The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
Home Alphabetical Files References
SO - SOR |
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] |
SO CLOSE QUICKSTEP. Scottish, Quickstep (6/8 time). C Major ('A' part), G Major ('B' part)
& A Minor ('C' part). Standard tuning (fiddle). AABC. Carlin (Master Collection), 1984; No. 172, p.
100.
SO EARLY IN THE MORNING. English, Polka ? B Flat Major.
Standard tuning (fiddle). AABB. Raven (English
Country Dance Tunes), 1984; p. 154.
SO I'M OFF WITH THE
***
St. Nicholas, Help of Sailors
***
X:1
T:So I’m Off with the Good St.
Nicholas Boat
M:6/8
L:1/8
R:Jig
N:”For Flirtation.”
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:A
A | A>ce e^de | fe^d e2c |
{c}d>cd (B<e)d | (c3c2)A | A>ce e>^de | fe^d e2c |
{c}d>cd B<ec | (A3A2) || c |
c<fg a>gf | d>ed c2c | cfg agf | (g3g2)g |
a>gf e2 e | f>ed c2c | Bef gaf
| eee e2e | f2f f>ed | (g3g2) c | d2d d>cB |
(e3e2)G | A>ce e^de | fe^d e2c |
{e}dcd EFG | (A3A) ||
SO NOW COME AWAY. Irish, Air (4/4 time). A Dorian. Standard. One part. "Taken down
from a ballad‑singer while she was in the act of singing at the fair of
Trim fifty years ago (c. 1859)" {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 5, pg. 5.
X:1
T:So now come away
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:”Mod.”
N:the chorus begins at the double
bar.
K:A Dorian
dc|AAAA d2 cA/>F/|G2 A>A A2
cd|e2 ee edcd|edd>d d2 cd|eaag =f2 ed|
dedA A2 cd|e2 ee edcd|efge d2
||cA/>F/|G2 A>A A2||
SO NOW MY DEAR JOHNNY. AKA and see "Tatter Jack Walsh"
(An t‑Athair J. W.). American, Irish; Air and Jig.
SOAP FAT MAN, THE. AKA and see "Old Dan Tucker." Old‑Time,
Breakdown.
SOAP('S) IN THE
WASHPAN.
AKA and see "Hot Corn." Old‑Time,
Breakdown.
SOAPSUDS OVER THE
FENCE [1]. AKA – “Pouring Soapsuds Over the
Fence,” “Soap Suds,” “Throw the Soap Suds in the Corner of the Fence.” Old‑Time,
Breakdown.
SOAPSUDS OVER THE FENCE
[2]. Old-Time, Breakdown. G Major.
Standard tuning. AABBA'A'BB. Source for notated version: Jimmy Wheeler
[Phillips]. Phillips (Traditional
American Fiddle Tunes, vol. 1), 1994; pg. 227.
SOAPSUDS OVER THE
FENCE [3]. AKA and see "Buffalo Nickel [1]," “Cat Ate the Handsaw,” "Chinky Pin," “Crooked Stovepipe [2],” "Darling Child," “Eber Atkins Tune,” "Farmer Had a Dog," "Fourth of July," “Grey-Eyed Cat,” "Hair in the Butter," "I'm My Momma's Darling (Child),"
“Lead Out,” “Liesel,”
“Love Somebody [2],”
"Midnight Serenade [1]," "My Love Is/She's But a
Lassie Yet [1],” “Old Mose,” “Raymondville,” "Richmond Blues," "Sweet Sixteen," "Ten Nights in a Bar Room," “Too
Young to Marry [1],” "Yellow Eyed Cat."
Old‑Time, Breakdown. From North
Carolina fiddler Tommy Jarrell.
SOAPSUDS SPLASH. See "Rabbit in the Grass."
SOCIABLE, THE. English, Jig. G Major (‘A’ & ‘B’ parts)
& D Major (‘C’ part). Standard tuning. AABBCC. Kennedy (Traditional
Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours),
1997; No. 171, pg. 40.
SOCIAL BOWL, THE. English, Jig. England, North‑West. D
Major. Standard tuning. AABB. Knowles (Northern
Frisk), 1988; No. 57.
SOD OF TURF, THE (An Fod Mona). AKA and see "Croosting Cap." Irish, Double Jig. D
Major. Standard tuning. AABB. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 928, pg. 173. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 161, pg. 41.
X:1
T:Sod of Turf, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (161), No. 161
Z:AK/Fiddler’s Companion
K:D
d|dcA AGE|c2A ABc|dcA AGF|DGG
GBc|dcA AGE|c2A ABc|dcA fga|g2G G2:|
|:d|dcA f2g|aag f2d|dcA fga|g2G
GBc|dcA f2g|aqag f2d|dcA fga|g2G G2:|
SOD OF TURF WE TOOK TO
SCHOOL, THE. AKA and see “Dan Sweeney’s,” “Johnny Leary’s,” “Mick Howard’s,” “Munster Bank,” “Tarrant’s [3].” Irish, Polka.
SODA BREAD MAKING. Irish, Hornpipe. Composed by
County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Sean Ryán’s Dream), 34.
SODGER LAD(DIE). AKA and see "Sailor Lad(die)." Scottish, Jig.
G Major. Standard tuning. AABB. The melody appears in the Gillespie Manuscript of Perth (1768), but John Glen (1891) finds
the earliest appearance of the tune in print in Robert Bremner's 1757 collection.
Bremner (A Collection of Scots Reels),
1757; pg. 22. Gow (Complete Repository),
Part 1, 1799; pg. 14. Kerr (Merry
Melodies), vol. 3; No. 267, pg. 29. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 13 (appears as “Soldier
Laddie”). Stewart-Robertson
(The Athole Collection), 1884; pg.
139.
X:1
T:Sodger Laddie
M:6/8
L:1/8
R:Jig
B:Bremner – Scots
Reels (1757)
Z:AK/Fiddler’s Companion
K:G
g |: (B>AG) GDE | A>BA ABd | e/f/g(G G)DE | G>AG B2G | cAc BGB | ABA ABd |
(e/f/g)(G G)DE|1 G>AG G2g :|2 G2G G2 |: e/f/ | g>ag gdB | Aaa “tr”a2g | def gdB |
g(a/g/f/e/)
gdB | (c/B/c/d/e/f/ g)dB | aAA ABd | (e/f/g)(G G)DE | G>AG G2 :|
X:2
T:Sodger Lad
M:6/8
L:1/8
R:Jig
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:G
g| BAG GDE | ABA ABd | e/f/gG GDE | GAG B2G | cAc BGB |
ABA ABd| e/f/gG GDE | GAG G2:: f | gag gdB | Aaa a2b | def gdB |
gag gdB | cac BgB | aAA ABd | e/f/gG GDE | GAG G2 :|
SOET ROOSIE ROOT (Sweet Rosie Red).
Dutch, Country Dance Tune (cut time). C Major. Standard tuning. AABCCD.
Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 125.
SOETE
SOEURS, LES. AKA and see “(Le)
Reel à Neuf.” French-Canadian, Reel. G Major. Standard tuning. ABAB’. The
‘B’ parts are ‘crooked’, with a measure of 3/2 time at the end. Guy Bouchard
notes that this tune is quite common in the older repertoire of Québecois
fiddlers, though the versions are sometimes so different they sound like
different tunes. Source for notated version: André Alain (St-Basile de Porteuf,
SOFT DEAL BED, THE. Irish, Air (3/4 time).
X:1
T:Soft Deal Bed, The
M:3/4
L:1/8
N:”A
S:Stanford/Petrie (1905), No. 582
Z:AK/Fiddler’s Companion
K:A Minor
a>g | f2 ed cA | fg ed cA | G4 AA
| A4 AG | E2A2 AB | c3 dcA | d3 efd | e4 AG |
E2A2 AB | c3 e/d/ {d}cA | dc defd |
e4 a>g | f2 ed cA | fg ed cA | G4 AA | A4 ||
SOFT DEAL BOARD, THE (An Clar Bog Del/Deil). AKA ‑ "Claur Bug Dale." AKA and see “Caiseal Mhumhan” (Cashel in
X:1
T:Soft Deal Board, The
M:3/4
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Song (1909)
Z:AK/Fiddler’s Companion
N:”Slowly and tenderly”
K:A Minor
fd|e>d cA AA|d>c AG (3^FEF|G4 A2|A3B
cA|G2A2 AB|c2A2 (A/B/c/d/e/)|
f3a gf|e3g (6f/d/c/A/G/^F/|G2A2
AB|c2A2 de|f4g2|a3g fg|e>d cA {G}AA|
d>c AG (3^FEF| G4 A2|A4||
X:1
T:Soft Deal Board, The
M:3/4
L:1/8
S:Stanford/Petrie (1905), No. 581
Z:AK/Fiddler’s Companion
K:B_
F/G/(3A/4B/4c/4 | dd e2 dB | AF
{A}B2 A (3F/E/D/ | E4F2 | F4 BA/F/ |
EE E2 FG | FF F2 F/G/(3A/4B/4c/4 |
d4 e>d | {d}c4 | BA/F/ | EE E2 FG |
FF F2
F/G/(3A/4B/4c/4 | d4e2 | {d}f4 (3g/f/e/ | dd e2 cB | AF {A}B2A F/E/D/ | E4 F2 | F4 :|
SOFT HORSE REEL. AKA and see “The Rottweiler.”
Scottish, Reel. A modern composition by accordion player Phil Cunningham. In an
interesting twist, the tune was picked up by Irish musicians, although the
original title was lost somewhere in the transition. At some point the title
“The Rottweiler” became attached, and under the new title was re-introduced to
SOFTLY GOOD TUMMAS.
English, Country Dance Tune (cut time). D Minor. Standard tuning. AA’BB.
The melody was composed by dancing master Nathaniel Kynaston (1683-1757).
Although very little is known about him, Kynaston appears to have been active
from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some
120 of Kynaston’s tunes and dances over several publications; this tune from a
1718. The Selattyn parish register in Shropshire records that a “Nathanial
Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on
August 25th, 1719—although whether this was the dancing master is
unknown. Kynaston appears to have been a not uncommon name in Shropshire, and
the family includes Sir Humphrey Kynaston, a notorious 16th century
highwayman and Robin Hood figure, who preyed on the wool merchants of
Shrewsbury. The melody can be heard in the soundtrack of the 2007 historical
film Becoming Jane. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 120. Wild Goose Records WGS 314,
Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance” (2003). Wild Goose Records
WGS 353, Balshazzar’s Feast – “The Food of Love.”
X:1
T:Softly Good Tummas
M:4/4
L:1/8
Q:360
K:F
FE |: "Dm" DEFD "A" EFGE | "Dm" F2 D2 "A" E2 ^C2 |"Dm" D2 A,2 "C" E2 A,2 | "Bb" F2 A,2 "C" E2 A,2 |
"Dm" DEFD "A" EFGE | "Gm" F2 D2 "A" E2 ^C2 |"Bb" D2 A,2 "C" E2 A,2 |1 "Dm" F2 D4 ^C2 :|2 "Dm" F2 D4
|:"Dm" d^c|"Dm" defd "A" efge|"Gm" f2 d2 "A" e2 ^c2|"Dm"d2 A2 "A" e2 A2|"Gm" f2 A2 "A" e2 ^c2|
"Dm" defd "A" efge|"Dm" fgaf "A" efge| "Gm" defd "A" ^cdec|"Dm" d6 :|
SOFTLY ROBIN. English, Country Dance Tune (2/2 time). G Major. Standard tuning. AABB.
Published before 1730. Raven (English
Country Dance Tunes), 1984; pg. 19.
X:1
T:Softly Robin
M:2/2
L:1/8
K:G
G2G2B4|A2A2c2e2|G2G2B4|d2d2e2g2:|
|:gfed BcdB|A2A2c2e2|gfed
BcdB|d2d2e2g2|
gfed BcdB|A2A2c2e2|G2G2B4|d2d2e2g2:|
SOGGARTH SHAMUS O'FINN. Irish, Slow Air or Lament (3/4 time). D Minor/Dorian. Standard tuning
(fiddle). AB. This lament is a variant of "Gallagher's Lament."
Stanford/Petrie (Complete Collection),
1905; No. 1024, p. 260.
X:1
T:
M:C|
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 4, No. 284
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
(FG) | A2d2 dedc | B2e2 efed | cdcB
ABAG | FGAB A2 (FG) | A2d2 dedc |
B2e2 efed | cdcB Agfe | d2f2d2 ::
(ed) | cdcB A2 (ag) | fgfe d2 (d’c’) | bagf gfed |
cdBc A2 (ed) | cdcB A2 (ag) | fgfe
d2 (d’c’) | bagf efga | f2d2d2 :|
SOIR, UN. French, Valse (3/4 time). D Major. Standard tuning. AA'B. Stevens (
SOIR ET MATIN. French, Waltz. D Major. Standard timomg. AABB. Composed by French
guitarist Gilles Le Bigot (
SOIRÉE À LAMECQUE (Party at Lamecque).
French-Canadian, A traditional
tune in the repertoire of Gaspésie fiddler Yvon Mimeault (b. 1928, Mont-Louis),
who learned it a party in Lamecque, New Brunswick. Yvon
Mimeault – “Y’ était temps!/It’s About Time.”
SOLANUS CASEY’S. Irish, Jig. D Major. Standard tuning (fiddle). AABB. Composed by
X:1
T: Solanus Casey's
C: © B.Black
Q: 325
R: jig
M: 6/8
L: 1/8
K: D
B | AFD DFA | Bee dcB | AFF dFF | BAF E2 B |
AFD DFA | Bee def | afe dBA | Bdc d2 :|
e | f2 d ecA | BGB ABc | dff aff | baf e2 d |
f2
d ecA | BGB ABc | dcd Bee | cAc d2 :|
SOLDIER AND A SAILOR, A. English, Air. The air appears in John Gay's The Beggar's Opera (1729) under the title "A fox may steal
your hens, sir." It also appears in Pills
to Purge Melancholy, vol. III. Raven (English
Country Dance Tunes), 1984; pg. 53.
SOLDIER AND SAILOR, THE (An Saigeadoir Agus An Mairnealac). Irish, Air (3/4 time). A Major.
Standard tuning. AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 151, pg. 26.
X:1
T:Soldier and Sailor, The
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A
E>G | A2A2 BA | G2 A2 B2 | c2d2c2
| B4 EG | A2A2 BA |
G2 A2 Bd | e2B2G2 | A4 || cd |
e2e2c2 | d2c2B2 | A2A3c | B4 cd |
ec dB cA | BG E2 EG | A2 c2 B2 | A4
||
SOLDIER
HIS EYES SO BLUE (THERE WAS A). American, Waltz. USA, Arizona. G
Major. Standard tuning. In the repertory of Arizona fiddler Kenner C.
Kartchner, who said it was from the 1890's.
SOLDIER LADDIE. See "Sodger Lad(die)."
SOLDIER'S CLOAK. Scottish, English, Canadian, American; Jig. Canada, Cape Breton. USA,
New England. England, Lincolnshire. D Major. Standard tuning. AABB (Cole,
Lerwick): AA'BB' (Cranford, Miller & Perron). Joshua Gibbons (1778-1871)
was a papermaker and musician who lived in Tealby, near Market Rasen in the
Lincolnshire Wolds. Sources for notated versions: Winston Fitzgerald (1914-1987,
Cape Breton) [Cranford]; Joshua Gibbons manuscript (1823-26, Lincolnshire)
[Sumner]. Cole (1000 Fiddle Tunes),
1940; pg. 57. Cranford (Winston
Fitzgerald), 1997; No. 192, pg. 75. Lerwick (Kilted Fiddler), 1985; pg. 41. Miller & Perron (New England Fiddlers Repertoire), 1983;
No. 49. Ryan’s Mammoth Collection,
1883; pg. 87. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 2. Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley
Street Tradition.”
X:1
T:Soldier’s Cloak, The
M:6/8
L:1/8
R:Jig
K:D
ABA AFA|d2e f2d|ecA AGF|G3 F2G|ABA AFA|d2e f2d|ecA ABc|1 d3 dcB:|2 d3 d2g||
|:fef
def|g3 f/g/af|ecA AGF|G3 F2G|ABA AFA|d2e f2d|ecA ABc|1 d3 d2g:|2 d3 dcB||
SOLDIER'S DANCE. AKA and see "The Marchioness,"
"The Guard House," "The Hullichan Jig," "Chelmsford Races." American,
Scottish; Jig or Quadrille. USA, southwestern Pa. A Major (Ford): G Major
(Bayard). Standard tuning. AABB. Bayard dates the tune to the 18th century; it
appears in The Scottish Country Dance
Book from a Skillern collection of 1776. Source for notated version: Hoge
MS (a fife MS from southwestern Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 587, pg.
517. Ford (Traditional Music in America),
1940; pg. 90. The Scottish Country Dance
Book, 1930‑1957, Pt. 16, No. 3 (tune 2).
X:1
T:Soldier’s Dance
M:6/8
L:1/8
R:Jig
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:A
E|A2A AGA|B2B e2d|c2A AGA|GBG
EFG|A2A AGA|B2B e2d|
cBA BAG|A2A A2::c|e2e cde|f2f
f2z|G2G EFG|A2 A A2z|
e2e cde|f2f f2z|edc BAG|A2A A2:|
SOLDIER’S DREAM, THE.
American, Waltz. G Major. Standard tuning. One part. Source for notated
version: the 1938 typewritten manuscript of New Hampshire fiddler John Taggart
(1854-1943), entitled “Recollections of a Busy Life” (New Hampshire Historical
Society, Concord, N.H.). Taggart wrote in his ms. that the tunes “were all
taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in
that vicinity” [Miller]. Miller points out that Sharon is in “the heart of the
Monadnock Region of southwestern New Hampshire, where fiddlers and contra
dances abound to this day” (pref. iv) [Miller]. Miller (Fiddler’s Throne), 2004; No. 373, pg. 220. New
Hampshire Fiddlers Union, Miller & Peery – “The Music of John Taggart”
(1989).
SOLDIER'S GLORY, THE. AKA and see "Old Amzi Eccles Tune,"
"Voulez Vous Danser{,
Mademoiselle?}" "The
Life of a Soldier," "Nine-pins
(Ninepins) [2]." Cole's Pocket
Companion for the Flute, 18‑‑, No. 206 (part 5, pg. 5).
SOLDIER'S HORNPIPE. English, Hornpipe. England, Northumberland. G Major. Standard tuning.
AABB. Seattle (William Vickers),
1987, Part 2; No. 478.
SOLDIER'S JOY [1] (Lutgair An Sigeadoir/t-Saigdiura). AKA and see "French Four" [2], "I Am My Mamma's Darlin' Child,"
“John White,” "The King's Head,"
"The King's Hornpipe [1],"
"(I) Love Somebody [1]," "Payday in the Army," "Rock the Cradle Lucy." Old‑Time,
Bluegrass, American, Canadian, English, Irish, Scottish; Breakdown, Scottish
Measure, Hornpipe, Reel, Country Dance and Morris Dance Tune. D Major (almost
all versions): G Major (Bacon, Bayard‑Simmons). Standard or ADae (Edden
Hammons) tunings. AB (Athole, Bayard‑Simmons, Shaw): AABB (most versions):
ABCDE (Cooke {Ex. 54}). One of, if not the most popular fiddle tune in history,
widely disseminated in North America and Europe in nearly every tradition; as
Bronner (1987) perhaps understatedly remarks, it has enjoyed a
"vigorous" life. There is quite a bit of speculation on just what the
name ‘soldier’s joy’ refers to. Proffered thoughts seem to gravitate toward
money and drugs. In support of the latter is the 1920’s vintage Georgia band
the Skillet Lickers, who sang to the melody:
***
Well twenty-five cents for the morphine,
and fifteen cents for the beer.
Twenty-five cents for the old morphine
now carry me away from here.
***
Bayard (1981) dates it to "at
least" the latter part of the 18th century, citing a version that has
become standard in James Aird's 1778 collection (vol. 1, No. 109) and
Skillern's 1780 collection (pg. 21). London publishers Longman and Broderip
included it in their Entire New and Compleat Instructions for the Fife
in 1785. Kate Van Winkler Keller (1992) says that the hornpipe “Soldier’s Joy”
appeared with a song in London in about 1760. John Glen (1891) and Francis
Collinson (1966) maintain the first appearance in print of this tune is in
Joshua Campbell's 1778 A Collection of
the Newest and Best Reels and Minuets with improvements. It has been attributed to Campbell himself
but Collinson notes it is hardly likely as it is a well known folk dance tune
in other countries of Europe. There is also a dance by the same name which is
"one of the earliest dances recorded in England, but no date of origin has
been established. It is still done in Girton Village as part of a festival
dance. The tune is also well known in Ireland" (Linscott, 1939). The
melody was used in North‑West England morris dance tradition for a polka
step, and also is to be found in the Cotswold morris tradition where it appears
as "The Morris Reel," collected from the village of Headington,
Oxfordshire. Scots national poet Robert Burns set some verses to the tune which
were published in his Merry Muses of
Caledonia. In the first song of Burns' cantata, The Jolly Beggars, by the soldier, is to the tune of “Soldier's
Joy.” Early versions of "Soldier's Joy" can be traced to a Scottish
source as far back as 1781; variants can be found in Scandinavia, the French
Alps, and Newfoundland (Linda Burman‑Hall, "Southern American Folk
Fiddle Styles," Ethnomusicology,
vol. 19, #1, Jan. 1975). Jean-Paul Carton identifies a version of “Soldier’s Joy”
in the tablature manuscript of French fiddler Pierre Martin, dating from around
1880. He says: “I find (Martin’s) version of Soldier’s Joy—simply referred to
as Été [a type of dance], tab #132—surprisingly close to some of the American
versions, including the bowing, which is indicated in the tab.” [Reference:
Claude Ribouillault, Violon du Poitou,
Répertoire de danses en tablatures (Cahier de Pierre Martin, vers 1880),
UPCP-Métive, Les Cahiers du CERDO No. 1, CPCP-Métive: 2003].
***
Swedish folklorist Jonas Liljestrom
writes to say that Danish folk dance researcher Per Sørensen has traced
the history of “Soldier’s Joy” in Denmark and Scandinavia, and has written that
it can be found in the third volume of Rutherford's
Compleat Collection of two hundred of the most Celebrated Country Dances, Both
Old and New, published in Scotland circa 1756. Sørensen’s article includes
a transcription of the Rutherford version, nearly identical to the usual
melody, and indicates the “Soldier’s Joy” title was used by Rutherford and that
it was published with dance directions. Liljestrom cites: Sørensen, Per:
"Dansens og musikkens rødder 42: Hornfiffen fra Randers 2.del"
("The Roots of the dance and music part 42: The Randers Hornpipe part
2"), (Published in "Hjemstavnsliv" issue nr. 11, 1999. The
magazine is issued by "Landsforeningen Danske Folkedansere"
["National Association of Danish Folk Dancers"] in association with
Danske Folkedanseres Spillemandskreds ["Danish Folkdancers' Association
of Fiddlers"].)
***
In America
the melody is ubiquitous. Early printings of the melody are in Benjamin and
Joseph Carr’s Evening Amusement (Philadelphia, 1796), Joshua Cushing’s Fifer’s
Companion (Salem, Mass., 1804) and Daniel Steele’s New and Compleat
Preceptor for the Flute (Albany, 1815). It was cited as having commonly
been played for country dances in Orange County, New York, in the 1930's
(Lettie Osborn, New York Folklore
Quarterly), and Bronner (1987) confirms it was a popular piece at New York
square dances in the early 20th century. The title appears in a repertoire list
of Norway, Maine, fiddler Mellie Dunham (the elderly Dunahm {b. 1853} was Henry
Ford's champion fiddler in the late 1920's). Musicologist Charles Wolfe (1982)
says it was popular with Kentucky fiddlers. The tune was recorded for the
Library of Congress by musicologist/folklorist Vance Randolph, from the playing
of Ozark Mountain fiddlers in the early 1940's, and, for the same institution
by Herbert Halpert in 1939 from the playing of Mississippi fiddlers John Hatcher,
W.E. Claunch and Stephen B. Tucker. Fiddler and outdoorsman Leizime Brusoe
(Rhinelander, Wisconsin), born in Canada around 1870, recorded it on 78 RPM
under the title “French Four,” which was actually the name of the dance he
usually played it for. “Soldier’s Joy” is one of ‘100 essential Missouri tunes’
listed by Missouri fiddler Charlie Walden. It was also recorded by legendary
Galax fiddler Emmett Lundy,
and is listed as one of the tunes played at a fiddlers' convention at the Pike
County Fairgrounds, Alabama (as recorded in the Troy Herald of July 6, 1926) {Cauthen, 1990}. Arizona fiddler
Kenner C. Kartchner said: "Every fiddler plays this. Some not so
good" (Shumway). Howe (c. 1867) and Burchenal (1918) print a New England
contra dances of the same name with the tune. Tommy Jarrell, the
influential fiddler from Mt. Airy, North Carolina, told Peter Anick in 1982
that it was a tune he learned in the early 1920's when he first began learning
the fiddle, at which time it was known as "I Love Somebody" in his
region. Soon after it was known in Mt. Airy as "Soldier's Joy" and,
after World War II, as "Payday in the Army." Another North Carolina
fiddler, African-American Joe Thompson, played the tune in CFgd tuning. Gerald
Milnes (1999, pg. 12) remarks that tune origins were of significant value to
West Virginia musicians who often tried to trace tunes to original sources. It was the first tune learned by
Randolph County, W.Va., fiddler Woody Simmons (b. 1911). Braxton County
fiddler Melvin Wine (1909-1999), says Milnes, used family lore to attribute the
tune to his great-grandfather, Smithy Wine, of Civil War era. Smithy, it seems,
had been detained by the Confederates in Richmond under charges of aiding Union
soldiers. Although imprisoned, his captors found out he was a fiddler and made
him play for a dance, and Smithy later associated the tune with this incident,
calling it “Soldier’s Joy.” For
further information see Bayard's (1944) extensive note on this tune and tune
family under "The King's Head." During a Senate campaign in the
1960's the piece was played to crowds by Albert Gore Sr., the fiddling father
of the Vice President during the Clinton administration (Wolfe, 1997).
***
In England, 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. The novelist
Thomas Hardy, himself an accordionist and fiddler, mentions the tune in his Far From the Madding Crowd:
***
'Then,' said the fiddler, 'I'll venture to name that the right
and proper thing is 'The Soldier's Joy' ‑ there being a
gallant soldier married into the farm ‑ hey, my sonnies,
and gentlemen all?' So the dance begins. As to the merits
of 'The Soldier's Joy', there cannot be, and never were,
two options. It has been observed in the musical circles
of Weatherbury and its vacinity that this melody, at the
end of three‑quarters of an hour of thunderous footing,
still possesses more stimulative properties for the heel
and toe than the majority of other dances at their first opening.
***
At the turn into the 20th century
the melody was in the repertoire of fiddler William Tilbury (who lived at Pitch
Place, midway between Churt and Thursley, Surrey), the last of a family of
village fiddlers who had learned his repertoire from an uncle, Fiddler Hammond
(died c. 1870), who had taught him to play and who had been the village musician
before him. The author of English
Folk-Song and Dance concludes that “Soldier’s Joy” was enjoyed in the
tradition of this southwest Surry village about 1870, and was one of a number
of country dances which survived well into the second half of the 19th century
(pg. 144).
***
Some of the lyrics which have been
sung to the tune are:
***
Chicken in the bread tray scratchin' out dough,
Granny will your dog bite? No, child, no.
Ladies to the center and gents to the bar,
Hold on you don't go too far.
***
Grasshopper sittin on a sweet potato vine, (x3)
Along come a chicken and says she's mine.
***
I'm a‑gonna get a drink, don't you wanna go? (x3)
Hold on Soldier's Joy.
***
Twenty‑five cents for the malteen,
Fifteen cents for the beer;
Twenty-five cents for the malteen,
I'm gonna take me away from here.
***
Love somebody, yes I do, (x3)
Love somebody but I won't say who.
***
I am my mama's darling child (x3)
And I don't care for you.
***
Refrain
Dance all night, fiddle all day,
That's a Soldier's Joy. (Kuntz)
***
The Holy Modal Rounders sang:
***
Bold General Washington and old Rochambeau
Buggering the hessians while the fire light's aglow
Spending all their money, drinking all their pay
They're never going to end the war this a way.
***
In Newfoundland, it is sometimes
known as “John White” and sung accompanied by the fiddle or accordion:
***
Did you see, did you see, did you see John White?
Did you see, did you see, did you see John White?
Did you see, did you see, did you see John White?
He's gone around the harbour for to stay all night.
He's gone around the harbour for to get a dozen beer.
He's gone around the harbour and he won't be coming here.
He's gone around the harbour for to get a cup of tea.
If you sees him will you tell him that I wants he?
***
Sources for notated versions: John
Carson and The Skillet Lickers (North Georgia) [Kuntz]; J.S. Price
(Pottawatomie County, Oklahoma) [Thede]; Ben Smith (Dixon, Missouri)
[Christeson]; Willie Woodward (Bristol, N.H.) [Linscott]: Floyd Woodhull
(1976), Woodhull's Old Tyme Masters (1941), Pop Weir (c. 1960) {three versions
from central New York State} [Bronner]; Bobbie Jamieson (Cullivoe, Yell,
Shetland) [Cooke]; George Sutherland (Bressay/Vidlin, Shetland) [Cooke]; Lorin
Simmons (Prince Edward Island, Canada, 1930's), James Marr (elderly fiddler
from Missouri, 1949), twenty southwestern Pa. fifers and fiddlers [Bayard];
Richard Greene with Bill Monroe and the Blue Grass Boys [Phillips]; a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]; the 1823-26 music mss
of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market
Rasen, Lincolnshire Wolds) [Sumner]; Elliot Wright (b. 1935, Flat River, Queens
County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa
Valley, Ontario) [Begin]; Isham Monday (Tompkinsville, Monroe County, Ky.,
1959) [Titon]. Adam, 1928; No. 2. Ashman (The
Ironbridge Hornpipe), 1991; No. 86b, pg. 35. Bacon (The Morris Ring), 1974; pg. 197. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 121. Bayard
(Dance to the Fiddle), 1981; Appendix No. 1A‑B, pgs. 571‑572,
and No. 332A‑S, pgs. 303‑310. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No.
47, pg. 56. Breathnach (CRÉ V), 1999;
11. Brody (Fiddler’s Fakebook), 1983;
pg. 262. R.P. Bronner (Old-Time Music
Makers of New York State), 1987; No. 12, pgs. 71‑72 and No. 25, pg.
110. Burchenal (American Country Dances,
vol. 1), 1918; pg. 6. Carlin (English
Concertina), 1977; pgs. 40‑411. Cazden (Dances from Woodland), 1945; pg. 19. Christeson (Old Time Fiddlers’ Repertory, vol. 2),
1984; pg. 61. Cole (1000 Fiddle Tunes),
1940; pg. 24. Cooke (The Fiddle Tradition
of the Shetland Isles), 1986; Ex. 54, pg. 112 and Ex. 55, pg. 113. DeVille,
1905; No. 76. Ford (Traditional Music in
America), 1940; pg. 49. Harding
Collection (1915) and Harding's
Original Collection (1928), No. 20. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 9. Howe (Complete Preceptor for the Accordeon),
1843; pg. 39. Howe (School for the Violin), 1851; pg. 37.
Howe (Diamond School for the Violin),
pg. 41. Howe (1000 Jigs and Reels),
c. 1867; pg. 75. Jarman (Old Time
Fiddlin' Tunes), No. or pg. 23. Kaufman (Beginning Old Time Fiddle), 1977; pg. 40. Karpeles & Schofield
(A Selection of 100 English Folk Dance
Airs), 1951; pg. 7. Keller (Fiddle Tunes from the American Revolution),
1992; pg. 14. Kennedy (Fiddler’s Tune
Book), vol. 1, 1951; No. 4, pg. 2. Kerr (Merry Melodies), vol. 1; Set 1, No. 6, pg. 3. Krassen (Appalachian Fiddle), 1973; pg. 15 and 45
(latter includes a 'A' part variation by Charlie Higgins {Galax, Va}). Kuntz (Ragged but Right), 1987; pg. 295‑296
(two versions). Lerwick (Kilted Fiddler),
1985; pg. 21. Linscott (Folk Songs of Old
New England), 1939; pg. 110‑111. Lowinger (Bluegrass Fiddle), 1974; pg. 22. McGlashan (Collection of Scots Measures), c. 1780; pg. 32. MacDonald (The
Skye Collection), 1887; pg. 38. Martin (Traditional
Scottish Fiddling), 2002; pg. 95. Mattson & Walz (Old Fort Snelling Book for the Fife), 1974; pg. 83. O'Neill
(Krassen), 1976; pg. 183. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1642, pg. 305. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 868, pg. 150. Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 71. Phillips (Fiddlecase Tunebook), 1989{A}; pg. 38.
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 227 (two versions). Raven (English Country Dance Tunes), 1984; pg. 166 (appears as
"King's Head"). Reiner (Anthology
of Fiddle Styles), 1979; pg. 37 (includes several variations). Robbins, No.
56. Roche Collection, 1982, vol. 2;
No. 216, pg. 12 (appears as a hornpipe). Ruth (Pioneer Western Folk Tunes), 1948; No. 7, pg. 4 (an alternate title
is given as “King’s Head”). Ryan’s
Mammoth Collection, 1883; pg. 174. Shaw (Cowboy Dances), 1943; pg. 383. Stewart-Robertson
(The Athole Collection), 1884; pg.
150. Sumner (Lincolnshire Collections,
vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 22. Sweet (Fifer's Delight), 1964; No. or pg. 43.
Sym, 1930; pg. 13. Thede (The Fiddle Book),
1967; pg. 118. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 153,
pg. 178. Trim (Thomas Hardy), 1990;
No. 43. Wade (Mally’s North West Morris
Book), 1988; pg. 17. White's
Excelsior Collection, 1907; pg. 72. Anachronsitic
001, John Hilt – “Swope’s Knobs” (1977). BEJOCD-28, The Mellstock Band – “The
Dance at the Phoenix: Village Band Music from Hardy’s Wessex and Beyond.”
Bluebird 5658‑B (78 RPM), Gid Tanner and His Skillet Lickers (North Ga.)
{1934}. Caney Mountain Records CEP 210 (extended play LP, privately issued),
Lonnie Robertson (Mo.), c. 1965‑66. Columbia 191‑D (78 RPM),
Samantha Bumgarner {recorded as "I Am My Momma's Darlin' Child").
Columbia 15538
(78 RPM), Gid Tanner and His Skillet Lickers. County 405, "The
Hillbillies." County 506, The Skillet Lickers‑ "Old‑Time
Tunes. County 514, Gid Tanner's Skillet Lickers‑ "Hell Broke
Loo"se in Georgia" (Originally recorded in 1934). County 756, Tommy
Jarrell‑ "Sail Away Ladies." Document 5167, The Booker
Brothers. Edison 52370 (78 RPM), 1928, John Baltzell (appears as
"Soldier's Joy Hornpipe") {Baltzell was a native of Mt. Vernon, Ohio,
as was minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888,
poor, but later taught Baltzell to play the fiddle}. Flying Fish 102, New Lost
City Ramblers ‑ "20 Years/Concert Performances" (1978). Folk
Legacy Records FSA‑17, Hobart Smith ‑ "America's Greatest Folk
Instrumentalist." Folkways 2317, Marion Sumner – “Mountain Music of
Kentucky” (1968). Folkways FA 2381, "The Hammered Dulcimer as played by
Chet Parker" (1966). Folkways FA 2492, New Lost City Ramblers ‑
"String Band Instrumentals" (1964. Learned from Hobart Smith).
Fretless 132, "Ron West: Vermont Fiddler." Heritage 32, Rafe Brady –
“Cherokee Rose” (1981). Ivy Creek 201, Tommy Hunter – “Say Old Man Can You Play
the Fiddle” (1992). June Appal 007, Tommy Hunter ‑ "Deep in
Tradition" (1976. Learned from his grandfather, fiddler James W. Hunter,
Madison County, N.C.). Library of Congress (2738-B-2), 1939, recording by
Herbert Halpert of the Houston Bald Knob String Band (Franklin County, Va.).
Maggie’s Music MM220, Hesperus – “Celtic
Roots.”
Mississippi Department of Archives and History AH‑002, Stephen B. Tucker ‑
"Great Big Yam Potatoes: Anglo‑American Fiddle Music from
Mississippi" (1985). Morning Star 45003, Taylor's Kentucky Boys (with
fiddler Jim Booker) ‑ "Wink the Other Eye: Old Time Fiddle Band
Music from Kentucky" (1980. Originally recorded in 1927). Revonah RS‑924,
"The West Orrtanna String Band" (1976). Rounder 0070, The Kentucky
Colonels‑ "1965‑1967." Rounder 0073, The White Brothers‑
"Live in Sweden." Rounder 1003, Fiddlin' John Carson‑ "The
Old Hen Cackled and the Rooster's Goin' to Crow." Rounder CD1518, Various
Performers – “American Fiddle Tunes” (1971. Played by Leizime Brusoe as “French
Four”). Smithsonian Folkways SFW 40411, Fred Allery – “Plains
Chippewa/Mets Music from Turtle Mountain” (1992. A Metis version). Tradition
TLP 1007, Lacey Phillips ‑ "Instrumental Music of the Southern
Appalachians," 1956. United Artists 9801, "Will the Circle Be
Unbroken." Voyager VRCD 344, Howard Marshall & John Williams –
“Fiddling Missouri” (1999). Wild Goose WGS 320, Old Swan Band –
“Swan-Upmanship” (2004). Yazoo 2045, The Booker Brothers. Bob Smith’s Ideal
Band – “Ideal Music” (1977). “Fiddlers Three Plus Two.” “The Caledonian
Companion” (1975). Edden Hammons Collection II, Disc 1.
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Soldiers’
Joy [1]
M:C|
L:1/8
R:Country
Dances
B:Stewart-Robertson
– The Athole Collection (1884)
K:D
dB|AFDF
AFDF|A2d2d2cB|AFDF AFDF|G2E2E2FG|AFDF AFDF|
A2d2d2fg|afdf
gece|d2D2D2||
ag|fdfg
a2gf|ecef g2ag|fdfg a2 gf|edcB A2ag|fdfg a2gf|ecef g2fg|
afdf gece|d2D2D2||
X:2
T:Soldier’s Joy
M:C|
L:1/8
S:Kuntz – Ragged but Right
N:From the playing of Fiddlin’ John
Carson (north Georgia)
K:D
(3dcB|A2 FF D2 FF|A2 BA d2 dB|ABAG
FGFD|E2 E4 (#G|
A2) FF DEFD|A2 BA d3 (e|f2) ff
efec|d2 d4 (3dcB|A2 FF D2 FF|
ABAF dBAF|ABAG FGFD|E2 E4 (^G|A2) FE
DEFD|A2 BA d3e|
f2 ff efdc|d2 d4||
|:A2|d2 f2 abaf|e2 ef g2 ge|d2 df
abaf|edcB A3A|
d2f2 abaf|edef g2 ge|fafd egec|d2
d4:|
X: 3
T:Soldier's Joy
M:2/4
L:1/8
S:Remembered from the playing of Katie Howson 25th Jan. 2003
R:reel
A:East Anglia UK
N:This is the bare bones. Listen to the East Anglian style to flesh it
N:out appropriately
Z:Johnny Adams
K:D
A>G F>G| A>G F>G | A>d c>d | B2 A2 | A>G F>G | A>G
F>A | (3GAG (3FGF | E4 |
A>G F>G| A>G F>G | A>d d>c | d3 e | f2 d>f | e>c
B>c | d3 e||
f2 d2 | f2 d2 | e>d c>B | A4 | f2 d2 | f2 d2 | e>d c>d | e4 |
f2 d2 | f2 d2 | e>d c>B | A2 d>e | f2 d>f | e>d B>c | d3 z||
SOLDIER'S JOY [2]. American, Quadrille (6/8 time). USA, Arizona. D Major. Standard tuning.
AABB. Simply a jig setting of “Soldier’s Joy” [1]. Ruth (Pioneer Western Folk Tunes), 1948; No. 9, pg. 5.
X:1
T:Soldier’s Joy [2]
M:6/8
L:1/8
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:D
(A/B/)|:[DA][DA][FA]
[DA][DA][FA]|[F2A2] [Fd] [F2d2] (A/B/)|
[DA][DA][FA] [DA][DA][FA]|[E2A2]
[EA] [E2A2] (A/B/)|
[DA][DA][FA] [DA][DA][FA]|[F2A2]
[Fd] [F2d2] e|[Af][Ag][Aa] [Ae][Ag][Ae]|1
[A2f2] [Fd] [F2d2] (A/B/):|2 [A2f2] [Fd] [F2d2] z||
|:[Af][Ae][Af] [Aa][Ag][Af]|[ce][ce][ce] [B2f2][df]|[Af][Ae][Af] [Aa][Ag][Af]|
dcB [F2A2] [Af]| [Af][Ae][Af] [Aa][Ag] [Af]|[ce][ce][ce] [B2f2][Bg]|
[Af][Ag][Aa] [Ae][Ag][Ae]|[F3d3] [F2d2] z:|
SOLDIER’S JOY [3], THE (Aoibhneas an tSaighdiúra). Irish, Jig. G Major. Standard tuning. AA’BB’. Unrelated to other “Soldier’s Joy” tunes. Breathnach (CRÉ V), 1999; No. 11, pg. 8.
X:1
T:Soldier’s Joy, The [3]
M:6/8
L:1/8
K:G
D | G2A BcA | BGG GBc | dBG FGA | FDC DEF |….
SOLDIER’S JOY [4].
Old-Time, Breakdown. USA, Arkansas. C Major (‘A’ part) & G
Major/Mixolydian (‘B’ part). GCgd tuning. An unusual version (in an unusual
tuning) of the familiar “Soldier’s Joy” that is distantly related to the usual
tune (“Soldier’s Joy [1]”) in the second part only, unique to Arkansas fiddler
Skeeter Walden (recorded in the field in 1951). While the tonal center shifts,
it is reminiscent of the variety of schottische that changes key from strain to
strain. Source for notated version: Jim ‘Skeeter’ Walden (1879-1956, Busch,
northern Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark
Fiddle Music), 2008; pg. 154.
SOLDIER'S LADY. AKA and see "Mount
Your Baggage [2]," "Mount and
Go."
SOLDIER'S LAMENT, THE. The first part is the first of "Paddy Whack." American Veteran Fifer, 1927, No. 70.
SOLDIER'S LIFE. English, Country Dance Tune. Published by Playford in his English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg.
43.
SOLDIER'S RETURN [1]. AKA and see “The Mill Oh.” English?,
Scottish; Reel. C Major (Harding’s, Howe): D Major (Kerr, Morison). Standard
tuning. AB (Harding’s, Morison): AAB (Howe, Kerr). Hardings All-Round, 1905; No. 61, pg. 18‑19. Howe (Complete
Preceptor for the Accordeon), 1843; pg. 18. Kerr (Merry Melodies), vol. 4; No. 35, pg. 7. Morison (Highland Airs and Quicksteps, vol. 2),
c. 1882; No. 35, pg. 20. Shanachie Shan‑79017,
John & Phill Cunningham ‑ "Against the Storm" (1980).
X:1
T:Soldier’s
Return, The [1]
R:March
S:Howe – Complete Preceptor for the Accordeon
(1843), pg. 18.
Z:AK/Fiddler’s Companion
cd | e2 G>A G3c | AGAc d2 cd | e2G2 fedc | A3B c2 :|
G | cdef g3g | agfe d3G | cdef gagf | e3f g2G2 | cdef g3g |
agfe d2 cd | e2G2 fedc | A3B c2 ||
X:2
T:Soldier’s Return [1]
M:2/4
L:1/8
R:March
S:Morison – Highland Airs and Quicksteps, vol. II, No. 35 (c. 1882)
Z:AK/Fiddler’s Companion
K:D
d/e/ | fA Ad | B/A/ B/d/ ed/e/ | fa
g/f/e/d/ | B2 B/d/ e/f/ | fA Ad |
B/A/ B/d/ ed/e/ | fa g/f/ e/d/ B2d2
|| d/e/ f/g/ af | a>f {f}eA | d/e/ f/g/ af |
af e2 | d/e/ f/g/ af | b/a/ g/f/
ed/e/ | fA g/f/ e/d/ | B2 d2 ||
SOLDIER'S RETURN [2]. English, Air (2/4 time). England, Shropshire. C Major. Standard tuning.
AABB. No relation to version #1. The 'A' part has six bars, the 'B' part seven.
Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore
[Ashman]. Ashman (The Ironbridge Hornpipe),
1991; No. 98b, pg. 40.
SOLDIER'S SONG, THE (Amran Na N-Oglac). Irish, March. D Major. Standard
tuning. AB. Roche Collection, 1982,
vol. 3; No. 217, pg. 82 (appears as "Amran Na N‑Oglac").
SOLE-LEATHER
QUICKSTEP. American, Quickstep March (2/4
time). D Major. Standard tuning. AABA. In 1862 Bruce and Emmett’s Drummers’ and Fifers’ Guide was published to
help codify and train the hordes of new musicians in Union Army service early
in the American Civil War. George Bruce was a drum major in the New York
National Guard, 7th Regiment, and had served in the United States
Army as principal drum instructor at the installation at Governor’s Island in
New York harbor. Emmett was none-other than Daniel Decatur Emmett, a principal
figure in the mid-19th century minstrel craze and composer of
“Dixie” (ironically turned into a Confederate anthem during the war) and “Old
Dan Tucker,” among other favorites. Emmett had been a fifer for the 6th
U.S. Infantry in the mid-1850’s. Bruce & Emmett’s Drummers’ and
Fifers’ Guide,
1862; pg. 58, No. 25.
X:1
T:Sole-Leather
M:2/4
L:1/8
R:Quickstep March
S:Bruce & Emmett’s Drummers & Fifers Guide (1862)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | d”tr”f/>d/ BA | (3B/c/d/ A/F/ D/F/A/F/ | G/E/B/A/ F/D/A/F/ | E/A/c/e/ d :|
(3A/B/c/
| dz .ez | fz gz | fz ez | d/A/F/A/ D(3A/B/c/ | dz .ez | fz ^.gz | “tr”(a4 |
a4) ||
SOLOMAN'S TEMPLE. Irish, Air (6/8 time). C Major.
Standard tuning. ABB. Source for notated version: "Patrick MacDowell, the
distinguished sculptor: born in Belfast in 1799: died 1870," via Forde
(Joyce). Joyce (Old Irish Folk Music and
Song), 1909; No. 511, pg. 278.
SOL’S LITTLE FAVORITE. Old Time. AEad tuning.
SOLUS LILLIS'S REEL (Ríl Sholais Uí Laighléis). Irish, Reel. C Major/D Mixolydian.
Standard tuning. AB. Source for notated version: flute player Micahel Tubridy/Michael
O Tiobraide (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 165, pg. 65.
SOME DISTANCE FROM
PRUSSIA. American (?), March (2/4 time). B
Minor. Standard tuning. AABB. Sweet (Fifer’s
Delight), 1964; pg. 4.
X:1
T:Some Distance from
M:2/4
L:1/8
R:March
Z:AK/Fiddler’s Companion
K:B Minor
f/e/ | dB/B/ B/^A/B/c/ | d/c/d/e/
fe/d/ | cA/A/ A/^G/A/B/ | c/B/c/d/ ef/e/ | dB/B/ B/^A/B/c/ |
d/c/d/e/ f2 | Bf f/e/d/c/ | BfB :: F
| B>c d/c/d/e/ | ff “tr”F2 | ff “tr”f2 | “tr”AF “tr”AF |
B>c d/c/d/e/ | ff F>F | Bf
f/e/d/c/ | Bf [Bb] :|
SOME
SAY I’M FOOLISH AND SOME SAY I’M WISE. Irish, Air (3/4 time). B Flat
Major. Standard tuning. ABB. Source for notated version: “From Mr. Pigot’s MS”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 793, pg. 198.
X:1
T:Some say I’m foolish and some say
I’m wise
M:3/4
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie (1905), No. 793
Z:AK/Fiddler’s Companion
K:B_
FG | B2 Bcdc | df g2 fd | c2 BG
B>G | F4 FG | B2 Bcdc | df g2 fd | cd B2B2 | B4 ||
|: df | g2g2 fd | cd fgfd | c2 BG
B>G | F4 FG | BcdcBc | df g2 fd | cd B2B2 | B4 :|
SOME SAY THE DEVIL'S DEAD. AKA ‑ "Braes of Mar [1]," "Love Won't You Marry Me."
Irish, English; Fling, Jig or Strathspey. D Major (Kennedy, Raven): G Major
(Sullivan). Standard tuning. AABB (Kennedy, Raven): AABB’ (Sullivan). The title
appears (as "Some Say the Diel's Dead and Buried in Kirka'dy") in
Henry Robson's list of popular Northumbrian song and dance tunes ("The
Northern Minstrel's Budget"), which he published c. 1800. Variants of the
following ditties are frequently sung to the melody:
***
Some say the Devil's dead
And buried in Kilarney.
***
Some say the deil's dead, the deil's dead, the deil's dead,
Some say the deil's dead and buried in Kirkaldy.
And others say he rose again, he rose again, he rose again,
And others say he rose again and danced the Hielan Laddie.
***
or, as the last two lines have
sometimes been heard in Ireland:
***
More say he rose again, rose again, rose again,
More say he rose again and joined the British army!
***
Percy Sherrell (1873-1958) mentions
hearing a version of the ditty sung, in his reminiscences of his boyhood in Eastdean,
Sussex, England:
***
Harvest and Hay making were very busy times, also hoeing times. Great
numbers of men
and women too would be working in the fields hoeing the Turnips, etc.,
even old men. Old
men over 70 would be seen working hard on the roadsides breaking up
stones. I remember
one old man whose name was Button Hewson, he was a very energetic man
and would
break up the stones very small, and sing whilst he was working,
***
Some say the devil’s dead and buried in Gold Arbour;
Some say he’s risen—and tidily winks the barber
***
This old man could be heard singing this song very often.
***
Kennedy (Fiddler’s Fakebook), vol. 2, 1954; pg. 18. Raven (English Country Dance Tunes), 1984; pg.
160. Sullivan (Session Tunes), vol.
3; No. 31. Pg. 12.
X:1
T:Some Say the Devil’s Dead
M:4/4
L:1/8
K:D
B|A2 A>B d>e fe|d<B B>A
d<B B2|A2 A>B d>e f>a|b>f a>f e2d:|
|:z|a2 a>g f>g a2|b2 b>a
g>a b2|a2 a>f d>e f>a|b>f a>f e2d:|
SOMEBODY [1]. Scottish, Slow Strathspey. B Flat
Major (Gow): D Major (Kerr). Standard tuning. AB (Gow): AABB (Kerr). “Old”
remarks Gow (1809). Carlin (The Gow
Collection), 1986; No. 219. Gow (Fifth Collection of Strathspey Reels),
1809; pg. 35. Kerr (Merry Melodies),
vol. 4; No. 40, pg. 7.
X:1
T:Somebody [1]
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 40
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
d>fa>f e>de>f|d>d
f<a b2 (a<f)|d>fa>f e>de>f|d>B B<A a2 (f<d):|
|:b2 g>b a2 (f<d)|g2 f>d e2
(c<A)|d>fe>g f>b a2|d>B B<A a2 (f<d):|
X:2
T:Some Body [1]
M:C
L:1/8
R:Strathspey
N:”Old”
N:”Slow with Expression”
B:Gow – Fifth Collection of
Strathspey Reels (1809)
Z:AK/Fiddler’s Companion
K:Bb
F|B>d fd {d}”tr”c>B c>d|B<B d>f (g2
f>)d|B>d fd
{d}”tr”c>Bcd|(B<G) G>F f2 d<B||
g<e e>g {g}f2 d<B|e>c
d>B “tr”(c2 A)F|B>d c>e dg f2|B<G “tr”G>F (f2 d<)B||
SOMEBODY [2]. Scottish, Air (6/8 time). F Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 152.
X:1
T:Somebody [2]
M:6/8
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:F
c | d2d d>ef | c2c c2B | A2A
A>=Bc | G2G Gzc | {c}d2d d>ef | {d}c2c c2B |
A>Bc f2A | {A}G>FG F2A | B3G3
| A2c F2A | B3G3 |
(A2 c/A/ F2)c | d2d d>ef | {f}c2c
c2B | A>Bc f2A | G>FG F2 ||
SOMEBODY ELSE IS GETTING IT WHERE
THE CHICKEN GOT THE A-X-E. Old-Time, Breakdown. D Major. In the
repertoire of Glen Lyn, Virginia, fiddler Henry Reed. A different tune that
Marion Thede’s “Where the Chicken Got the Ax.” Reed’s tune is from a popular
song written in 1892, words by Harry Mayo, music by William B. Glenroy.
SOMEBODY’S ROCKIN’ MY
SUGER LUMP. AKA and see “Boil Them Cabbage Down.”
SOMEBODY'S WATCHING. AKA and see "Pull Down
the Blind." Irish, Waltz. G Major. Standard tuning. AABB'. Carlin (Master Collection), 1984; No. 294, pg.
165.
SOMEONE'S AT THE DOOR. Old‑Time, Breakdown. USA, Missouri. C Major. Standard tuning.
AABB. Source for notated version: August Merrill (St. James, Missouri)
[Christeson]. R.P. Christeson (Old Time
Fiddler’s Repertory, vol. 2), 1984; pg. 35.
SOMERSET. English, Jig (9/8 time). C Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg.
129.
X:1
T:
M:9/8
L:1/8
K:C
e2 c cBc edc|f2d dec BAG|e2c cBc
edc|def G2B c2z:|
|:g2G GAF EGc|A2d de^c def|g2G GAF
EGc|def G2B c2z:|
SOMETHING. English, Jig. G Major. Standard
tuning. AABB. A somewhat irregular tune in that each part only has seven
measures, against the usual eight. Source for notated version: the 1823-26
music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near
Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997;
pg. 71.
SOMETHING NEW [1]. English (?), Reel. A Dorian. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 182, pg. 42.
SOMETHING NEW [2]. English, Slip Jig. B Flat Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 137.
X:1
T:Something New [2]
M:9/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
B3
BFD E3|B3 BFD EFG|B3 BFD E2E|DEF GAB ABc:|
|:B3 fdf F3|B3 fdf gab|B3 fdf F3|DEF GAB ABc:||
SOMETHING SWEET TO
TELL. Old-Time, Jig. USA, Kentucky. A rare
old-time jig from the northern Kentucky/southern Ohio region. Rounder CD0380, Roger Cooper (Lewis County, Ky.) - “Going
Back to Old Kentucky” (1996).
SON AR CHISTR (Song of Cider). French or Breton?, Country Dance Tune (2/4
time with irregular measures). E Minor. Standard tuning. AABB. Source for the
tune from the playing of Martin Carthy and Alan Stivell. Raven (English Country Dance Tunes), 1984; pg.
213.
X:1
T:Son ar Chistr (Cider Song
M:2/4
L:1/8
Q:1/4=50
N:said to have been written by an unknown Breton piper
N:in Paris in the 1930s
Z:Paul
de Grae
K:Em
B AF|G2 E>E|EA AG|FA GF|G2 EG|FD E2-|EB AF|
G2 E>E|EA AG|FA GF|G2 EG|FD E2-||E3 E/F/|
GA B2-|BB cA|B3 B|A B/A/ G2|EE EA|AG FA|GF G2| EG FD|E4:||
SON OF A BEAR.
French-Canadian, Reel. In the repertoire of fiddler Louis Beaudoin
(1921-1980, Burlington, Vt.). The tune gets its title from the spontaneous
exclamation of Louis’s father, upon having been shown by Louis how to shift
position on the violin fingerboard to play the high strain. A-L 001, Lisa Ornstein & André Marchand – “One Fine
Summer’s Day/Par un beau Samedi d’ été” (2009).
SON OF O’REILLY, THE. Irish, Air (3/4 time). F Major. Standard
tuning. AB. Stanford/Petrie (Complete
Collection), 1905; No. 486, pg. 123.
X:2
T:Son of O’Reilly, The
M:3/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 486
Z:AK/Fiddler’s Companion
K:F
AB/c/ | de f2 ef/e/ | d2 G3G | Ac
B2A2 | A G2 ABc | dg fe fe | d2G2 c>B |
A2 FA GE | F F3 || E>F | GA/=B/
cd eg | fe g2 f>e | ed cB AF | A2 G2 Ac |
de f2 ef/e/ | d2 G2 (3dcB | A2 FA
G>F | F4 ||
SON OF PROSPERITY, THE (An Mac-Rata). Irish, Hornpipe. D Major. Standard tuning.
AABB. O'Neill (Krassen), 1976; pg. 170. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1581, pg. 293.
X:1
T:Son of Prosperity, The
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1581
Z:AK/Fiddler’s Companion
K:D
AG | FDFA dABG | F<A D2 D2 AG |
FDFA dABG | E<G C2 C2 AG |
FDFA dABG | F<A D2 D2 AG | FDAD
(3EFG CE | F2 D2 D2 :|
|: (3ABc | dedc AGAB | cdcA d2 (3ABc
| dedc AGEF | E<G C2 C2 (3ABc |
dedc ABAG | FEFG ABAG | FDAD (3EFG
CE | F2 D2 D2 :|
SONG FOR JULIE. Scottish, Air (4/4 time). G Major. Standard tuning. One part. Composed
by David A. Gordon. Martin (Ceol na
Fidhle), vol.3, 1988; pg. 37.
SONG OF CROSSMOLINA. Irish, County Mayo. AKA and see
"Nelly Bawn."
SONG OF HOME, THE (Mo Dhachaidh). Scottish, Slow Air (3/4 time). G Major.
Standard tuning. AA. Martin (Ceol na
Fidhle), vol. 1, 1991; pg. 10.
SONG OF HOPE. AKA and see “Amhran Dochais.”
SONG OF JENNY WARD. AKA and see "The Morning
Star [4]."
SONG OF THE BLACKBIRD. Irish, Air (4/4 time). A Dorian. Standard tuning. AAB. In Irish
folklore the melodious blackbird was the harbinger of good tidings, a good
omen, unlike the crow, raven or rook which often portended misfortune.
"Mr. MacGowan traced the history of this air for at least a hundred
years" (Joyce). Source for notated version: "Sent to me in 1873 by
Mr. J.C. MacGowan of Newtownards, a good amateur musician" (Joyce). Joyce
(Old Irish Folk Music and Songs),
1909; No. 316, pg. 148.
X:1
T:Song of the Blackbird
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:Ador
E2|A3G A2B2|e3d e2f2|g3f g2d2|B3A
GABc|A4 AB d2|e3f gedc|B3c A2A2|A6:|
e2|a3g a2b2|a3g e3f|g3f g2a2|g3e
d3d|e4 a2b2|c’3b aged|e4 a2 ab|a4 z2 (e2 {g/e/})|
b3a gabg|a3g e2d2|e3f gedc|B3A
GABc|A4 AB d2|e3f gfed|B3c A2A2|A6||
SONG OF THE BOOKS. AKA and see “Amhran na Leabhar.”
SONG OF THE CHANTER. See “Chanter’s Tune.”
SONG OF THE GHOST, THE. Irish, Air (3/4 time). A Minor. Standard
tuning. One part. Stanford/Petrie (Complete
Collection), 1905; No. 580, pg. 146.
X:1
T:Song of the ghost, The
M:3/4
L:1/8
S:Stanford/Petrie (1905), No. 580
Z:AK/Fiddler’s Companion
K:Amin
EAB | c2 BA ^GF | E3 E cd | c B A^G
Ac | B3E ed |
c2 BA GE | G3 AAG | E2 ^GA Bc A3 ||
SONG
OF THE KELPIE (Arrane Ghelby). English, Air. England, Isle of
Mann. A traditional Manx air from a book of Manx songs and dances, Kiauall yn Theay. A kelpie is a water
sprite, sometimes in the form of a horse or an enchanted seal, that can also
take on the form of a young adult. They are also known in Gaelic as
"Each Uisge" (Water Horse). Kelpies are the guardian spirits of
certain rivers, lochs and pools.
***
Kelpie—A
treacherous Scottish water-devil who lurks in lakes and rivers
***
Herbert Draper. “The Kelpie.”
***
Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997). Elke Baker – “Over the Border.”
X:1
T:Song of the Kelpy (Arrane Ghelby)
M:3/4
L:1/4
R:Air
D:Elke Baker: Over the Border
Z:Transcribed by Michael Reid
K:D
"G"B2
B|"A"A>B c|"Bm"d>e d|"A"c B A|
"G"B2 B|"A"A G
F|"F#m"F G A|"Bm"B3:|
"D"d>e
f|"Bm"d>e f|"G"d>e f|"Bm"f e d|
"A"c>d
e|"F#m"c>d e|"Bm"d c B|"A"f2 e|
"Bm"d>c
B|"F#m"A G F|"Bm"d>c B|"F#m"A G F|
"Bm"d>c
B|"A"A G F|"F#m"F G A|"Bm"B3|]
SONG OF THE TEA. AKA and see "Amhran Na Tae."
SONG OF THE STREAMS, THE. Irish, Air (2/4 time). E Flat Major. Standard
tuning. AB. Stanford/Petrie (Complete
Collection), 1905; No. 552, pg. 140.
X:1
T:Song of the Streams, The
M:2/4
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 552
Z:AK/Fiddler’s Companion
K:Eb
E/G/ | B>c de | ed {d}cB | ec BA |
GE/G/ FE | C3 E/F/ | GB c>_d | dc B>A |
GE/G/ F>E | (E4 | E3) || G | AB
cB | AG FE | GB cd/e/ | ed cB | B3 c/d/ |
Ec BA | GE/G/ FE | (E4 | E3) ||
SONG OF THE SWAN. Canadian, Air (4/4 time). F Major. Standard tuning. AB. Source for
notated version: adapted from Helen Creighton & Calvin MacLeod’s Gaelic Songs from Nova Scotia (1964).
Heymann (Secrets of the Gaelic Harp),
1988; pgs. 102-103.
SONG OF UNA [1], THE. Irish, Air (4/4 time). E Flat Major. Standard
tuning. AB. Petrie thought the tune “very ancient.” Stanford/Petrie (Complete Collection), 1905; No. 550, pg.
139.
X:1
T:Song of Una, The [1]
M:C
L:1/8
R:Air
S:Stanford/Petrie (1905), No. 550
Z:AK/Fiddler’s Companion
K:E_
G/A/ | B2 EB cB GA | BG eB cB Gc |
B>A GF EF GA | B3A G3F | EF GA B=A BG |
Bc ef g2 fg | ed cB cG BG | “tr”F4
{E}E3 || B | gg ga g2 fe | cf fg f2 ef | gf ed ec BG |
B2 cB G3F | E>F GA BB GB | Bc ef
ga fg/f/ | ed {d}cB cG BG | “tr”F4
{E/G/F/E/}E2 ||
SONG OF UNA [2], THE. Irish, Air (4/4 time). E Flat Major. Standard tuning.
AB. Source for notated version: “From old MS given me by J. Hardiman”
[Stanford/Petrie]. Stanford/Petrie (Complete
Collection), 1905; No. 551, pg. 140.
X:1
T:Song of Una, The [2]
M:C
L:1/8
S:Stanford/Petrie (1905), No. 551
Z:AK/Fiddler’s Companion
K:E_
G/A/ | B2B2B2 GA | B2B2B2 ec | BAGF
EFGA | B3A G2B2 | c2 cd e2e2 |
F2 fg bagf | edcB BAGA | “tr”F4
{E}E2 || ef | g2g2g2 fe | f2f2f2gf |
EdcB BAGA | B3A G2B2 | c2cd e2e2 |
f2 fg bagf | edcB BAGA | “tr”F4 {E/F/}E2 ||
SONG OF VICTORY (Abhran Buadha). AKA and see "Planxty O'Rourke [1]."
Irish, Air (6/8 time). D Minor. Standard tuning. AB (Joyce): ABC (Complete
Collection). "This tune‑‑which Mr. Hogan copied from a MS.‑‑is
a very beautiful Planxty, evidently composed by Carolan. I do not believe it
has ever seen the light before now" (Joyce). The tune is not related,
apparently, to "Owen O'Rourke"
or "Planxty O'Rourke"
[2]. Complete Collection of Carolan's
Irish Tunes, 1984; No. 145, pg. 101. Joyce (Old Irish Folk Music and Songs), 1909; No. 279, pgs. 132‑133.
X:1
T:Song of Victory
T:Abhran Buadha
T:Planxty O’Rourke [1]
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
N:”Not so fast as jig time”
K:D Minor
D|Ddc d2e|fag fed|cAG F/G/AG|{G}FEF
D2C|D2B {d}cBc|D2d d2e|
Aag a2g|fed d2||f|edc def|{B}AGF
EDC|C2c {d}c=Bc|Ddd dc/A/G/E/|
D/E/FD D/E/FD|C/D/EC C/D/EC|E/A/AG
FED|CA,A, A,2C|D/D/Dd D/D/Dd|
D/D/DG EDC|D/D/Da fed|c/B/A/G/
A/2B/2d/2e/2 f2a|f>ed/c/ e>dc/A/|
DcA GEC|D/D/Dd D/D/Dd|ECE D2||
SONNY BROGAN. See "Sonny's Mazurka."
SONNY
BROGAN'S [1]. AKA and see “Bill Harte’s (Jig) [1],” “The Rookery [2].” Irish, Jig. E Dorian
(Miller & Perron, O’Malley). Standard tuning. AABB. Named after the late
County Dublin accordion player Sonny Brogan (d. 1966), originally from
Prosperous, County Kildare. Brogan made records in the 1930’s with The Lough
Gill Quartet and was a member of Ceoltóirí Chualann under the direction of Seán
Ó Riada. However, the tune has several alternate titles, many stemming from
influential players who rendered it, including Bill Harte, also a Dublin
accordion player. Chicago
fiddler Liz Carroll called it “The Rookery” on her recording. Source for
notated version: the 1965 recording of the late New York fiddler Andy McGann
[Miller & Perron]. Miller & Perron (Traditional
Irish Fiddle Music), 1977; vol. 3, No. 34. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 36. O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 110, pg. 55. Shaskeen Records OS‑360, Andy McGann, Felix Dolan, Joe
Burke ‑ "A Tribute to Michael Coleman" (c. 1965).
See also listings at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Rookery,
the
T:Sonny Brogan's [1]
T:Bill
Harte's
R:jig
S:Mike
Rafferty
Z:Lesl
M:6/8
K:Dmix
DED
A~A2|BAG A2z|DED A~A2|BAG EGE|
DAD A2z|BAG
ABc|ded czA|1 BAG EDB:||2 BAG ED^c||
|ded
czA|BAG ABc|ded czA|BAG ED^c|
ded czA|BAG ABc|ded czA|BAG EDB|D6||
X:2
T:Sonny
Brogan’s [1]
M:6/8
L:1/8
K:E Dorian
|: E2(E
B)A(B | c)BA B2e | EFE BA(B | c)BA FED | E2E BAB |
cBA Bc(d | e)dc
c/d/f(B | c)BA FEF :: Eec d2(B | c)BA Bcd |
edc d/e/f(B
| c)BA FEF | Eec d2(B | c)BA Bcd | efc d/e/f(B | c)BA FEF :|
SONNY BROGAN’S [2]. AKA and see “The Monk’s Jig,” “The Reverend Brother’s Jig.” AKA –
“Sonny Brogan’s Fancy.” Irish, Jig. A Dorian. Standard tuning. AABB (Black):
AA’BB’ (Harker/Rafferty). No relation to “Sonny Brogan’s” [1]. Sources for
notated versions: an English group called Floating
Crowbar [Black]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 85, pg. 44. Harker (300 Tunes from Mike Rafferty), 2005; No.
168, pg. 52. Shanachie
SH78041, Solas – “The Hour Before Dawn” (2000).
See also listing at: Alan Ng’s Irishtune.info |
X:1
T: Sonny Brogan's
S: "Floating Crowbar"
Z: transcribed by B.Black
Q: 300
R: jig
M: 6/8
L: 1/8
K: Ador
E | AGA cBc | dcd e3 | AGA cde | dcA GED |
AGA cBc | dcd e3 | age ged | cAG A2 :|
d | eaa aba | gef g3 | eaa aba | ged cAA |
eaa
aba | gef g3 | age ged | cAG A2 :|
SONNY BROGAN’S FANCY. AKA and see “Monk’s Jig,” “The Reverend Brother’s Jig.”
SONNY BROGAN’S
FAVORITE. AKA and see “Knocknagree Reel,” “Miss Lyon’s Fancy,” “Up Against the Boughalauns.” Shanachie 79044, Tommy Peoples – “The Iron Man.”
SONNY DAN. AKA and see "The Bottle of
Brandy," "She is/She’s the Girl
that can do it," "Bully for
you," "Nelly's Jig," "Thady you Gander," "The Bonny Highlander," "The Buck(e)y Highlander,"
"The Leg of (a) Duck,"
"Petticoat Loose [1],"
"O My Dear Judy," "Daniel of the Sun," "From the Court to the Cottage,"
"Girls of the West,"
"I gave to my Nelly," "'Tis sweet to think."
SONNY MARTIN. AKA and see “Glen Allen,” “The Kilmaley (Reel).” Irish, Reel. G
Major. Standard tuning. AA’BB’. Jordan (Whistle
and Sing).
T:Sonny Martin's
T:Kilmaley Reel, The
T:Glen Allen
R:reel
Z:id:hn-reel-231
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8
K:G
G2DG EGDE | G2BG AGEG | A2EA FAEG | ABcd edBA | G2DG EGDE|
G2BG AGEG | cBcd efge |1 dBAB G3D :|2 dBAB G3d ||
|: g2dg egde | g2bg ageg | a2ea faeg | a2bg age f| g2dg egde |
g2bg aged | cBcd efge|1 dBAB G3d :|2 dBAB G3D ||
SONNY MURRAY'S. AKA and see "Delahunty's Hornpipe,"
“Delahanty’s Hornpipe,” "The Home Brew,"
“The Iron Gate,” “John Quinn’s [1],” “A Kerry Hornpipe [1],” "The Road to Boyle,” "Wicklow Hornpipe.” Irish, Hornpipe. D
Major. Standard tuning. AABB. The title honors Clare concertina player Sonny
Murry, with whom the tune is associated in modern times, although it is an
older tune called “Delahunty’s.” Geraldine Cotter (whistle tutor). Treoir,
vol. 39, No. 4, 2007.
X:1
T:Sonny Murray’s
M:4/4
L:1/8
R:Hornpipe
K:D
FG|ABAF DEFG|AG (3FED =c2
(3AB^c|dcde fdAF|G2 GF G2 FG|ABAF DEFG|
AG (3FED =c2 (3AB^c|dcde
fdAG|F2D2D2::de|f2 fd ecAF|Gggf g2 fg|a2 ab agec|
dcAF G2 FG|ABAF DEFG|AG (3FED =c2
(3AB^c|dcde fdAG|F2D2D2:||
SONNY REARDEN’S. Irish, Polka. A Mixolydian. Standard tuning. AABB. Green Linnet SIF 1184, Patrick Street - “Made in Cork”
(1997).
X:1
T:Sonny Rearden’s
M:2/4
L:1/16
R:Polka
D:
Z:Bud Burroughs
K:AMix
B|c2c2 d2cd|e2a2 d2cd|e2a2 aged|c2A2
B4|
c2Bc d2cd|e2a2 d2cd|e2a2 aged|c2A2
A4:|
a2a2 f2ef|a2e2 d2cd|e2a2 aged|c2A2
B4|
a2a2 f2ef|a2e2 d2cd|e2a2 aged|c2A2
A4:|
SONNY SWEENEY’S. AKA and see “The Glencollins
Polka.” Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry
border. G Major. Standard tuning. AA’B. Source O’Leary identified Sweeney as a
carpenter, “a small little man that used to play a fiddle along with Denis
Murphy.” Source for notated version: accordion player Johnny O’Leary (Sliabh
Luachra region) [Moylan]. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg.
135. Moylan (Johnny O’Leary), 1994;
No. 70, pg. 40. Topic 12T357, Johnny O’Leary - “Music
for the Set” (1977).
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Sonny Sweeney’s
M:2/4
L:1/8
R:Polka
K:G
D>E G>A|Bd BG/A/|BA/B/
d>B|AG E/F/G/E/|D>E G>A|Bd BG/A/|
BA/B/ B>A|G2 G2:||g2 e/f/g/e/|dB
(3d/e/d/ BB/A/|G>B AB|AG EG|
g>f e/f/g/e/|dB (3d/e/d/
B/A/|G>B AB|AG G2|g2 e/f/g/e/|dB d>B|
G>B AB|AG E/F/G/E/|D>E
G>A|Bd BG/A/|BA/B/ B>A|G2G2||
SONNY'S MAZURKA. AKA ‑ "Sonny Brogan." Irish, Mazurka (3/4 time). D Major.
Standard. AABB (Johnson, Mallinson): AA'BB' (Brody): AABBC (Miller). Perhaps
the most well-known Irish mazurka. Named for the late County Dublin accordion
player Sonny Brogan (d. 1966), originally from Prosperous, County
Kildare. Brogan made
records in the 1930’s with The Lough Gill Quartet and was a member of Ceoltóirí
Chualann under the direction of Seán Ó Riada. On “The Pipering of Willie Clancy” the tune is called “Garret Barry’s Mazurka,” after
the blind 19th century piper from Inagh, County Clare. Johnson
(1991) notes it makes a good vehicle for the Scandinavian couples dance called
the hambo. Caoimhin Mac Aoidh, quoted in Miller & Perron’s Irish Traditional Fiddle Music (2006),
says: “The beat in a mazurka falls on the second and third elements of the bar
unlike other forms of Irish music. This can be confirmed by watching the old
traditional dancers, as they actually take off on those lead-in notes and
batter the second and third beats. In this way, the first two notes (of
“Sonny’s Mazurka”) are not introductory but actually part of the melody line.”
Sources for notated versions: Delaware Water Gap (Brody) & Chieftains
(Miller). Brody (Fiddler’s Fakebook),
1983; pg. 263. Bulmer & Sharpley (Music
from Ireland), vol. 4, No. 90. Johnson (The
Kitchen Musician’s Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 1.
Mallinson (Enduring), 1995; No. 92,
pg. 38. Miller & Perron (Irish
Traditional Fiddle Music), 1977; vol. 1, No. 8 (appears as "Sonny
Brogan"). Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 153. Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 3. Boys of the Lough ‑ "Live at
Passim." CCF2, Cape Cod Fiddlers – “Concert Collection II” (1999).
Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie Clancy, vol. 1” (1980.
Appears as “Garret Barry’s Mazurka”). Coleman Music Center CHC 009, fiddler
Verona Ryan – “The Coleman Archive, vol. 2: The Home Place” (2005. Various
artists). Flying Clouds Music FCM 3, Sam Rizzetta ‑ "Bucks and
Does." Island 9379, Chieftains‑ "Chieftains 3". GN1, Joe
Thoma ‑ "Up the Track: Traditional Music from Kenmare." Kicking
Mule 205, Delaware Water Gap‑ "From the Rivers of Babylon to the
Land of Jazz" (1979). Philo 1026, Boys of the Lough‑
"Live." RCA 09026-61490-2, The Chieftains - "The Celtic
Harp" (1993). Shanachie 79023, "Chieftains 3" (1971/1982).
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Sonny's Mazurka
R:Mazurka
Z:htkeays@syr.edu
O:
M:3/4
K:D
P:D
FG|\
A2 AG FA|d2 dA BA|G2 GB AG|FG EF
DF|\
A2 AG FA|d2 dA BA|G2 Gg fe|d4:|
de|\f2 fa gf|e2 eg fe|d2 df ed|cd Bc
Ad|\
f2 fa gf|e2 eg fe|dc df ec|d4:|
SONS OF FINGAL, THE. Irish, Air (6/8 time). B Flat Major. Standard.
AB. Stanford/Petrie (Complete Collection),
1905; No. 602, pg. 151.
X:1
T:Sons of Fingal, The
M:6/8
L:1/8
R:Air
S:Stanford/Petire (1905), No. 602
Z:AK/Fiddler’s Companion
K:B_
F | Bcd e>de | fBc def | b>ag
fed | cde f2 e/c/ | Bcd ede | fBc def |
b>ag f2 d/f/ | edc B2 || d/e/ |
fga bag | fBc def | bag fed | cde f2 e/4d/4e/4c/4 |
Bcd e>de | fBc def | bag f>df
| e>dc B2 ||
SONYA WADDEN. Canadian, Jig. Canada, Cape Breton. E Major (1st setting): A
Major (2nd setting). Standard. AABB'. Composed by pianist Matthew
Cook, editor of The Night in the Kitchen
Collection. Cook (Night in the
Kitchen Collection), 1996; pg. 19.
SOOK PIED. See note for “Finger Ring,” “New Five Cents [2],” tunes linked, not
musically, but by floating lyric.
SOOKA FLANAGAN. AKA and see “Old Mother
Flanagan.” Old‑Time, Breakdown. USA, Kentucky. G Major. Standard.
AABB. A version of "Old Mother Flanagan" (sometimes “Old Granny
Flanagan”) and one strain of "Shipping Port"
(and perhaps derived from the Irish tune “Greenfields of America [1]”). Known as a Kentucky tune. Source for notated
version: John M. Salyer (Salyersville, Magoffin County, Kentucky, 1941-42)
[Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 154, pg. 179.
Berea College Appalachian Center AC003, “John M.
Salyer: Home Recordings 1941-42, Vol. 1” (1993). Leatherwood (cassette), Bruce
Greene – “Vintage Fiddle Tunes” (1986). Marimac AHS 6, Melvin Wine – “Vintage
Wine” (1993). Rounder 0010, The Fuzzy Mountain String Band – “Summer Oaks and
Porch” (1973). Rounder 0047, Wilson Douglas – “The Right-Hand Fork of Rush’s
Creek” (1974). Yodel-Ay-Hee 003, “Dirk Powell and John Hermann” (1992).
SOONER IN THE MORNING. American, Air and March (2/4 or 4/4 time). USA, southwestern Pa. G
Major. Standard. AABB. Bayard (1981) identifies the tune as that of a camp‑meeting
spiritual "once well‑known on the Pennsylvania‑West Virginia
border." Sources for notated versions: The Hoge MS (a fife MS from
southwestern Pa., 1944) and George Strosnider (elderly fiddler from Greene
County, Pa., 1930's) [Bayard]. Bayard (Dance
to the Fiddle), 1981; No. 209A‑B, pgs. 163‑164.
SOOR/SOUR PLOOMS (OF
GALASHIELS). AKA and see "Squire
Wood's Lamentation on the Refusal of His Halfpence." Scottish, Irish; Air
(4/4 time). G Major/Mixolydian (Johnson, McGibbon, Neil): D Major (Gatherer).
Standard. AAB (Gatherer): AABB (McGibbon): AABBCC (Neil): AABBCCDD (Johnson).
Galashiels is a town in the Border region of Scotland, on the River Tweed.
Robin Williamson observes it is "virtually" the same tune attributed
to harper Turlough O'Carolan and called in Ireland "Squire Wood's
Lamentation on the Refusal of His Halfpence" (though he points out the
earliest ascription of the tune to that master was by Petrie, the Victorian
collector). "Perhaps it was that O'Carolan wrote, to an existing tune, a
song in which he satirized the scandal of 1722 involving the minting of
excessive amounts of copper money by the aforementioned William Wood, a
conniving copper mine owner" (Williamson). Gatherer identifies the air as
a composition from the early 1700's by the Laird of Galashiels' piper. It was
popular in the early years of the 19th century in the Borders. Scottish
versions were printed by Oswald in the 1740's, and by Munro, who composed a
variation sonata (air‑allemand‑largo‑giga) on the tune (which
appears in his Collection of Scots Tunes,
1732). It also appears in the Gillespie
Manuscript of Perth (1768). Collinson says the tune was referred to as
early as 1700 and was associated with the Border pipes, while Johnson (1984)
dates the tune to 1710, on stylistic criteria. Neil (1991) remarks that
thetitle is thought to originate from an episode in 1337 when an English army
was retreating down the Gala Water from Edinburgh. The troop had thought to
rest themselves in an area where wild plums grew in profusion on the riverbank,
when, taken by surprise, they were nearly wiped out by the Scottish forces. A
site called "The Englishman's Syke" or "Laid Stane" marks
the location where the fight was fiercest."
***
Galashiels became a Burgh of Barony in 1599, when the Baron and
his baillie administered justice and where a number of privilages,
including the holding of markets and fairs were conferred. On
those occasions, a herald would make a proclamation from the
foot of the town cross. One of the most famous criers was Wattie
'paper' in his hands and he would declare the fair open on behalf
of the Scott of Gala and his deputy the Baillie but 'prohibiting all
Egyptians, randy beggars and cutters of purses' from being present
and that no one was to be 'molestit for auld or new debt, auld feud
or new feud!' The cry was concluded by 'God Save the King' and a
roll of drums by the town drummer. (Neil)
***
Source for notated version: James
Gillespie Manuscript (Perth, 1768) [Johnson]. Emmerson, 1971; No. 101, pg.
197. Gatherer (Gatherer’s Musical Museum),
1987; pg. 28. G.F. Graham, Songs of
Scotland, 1848. Johnson, 1984; No. 8, pg. 25. McGibbon (Scots Tunes, book III), 1762; pg. 86.
Neil (The Scots Fiddle), 1991; No.
43, pg. 57. Wood, Songs of Scotland
(1848‑49). Flying Fish FF358, Robin Williamson ‑
"Legacy of the Scottish Harpers, Vol. 1."
X:1
T:Sour Plumbs
M:C
L:1/8
R:Air
N:”Slow”
S:McGibbon – Scots Tunes, book III, pg. 86
(1762)
Z:AK/Fiddler’s Companion
K:G
GA | ({A}B3)c B3g | (d<B) “tr”(A>G) A3B | G3A
“tr”(B>AB)d | ({d}e3)d B2g2 |
(e>d)(B>e) (d>B)(A>d) |
(B>A)(G>B) A3B | G>AB>c (d>B)(g>B) | “tr”A4G2 :: g2 |
(e>f)(g>a) g2G2 | g2 (d/e/=f)
({f}e3)d | B2 de =fagf | “tr”e4d3g | e>fg>a g2G2 |
g>ba>g “tr”e3d | B2 d>e
=fagf | “tr”e4d3g | e>fg>a g2G2 | g2 (de/=f/) ({f}e3)d |
(BA) B2 (dB) d2 | ed e2=f3a |
(g>e) g2 (e>d) e2 | (d>B) d2 B>A B2 |
({e/f/}g3f/e/ d>gB>g |
“tr”A4G2 :|
SOO'S LAMENT FOR (RAW)
TATTIES. AKA - "Sow's Lament for
Potatoes." Shetland. The Shetland
name for "The Sow's Tail (to
Geordie)” (see note on that tune for most information). The tune has been
printed in British collections from as early as the mid‑18th century.
SOOTH END, DA. Shetland, Jig. A Major. Standard. AAB. A relatively modern tune
composed by Shetland fiddler Willie Hunter, Jr. Also published in Dance Music From Shetland and the North East,
Vol. 1 (Lerwick, 1975). Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 37.
SOP AIR AN LOCHDA (A wisp on the loft). Irish, Jig. D Mixolydian (G Major).
Standard tuning. AABB. Source for notated version: a manuscript collection
dated 1851 compiled by Anglican cleric and uilleann piper James Goodman
(1828-1896), who collected primarily in County Cork [Shields]. Shields (Tunes
of the Munster Pipers), 1998; No. 39, pg. 18.
SOPHIE, LA. French, Country Dance (2/4 time). A 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. 58.
X:1
T:Sophie, La
M:2/4
L:1/8
S:Daubat – Cent Contredanses en Rond (1757), No. 58
Z:AK/Fiddler’s Companion
K:A
e2 cd | e3f | edcB | c2 BA | e2 cd | e2 {b}a2 | e2 dc | B4 :|
|:
BA GA | Bc df | ed cB | c2 BA | {B}a2 ec | f2 dB | ecdB | A2 A,2 :|
SOPPING THE GRAVY [1]. AKA – “Soppin’ Up the Gravy.” Old‑Time, Breakdown. USA; Missouri,
Texas. D Major. Standard tuning. One part (Phillips/1989). See also the related
“Acorn Hill (Breakdown).”
Source for notated version: Bartow Riley [Phillips/1989]; Art Stamper (Mo.)
[Phillips/1994]. Phillips (Fiddlecase
Tunebook), 1989; Pg. 39. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 228. Arhoolie
C‑334, Alison Krauss ‑ "Masters of the Folk Violin"
(1989). Kanawha 315, Bartow Riley. Voyager 309, Benny & Jerry Thomasson -
"The Weiser Reunion" (1993).
SOPPING THE GRAVY [2]. Old-Time, Breakdown. USA, Texas. D Major. Standard tuning. AB
(Silberberg): AABB (Phillips). Some similarities to version #1. Sources for
notated versions: Bob Wills (Texas) [Phillips]; Mel Durham [Silberberg].
Phillips (Traditional American Fiddle
Tunes, vol. 1), 1994; pg. 228. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 147.
SOPPING THE GRAVY [3]. Old-Time, Breakdown. D Major. Standard tuning. AABBCC. Source for
notated version: Floyd Engstrom [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t
Learn at the Tractor Tavern),
2004; pg. 42.
SORAIDH LEIS AN T'SEANA BHLIADHNA. AKA and see "Hogmanay [1]."
SORAIDH SLAN DO'N
AILLEAGAN. AKA and see "Farewell, Darling Youth."
SORAIDH SLAN LE
FIONNAIRIDH. AKA and see "Farewell to Fuinary."
SORE FAILD SINCE I
KEND THEE. Northumbrian. One of the "missing
tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.
SORE FOOT, THE (An Chois Tinn). Irish, Reel. A Dorian. Standard tuning. AB.
Source for notated version: accordionist Sonny Brogan (County Sligo/Dublin,
Ireland) [Breathnach]. Breathnach (CRÉ I),
1963; No. 92, pg. 40.
SORREL MOUNTAIN. Old-Time, Breakdown. A Major. From the
fiddling of Roscoe Parish, Coal Creek, Virginia.
SORROW WALTZ. See "Valse de Coeur Casse."
SORROWFUL MAIDEN, THE (An Aindear Bronac). Irish, Air (6/8 time). G Dorian.
Standard tuning. One part. Cazden (et al, 1982) finds this air a relative of
"The Mermaid" as printed in Joyce
(1909) and his own Catskill Mountain (New York) collected "The Maid on the Shore [1]."
Further, he notes the original tune strain was derived from the Irish air
"Drumindown," variously translated as "Dear Black Cow [1]," "Dear
Brown Cow" or "Dear Brown Fair-Backed Cow." O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 461, pg. 80.
X:1
T:Sorrowful Maiden, The
M:6/8
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 461
Z:AK/Fiddler’s Companion
K:G Minor
G/F/|DGG/A/ G2 A/B/|cAG/A/ F2G|AGG
Ace|d3 d2 d/=e/|fgg/=e/ fdd/c/|
DBB A2 (3d/c/A/|GGA/G/ Acd/=e/|f_ed
g2 d/c/|B>BA/G/ Adc/A/|AGG G2||
SORRY I AM. Irish, Jig. G Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 236, pg.
137.
SORRY TO PART. AKA and see "Happy to Meet {and Sorry
to Part}," "The Wake Jig,"
"My Love in the Morning,"
"Jemmie the Gom," "You'll go a hunting no more."
Irish, Jig. A Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 1; No. 2, pg. 36.
X:1
T:Sorry to Part
M:6/8
L:1/8
R:Jig
B:Kerr – Merry Melodies, vol. 1, pg. 36 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
af|edB cAF|EAA A2B|cff ecA|cBB
Baf|ecB cAF|
EAA A2B|cff ecB|cAA A2||e|a3 gfe|cee
efg|
a3 gfe|cff f2g|agb agf|cee efg|a2f
b2a|gfg agf||
SORRY, TOO LATE (Aitreac Romall). Irish, Hornpipe. G Major. Standard tuning.
AABB. Source for notated version: John McFadden [O’Neill]. O'Neill (Krassen),
1976; pg. 199. O'Neill (Music of Ireland:
1850 Melodies), 1903/1979; No. 1706, pg. 317.
X:1
T:Sorry, Too Late
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1706
Z:AK/Fiddler’s Companion
K:G
d>c | (3Bcd A>B G>DB,>D | G>B (3def g2 b>f |
(3gfe d>B c>de>a |
(3gfe (3dcB A>dc>d |
B>dA>B G>DB,>D | G>B (3def g2 b>f |
(3gfe (3dcB c>ed>c |
B>GA>F G2 :: B>d | (3gag e>g (3faf d>f |
g>fe>g f2d2 | g>ba>f
(3gab (3agf | (3gfe (3dcB A>dc>d |
(3Bcd A>B G>DB,>D | G>B (3def g2 b>f | (3gfe (3dcB c>ed>c
| B>GA>F G2 :|
______________________________________
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