The Fiddler’s Companion
© 1996-2010 Andrew Kuntz
_______________________________
Home Alphabetical Files References
SOU - SOY |
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] |
SOULTON JIGG. English, Jig. G Major. Standard
tuning. AAB. “Soulton
Jigg”, a longways dance for “as many as will,” appears in volume 2 of the Dancing
Master, first edition, published in London by John Young in 1713. The
melody appears in all subsequent editions, through the 4th (1728).
It also appears in Walsh’s Second Book of the Compleat Dancing Master,
first published in 1719, with further editions in 1735 and 1749. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 121.
X:1
T:Soulton Jigg
M:6/8
L:1/8
S:John Young’s Dancing Master,
2nd volume (London, 1713)
K:G
g2g gdB|gdB A3|B>cd efg|aeg f>ed/c/|Bdg Bdg|Bdg
f2e|
a>ba/g/ fdg|g2f g3:||BAG BAG|Bdd d2^d|eBe egf/e/|^(d3 d2)f|
gfe
bBe/f/|gfe b^de|e>fg f2e|(e3 e2) e/f/|g>fe dcB|ABG FAD|
G>AB
B>AG|(d3 d2)|e>fg dcB|c>de e>fg/a/|fdg gaf|g6||
SOUND ALE. Northumbrian. One of the "missing tunes" from Vickers' 1770
Northumbrian dance tune manuscript.
SOUND ARGUMENT. Scottish, Air (6/8 time). A Major. Standard tuning. One part. Howe lists the melody among the ‘Scotch Airs’ and gives the alternate title “We Should All Be Unhappy Together.” Howe (1000 Jigs and Reels), c. 1867), pg. 156.
X:1
T:Sound
Argument
M:6/8
L:1/8
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:A
e/d/ | cde AAB | c2 z z2 B | c>de e>dc | c3 B2e/d/ | cce AAB | c2 z z2 B |
c>de dcB | (B3 A2)e | fdd def | (f3 e2)f | edc ccd | c2 z z2 c/d/ | c>BA ABc |
B3 A2 B/c/ | d>cB Bcd | c3 z2 d/e/ | f>dc Bdf | (f3e2)a | agf edc | B3 z2e |
aaa
eee | c3B2e/d/ | cea ace | {e}d2 z z2 d/e/ | dcB fed | (c3A2) ||
SOUND OF MULL [1]. AKA and see "Cronan
na Linne Mhuilich."
SOUND OF MULL [2], THE (Laoidh Chaluim Chille). Scottish, Slow Air (3/4 time). D
Major. Standard tuning. AA. Martin (Ceol
na Fidhle), vol. 1, 1991; pg. 9 (includes a harmony part).
SOUND OF SLEAT, THE. Scottish, Reel. D Major. Standard tuning.
AABBC (Martin/1988): AABCCD (Martin/2002). Sleat is the name of a sea inlet on
the west coast of
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
SOUND OF WAR FROM THE
GLEN, THE (Tha toirm anns
a' ghleann).
Scottish, Slow Air (3/4 time). C Minor. Standard tuning. AB. "This air
devolved to the editor's father through the same channel. The words to it five
a fine description of a peasant surveying the morning sky, and suddenly
hearing, not the sounds of the stately pines, waving their branches in the
wind, not the noise of the rushing torrents when a thaw commences, not the roar
of distant thunder, or of the neighbouring waterfall,‑‑ but the
alarming clang of the enemy's approach to plunder and destroy" (Fraser).
Fraser (The Airs and Melodies Peculiar to
the
X:1
T:Sound of War from the Glen, The
T:Tha toirm anns a’ ghleann
M:3/4
L:1/8
R:Air
S:Fraser Collection
Z:AK/Fiddler’s Companion
K:C Minor
G>G|c2B2c2|d3 z G>G|e2d2c2|[=B2d2] z2 G>G|c2B2c2|d3z g>g|
D4B2|(c2G2)||b>a|g2f2e2|d3z g>g|c2B2c2|d3z b>a|g2f2e2|d3z g>f| D4B2|c2G2||
SOUND OF THE WAVES, THE (Fuaim Na Dtonn). Irish, Slow Air (2/4 time). C
Major. Standard tuning. AB. Source of notated version: "Copied from a MS.
book lent me by Surgeon‑Major‑General King of
X:1
T:Sound of the Waves, The
M:2/4
L:1/8
R:Air
N:”Mod.: rather slow”
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:C
F|E>CEF|GEGA|c>Bce|G2 EG|A2 ed|cGED|C>EAG|A3||c|
G>EGA|cd eg|fede|G2
e>d|cAGE|DEA>G|ECC>D|C3||
SOUP OF GOOD DRINK, THE. Irish, Jig. D Major. Standard tuning. AABB. Source for notated version: copied from O’Farrell’s Pocket Companion (1804-10) [O’Neill]. O’Farrell (Pocket Companion, Vol. 1), c. 1805; pg. 33. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 146.
X:1
T:Soup of Good Drink, The
M:6/8
S:O'Farrell's Pocket Companion 1804-10
Z:Paul Kinder
K:D
A|DED F2 G|A2 d cAF|G2 A B2 G|GBG AFD|
DED F2 G|A2 d cAF|G2 A B2 G|AFD D3:|
|:d2 e f2 d|faf gec|d2 e f2 d|cBA d2 A|
d2
e f2 d|faf gec|d2 A B2 G|AFD D3:||
SOUPE AUX POIS, LA. AKA and see “Pea Soup,” “reel des bucherons,” “Woodchopper’s Reel.”
SOUR APPLE PIE. Old-Time, Breakdown.
SOUR GRAPES. American, Reel or Breakdown.
SOURGRASS AND GRANITE. Canadian, Waltz. D Major. Standard tuning. Composed by guitarist Brian Pickell,
named in honor of Canadian fiddler Pierre Schryer’s older sister Julie, the
piano-player in
X:1
T: Sour Grass and Granite
C: Brian Pickell
D: Pierre Schryer & Dermot
Byrne, "Two Worlds|United"
Z: Michael Reid
M: 3/4
L: 1/8
R: Waltz
K: D
FE|:DA, DF Ad|c3d eg|f2 d2 A2|B3 G
D2|
B2 Bc d2|F2 FG A2|[1 Bc d2 F2|E3 G
FE:|[2 Bc dF E2|D3 cde||
|:fB Bc df|eA AB ce|d2 c2 B2|A3 F
D2|
B2 BA FA|DA, DF Ad|[1f2 fe df|e3 c
de:|[2 f2 fe dc|d4|]
SOUR PLUMS OF
GALASHIELS. AKA and see "Soor Plooms (of
Galashiels)."
SOURCE OF SPEY, THE ("Mathair Spe" or "Madhair
Spea").
Scottish, Strathspey. E Minor. Standard tuning. AAB (Athole, Fraser, Neil,
Skye): AABB (Kerr). Composed by MacPherson (Skye)./ "This was acquired by
the editor's grandfather from Lachlan MacPherson of Strathmashy, of whom
mention has already been made. He lived near the source of Spey, and it has
every chance of being his composition, as he was a genuine poet, and sung with
taste and spirit" (Fraser). Neil (1991) says: "The strath (river
valley) of Spey is one of the most characteristic longitudinal valleys of
X:1
T:Source of Spey, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
B|G<E E2 G>A B<e|d<B B>A G>A B<e|G<E E2 G>A B<e|d>BB>^G A2A:|
B|e>fg>e d>eB>e|d>Bg>e d>eB>g|e>fg>e d<eB<g|d<B B>^G A2 A>B|
e>fg>e
d>e B<e|d<Bg>e d>e B<g|e<Bg<B a<B
b>a|g>ed>B A2A||
X:1
T:Souri, La
M:6/8
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 47
Z:AK/Fiddler’s Companion
K:C
CEG | CEG B,DG | B,DG A,D^F | A,D^F B,DG | G,DG =FBd | Bd=f EGc |
ceg afd | gec fdB | c2 :: A2z | A2d3 | dAF ^D3 | ^d2B, G2z | eBG A3 |
^fdB ge^c | d3 ecA | dBG cA^F | G3 CEG | CEG B,DG | B,DG A,D^F |
A,D^F
B,DG | B,DG =FBd | Bdf EGc | ceg afd | gec fdB | c3 :|
***
The tune was
mentioned by William Byrne who described a chance encounter with
***
I got a gal on
Da da da da‑da da‑da‑da da;
Pretty girls there 'til you can't count 'em,
Da da da da‑da da‑da‑da da.
***
Sources for notated versions: Clyde
Ward (Bates,
SOUTER JOHNNY. Scottish, Ree. D Major. Standard tuning. AAB. The piece appears in
Middleton’s Collection (c. 1870).
SOUTERS OF SALTRY. Shetland, Shetland Reel. From the district of Whalsay, Shetland.
SOUTERS O' SELKIRK, THE. AKA and see "The Butterfly [4]," "Up Wi' the Souters." AKA ‑
"Suttors of Selkirk," "Sulters of Selkerke." Scottish,
English; Slip Jig or Air (3/4 time). England, Northumberland. G Major (Aird,
McGibbon, Peacock, Vickers): A Major (Neil). Standard tuning. AABB. A very old
Scots Border region song and dance tune considered to be derived from a stock‑and‑horn
or pipe tune. 'Souters' is a Scots term that refers to shoemakers. People from
the Border town of Selkirk are still referred to by that name today, stemming
from the fact that shoemaking was the main craft of the region in the 16th
century. In a later era the Scots writer Sir Walter Scott, the author of Ivanhoe and other famous works, was for
a time the sheriff of Sekirk (there is a statue of him in the marketplace). The
song “The Souters of Selkirk” relates to the battle of Flodden Field, a
catastrophe for the Scots, and to the men of Selkirk and their rivals from the
neighboring burgh, Berwickshire (of whom it is unflatteringly said stood well
back in the fray). A band of souters was led to the battle by the town clerk,
one William Brydon, who was knighted on the battlefield for his bravery. Legend
has it that only one souter survived the conflict to return home, although he
brought an English banner with him. "This was cast low on the ground in
the market place to signify that the battle had been lost. The event is
commemorated as the concluding ceremony of Selkirk Common Riding by the
'casting of the colours' in which the standard bearer takes the Burgh flag and
weaves a characteristic and rhythmic pattern with it round his head and
shoulders to a modern version of 'Up Wi' the Souters'" (Neil, 1991).
Selkirk was the place where Edward I defeated John Balliol in 1296 and began
his conquest of Scotland—a year later William Wallace was proclaimed ‘Guardian
of Scotland’ in the Church of St. Mary in the town.
***
Up wi' the Souters o' Selkirk
That sews the single‑soal'd shoon;
***
Selkirk
***
Neil (1991)
relates a delightfully macabre story told about one souter named Rabbie, who
fashioned a pair of shoes for a stranger who eerily resembled a local man who
had just passed away. Curious, Rabbie followed the man after he picked up his
new shoes, and was led to St. Mary's kirkyard where he disappeared beside a
grave. An alarm being spread, the casket was exhumed only to reveal a skeleton
wearing a pair of new shoes! Perhaps because he was a parsimonious Scotsman,
Rabbie retrieved the shoes from the grisly bones, only to soon vanish himself
without a trace. The townspeople again opened the grave (for some unexplained
reason) and this time the skeleton was found to be wearing not only the pair of
shoes, but a night-cap belonging to Rabbie! Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II,
1782; No. 197, pg. 73. McGibbon (Scots
Tunes, book III), 1762; pg. 79. Mooney, vol. 1 (1982); pg. 18. Neil (The Scots Fiddle), 1991; Nos. 44 &
45, pg.s 59 & 60. Offord (John of the
Greeny
X:1
T:Souters of Selkirk
L:1/8
M:3/4
N:”Slow”
S:Peacock’s Tunes (c. 1805)
Z:AK/Fiddler’s Companion
K:G
B>c d2e2|d2B2g2|edcBAG|B>C d2e2|d2B2g2|f4 A2|
G2B2d2|g2 ecge|d2 cBAA|cBcdec|D2B2g2|f4 A2:|
|:g2 GB/c/ dB|g2 efge|edcBAG|g2 GB/c/ dB|g2 efge|
f4 A2|g2 GB/c/ dB|g2 efge|edcBAG|cBcdec|d2B2g2|f4 A2:|
|:(3dcB e>e e2|(3dcB g>g g2|(3dcB (3cBA (3BAG|(3dcB e>e e2|
(3dcB geGg|f4 A2|(3dcB e>e e2|(3dcB (3edc (3gfe|(3dcB (3cBA (3BAG|
cBcdec|d2B2g2|f4 A2:|
|:g2 dBdB|g2 ecge|dBcABG|g2 dBdB|g2 ecge|f4A2|g2 dBdB|
g2 (3efg (3cde|dgdBAG|cBcdec|d2B2g2|f4 A2:|
L:1/8
M:6/8
B/c/dd e/f/ge|dBG B/c/dd|e/f/ge f2A|B/c/dd e/f/ge|dBG c/B/c/d/e/c/|dBg f2A:|
|:GB/c/d/B/ dBg|dBg GB/c/d/B/|dBg f2A|GB/c/d/B/ dBg|d/c/B/A/G c/B/c/d/e/c/|dBg f2A:|
|:g/f/e/d/B g/f/e/d/B|g/f/e/d/G g/f/e/d/B|g/f/e/d/B g/f/e/d/A|g/f/e/d/B g/f/e/d/B|e/d/c/B/A/G/ c/B/c/d/e/c/|dBg f2A:|
|:GgB gBg|BgB GgB|gBg AgA|ggB gBg|BgB cec|dBg f2A::d/B/d/B/e d/B/d/B/g|d/B/d/B/G d/B/d/B/e|
d/B/d/B/g f2A|d/B/d/B/e d/B/d/B/g|dBG c/B/c/d/e/c/|dBg f2A:|
|:gGB d/B/d/B/d/B/|d/B/d/B/d/B gAc|d/B/d/B/d/B/ c/A/c/A/c/A/|gGB g/f/e/f/g/e/|
d/c/B/c/d/B/ c/B/c/d/e/c/|dBg f2A::d2B d2B|d/c/B/A/G d2B|d2B e/d/c/B/A|d2B d2B|d/c/B/A/G c/d/e/f/g/e/|
dBg f2A::G/a/B/c/d/B/ g/f/e/d/c/B/|dBg G/A/B/c/d/B/|g/f/e/d/c/B/ eAe|G/A/B/c/d/B/ g/f/e/f/g/e/|
dgB c/B/c/d/e/c/|dBg f2A::B2G B2G|dBg B2G|B/c/dg f2A|B2G B2G|gdB cB/c/d/e/|dBg f2A:|
|:d3e3|dBG d2G|ABd e2A|d3 e3|dBG c2e|dBg f2A:|
X:2
T:Suttors of Selkirk
M:3/4
L:1/8
R:Air
N:”Brisk”
S:McGibbon – Scots Tunes, book III, pg. 79 (1762)
Z:AK/Fiddler’s Companion
K:G
G2 | (Bcd2)e2 | d2B2g2 | (ed)cBAG |
(Bcd2)e2 | d2B2g2 | ({g}”tr”f4A2 |
(Bcd2)e2 | d2B2g2 | edcBAG | c3de2 |
d2B2g2 | ({g}”tr”f4)A2 :|
|: g2G2B2 | g2f2e2 | d2 cBAG |
g2G2B2 | g2 agfe | ({e}f4) A2 | g2G2B2 |
g2 agfe | d2g2B2 | c3de2 | d2B2g2 |
({g}”tr”f4)A2 :|
SOUTH AND NORTH, OR BOTH SIDES OF THE
X:1
T:South and North or Both Sides of
the
M:C
L:1/8
R:Strathspey
S:Gow – 1st Repository
(1799)
Z:AK/Fiddler’s Companion
K:G
g|G>GB>G B>G A<g|G<G
B>G D>GB>G|c>AB>G A>G A<a|e<g d>B G2G:|
|:g|e<g d>g c>BAa|e<g
d>B d>eg>a|(b/a/)g/f/ (g/e/)d/B/ c>BAa|e<g d>B G2G:|
X:1
T:
C: Kirk Lynch
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: G
E | DG G2 A2 cB | Ae e2 dBGB | g2 gb agfd | egfd eB B2 |
DG G2 A2 cB | Ae e2 dBGB | g2 gb ageg | dBAB G3 :|
f | g3 f ed (3BcB | ABcd BG (3GFG | DG G2 A2 cB | Ae e2 dBGB |
g3 f ed (3BcB |
ABcd BGBd | g2 gb ageg | dBAB G3 :|
SOUTH COUNTRY LAD. Northumbrian. One of the "missing tunes" from Vickers' 1770
Northumbrian dance tune manuscript.
X:1
T:
M:2/4
L:1/16
R:reel
Q:120
S:from Cyril Stinnett
O:as recorded by Cyril Stinnett in Sept. '79
N:Cyril learned this tune from his father
K:D
|:(ef2)(a fe)dc|B2 g2 B2 g2|(ef2)(g fe)dA|c2 e2 c2 e2|! (ef2)(a fe)dc|B2 g2 B2 g2|(ea2)b (af)ed|(cA)(Bc) d2FG:|!
(AB)AG
(FD)FA|(BA)Bc (de)dB|(Ac)dB A(GF)(D|ED)CE A,2FG|! (AB)AG (FD)FA|(BA)Bc
d2d(f|e)de(f gf)ed|(cA)(Bc) d4:|!
SOUTH
OF THE GRAMPIANS. Scottish, Strathspey. A Major.
Standard tuning. AB. The tune is attributed to James Porteous (1762‑1847)
who hailed from Meinfoot, near Ecclefechan, and who published one collection in
1820. Bill Hardie notes: "This strathspey is a typical example of what
fiddlers of two generations ago referred to as 'a double-breasted tune', i.e.
it makes intelligent use of all four strings." See also similarly titled
"North of the Grampians." Christine Martin (2002) gives that traditional
fiddlers usually follow the tune in a medley with “John McNeil(’s Reel)” or Peter
Milne's “Marquis of
Huntly’s Reel” in a medley. The Grampian Mountains are the highest mountain
peaks in Britain, extending northeast to southwest along the southern fringe of
the Highlands in central Scotland. Ben Nevis (4,406 ft.) is the tallest peak in
the range. The tune is played as a Highland in County Donegal. Source for
notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford].
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:South of the Grampians
M:4/4
L:1/8
R:Strathspey
S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:A
C|A,>B,C>D E<C
E2|A>EF>E A>E A<c|A,>B,C>D E<C E>c|
(3dcB (3cBA (3GFE (3DCB,|
A,>B,C>D E<C E2|A>EF>E A>E A<c|
d>cd>f e>cA>c|(3dcB
(3cBA G<B B<c||A>ec>e A<e c2|A<ec<e (3Ace (3fga|
A>ec>e A>ca>g|(3fed
(3cBA G<B B>c|A>ec>e A<e c2|A>ec>e (3Ace (3efg|
(3agf (3edc (3fed (3cBA|(3dcB (3cBA
(3GFE (3DCB,||
X:2
T:Gan Ainm
M:4/4
L:1/8
R:
N:A variant of “South of the Grampians”
S:Tommy Peoples – Workshop
Z:AK/Fiddler’s Companion
K:A
A,>B,C>D E<C E2 | A>E{F/G/}F>E A>E A<c | A,>B,C>D [C3E3] c |
(3dcB (3cBA (3GFE (3DCB, | A,>B,C>D E<C E2 | A>E{F/G/}F>E A>EA>c |
d>cd>f e<c a>c | (3dcB (3cBA G<B B2 || A>ec>e (A/c/)e ~c2 |
A>ec>e (3Ace (3fga | A>ec>e A/c/e {a/b/}a>g | (3fed (3dBA G<B B2 |
A>ec>e A/c/e ~c2 | A>ec>e (3Ace (3fga | (3agf (3edc (3ded (3cdc |
(3fed
(3cBA (3GFE (3DCB, ||
SOUTH OF
THE
X: 1
T: South of the
C: B.Black
R: jig
M: 6/8
L: 1/8
K: A
e | ecA EAc | dBG EFG | AFA dcd | ecA Bcd |
ecA EAc | dBG EFG | ABc dfe | dBG A2 :|
e | edB bge | aga fge | afe dfa | ecA Bcd |
cAc
dBd | ece agf | ece fdB | GAB A2 :|
SOUTH SEA BALLAD. English, Air. The air was published by John Gay in his Beggar's Opera (1729) and appears under
the title "My love is all madness and folly.” Kidson (1922) says it was a
tune "to one of the many ballads contemporary with the South Sea
Bubble," which refers to a financial scheme of the time which collapsed
leaving many investors impoverished. Raven (English
Country Dance Tunes), 1984; pg. 62.
SOUTH UIST POLKA. Shetland, Polka. D Major. Standard tuning. AABB. Miller & Perron (101 Polkas), 1978; No. 53.
SOUTH WEST MARGAREE
HALL. Canadian, Strathspey. Canada, Cape
Breton. C Major. Standard tuning. AAB. Composed by fiddler Jerry Holland (
SOUTH WEST WIND, THE. AKA and see “Connie the Soldier,” “(An) Ghaoth Aniar Andeas.”
SOUTHENER'S HORNPIPE, THE. New England, Hornpipe. A Major. Standard
tuning (fiddle). AABB. Composed by
SOUTHERN ARISTOCRACY. AKA and see "Colored
Aristocracy."
SOUTHERN BLUES. Old-Time. The tune was recorded in Atlanta by the Scottdale String
Band, named in honor of the mill village of Scottdale, near Atlanta, and home
to the band members (Wayne W. Daniel, Pickin’
on Peachtree, 1990). Their first recording was made for the OKeh studios on
October 28, 1926, and between that date and 1932 the group recorded nearly
thirty sides (all but two—released by Paramount—for OKeh). Bill Rattray wrote
about the group in Old Time Music
magazine (“Scottdale Boys,” OTM, Summer, 1971) and said the group’s records
sold “well, or at least fairly well,” and that “their instrumentation was profoundly
different from that of the other, more well-known Georgia bands like the
Skillet-Lickers, and gave their music a more sophisticated sound that that of
the ‘rough North Georgia’ school.” The groups repertoire varied more than usual
for string bands from the region, and included “a wider range of material
including tunes used chiefly by the jazz bands…the more traditional breakdowns,
songs and ballads are hardly featured at all.” [quoted by Daniel].
SOUTHERN BREEZE, THE (Gaiot Ua N-Deas). AKA and see "Southwind."
SOUTHERN MEDLEY. This is banjo player Charlie Poole’s cover
version of classical banjo player Fred Van Eps record “Dixie Medley.”
SOUTHERN MELODY. American, Two-Step or Polka. D Major. Standard tuning. AB (Cranford):
AA’B (Perlman). The tune is always paired with “Polo March.” Introduced to
SOUTHERN 111. AKA and see "One‑Eleven Special," "Number
111." Old‑Time, Breakdown. Composed by James McCarrol of the
SOUTHERN SHORE, THE (An Traig Deasgad). AKA and see “Coey’s Hornpipe,” “Tammany Ring,” “The
Wonder Hornpipe.” Irish, Hornpipe. G Major. Standard tuning. AABB.
Scottish/English versions appear under the title “The Wonder Hornpipe” and
printings predate O’Neill (e.g. Honeyman’s 1898 tutor), although perhaps not
Ryan’s (1883) “Tammany Ring.” See also the related “Bee’s Wing Hornpipe.” Source for
notated version: fiddler Sergeant James O’Neill [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979;
No. 1740, pg. 324. Shanachie 78005, De Danann –
“Hibernian Rhapsody” (appears as one of George Ross Hornpipes).
X:1
T:Southern Shore, The
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
D|G/d/B/G/ A/c/A/F/|G/A/B/G/
DG/F/|E/G/A/B/ c/B/A/G/|F/A/d/c/ (3f/e/d/ (3c/B/A/|
G/d/B/G/ A/c/A/F/|G/A/B/G/
DG/F/|E/e/d/c/ B/A/G/F/|AG G:|
|:A/G/|F/A/d/^c/ d/B/A/G/|F/A/d/^c/
d/f/e/d/|^c/d/e/f/ g/e/c/e/|d/^c/d/e/ dd/=c/|
B/c/B/A/ G/B/e/c/|A/B/A/G/
F/A/d/f/|e/g/f/e/ d/c/B/A/|GB G:|
SOUTHERN WALTZ. Canadian, Waltz.
SOUTHWARK’S GRENADIERS
MARCH. The melody appears in St. Martini, Handel and Others, Warlike
Music, Being a Choice Collection of Marches and Trumpet Tunes for a German
Flute, Violin or Harpsichord, Book I (1760, pg. 1), printed in London.
SOUTHWEST FIDDLER, THE. Canadian, Reel. Canada, Cape
Breton. D Major. Standard tuning. AABB. Composed by the late Cape Breton
fiddler and composer Jerry Holland (1955-2009), in memory of the dances at
Southwest Margaree, Cape Breton, and prominent fiddlers Cameron Chisholm and
Angus Allan Gillis. Cranford (Jerry Holland: The Second Collection),
2000; No. 103, pg. 40. Jerry Holland – “Crystal Clear”
(2000).
SOUTHWEST WIND, THE (An Ghaoth Aniar Andeas). AKA and see “Connie the Soldier.”
SOUTHWIND (An Ghaoth Aneas). AKA and see "The
Southern Breeze." AKA – “The Wind from the South.” Irish, Air (3/4 or
6/8 time) or Waltz. F Major (Brody): G Major (Johnson, Matthiesen, Tubridy): A
Major (O'Neill). Standard tuning. AB (Matthiesen, O'Neill): AAB (Brody,
Tubridy): AABB’ (Johnson). O'Sullivan states that little is known of the author
of the original Gaelic song, save that he was a native of Irrul, County Mayo,
named Domnhall Meirgeach Mac Con Mara (Freckled Donal Macnamara). The late
fiddler Junior Crehan
(1908-1998) told a story about how the air was learned by the west Clare
musicians. It seems that a ghost ship was bringing back to Ireland the souls of
the Wild Geese (i.e. Irish exiles) who had been killed in battle. As the vessel
proceeded around southwest Cork it was driven up the west coast by a southern
breeze and the ghosts of the Wild Geese could be heard chanting this tune,
which was picked up by musicians on the coast of Clare who witnessed the event.
The song begins:
***
A ghaoth andeas na mbraon mbog glas
A ni gach faithe féarmhar
Is lion is meas ar ghéagaibh
Más sios ar fad mar mbinn féin seal
Is mianach leat-sa séide
Cuirim Ri na bhFeart dhod chaomhaint ar neart
'S tu/ir don tir sin blas mo bhéil-se
***
O wind from the south with the soft clear drops
You that make every sward grassy
Bring the fish to the waterfall, give heat to the sun
And abundance of fruit to the branches
That you are minded to blow
May the King of Power preserve you in strength
And give the taste of my mouth to that country
***
Sources for notated versions: collector
Edward Bunting noted the tune from a man who called himself “Poor Folk”
[Bunting]; Chieftains (Ireland) [Brody]; noted by Chicago Police Sergeant James
O’Neill, a fiddler originally from County Down and Francis O’Neill’s
collaborator [O’Neill]. Brody (Fiddler’s
Fakebook), 1983; pg. 263‑264. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No.
79. Bunting (A General Collection of the
Ancient Music of Ireland), 1809 (appears as “O Southern Breeze”). Bunting (The Ancient Music of Ireland), 1840 (appears
as “Why Should not Poor Folk”). Johnson (The
Kitchen Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 6.
Matthiesen (Waltz Book I), 1992; pg.
45. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 510, pg. 89
(appears as "The Southern Breeze"). O’Sullivan (Songs of the Irish), 1960; pg. 95. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 2. Island 9379, Chieftains‑ "Chieftains 3"
(appears as "An Ghaoth Aneas"). Biograph 6008, Jerry Jenkins‑
"Fox Hollow String Band Festival." Front Hall 017, Michael and
McCreesh‑ "Dance, Like a Wave of the Sea" (1978).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Southwind
T:An Ghaoth Aneas
R:waltz
Z:By Phil Sexton
M:6/8
L:1/8
Q:30
K:G
|:c|"G"BAG
Bcd|"D7"A2A ABc|"G"BAG "C"EDE|"G"G2
"C"G"G"G2:|!
d|g2"D7"g
"C"gf"D7"e|"G"d2"A7"d
"D"d2"D7"c|"G"BAG Bcd|"A7"A2A
"D7"ABd|!
"G"g2"D7"g
"C"gf"D7"e|"G"d2"A7"d
"D"d2"D7"c|"G"BAG "D7"AcF|
"G"G2"C"G
"G"G2||
X:2
T:Southern Breeze, The
M:6/8
L:1/8
R:Air
N:”Briskly”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A
d|cBA cec|B2B B2d|cBA FEF|A2A
A2d|cBA cec|BEF GAB|cBA FEF|A2A A2||
e|a2a agf|e2e e2d|cBA cec|B2B B2e|a2
a agf|ecf e2d|cBA d2B|A2A A2||
SOUTHWORTH’S REEL. American, Reel or Hornpipe. G Major. Standard tuning. AABBCC. An
irregular tune. Howe (1000 Jigs and Reels),
c. 1867; pg. 58.
X:1
T:Southworth’s Reel
M:4/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:G
DG B2 cBAB | dBcA BGFG | DG B2 cBAB | dBcA BG G2 :: gdBd gdBd |
egfg edcA |: cBcd edef | gfge d2d2 | gdBd gdcd | egfg edcB |
cBcd
e2f2 | gecA G2G2 :|
SOUVENIR (
X:1
T:Souvenir
M:C
L:1/8
R:(
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:B_
(F>.E) |
D>.F)(B>.F) d>BF>D | E>GB>G e>BG>E | F>Ac>A
e>cA>c | B>df>d b>gd>B |
D>FB>F
d>BF>D | E>BG>B e>GB>E | F>Ac>e a>ge>A |
B>Bd>f b2 :|
||
(b>.a) | (g>.e)B>e (3ggg b>g | f>dB>d f>=e_f>c |
A>F=E>F (3_bbb A>g |
(3fbf (3dfd
(3BdB (3FBF | G>Be>G F>Bd>F | E>Gc>E D>FB>F |
(3G^FG
(3AGA (3BAB (3cBc | (3dBF (3BFD B,2 ||
SOUVENIR DE
***
He was keenly aware of the reputation the violin
had as a vernacular instrument in
According to several anecdotes, he was furious
when his violin was referred to as a fiddle or when
he was requested to play dance music. Once when
asked by a lady if he was to play for a dance following
a concert, he deliberately cut his violin strings and said
'Veree story, veree story, madam, you see I can no play.'
***
It is somewhat ironic that his
lasting musical fame appears to be in this reel and “Ostinelli’s Reel,” printed in Ryan’s Mammoth Collection/Cole’s 1000,
for many years the primary texts for those “vernacular” fiddlers in the
X:1
T:Souvenir
de Venice
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:E_
B, | E2 G/>G/ (3B/G/.E/ | D2
F/>F/ (3A/F/.D/ | C/>D/E/>F/ G2 | F/>G/F/>D/ D/>C/B,/>A,/
|
G,(B B)c/>G,/ | A,(c c)e/>E/ |
D/>E/F/>G/ A/>F/D/>F/ |1 (3E/G/.B/ (3A/F/.D/ E :|2 (3E/G/.B/
(3A/F/.D/ Ez ||
|: ge e/>gb/>g/ | fd
d/>f/b/>d/ | ec ca/>g/ | f/>e/d/>c/ B/>A/G/>F/ | E/D/ (f2
g/>)D/ | E(g g)b/>B/ |
=A/>B/c/>d/ e/>c/A/>c/ |
(3B/d/.f (3e/c/.=A/ B/>_A/G/>F/ | E/>G/B/>G/ e/>B/G/>E/ |
D/>F/B/>F/ d/>F/E/>D/ |
C/>D/E/>C/ A/>G/F/>E/ | D/>E/F/>E/ D/>C/B,/>A,/ |
G,/B,/E/G/ A,/C/F/A/ |
B,/E/G/B/ C/F/A/c/ |
B/>e/d/>c/ B/>A/G/>F/ | (3E/G/.B/ (3A/F/.D/ Ez :: g/e/B/G/
E/g/f/=e/ |
f/d/B/F/ D/f/e/d/ | e/c/G/E/
C/e/d/c/ | d/B/F/D/ B,/>C/B,/>A,/ | G,/B,/e/g/ A,/C/F/A/ |
B,/E/G/B/ C/F/A/c/ |
B/>e/d/>c/ B/>A/G/>F/ | (3E/G/.B/ (3A/F/.D/ E :|
SOUVENIR DE MYRELINGUE. French, Bourree a 3 Temps (3/8 time). G Major. Standard tuning. AABB.
Composed by J. Blanchard. Stevens (Massif
Central), 1988; No. 32.
SOUVENIRS DE GASCON.
French-Canadian, Learned by Gaspésie musician Yvon Mimeault (b. 1928, Mont-Louis)
on a visit to fiddler Adrien Alain of Gascon. Yvon
Mimeault – “Y’etait temps!/It’s About Time.”
SOU' WEST BRIDGE. Cape Breton, Reel. Composed by Cape
Breton, Nova Scotia, fiddler Dan R. MacDonald. Rounder
7004, Joe Cormier ‑ "The Dances Down Home" (1977).
SOW IN THE TATER PATCH. Old‑Time, Breakdown. Identified as a southern Ky. tune.
SOWENS IS COLD.
English, Reel. D Major. Standard tuning. AABB. A popular reel and
country dance, especially in the Scottish Country Dance tradition. Sowens
is sweet Scottish dish, traditionally the husks and siftings of oats, boiled to
the consistency of molasses. In England it is called flummery. Sowens
with butter is always the traditional Halloween supper, writes poet Robert
Burns. The melody appears in one of London publisher Longman and Broderips 18th
century collections (1792).
X:1
T:Sowens is Cold
M:C
L:1/8
S:John Rook manuscript (Wigton,
Cumbria, 1840)
K:D
dB|cAAF dAAd|cAAG FDDd|cAAF
cAAF|GBAG FD D2:|
|:dB|Gg (3efg (3fed (3cBA|f>g
(3efg (3afd da|ab/a/ ga/g/ fg/f/ ef/g/|fdBA FD D2:|
SOW'S LAMENT FOR
POTATOES. AKA and see "Soo's Lament for (Raw) Tatties."
SOW'S TAIL (TO
GEORDIE). AKA and see “Glenora/Glenoral Falls
Strathspey,” "Soo's
Lament for (Raw) Tatties." Scottish (originally), Canadian, English;
Strathspey and Scottish Measure. England, Northumberland. Canada; Prince Edward
Island, Cape Breton. D Major. Standard tuning. AABB (Dunlay and Reich): AA’BB
(Dunlay & Greenberg): AA’BB’ (Perlman): AABBCC (Alburger): AABBCCDD (Aird):
AABBCCDDEEFFGGHHIIJJKKLL (Gow, Johnson). “The Sow’s Tail” was first printed in
McGlashan’s Collection of Scots Measures,
Hornpipes, etc, 1781, as a Scottish Measure. The tune features a second
part in which the bow is briefly played behind the bridge, producing a sound
not unlike the squeal of a pig. There was a popular bawdy song to the tune in
18th century Scotland, which can be found printed in Hogg’s Jacobite Relics (1819, vol. 1, pg. 91).
"’Sow’s Tail’ is a satirical song of ample invective against George I and
his mistress Madame Kilmansegge, whom he raised to be Countess of Darlington.
She was so large a personage that the English called her 'the elephant;' the
Scots' version, the sow, was rather more earthy. Certainly the Jacobite
overtones of the original words would have pleased Burns's own style of
patriotism. One of the mildest (of the bawdy) verses goes:
***
It's Geordie, he came up the town,
Wi' a bunch o turnips on his crown;
'Aha!' qho she, 'I'll pull them down,
And turn my tail to Geordie.'
Chorus: The sow's tail is till him yet, etc.
***
The tune is an attractive and
humorous one, set in Niel Gow’s Strathspey
Reels (1784) as 'The Sow's Tail' with symphony and variations (i.e. set but
not composed) by the enthusiastic amateur Mr. Nisbet from Dirleton, east of
Edinburgh" (Alburger, 1983). Nisbet was an East Lothian laird and amateur
musician, who was a nearly life‑long member of the Edinburgh Musical
Society. Another amateur musicain‑laird, the Earl of Kelly, wrote a
minuet to his daughter. Alburger (1983) notes Nisbet's symphony, the first four
bars (which Johnson has labled "intro"), and the last four bars
feature in a setting of the tune called "The Soo's Lament for
Tatties," played by modern Shetland fiddlers; Johnson (1984) similarly
observes the tune is known to modern Scottish fiddlers also in the same form,
"oddly omitting the basic tune altogether" (pg. 243). “Sow’s Tail” features
bowing on the wrong side of the bridge, the resulting sound in imitation of a
pig squeeling. The title (as "The Sow's Tail Till Him Yet, the Sow's Tail
to Geordie") appears in Henry Robson's list of popular Northumbrian song
and dance tunes ("The Northern Minstrel's Budget"), which he
published c. 1800. Johnson's version, an air and variations, was set by William
Nisbet of Dirleton (c. 1710=1783). Sources for notated versions: Carl MacKenzie
(Cape Breton) [Dunlay and Reich]; Theresa MacLellan (Cape Breton) [Dunlay &
Greenberg]; George MacPhee (b. 1941, Monticello, North-East Kings County,
Prince Edward Island) [Perlman]. Aird (Selection
of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 182, pg. 67
(appears as “Sows Tail to Gordie”). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 94, pg. 151. Carlin (Master Collection), 1984; No. 111, pg.
73. Dunlay & Greenberg (Traditional
Celtic Violin Music of Cape Breton), 1996; pg. 74. Dunlay & Reich (Traditional Celtic Fiddle Music of Cape
Breton), 1986; pg. 52. Gow (Second
Collection of Niel Gow’s Reels), 1788; pgs. 32-33 (3rd ed.
Includes numerous variation sets). Gow, The
Beauties of Niel Gow, Part 2, 1803. Gow (Repository). Martin (Traditional
Scottish Fiddling), 2002; pg. 23. Niel Gow's Strathspey Reels, vol. ii, pg. 32. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 90, pgs. 239‑242.
McGlashan (Collection of Scots Measures),
c. 1781; pgs. 39-41). Perlman (The Fiddle
Music of Prince Edward Island), 1996; pg. 190. ACC-49394,
Howie MacDonald and Natalie MacMaster - “Gift of Music”(appears as “Glenoral
Falls Strathspey”). Rounder 7009, Doug MacPhee‑ "Cape Breton
Piano" (1977. Appears as "Glenora Falls Strathspey"). Rounder
7005, Carl MacKenzie‑ "Welcome to Your Feet Again" (1977.
Appears as "Traditinal Strathspey"). Topic 12TS354, Theresa MacLellan
et al.‑ "Cape Breton Scottish Fiddle" (1978).
X:1
T:Sow’s Tail to Geordie, The
L:1/8
M:C
S:McGlashan – Collection of Scots Measures
Z:AK/Fiddler’s Companion
K:D
A>BAF EFGE|A>BAF A>Bd>e|f>g (3fga EFGE|D/E/F/G/ AE F2 D2:|
|:abaf efge|a>baf defd|gb/g/ fa/f/ ef/d/ d/c/B/A/|d/e/f/g/ a>g f2 d2:|
|:D/F/A/F/ D/F/A/F/ C/E/A/E/ C/E/A/E/|D/F/A/F/ D/F/A/F/ D/G/B/G/ D/F/A/F/|
G/B/F/A/ E/G/D/F/ G/F/E/D/ C/D/E/C/|D/E/F/G/ A/B/G/A/ F2 D2:|
|:d/f/a/f/ d/f/a/f/ c/e/a/e/ c/e/a/e/|d/f/a/f/ d/f/a/f/ d/g/b/g/ d/f/a/f/|g/b/f/a/ e/g/d/f/ g/f/e/d/ c/d/e/c/|d/e/f/g/ a/e/f/g/ f2 d2:|
|:d<B AF EFGE|d>B AF A>Bd>e|Bd/c/ B/A/G/F/ EFGE|A>BAG F2 D2:|
|:a>fdf eg/f/ a/g/f/e/|a>fdf a>baf|gb/g/ ~fa/f/ e/g/f/e/ d/c/B/A/|d/e/f/g/ a>e f2 d2:|
|:D/A/F/A/ D/A/F/A/ A,/E/C/E/ A,/E/C/E/|D/A/F/A/ D/A/F/A/ D/B/G/B/ D/A/F/A/|
G/B/G/B/ F/A/F/A/ G/F/E/D/ C/E/A,/C/|D/E/F/G/ F/A/E/G/ F2 D2:|
|:a/f/d/f/ a/f/d/f/ g/e/c/e/ g/e/c/e/|a/f/d/f/ a/f/d/f/ b/g/e/g/ a/f/d/f/|g/b/a/g/ f/a/g/f/ g/f/e/d/ c/e/A/c/|d/f/e/g/ f/a/e/g/ f2 d2:|
|:(3DFA (3DFA (3EGA (3EGA|(3DFA (3DFA (3DGB (3DFA|(3DFA (3DFA (3CEA (3CEA|D/E/F/G/ A>G F2 D2:|
|:F/A/F/A/ F/A/G/A/ F/A/G/A/ F/A/E/A/|F/A/F/A/ F/A/G/A/ F/A/d/f/ a/f/d/A/|
F/A/A/A/ A/A/G/A/ F/A/G/A/ F/A/E/A/|D/E/F/G/ A>E F2 D2:|
|:f/d/f/d/ f/d/f/d/ e/c/e/c/ e/c/e/c/|f/d/f/d/ f/d/f/d/ e/c/e/c/ f/d/f/d/|g/b/g/e/ f/a/f/d/ e/g/B/e/ d/c/B/A/|d/e/f/g/ a/e/a/g/ f2 d2:|
|:D/F/A/d/ B/A/G/F/ E/D/C/B,/ A,/B,/C/A,/|D/E/F/G/ A/B/c/A/ d/f/e/g/ f/d/A/F/|
G/e/F/d/ E/c/D/F/ G/F/E/D/ C/E/A,/C/|D/E/F/G/ A/B/G/A/ F2 D2:|
|:f/d/f/a/ g/f/e/d/ c/d/e/f/ g/e/c/A/|f/d/f/a/ g/f/e/d/ g/b/g/e/ f/a/f/d/|g/b/g/b/ f/a/f/a/ g/f/e/d/ c/e/A/c/|d/e/f/g/ a>e f2 d2:|
|:F/D/F/A/ d/A/F/D/ C/A,/C/E/ A/E/C/A,/|F/D/F/A/ d/A/F/D/ B/d/c/e/ d/A/G/F/|
G/A/B/c/ d/A/G/F/ z/E/F/^G/ A/F/C/A,/|D/E/F/G/ AE F2 D2:|
|:d/e/f/g/ a/f/e/d/ A/B/c/d/ e/c/B/A/|d/e/f/g/ a/f/e/d/ b/g/f/e/ a/f/e/d/|
g/g/b/g/g//f/a/f/ g/e/B/e/ d/c/B/A/|d/e//f/g/ ^g/a/e/=g/ f2d2:|
|:A/F/D/F/ A/F/D/F/ E/C/A,/C/ E/C/A,/C/|A/F/D/F/ A/F/D/F/ B/G/D/G/ A/F/D/F/|
G/c/e/G/ F/A/d/F/ G/F/E/D/ C/E/A,/C/|D/E/F/G/ A/B/G/A/ F2 D2:|
|:f/e/f/a/ g/f/e/d/ c/B/c/e/ d/c/B/A/|f/e/f/a/ g/f/e/d/ gf/g/b/ a/g/f/e/|f/e/f/a/ g/f/e/d/ e/f/g/e/ d/c/B/A/|g/b/a/g/ f/a/e/g/ f/d/A/F/ D2:|
g/4f//4e/4|:D/F/D/F/ D/F/D/F C/E/C/E/ C/E/C/E/|D/F/D/F/ D/F/D/F/ G/B/G/B/ F/A/F/A/|
G/e/F/d/ E/c/D/F/ G/F/E/D/ C/E/A,/C/|D/E/F/G/ AE F2 D2:|
|:d/f/d/f/ d/f/d/f/ c/e/c/e/ c/e/c/e/|d/f/d/f d/f/d/f/ g/b/g/b/ f/a/f/a/|g/f/g/b/ a/g/f/e/ d/b/c/a/ B/g/A/c/|1 d/e/f/g/ a/e/f/g/ f2 d2:|2
d/e/f/g/ a/f/d/A/ B/c/A/B/ G/A/F/G/|E/F/D/E/ C/D/B,/C/ A,B,/C/ D/E/F/^G/|A2 c/B/d/c/ e/d/c/B/ A/G/F/E/||
SOYBEAN ROWS. AKA and see "Les Rangs de
'Soybean'."
_____________________________________
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