The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s
will convert to standard notation nicely. Or, get a copy of abcNavigator 2 –
its well worth it. [AK] |
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 [
***
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 (
|
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
SI HANKS WALTZ. American, Waltz. C Major. Standard tuning. AABB. Ford (Traditional Music in
X:1
T:Si Hanks Waltz
M:3/4
L:1/8
R:Waltz
S:Ford – Traditional Music in
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:
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 (
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
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
X:1
T:
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
***
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,
R:Jig
O:
A:
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
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 “
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:
***
(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,
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/