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’s incredibly handy “ABC Convert-A-Matic” at 


**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 converter results in double-spacing. For’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]




SOUFFLETTE, LA. French, Valse (3/4 time). G Major/Mixolydian. Standard tuning. AA'BB. Stevens (Massif Central), vol. 1, 1987; No. 58.


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.


T:Soulton Jigg



S:John Young’s Dancing Master, 2nd volume (London, 1713)


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.


T:Sound Argument




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

Z:AK/Fiddler’s Companion


 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). Culburnie COL 113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999).


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 Scotland, lying between Knoydart and the Isle of Skye. Composed by Donald MacKinnon. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 1. Martin (Traditional Scottish Fiddling), 2002; pg. 84.

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 Highlands of Scotland and the Isles), 1874; No. 218, pgs. 89 and 97 (two settings).


T:Sound of War from the Glen, The

T:Tha toirm anns a’ ghleann




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 Dublin (about 1885), who copied them 40 years previously from an old MS. book in Cork" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 364, pg. 167.


T:Sound of the Waves, The




N:”Mod.: rather slow”

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

Z:AK/Fiddler’s Companion


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.


T:Soup of Good Drink, The



S:O'Farrell's Pocket Companion 1804-10

Z:Paul Kinder


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. USA, central West Virginia. GCgd tuning. Augusta Heritage Recordings AHR-004C, Harvey Sampson and the Big Possum String Band – “Flat Foot in the Ashes” (1986/1994. Learned by Calhoun County, W.Va., fiddler Harvey Sampson from Clay and Calhoun Counties fiddler John McCune).


SOUR GRAPES. American, Reel or Breakdown. USA, North Dakota. A Major. Standard tuning. AABB. Pancerzewski identifies this tune as a "traditional hoedown", common in the Midwest in the early 20th century. Pancerzewski (The Pleasures of Home), 1988; pg. 14.


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 Pierre's band. When not touring with the band, she lives with her family on a farm whose principal features are "Sourgrass and Granite." Pickell plays guitar in Schryer’s band. New Canadian Records NCCD_9612-8, Pierre Schryer & Dermot Byrne - "2 Worlds | United" (1999).


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 Scotland. It lies in a north‑east to south‑west direction and is bounded on its north and west sides by a ridge of hills." Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), (1816) 1874 edition; No. 72, pg. 26. Kerr (Merry Melodies), vol. 3; No. 65, pg. 9. Neil, 1991; No. 127, pg. 166. MacDonald (The Skye Collection), 1887; pg. 100. Stewart-Robertson (The Athole Collection), 1884; pg. 16. Maggie’s Music MM220, Hesperus – “Celtic Roots.”


T:Source of Spey, The




B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion


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||


SOURI, LA.  French, Country Dance (6/8). C Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 47.


T:Souri, La



S:Daubat – Cent Contredanses en Rond (1757), No. 47

Z:AK/Fiddler’s Companion


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 :|


SOURIS LIGHTHOUSE. Canadian, Breakdown. G Major ('A' part) & D Major ('B' part). Standard tuning. AABB. Composed by Don Messer (Canada). Souris is a town in Kings County, Prince Edward Island. Messer broadcast for years from CFCY radio in Charlottetown, PEI. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 9, pg. 10.


SOURIS REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AABB. The local pronunciation for the town named Souris is “Soo-ree” according to Ken Perlman. Source for notated version: Hilda MacPhee MacDonald (b. 1904, Souris, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 57.


SOURIS WALTZ. Canadian, Waltz. Canada, Prince Edward Island. D Major. Standard tuning. AABB. Composed by Wilfred Bernard in honor of the PEI town. Source for notated version: Wilfred Bernard (b. 1919, Souris Line Road, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 171.


SOURWOOD MOUNTAIN [1]. Old‑Time, Breakdown. USA; Arkansas, Oklahoma, Virginia, West Virginia, North Carolina, Kentucky, Alabama. D Major (Thede): A Major (Phillips, Titon). Standard or AEae (John Salyer, Edden Hammons) tunings. AABB (Thede): AABB' (Phillips). The tune (and attached song) has been widely collected in the South, especially in banjo settings, although like many a folk-song its origins are obscure. It has long been used as a play-party melody. Sourwood Mountain is a place-name in the state of Massachusetts, and the ballad is said by some to have originated in that state. Mrs. Betty Jane Dodrill writes to say that family lore has it that the song was composed by her ancestor William Francis (Blue Bill) Combs (1840-1924), a fiddler and farmer who lived on Breezers Branch, North of Finney in Russell County, Virginia. Blue Bill served with the Confederate forces in the Civil War and was with General Lee at the surrender at Appomattox in 1865 (see The Heritage of Russell County Virginia, 1786-1988, Vol. II, pgs. 203-204). Whatever its origins (and despite the fact that melodic material was undoubtedly imported from the British Isles), it is one of the first truly American ballads, and the tragic tale of a young man fatally bit by a snake made its way into folk traditions throughout the United States. Sourwood is the name for chestnut or other bark used in tanning leather, and a fairly common commodity on the frontier.


The tune was mentioned by William Byrne who described a chance encounter with West Virginia fiddler ‘Old Sol’ Nelson during a fishing trip on the Elk River. The year was around 1880, and Sol, whom Byrne said was famous for his playing “throughout the Eld Valley from Clay Courthouse to Sutton as…the Fiddler of the Wilderness,” had brought out his fiddle after supper to entertain (Milnes, 1999). Popular as a folksong, as a tune it had a place in traditional fiddle repertoire. It was, for example, popular enough to have been mentioned in a 1931 newspaper account as having been played at a LaFollette, northeast Tennessee, fiddlers' contest. It was also among the tunes listed as a standard in a square dance fiddler's repertoire, as asserted by A.B. Moore in his History of Alabama, 1934 (Cauthen, 1990). It was in the repertoire of fiddler Albert Hash of Rugby, Virginia, who thought it originated in the British Isles. Charles Wolfe (1982) states it was popular with older Kentucky fiddlers (Doc Roberts recorded the tune, duetting with African-American fiddler Jim Booker {b. 1872}). Jeff Titon (2001) reports that “Sourwood Mountain” was mentioned in several of the 1915 Berea, Kentucky, lists of tunes played by fiddlers at a gathering that year, and was played at the 1919 and 1920 Berea fiddle contests. West Virginia fiddler Edden Hammons had a version, played crosstuned. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Many comic rhymes were sung with the tune, which usually begins something like:


I got a gal on Sourwood Mountain,

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, Arkansas) [Thede]; W. Franklin George (W.Va.) [Phillips]; John M. Salyer (Salyersville, Magoffin County, Ky., 1941-42) [Titon]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 229. Thede (The Fiddle Book), 1967; pg. 102. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 155, pg. 180. Recorded for the Library of Congress (2740-A-3 and 2744-A-1/2), 1939, by Herbert Halpert from the playing of both H.L. Maxey and J.W. "Peg" Thatcher (Franklin County, Va.). Recorded for Edison in 1925 and Victor in 1924 by Fiddlin' Cowan Powers (b. 1877, southwest Va.), and for Vocalion in 1924 by Uncle Am Stuart (b. 1856, Morristown, Tenn.). Anachronistic 001, John Hilt – “Swopes Knobs” (1977). Copper Creek CCCD 0199, James Leva – “Memory Theatre.” County 778, Tommy Jarrell ‑ "Pickin' On Tommy's Porch" (1984. Learned from his father, North Carolina fiddler Ben Jarrell and his Uncle Charlie Lowe). County 2730, Rafe Stefanini – “Glory on the Big String.” Document 5659, The Booker Brothers. Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, Vol. 2” (reissue). Gennett Records (78 RPM), Taylor's Kentucky Boys {with Doc Roberts} (1927). Heritage XXIV, Tommy Jarrell ‑ "Music of North Carolina" (Brandywine, 1978). Rounder Records, Hobart Smith – “Southern Journey, Vol. 2: Ballads and Breakdowns” (a reissue of Alan Lomax recordings). Rounder 1008, “Ernest V. Stoneman and the North Carolina Corn Shuckers” (c. 1978). Tradition TLP 1007, Boone Reid ‑ "Instrumental Music of the Southern Appalachians" (1978). Yazoo 2017, The Booker Brothers. Yodel-Ay-Hee 003, “Dirk Powell and John Hermann” (1992). Edden Hammons Collection, Disc 2.


SOURWOOD MOUNTAINS [2], THE. American, Jig or Quadrille. USA, southwestern Pa. G Major. Standard tuning. AB. Unlike version #1, there is no relationship to the famous American folksong "Sourwood Mountain." Source for notated version: James Taylor (Greene County, Pa., and Wetzel County, W.Va., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 486, pg. 452.


SOUTER JOHNNY. Scottish, Ree. D Major. Standard tuning. AAB. The piece appears in Middleton’s Collection (c. 1870). Cranford (Jerry Holland’s), 1995; No. 80, pg. 24. Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland” (1990). Green Linnett, Jerry Holland - “The Fiddlesticks Collection” (1995).


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

And down wi' fazart Lork Hume

But up wi' ilka braw callant

That sews the single‑soal'd shoon;

And up wi' the lads o' the Forest

That ne'er to the Southron would yeild

But deil scoup o' Hume and his menzie

That stude sae abeigh on the field.




The melody appears under the title "Scotch Hornpipe" in Henry Playford's Apollo's Banquet (London, 1691), as the "Sutters of Selkirk" in Adam Craig's Scottish collection (1730), and as "Souters of Selkirk" by the Northumberland piper William Dixon in his The Master Piper, or Nine Notes that Shook the World (1733). It was included in the McLean Collection published by James Johnson in Edinburgh in 1772, and the title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.


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 Cheshire Way), 1985; pg. 24. Peacock (Peacock’s Tunes), c. 1805/1980; No. 37, pg. 16 (appears as "Suttors of Selkirk"). Seattle (William Vickers), 1987, Part 2; No. 398. Maggie’s Music MM220, Hesperus – “Celtic Roots” (1999). Rounder 1743, “World Library of Folk and Primitive Music Vol. 3—Scotland” (1998).


T:Souters of Selkirk




S:Peacock’s Tunes (c. 1805)

Z:AK/Fiddler’s Companion


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:|



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:|


T:Suttors of Selkirk





S:McGibbon – Scots Tunes, book III, pg. 79  (1762)

Z:AK/Fiddler’s Companion


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 TWEED. Scottish, Strathspey. G Major. Standard tuning. AABB. “Slowish.” Gow (Complete Repository), Part 1, 1799; pg. 2.


T:South and North or Both Sides of the Tweed




S:Gow – 1st Repository  (1799)

Z:AK/Fiddler’s Companion


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:|


SOUTH BEND. Irish, Reel. G Major. Standard tuning. AABB. Composed by piper Kirk Lynch of the Kansas City group Scartaglen. Black (Music’s the Very Best Thing), 1996; No. 295, pg. 158. 


T: South Bend

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 BRIDGE OF EDINBURGH, THE. AKA and see "The Haddin(g)ton Assembly." Scottish, Jig. G Major. Standard tuning. AABB'. Johnson (1984) states the tune was composed by an anonymous fiddler undoubtedly in the autumn of 1787, to celebrate the opening of the South Bridge. The alternate title was a renaming of the piece by Nathaniel Gow, who dedicated it to a patron hunting or dancing organization. Source for notated version: Sharpe MS., pg. 223. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 86, pg. 229.


SOUTH COUNTRY LAD. Northumbrian. One of the "missing tunes" from Vickers' 1770 Northumbrian dance tune manuscript.


SOUTH DOWNS QUICKSTEP. English, Quickstep (2/2 time). G Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 153.


SOUTH MISSOURI. Old-Time. USA, Missouri. D Major. Standard tuning. AB (Silberberg): AABB. “South Missouri” is one of ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Source for notated version: Floyd Engstrom [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 148. MSOTFA 007, Charlie Walden - "Draggin' the Bow" (1985).


T:South Missouri





S:from Cyril Stinnett

O:as recorded by Cyril Stinnett in Sept. '79

N:Cyril learned this tune from his father


|:(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]. Cranford (Winston Fitzgerald), 1997; No. 91, pg. 39. Hardie (Caledonian Companion), 1986; pg. 33. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 21. Kerr (Merry Melodies), vol. 1; Set 18, No. 3, pg. 12. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 26. Martin (Traditional Scottish Fiddling), 2002; pg. 14. Skinner (Harp and Claymore), 1904; pg. 103. Olympic 6151, Angus Cameron ‑ "Scottish Traditional Fiddle Music" (1978). Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978). “James F. Dickie’s Delights” (1976).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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


T:South of the Grampians




S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion


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,||


T:Gan Ainm




N:A variant of “South of the Grampians”

S:Tommy Peoples – Workshop 7/19/01

Z:AK/Fiddler’s Companion


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 SHANNON. Irish, Jig. A Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, writer and musician Bill Black.

X: 1

T: South of the Shannon

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 ROAD TO ARAN, THE. See “An Bóthar ó thuaidh go dtí Árainn.”


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 SHORE, THE. AKA and see “The Scholar.” English, Hornpipe. The tune, as “The South Shore,” appears in The Lads Like Beer, a collection of melodies composed by and associated with 19th century Tyneside fiddler and composer James Hill, famous for his hornpipes. It is not known if Hill composed this tune or not, however, it is familiarly known as “The Scholar,” also played as a reel.


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 (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 70, pg. 21. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).


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 New England dance caller Ralph Page. The Southerners Orchestra is a group that recorded an album of Page’s compositions. Page (Ralph Page Book of Contras), 1969; pg. 19.


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 Cape Breton fiddling by Winston “Scotty” Fitzgerald. Sources for notated versions: Reuben Smith (g. 1923, Blooming Point, Queens County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 211, pg. 83. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 161. Flying Fish FF 70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991. Appears as “Southern Melodies”).


SOUTHERN 111. AKA and see "One‑Eleven Special," "Number 111." Old‑Time, Breakdown. Composed by James McCarrol of the Roane County Ramblers. County 403, "Roane County Ramblers" (East Tennessee, originally recorded 1928).


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).


T:Southern Shore, The




S:O’Neill – Music of Ireland (1903), No. 1740

Z:AK/Fiddler’s Companion


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. Canada, Prince Edward Island. G Major (‘A’ part) & D Major (‘B’ part). Standard tuning. AA’BB’. Source for notated version: Sidney Baglole (b. 1912, Southwest Lot 16, East Prince County, Prince Edward Island; now resident of Freetown) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 168.


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 BRIDGE, THE. Canadian, Reel. Canada, Cape Breton. G Minor. Standard tuning. AB (Cameron): AABB (Songer). Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 39. Songer (Portland Collection), 1997; pg. 187. Flying Fish 70572, Frank Ferrel - “Yankee Dreams: ‘Wicked Good Fiddling from New England’” (1990).


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

Bheir iasg ir eas is grian i dteas

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

It is far to the north where I once lived

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



T:An Ghaoth Aneas


Z:By Phil Sexton





|: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||


T:Southern Breeze, The





S:O’Neill – Music of Ireland (1903), No. 510

Z:AK/Fiddler’s Companion


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.


T:Southworth’s Reel




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

Z:AK/Fiddler’s Companion


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 (Lancashire) CLOG. American, (Lancashire) Clog. B Flat Major. Standard. AABA. Composed by B.F. Dietrich. Cole (1000 Fiddle Tunes), 1940; pg. 120. Ryan’s Mammoth Collection, 1883; pg. 158.





R:(Lancashire) Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion


(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 VENICE. American?, Italian?; Hornpipe. E Flat Major. Standard tuning. AABBCC. This melody (which is similar to the “Banks Hornpipe”) was composed by a popular late 19th century stage violinist named Louis/Lewis Ostinelli, an Italian who arrived in Boston in the year 1818. Michael Broyles references the musician in his book Music of the Highest Class: Elitism and Populism in Antebellum Boston:


He was keenly aware of the reputation the violin

had as a vernacular instrument in New England.               

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 United States. Ostinelli’s variations on this melody are often used in modern times as a finale to “The Banks Hornpipe.” Cole (1000 Fiddle Tunes), 1940; pg. 109. Ryan’s Mammoth Collection, 1883; pg. 147. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007).


T:Souvenir de Venice




S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion


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).


T:Sowens is Cold



S:John Rook manuscript (Wigton, Cumbria, 1840)



|: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).


T:Sow’s Tail to Geordie, The



S:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion


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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