance Tunes), 1984; pg. 16.

X:1

T:Sick Tune, The

T:Captain Car

M:C

L:1/8

K:D Minor

d2d2f4 | A2A2c4 | d2d2f2 gf | ed e2 d4 :: c3A c2B2 | A2G2F2A2 | Bc d2d2^c2 | d8 :|


                       

SID MAR CHAIDH N’ CAL A GHOLAIGH (That is How the Cabbage Was Boiled).

 

SIDE OF THE ROAD, THE. Irish, Reel. E Dorian. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988). The title refers to the travelling people of Ireland, who pulled their caravans to the side of the road to overnight. Reavy (The Collected Compositions of Ed Reavy), No. 72, pg. 79.

X:1

T:The Side Of The Road

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:The talented, wayward traveling people made it their home.

N:We weep to tell the sad loss of talent among those wild

N:wanderers of the road. Some of the best fiddle players in

N:Ireland came from their ranks.

K:G

ef | gfed BEEF | (3GFE B,E G,EB,E | GFGA BABd | (3efg fd e^def |

gfeg fedf | edBG FDB,D | EDEF GFGA | (3B^cd AF E2 :||

ef | gfga bgeg | fd (3d^cd Adfa | geBA ^GABg | fe^df e2 g2 |

bagf agfg | ed^cd BGEF | GFGA BABd | (3efg fd e2 :||

                       

SIDH BEAG AGUS SIDH MOR. See "Sheebeg and Sheemore."

                       

SIDH-CHAILLIONN. Scottish, Strathspey. A Dorian. Standard tuning. AABB'. Stewart-Robertson (The Athole Collection), 1884; pg. 46.

X:1

T:Sidh-Chaillionn

L:1/8

M:C|

R:Strathspey

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:Aminor

G|E<A A>B c>A B2|B<G G<c B/c/d/B/ G>B|c>AB>G A/A/A c2|

g>e e/d/c/B/ c>A A:|

B|c/c/c ~c>d c/d/e/^f/ g2|GGd>c B/c/d/B/ G>B|1 c/c/c ~c>e c/d/e/^f/ g>a|

g>e e/d/c/B/ c<AA:|2 c>AB>G A/A/A c2|g>e e/d/c/B/ cAA||

                       

SIDLAW HILLS. Scottish, Strathspey. A Major. Standard tuning. One part. Composed by J. Watson. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 12.

                       

SIDNEY BAGLOLE’S REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AA’BB’. A hybrid tune, finds Ken Perlman; the ‘A’ part is that of “Grand Valley Reel,” while the ‘B’ part is from “Western Gem.” Source for notated version: Sidney Baglole (b. 1912, Freetown, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 57. Rounder CD7014, Sidney Baglole – “Fiddlers of Western Prince Edward Island” (1997).

                       

SIDNEY BAGLOLE’S TUNE.  Canadian, March (cut time). Canada, Prince Edward Island. G Major. Standard. G Major. Standard tuning. AABB. Ken Perlman suggests this tune may be an amalgamation of “Grand Valley Reel” and “Western Gem Reel.” Source for notated version: Sidney Baglole (b. 1912, Freetown, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg.

           

SIECLE NOUVEAU REEL. AKA and see "Up Jumps Johnny."

                       

SIEGE... See “Seige...”

                       

SIESTA, LA. Scottish (3/4 time). A Flat Major. From J. Scott Skinner’s Logie Collection (1888).

                       

SIFTING SAND. AKA and see "Hog Eye [1]." Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

SIGEL'S RETREAT. Old‑Time. USA, Arkansas. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. There was a Civil War general on the Union side named Franz Sigel who began his career early in the war in Missouri.

                       

SIGH, THE. Irish, Country Dance Tune (2/4 time). G Dorian. Standard tuning. ABC. Stanford/Petrie (Complete Collection), 1905; No. 619, pg. 155.

X:1

T:Sigh, The

M:2/4

L:1/8

S:Stanford/Petire (1905), No. 619

Z:AK/Fiddler’s Companion

K:G Dorian

dd dc/B/ | {d}cB/A/ BG | dd d/g/^f/g/ | d/c/B/A/ G2 :|

|| G/A/B/c/ d/B/A/G/ | F/G/A/B/ c/A/G/^F/ | G/A/B/c/ d/g/^f/g/ | d/c/B/A/ G2 ||

B2z2 | c2z2 | dd d/g/^f/g/ | c/A/B/A/ G2 ||

                       

SIGHELE BHEAG NI CHONNALLAIN. AKA and see "Little Celia Connellan [1]."

                       

SIGHILE NI GHADHRA. AKA and see "Sheela Nee Guira" and "Celia/Sheela O'Gara."

                       

SIGLE NO GADRA. See "Sheela O'Gara."

                       


SIGN POST, THE. Irish, Double Jig. A Mixolydian. Standardn tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 226, pg. 25.

X:1

T:Sign Post, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 226  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

Aee ef=g|B=GB dcB|Aee efg|aee fee|aee ef=g|B=GB dcB|Aee dBe|cAA A2:|

aec Ace|aga e2f|=gdB =GBd|=gfg e2^g|aec Ace|aga efd|cee dBe|cAA A2:|

                       

SIGNO PISSQUALIE'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth, 1768.

                       

SILAM NA GAPALL. Irish, Polka. G Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 271, pg. 153.

                       

SILE BHEAG NI CHONNALLAIN. AKA and see "Little Celia Connellan [1]."

                       

SILE NI GHADHRE. AKA and see “Sheila O Gara.”

                       

SILENT THE LONELY GLEN. Irish, Air (2/4 time). E Minor. Standard tuning. One part. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). “The tune laments the passing of the old ways and the tradition as Ed remembers it: the old Ireland he once knew.” Reavy (The Collected Compositions of Ed Reavy), No. 125, pg. 139.

X:1

T:Silent The Lonely Glen

R:Air

C:Ed Reavy

M:2/4

L:1/8

Z:Joe Reavy

K:G

g/f/ | ed/B/ AG/A/ | B/d^c/ dg/f/ | ed/B/ AG/A/ | B/>A/G/F/ Eg/f/ |

ed/B/ ba/g/ | g/f/e/^d/ eg/f/ | ed/B/ AG/A/| BG/E/ Ee/f/ |

ge/g/ ba/g/ | fd/f/ ag/f/ | ge/g/ ba/g/ | f/e^d/ ee/f/ |

ge/g/ fd/f/ | ed/B/ Bg/f/ | ed/B/ AG/A/ | BG/E/ E ||

                       

SILK AND SATIN. Old‑Time. in the repertoire of Sam Avery and Sam Green, Eastern Ky.

                       

SILK HANDKERCHIEF, THE (An Laimfoillead Sioda). Irish, Hornpipe. G Major. Standard. AABB. Source for notated version: Chicago fiddler Edward Cronin, a weaver, machinest and sometimes journelist originally from County Tipperary. Cronin was a storehouse of tunes and one of O’Neill’s primary informants; a man who boasted he never forgave nor forgot an injury [O’Neill]. O'Neill (Krassen), 1976; pg. 189. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1665, pg. 309.

X:1

T:Silk Handerchief, The

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1665

Z:AK/Fiddler’s Companion

K:G

d | g/a/b/g/ e/f/g/e/ | d/B/g/e/ d/B/G/B/ | (3A/A/A/ (A/B/) A/G/A/B/ | c/B/A/B/ c/d/e/f/ |

g/a/b/g/ e/f/g/e/ | d/B/g/e/ d/B/G/B/ | (3A/A/A/ (A/B/) A/G/A/B/ | c/d/e/f/ g :|

|: d | d/g/g/f/ g(g/f/) | g/a/b/a/ g/f/e/d/ | e/a/a/b/ a(a/g/) | a/g/b/a/ g/f/e/d/