The Fiddler’s Companion
© 1996-2007 Andrew Kuntz
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Home Alphabetical Files References
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SOU - SOY |
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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] |
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. AA. Martin (Ceol na
Fidhle), vol. 1, 1991; pg. 9 (includes a harmony part).
SOUND OF SLEAT, THE. Scottish, Reel. D Major. Standard. 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. 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. 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. AABB. Miller & Perron (101 Polka), 1978; No. 53.
SOUTH WEST MARGAREE
HALL. Canadian, Strathspey. Canada, Cape
Breton. C Major. Standard. 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.
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. AB (Cranford): AA’B
(Perlman). The tune is always paired with “Polo
March.” Introduced to