The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
SPA - SPL |
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] |
SPA DANCE, THE. AKA – “The Spa.” Scottish, Country Dance Tune
(2/4 time). C Major (‘A’ part) & F Major (‘B’ part) {McGlashan}: D Major {Aird,
Thompson}. Standard tuning. AB. The melody also appears in the 1788 music
commonplace book of fiddlers John and William Pitt Turner (Norwich, Conn.), as
do several tunes from Charles and Samuel Thompson’s third country dance
collection (London, 1773). Aird (Selection of Scotch, English, Irish and
Foreign Airs), vol. II, 1785; No. 62, pg. 23 (appears as “The Spa”). McGlashan (Collection of Scots Measures), c. 1780; pg. 42. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 23.
X:1
T:Spa Dance, The
M:2/4
L:1/8
S:McGlashan – Collection of Scots Measures (c. 1780)
Z:AK/Fiddler’s Companion
K:C
Cc/B/ cc|ec e2|ge g/f/e/d/|c/B/c/d/ cc|Cc/B/ cc|ec e2|ge g/f/e/d/|c2 c2|ffee|ff e2|
Cc/B/ cc|ec e2|ge g/f/e/d/|c2 C2||
K:F
F>GAA|Ac c2|Ac e/d/B/A/|G/F/G/A/ GG|F>GAA|Ac c2|cA
d/c/B/A/|A2 G2||
G>GAB|Acfc|G>ABB|Ac/d/ c/B/A/G/|F>GAA|Acfc|cA c/B/A/G/|F4||
X:2
T:Spa Dance, The
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
Dd/c/ dd|fd f2|af a/g/f/e/|d/c/d/e/ dd|Dd/c/ dd|fd f2|agfe|d2d2|
[eg][eg][df][df]|[eg][eg] [d2f2]|[eg][eg][df][df]|[eg][eg] [d2f2]|Dd/c/ dd|fd f2|af a/g/f/e/|d2D2|
G>ABB|Bd d2|Bd e/d/=/B/|A/G/A/B/ AA|G>ABB|Bd d2|dB e/d/=/B/|B2 A2|
AB=cc|BdgB|A>B=cc|Bd/e/ d/=c/B/A/|G>ABB|Bdgd|dB
d/=c/B/A/|G4||
SPACE AND COMPASS. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Robert Ross's 1780 collection
(pg. 4).
SPACE AVAILABLE MARCH.
SPADILL . English, Jig. B Flat Major.
Standard tuning. AABB. Originally published in Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773). “Spadill” later appeared int Longman and
Broderip’s Compleat Collection of 200 Favourite Country Dances (London,
1781), as “The Spadill.” The Spadill was the name for the ace of spades in the
card game called Quadrille or Ombre. Thompson (Compleat Collection of
200 Favourite Country Dances, vol. 3), 1773; No. 78.
X:1
T:Spadill
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
B2
d>f|e>g c>e|d>f B>d|(3cec (3AFA|B2 d>f|e>g c>b|(3agf
(3cd=e|f2 F2:|
|:(3f_af (3dfd|(3=BdB (3GBd|(3ege (3cec|(3AcA (3FAc|(3BFB (3dBd|(3fdf
(3bfe|(3dcB (3FGA|B2 B,2:||
SPAGHETTI PANIC. English. Composed by Andy Cutting.
X:1
T:Spaghetti Panic
M:7/8
L:1/8
Q:1/8=180
C:Andy Cutting
P:AB AB CD CE AB
B:Alexandra Browne : Diatonic
Liasons (Dragonfly 2000)
D:Blowzabella : Vanilla
Z:Steve Mansfield July 2000
K:Em
P:A
BeB fB gB | gfe f^d B=d | ~edc
gfe f^d B=d | ~edc
P:B
|:
M:8/8
EFG G2B dB |
M:7/8
ABc BF Ed | ~edc
M:8/8
{G}AGF F2G FD | EFG G2B dB |
M:7/8
ABc BF Ed | ~edc
1AGF[E2e2]-[Ee] :|2AGF[E2e2]z2 |
P:C
: GAd _ed cA | B((3GBG) _FG AF | GAd
_ed cA | B((3GBG) _F([Ac][Ac])F::
P:D
g=fg ^ag f^(f | g)^ag _fd ^Ad | g=fg
^ag f^(f |1g)^ag=f2 ^f2:|
2g^ag =fd ^A=A |
P:E
M:7/8
BeB fB gB |
M:8/8
aBgB fBeB |
M:7/8
cec fc gc |
M:8/8
acgc fcec |
M:7/8
AeA =fA gA |
M:8/8
aAgA =fAeA |
M:7/8
FAF BF cF |
M:8/8
dAeA =fA^fA ||
SPAGNOLETTE REFORMEERT. Dutch, Air (2/2 time). D Major.
Standard tuning. AABB. Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 52
(appears as “Gold for the Mahieus”, the title of a country dance by
Philippe Callens set to a traditional Dutch tune).
SPAILPÍN A RUN/RÚIN. See "Spailpin Ruin."
SPAILPÍN FÁNAC(H) [1], AN. AKA and see "As Slow Our
Ship," "Brighton Camp,"
"The Girl I Left Behind Me
[1]," "The Rambling
Laborer," “The Wandering Labourer.” Irish, Slow Air (4/4 time). G
Major. Standard tuning. One part. Gearóid Ó hAllmhuráin discusses the ordeal of
the spailpín, or wandering laborer,
in his book A Pocket History of Irish
Traditional Music (1998). The spailpín
was a landless individual—holding nothing save the cabin he occupied—and by
necessity hired himself out to whomever would employ him. He survived on a
system of conacre in which he had to meet the uncertain prospect of growing
enough crops to pay his rent with enough left to feed his family; when times
were hard, as they often were, the spailpín took himself to a hiring fair in
hopes of temporary migrant employment to stave off eviction and starvation.
According to the Devon Commission of 1843, he belonged to the most ‘wretched of
the many wretched classes in
***
***
Go deo do arís ní raghad go Caiseal
ag díol ná ag reic mo shláinte,
Ar mhargadh na saoire im shuí cois balla
nó im scaoinse ar leataoibh sráide;
Bodairí na tíre ag tíocht ar a gcapaill
á fhiafraí an bhfuilim híreáilte;
‘Téanam chun siúil, tá an cúrsa fada!’
—seo ar siúl an spailpín fánach.
***
Im spailpín fánach a fágadh mise
ag seasamh ar mo shláinte,
Ag siúl an drúchta go moch ar maidin
ag bailiú galair ráithe;
Ní fheicfear corrán im láimh chun bainte,
súist ná feac beag rámhainne,
Ach colours na bhFrancach os cionn mo leapa
is pike agam chun sáite.
***
Go Callainn nuair théim ’s mo hook im ghlac is
mé ansúd i dtosach gearrtha,
Is nuair théim go Dúilinn ’s é clú bhíonn acu
‘Seo chúibh an spailpín fánach!’;
Cruinneoidh mé ciall ’s triallfad abhaile
is cloífead seal lem mháithrín,
’s go bráth arís ní ghlaofar m’ainm
sa tír seo ‘an spailpín fánach’.
***
Mo chúig chéad slán chun dúthaigh m’athar
’gus chun an Oileáin ghrámhair,
’s chun buachaillí na Cúlach ós dóibh nár mheasa
in aimsir chasta an gharda ann;
Ach anois ó táimse im thráill bhocht dhealamh
i measc na ndúthaí fáin seo,
Is é mo chumha croí mar fuair mé an ghairm
bheith riamh im spailpín fánach.
***
I gCiarraí an ghrinn do gheofaí an ainnir
go mb’fhonn le fear suí láimh
léi,
’na mbeadh lasadh trí lítis ’na gnaoi mar eala,
is a cúl fionn fada fáinneach;
A cruinne-chíocha riamh nár scaipeadh,
’s a mala chaol mar shnáthaid,
’s mór go mb'fhearr í ná sraoill ó Challainn
’na mbeadh na céadta púnt le fáil léi.
***
’S ró-bhreá is cuimhin liom mo dhaoin’ bheith sealad
thiar ag Droichead Gáile,
Faoi bhuaibh, faoi chaoirigh, faoi laoigh beag’ geala
agus capaill ann le háireamh;
Ach b’é toil Chríost gur cuireadh sin astu
’s go ndeaghamar i leith ár sláinte,
Is gurbh é bhris mo chroí i ngach tír dá rachaim—
‘Call here you, spailpín fánach!’
***
Dá dtigeadh an Francach anall thar caladh
is a champa daingean láidir,
’gus Bóic Ó Gráda chúinn abhaile
is Tadhg bocht fial Ó Dálaigh,
Do bheadh barracks an rí go léir á leagadh
agus yeomen ’gainn á gcarnadh,
Clanna Gall gach am á dtreascairt—
sin cabhair ag an spailpín fánach!
***
The above is taken from Nua-Dhuanaire, Cuid III. A
cited, and the following verse
quoted:
***
Tá na Franncaigh anois istigh i gCill Eala
agus béidhmuid go leathan láidir;
Tá Bonaparte i gCaisleán an Bharraigh
ag iarraidh an dlighe a cheap Sáirséal;
Béidh beairicí an ríogh is gach éan-oidhche thrí lasadh
agus yeomen againn á gcarnadh;
Puiceanna an Bhéarla go síorruidh d’á leagan—
sin cabhair ag an Spailpín Fánach.
***
THE ROVER (George Sigerson)
***
No more, no more in Cashel town
I’ll sell my health a-raking,
Nor on days of fairs rove up and down
Nor join the merry making.
There, mounted farmers come in throngs
To seek and hire me over,
But now I’m hired, and my journey’s long,
The journey of the Rover.
***
I’ve found, what rovers often do,
I trod my health down fairly;
And that wand’ring out on morning dew
Will gather fevers early.
No more shall flail swing o’er my head,
Nor my hand a spade-shaft cover,
But the banner of
And the Pike stand by the Rover!
***
When to Callan once, with hook in hand,
I’d go for early shearing,
Or to
That the "Rover gay" was nearing.
And soon with good gold home I’d go,
And my mother’s field dig over,
But no more—no more this land shall know
My name as the "Merry Rover!"
***
Five hundred farewells to Fatherland!
To my loved and lovely
And to Culach boys—they’d better stand
Her guards by glen and highland.
But now that I am poor and lone,
A wand’rer—not in clover—
My heart it sinks with bitter moan
To have ever lived a Rover.
***
In pleasant Kerry lives a girl,
A girl whom I love dearly;
Her cheek’s a rose, her brow’s a pearl,
And her blue eyes shine so clearly!
Her long fair locks fall curling down
O’er a breast untouched by lover—
More dear than dames with a hundred poun’
Is she unto the Rover!
***
Ah, well I mind, my own men drove
My cattle in no small way;
With cows, with sheep, with calves, they’d move
With steeds, too, west to
Heaven willed I’d lose each horse and cow,
And my health but half recover—
It breaks my heart, for her sake, now
That I’m only a sorry Rover.
***
But when once the French come o’er the main,
With stout camps in each valley,
With Buck O’Grady back again,
And poor brave Tadhg Ó Dálaigh—
Oh, The Royal Barracks in dust shall lie,
The yeomen we’ll chase over;
And the English clan be forced to fly—
’Tis the sole hope of the Rover!
***
Ó Canainn (Traditional Slow Airs of
X:1
T:Spalpeen Fanach, The [1]
T:Spailpín Fánach, An
L:1/8
M:C
R:Set Dance
S:O’Neill – 1001 Gems (972)
Z:AK/Fiddler’s Companion
K:G
gf|efed B2A2|GABG E2 EF|G2 GF
GABc|dedc B2 gf|
efed B2A2|GABG E2G2|FGAF DEFA|G3
G2:|
|:GA|Bdef g2 fg|agfe d2 Bd|edef
gfed|e2f2g2 fg|efed BcBA|
GABG EDEG|FGAF DEFA|G3G2:|
SPAILPÍN FÁNAC(H) [2],
AN. AKA and see
“West Cork Reel.” Irish, Reel or
Polka. D Major. Standard tuning. AA’B. See note for “West Cork Reel.” Shanachie 79018, De Dannan – “Star Spangled Molly.” Topic
Records, Julia Clifford – “The Humours of Lisheen.”
X:1
T:Spailpin Fanach, The
R:polka
Z:id:hn-polka-109
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:2/4
L:1/8
K:D
D/E/F/G/ AB|=cA AG|Ad d^c|d2
d>e|fd ed|cA AB|cA GE|1 D2 D2:|2 D2 D>e||
fd ed|cA A>e|fd ec|d2 d>e|fd
ed|cA AB|cA GE|D2 D>e|
fd ed|cA A>e|fd ef|g2 a>g|fd
ed|cA AB|cA GE|D2 D2||
% The c in the second bar can also
be sharp
SPAILPÍN RÚIN (Migrant Farmworker, My Love). AKA – “A Spailpín, A Rúin.” AKA and
see "Tumbling Down Teady's
Acre," "The Stranger," "Along the Mourne Shore,"
"The Reading Made Easy."
Irish, Air (3/4 time). D Mixolydian. Standard tuning. AAB. The melody, which
appears in the Stanford-Petrie collection (No. 1379), is a variant (or, as
Cowdery {1990} says, an "outlining correspondent") of "The Blackbird," notwithstanding sean nos singer Joe Heaney's emphatic
assertion that this was the older of the the two tunes. Ó Canainn (Traditional Slow Airs of
SPALPEEN'S
COMPLAINT OF THE CRANBALLY FARMER, THE
(Fagamoid Sud Mar A Ta Se). Irish, Air (6/8 time). D Major. Standard tuning. AB. "I have
endeavoured to give representations of all classes of Irish Folk Songs in this
collection; and the two following ballads (see also 'Ye Sons of Old Ireland')
represent‑‑well and vigorously‑‑the satirical class.
Both have remained in my memory since my boyhood; and I have a copy of 'The
Cranbally Farmer' on a roughly‑printed sheet. This same 'Cranbally
Farmer'‑‑the man himself‑‑was well known in the
district sixty years ago as a great old skinflint; and the song drew down on
him universal ridicule. The air is 'Fagamaoid sud mar ata se,'
which was published by me for the first time in my Ancient Irish Music,
p. 14. Spalpeens were labouring men‑‑reapers, mowers, potato‑diggers,
etc.‑‑who travelled about in the autumn seeking employment fron the
farmers, each with his spade, or his scythe, or his reaping‑hook. They
congregated in the towns on market and fair days, where the farmers of the
surrounding districts came to hire them. Each farmer brought home his own men,
fed them on good potatoes and milk, and put them to sleep in the barn on dry
straw‑‑a bed‑‑as one of them said to me‑‑'a bed fit for a lord, let alone a
spalpeen.'" The word spalpeen is now used in the sense of a
low rascal. Irish spailpin, same
sound and meaning (P.W. Joyce). The
***
Joyce (Old Irish Folk Music and Song), 1909; No. 406, pgs. 216‑217.
SPALPEEN FANACH, THE. See "Spailpin
Fanac(h), An."
SPALPEEN’S LAMENT, THE. AKA and see “Caoinead an Spailpín.”
SPANDY, LE. French-Canadian, Reel. D Major.
Standard tuning. AABBCC’DD’.
X:1
T:Spandy, Le
M:2/4
L:1/8
R:Reel
K:D
fe/d/ f/d/e/f/|g/A/B/c/
B/{c}B/A|fe/d/ f/d/e/f/|g/A/B/c/ d2:|
|:af/d/ A/d/f/d/|c/A/B/c/
B/{c}B/A|af/d/ A/d/f/d/|c/A/B/c/ d2:|
|:c>c BA/B/|c/A/c/A/
E/A/A/B/|c/A/c/A/ BA/c/|1 c/A/e/c/ AA/B/:|2 c/A/e/c/ A/B/A/G/||
|:F/A/d/f/ af/d/|c/A/B/c/
BA/G/|F/A/d/f/ a/f/d/g/|b/g/e/c/ d A/G/:|2 b/g/e/c/ d2||
SPANIARD, THE. English, Country Dance Tune (6/8 time). G
Major. Standard tuning. AABB.The melody was published by Playford, The English Dancing Master (1651),
though Barnes dates it to 1777 for some reason. The title refers perhaps to the
Spaniards, a fashionable garden resort in 18th century
***
The establishment’s greatest hour
came during the anti-Catholic Gordon Riots in
***
The melody was known in the
X:1
T:Spaniard, The
M:6/8
L:1/8
K:G
G3D3 | B3 G3 | BAB c2A | B3G3 | d3c3
| B3 A3 | GGG A2F | G3 G3 :|
|: b3 bag | a2f g2e | d3 dcB | c2A B2G | b3 bag | a2f
g2e | d3 dcB | c2A G3 :|
SPANISH CLOAK, THE. A jig version of the Irish waltz “Munster Cloak.”
SPANISH DANCE. AKA and see "Spanish Waltz [1]."
SPANISH FANDANGO. AKA and see "Dango," "
SPANISH GIPSY, THE. AKA and see "Fairy Queen," "Come Follow (Follow Me)."
English, Country Dance Air (6/4 time). D Major (Barnes, Raven): C Major
(Chappell). Standard tuning. One part (Chappell): AB (Barnes). The “Spanish
Gypsie” appears in John Playford's Dancing
Master, 1st edition (1651,
as “Spanish Jeepsie”) and in all subsequent editions of the long-running series
through the end, with the 18th (1728), Playford’s Musick's Delight on the Cithren (1666), The Musical Miscellany (1729), Walsh's Dancing Master (as "Fairy
Queen"), and several ballad operas, such as The Bay's Opera (1727), and The Fashionable Lady (1730)
{where is appears as the tune for the song "Come, follow, follow
me"}. Chappell (1859) states the title is from a ballad appearing in a
play by Middleton and Rowley, called The Spanish Gipsie (1623) sung by
the gipsies before giving an exhibition of the various arts. It became better
known as "Fairy Queen" and "Come, follow, follow me" from
other ballads written to the air. Gary Taylor and John Lavagnino, in their 2007
book Thomas Middleton and Early Modern Textual Culture (pgs. 174-178)
convincingly argue that Playford’s air did not originally accompanied the “Come
follow your leader” song, and that it in fact did not accompany any song in the
play. Rather it was a melody that accompanied a dance without singing that
occurs in scene 5.3 when four heterosexual couples are on stage, the last dance
of the work. Barnes (English Country Dance Tunes, vol. 2), 2005; pg.
122. Barlow (The Complete Country Dance Tunes from Playford’s Dancing Master),
1985; No. 96, pg. 35. Chappell (Popular
Music of the Olden Time), vol. 1, 1859; pg. 186. Raven (English Country Dance Tunes), 1984; pg.
16.
X:1
T:Spanish Gipsy, The
M:6/8
L:1/8
K:D
A|d>ef d>ef|(d3 d2)A|d>ef
d>ef|(d3 d2)d|e>fe e2d|
c3 B3|A>BA A2G|(F3 F2)D|F>GA
F>GA|(d3 d2)A|
F>GA F>GA|(E3 E2)A|f>ga
f>ga|(d3 d2)e|f>ga gaf|e3d2||
SPANISH JIG. English, Country Dance Tune (6/8 time). C Major. Standard tuning. AABB.
The tune dates to 1721. Barnes (English
Country Dance Tunes), 1986.
SPANISH
LADIES LOVE (FOR AN ENGLISH GENTLEMAN),
THE. AKA ‑
"The Spanish Lady." English, Air (3/4 time). C Major (Merryweather):
A Major (Chappell, Kines). Standard tuning. One part (Chappell, Kines): AA'BB' (Merryweather).
The tune dates from the late 16th century, state Chappell (1859) and
Merryweather (1989), apparently on the strength that it metrically matches the
first line of a ballad of that time published by "the prolific"
Thomas Deloney, which goes: "Will you heare a Spanish Lady, how she wooed
an Englishman?" They also cites
the 18th century Bishop Thomas Percy who alleged the the ballad "took its
rise from one of those descants made on the Spanish coast in the time of Queen
Elizabeth and, in all likelihood, from the taking of
X:1
T:Spanish Lady, The
L:1/8
M:3/4
S:Chappell – Popular Music of the Olden Times
Z:AK/Fiddler’s Companion
K:A
EA|G3 A BB|c/B/ A3 AG|F3E FG|A4
EA|G3A BB|c/B/ A3 AG|
F3E FG|A3 A/B/ ce|Dc BA cd|e3 A/B/
ce|dc BA cB|A4||
SPANISH LADY, THE. See "The Spanish Ladies Love (for an
English Gentleman)."
SPANISH LADY POLKA. Irish, Polka. D Major. Standard tuning. AABB. The title comes from a
song set to the tune. Source for notated version: Mary O’Hara [Miller &
Perron]. Black (Music’s the Very Best
Thing), 1996; No. 233, pg. 125. Mallinson (100 Polkas), 1997; No. 97, pg. 38. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol.3, No. 62. Miller & Perron (Irish Traditional Fiddle Music), 2nd
Edition, 2006; pg. 135. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 9. Tradition
TLP 1024, Mary O'Hara – “Songs of
X:1
T:Spanish Lady
L:1/8
M:2/4
K:D
FA AB/c/ | dd de/f/ | ~ge ~fd | ~BA
A/B/A/G/ | FA AB/c/ |
dd de/f/ |~ge ~fd |1 ~BA A>G :|2
BA A2 ||
|:fa a/b/a/f/|ed d>e|fa
a/b/a/f/|be ed/e/|fa a/b/a/f/|ed de/f/|~ge ~fd|~BA A2||
X:2
T: Spanish Lady
Q: 300
R: polka
Z:Transcribed by Bill Black
M: 2/4
L: 1/8
K: D
FA AB/c/ | dd ef | gf/e/ fd | BA A2 |
FA AB/c/ | dd ef | gf/e/ fd | BA A2 :|
fa af | ed de | fa af | ed e2 |
fa
af | ed de/f/ | ge fd | BA A2 :|
SPANISH LEATHER. Old‑Time. The title appears in a list of traditional
SPANISH PATRIOTS [1], THE. English, Hornpipe.
SPANISH PATRIOTS [2], THE. English, Country Dance Tune (2/4
time). C Major. Standard tuning. AABBAA. No relation to “Spanish Patriots [1].”
Cahusac’s title may refer to the Spanish irregulars who maintained a guerrilla
war against the French forces of Napoleon Bonaparte on the Iberian Peninsula.
There is a tune dedicated to Sir Arthur Wellesley, commander of the British
forces in the Peninsular Campaign in the same volume. Cahusac (Annual
Collection of Twenty Four Favorite Country Dances for 1809). 1809; No. 18.
X:1
T:Spanish Patriots, The
M:2/4
L:1/8
B:Cahusac – Annual Collection of Twenty
Four Favorite Country Dances for 1809, No. 18 (London)
N:”With proper Directions to each Dance as they are performed at
N:Court, Bath, and all Public Assemblies.”
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s
Companion
K:C
(c/B/c/d/) c/e/G/B/|c/B/c/d/
c/e/g/e/|(c/B/c/d/) c/e/G/c/|A/c/B/d/ cc’:|
|:(d/^c/d/e/) dg|dadb|(d/^c/d/e/)
dg|b/a/g/^f/ g2:||
SPANISH PAVAN, THE. English, Country Dance Tune (4/4 time). G
Dorian. Standard tuning. AB. The air, which Chappell (1859) states was very
popular in the reigns of Elizabeth and James, appears in the Fitzwilliam Virginal Book, Willaim Ballet's Lute Book (1590), Dorothy Welde's Lute Book, a lute MS in
the Cambridge University Library, and Sir John Hawkins' transcripts of virginal
music. Chappell (Popular Music of the
Olden Time), vol. 1, 1859; pg. 251.
X:1
T:Spanish
Pavan, The
M:C
L:1/8
S:Chappell
– Popular Music of the Olden Times (1859)
Z:AK/Fiddler’s Companion
K:G Dorian
D2 | G2B2A2G2 | ^F2D2D2E2 | ^F2G2A2^F2 | G3A B2A2 |
G2E2F2G2 | A2F2F2c2 | c3d c2B2 | A3G F2 || c2 |
d2c2B2A2 | B3c d2 cB | c2B2A2G2 | ^F2D2D2E2 |
^F2G2A2^F2 | G2A2B2c2 | d2 cB AG A2 | G8 ||
SPANISH POLKA. AKA and see “Black Jack [2],” “Cherokee Polka,” “Texas Galop,” “Texas Quickstep [1].”
SPANISH TWO-STEP. Old‑Time, Two‑Step. USA; Texas, Arkansas. A Major ('A' and
'B' parts) & D Major ('C' part). Standard tuning. AA'BB'CC. Written by
Texas fiddler Bob Wills, who developed the melody while playing in a New
Mexican band that included some Mexican‑American musicians. Wills' version
become the fourth best-selling country music record for the year 1936. The
title appears in a list of traditional
SPANISH WALTZ [1]. AKA and see "Cinderella
Waltz," "Spanish Dance."
American, Waltz. G Major. Standard tuning. ABCD. The tune dates to the 1820's
as "Spanish Waltz" or "Spanish Dance," though there have
been other tunes and dances by the same name. The 'B' and 'C' parts in
Matthiesen’s version are also known as "Cinderella Waltz." Boston
publisher Elias Howe (Drawing Room Dances,
1858) printed a waltz circle mixer called “Spanish Dance” which still has
currency at New England dances today (the same two parts as the first two parts
of the four part tune appearing in Lovett’s publication, referenced below). The
‘C’ and ‘D’ parts of the “Spanish Waltz [1]” form the melody “Green Hills of
T:Spanish Waltz
L:1/8
M:3/4
N:AABBCAABB.
S:Elias Howe –
Z:AK/Fiddler’s Companion
K:G
B/c/|dedcBA|G2 GFGB|A2 d2d2|B2 GABc|dedcBA|G2 GFGB|A2d2d2|G2 z2:|
|:G2|F2d2d2|B2d2d2|f2d2d2|B2 cBAG|F2d2d2|B2d2d2|dedcBA|G3 z:|
K:C
c2|e4
d2|c4 Bc|d2g2g2|e2c2G2|e4 d2|c4 Bc|d2g2g2|c3z||
SPANISH WALTZ [2]. English, Waltz. England, Shropshire. C Major. Standard tuning. AABB.
Source for notated version: a c. 1837-1840 MS by
X:1
T:Spanish Waltz [2]
M:3/4
L:1/8
R:Waltz
S:John Moore (Shropshire, 1837)
K:C
G2|(Gc).e2.e2|(FA).d2.d2|(DF).B2.B2|a2
g^f g2|….
SPANISH WALTZ [3].
English, Waltz. G Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 178a, pg. 47 (appears as “The Spanish No. 1”).
X:1
T:Spanish Waltz [3]
M:3/4
L:1/8
K:G
(3gfg|bg dB ce|ed BG Bd|dc AFAF|…
SPANISH WALTZ [4].
English, Waltz. D Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 178b, pg. 47 (appears as “The Spanish No. 2”).
X:1
T:Spanish Waltz [4]
M:3/4
L:1/8
K:D
de|f2B2d2|A4 FA|Ad f2d2|ce a2 de|…
SPANISH WALTZ [5]. English, Waltz. G Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 178c, pg. 47 (appears as “The Spanish No. 3”).
X:1
T:Spanish Waltz [5]
M:3/4
L:1/8
K:G
Bc|dB gf ag|bg d2 Bd|dc a2 cd|dB B2
Bc|…
SPANISH WALTZ [6].
English, Waltz. G Major. Standard tuning. AA’BBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 178d, pg. 47 (appears as “The Spanish No. 4”).
X:1
T:Spanish Waltz [6]
M:3/4
L:1/8
K:G
Bd|ed ^cd gd|B2B2B2|cB _B=B dB|G2G2G2|…
SPANKING JACK. English, Air (whole time). G
Major. Standard tuning. AB. The title is from a song by Charles Dibdin
(1745-1814), one of
***
Spanking Jack was so comely, so pleasant, so jolly,
Though winds blew great guns, still he’d whistle and sing,
For Jack loved his friend, and was true to his Molly,
And, if honour give greatness, was great as a king:
One night as we drove with two reefs in the main-sail,
And the scud came on low’ring upon a lee shore,
Jack went up aloft for to hand the top-ga’nt sail,
A spray wash’d him off, and we ne’er saw him more:
But grieving’s a folly,
Come let us be jolly;
If we’ve troubles on sea, boys, we’ve pleasure on shore.
***
The melody appears in the large
1840-1841 music manuscript collection of John Rook, of
X:1
T:Spanking Jack
M:C
L:1/8
R:Air
S:John Rook manuscript collection
(Warerton, 1840)
K:G
D2|G2 B>G c2 A>d|B2 G>E A2
F>D|G2 B>G c2 A>d|BG AF G2z2|
G2 B>G c2 A>d|B2 GE A2 FD|G2
BG c2 Ad|BG AF G2z||G|
G2 GG G2 EG|c2 GE FEDF|A2 AB cede|A2
AA GF zD|
D2 BG GFED|d2 BG G/F/E/D/ DD|G2 GG
G2 Bd|AGAB G3 GA/B/|
c4E4|A4D4|G2 BG c2 A>d|B2 GE A2
FD|G2 BG c2 Ad|BGAF G2||
SPARÁN AIRGID NA
CAILLÍ (‘The Hag’s Purse’ or
‘The Old Woman’s Purse of Money’). AKA and see “The
Hag’s Purse.”
SPARAN DO BI GIODTE, AN. AKA and see "The Stolen
Purse [1]."
SPARKLETS WALTZ. Old‑Time, Waltz.
SPARKLING BLUE EYES (Gorm-Rosg N-Dritlead). Irish, Air (4/4 time). G Major.
Standard tuning. AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 617, pg. 109.
X:1
T:Sparkling Blue Eyes
M:C
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
dc|B2 B>G A2 {B}A>F|G2G2
A>G F>G|B2 A>G A2
(3GFE|D2^C2C2 d=c|
B2 B>G {B}A2 A>F|G2G2 A>G F>G|B2 A>G A2
(3Adc|A2G2G2||D>C|
D2 Dc B2c2|d2 dc B A3|B2c2d2 cA|GF
D^C D2 dc|B2 B>G {B}A2 A>F|
G2G2 A>G F>G|B2 A>G A2
(3Adc|A2G2G2||
SPARKLING SEA. Irish, Jig. Composed by the
late
SPARK'S RANT. Scottish, Pipe Reel. D Major. Standard tuning. AAB. John Glen (1891)
finds the melody first in print in Edinburgh publisher Neil Stewart's 1761 collection (pg. 22).
Source for notated version: piper Hamish Moore [Cranford/Holland]. Cranford (Jerry
Holland: The Second Collection), 2000; No. 140; pg. 53. Hamish Moore – “Stepping from the Bridge” (1994).
X:1
T:Spark’s Rant
M:C|
L:1/8
R:reel
K:D
B|Abde f2 df|gefd B2 dB|Abde f2
ed|egfe d/d/d d:||
A|d/d/d af adde|fded B2 dB|d/d/d af
addf|egfe d2 dA|
d/d/d g2 afdf|”tr”gefd B2 dB|d/d/d
ad fdad|faef dedB||
SPARROW IN THE TREETOP. AKA and see "Birdy in
the Treetop," "Rochester
Schottische [2]," "The Cat Clumb Up the
Plum Tree Schottische"," "Jack Clumb Up the Plum Tree,"
"What the Devil Ails You
[2]."
SPATTER THE DEW [1]. Irish, Reel. A Dorian. Standard tuning. AB. Roche Collection, 1927, vol. 1; No. 193, pg. 74.
X:1
T:Spatter the Dew [1]
M:2/4
L:1/8
R:Reel
S:Roche Collection, vol. 1, No. 193
(1927)
Z:AK/Fiddler’s Companion
K:A Dorian
AA/B/ cc/d/ | e(e/d/) (e/a/)a |
AA/B/ cc/d/ | e/=f/e/d/ (e/A/)A | AA/B/ cc/d/ | e(e/d/) (e/a/)a |
a/b/a/g/ e(e/f/) |g/e/d/B/ (B/A/)A
|| a/b/a/g/ e(e/f/) | g/f/g/a/ b/e/e/>g/ | a/b/a/g/ e(e/f/) |
g/e/d/B/ (B/A/)A | a/b/a/g/ e(e/f/)
| g/f/g/a/ b/e/e/>f/ | g/f/e/f/ ({a}g/)e/d/B/ | B/c/B/A/ (G/E/)E/ z/ ||
SPATTER THE DEW [2] (Sciap an Druct). Irish, Slip Jig. E Minor. Standard tuning.
AABCD. Melodically, this tune seems to cover much the same ground as the more
frequently played slip jig "Kid on the Mountain," albeit a
distinctive tune. Barnes (English Country
Dance Tunes, vol. 2), 2005; pg. 59 (appears as “Heydaze”, the name of a
2003 dance by Brooke Friendly and Chris Sackett written to the tune). Carlin,
1977; pg. 52. O'Neill (O’Neill’s Irish
Music), 1915/1987; No. 223, pg. 119. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 446, pg. 87.
X:1
T:Spatter the Dew
M:9/8
L:1/8
R:Slip Jig
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:E Minor
EFE E2F G2F|DED D2B AFD|EFE E2F
G2B|AFA dAG FED:|
E2(B B2F G2F|E2(B B2)G AFD|E2(B B2F
G2B|AFA dAG FED|
E2(B B2F G2F|E2(B B2)G AFD|E2B AB^c
dcB|AFA dAG FED||
B2e (e/f/ed) e2d|B2(e e2)a fdB|A2(d
d2)^c d2B|A2e d2B AFD|
B2e (e/f/ed) e2d|B2(e e2)a fdB|fga
efg d2A|B2^c A2G FED||
BdB AGA G2F|EFE E2B AFD|BdB
BdB ABA G2F|EFE E2B AFD|B^cd ABc
dcB|AFA dAG FED||
SPATTER THE DEW [3]. Irish, Slip Jig. D Major.
Standard tuning. AABCCDD. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 78, pg. 19.
SPATTER THE MUD. AKA and see “Boring
with a/the gim(b)let,” "I Have
a Wife of My Own," “(A) Wife of
my own.”
SPEAC MAG-UIDIR. AKA and see "Maguire's Kick."
SPEAK
A LITTLE LOUDER, FOR I AM DULL OF HEARING. English.
SPEAKING WALTZ. AKA and see “Exhibition (Waltz),”
“Victoria Waltz.” See note for “Kelso Hiring Fair.”
SPEALADÓIR, AN ("The Mower" or "The
Reaper"). AKA and see "The Cuckoo's Nest [14]," "Forty Pounds of
Feathers in a Hornet's Nest" (Pa.), "Come Ashore," "Jolly Tar,"
"Come
Ashore, Jolly Tar, with Your Trousers/Trowsers On," "Jacky Tar." Irish, Air. The title
comes from the poem by 18th century Munster poet Eoghan Rua Ó Súilleabháin
(1748-1784) set (and still sung) to the tune of "The Cuckoo's Nest."
Eoghan was a great talent, though something of a womanizer and earned the
nickname Eoghan a' Bhéill Bhinn (Eoghan of the Sweet Mouth).
SPEED OF THE PLOW. Old-Time, Breakdown. USA, Kentucky. A Major. AEae tuning. ABB. No
relation to the
SPEED THE PLOW/PLOUGH [1] (Bí ag
Treabhadh leat). AKA and see “Croghan Hill [1],” “The Doon Reel,”
"God Speed the Plow,"
"The Naval Pillar,” “Off in the Morning." English
(originally), Irish, Scottish, Old Time, American; Reel, Breakdown or Hornpipe.
***
A Regency view of Plough Monday, c. 1825.
***
A note in O'Neill {1913} (based on the authority of the British Musical Biography) states the air was composed in 1799
by John Moorehead of Armagh, Ireland, a famous violinist who came from a
musical family and who acquired some renown in the latter 18th century.
O’Neill’s information was that he was born in Edinburgh, emigrating to Armagh
in 1782, however, this is generally disputed. Groves Dictionary of Music (3rd edition, 1927),
for example, gives his place of birth as Ireland, around 1760. He was violinist
of Covent Garden Theatre in 1798, though his life ended tragically some six years
later when he committed suicide by hanging in 1804. O’Neill implies that the
tune was first called "The Naval Pillar" (J.S. Skinner, 1904, gives
it as an alternate title) A year after Moorehead was supposed to have composed
it the melody was used for a play called Speed the Plough (1800) written
by Thomas Morton, and was published in New York as an instrumental piano piece
about the same time. “Speed the Plough” has been attributed to others as well,
including English conductor, arranger and composer Sir Henry Bishop (for more
on whom see “Dashing White
Sergeant”) [
***
1)
Edward Light: Introduction to the art of playing on the harp, lute, guitar (
2)
E. Rhames: 3 Admired Country Dances - National Library of Ireland MS
7040 (
3) Maurice Hime: Collection of Favorite Country Dances for
the Present Year, vol. 1 - National Library of Ireland, Joly Music 5298 (
***
Whomever composed it, the melody was hugely popular and quickly entered tradition on both sides of the Atlantic--apparently about the same time--where it has appeared regularly in fiddle-tune collections in America and the British Isles ever since.
***
In
America the tune was known in the tradition as early as 1839 when it was
printed in George P. Knauff's Virginia
Reels, volume I. "Speed the Plow" is cited as having often been
played for country dances in Orange County, New York, in the 1930's (Lettie Osborn,
New York Folklore Quarterly) and it
also appears in the repertoire list of Maine fiddler Mellie Dunham (the elderly
Dunham was Henry Ford's champion fiddler in the late 1920's). The title appears in a list of traditional
***
Flett
& Flett report the tune a Scottish country dance and that it is the first
half of the Perth Medley, peculiar to the Perth Hunt Balls. The tune was
included by J. Scott Skinner in his 1921 concert set romantically entitled
"Spey's Fury's.” In
***
O’Neill (1913) believes the tune to be Irish in character, and states it was regarded as English due to its being first heard in English theatres, though he regretfully determined it too associated with England to include in his Dance Music of Ireland. Irish variants are routinely played, however: see “Croghan Hill,” “Off in the Morning” and the related hornpipe “Ebb Tide [1].”
***
Sources
for notated versions: J. Scott Skinner (Scotland) [Phillips]; Willie Woodward
(Bristol, N.H.) [Linscott]; Albert Quigley, c. 1950's (New England) [Miller
& Perron]; Bradley Grimshaw (northern N.Y., 1958) and Hogg (Pa., 1948)
[Bayard]; piper Seamas Ennis, 1959 (Dublin, Ireland) [Breathnach]; Paul Goelz
[Johnson]; Kelly Jones (Mo.) [Phillips/1994]; an MS collection by fiddler
Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle];
George Edwards (Woodland Valley, Catskill Mtns., New York) [Cazden]; Charlie
Mulvihill via accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan];
a c. 1847 music manuscript collection by Ellis Knowles, a musician from
Radcliffe, Lancashire, England [Plain Brown Tune Book]; an unattributed
19th century manuscript in the collection of Tommy Breckon [Dixon].
Adam, 1928; No. 58. Bacon (The Morris
Ring), 1974; pg. 53a. Barnes (English
Country Dance Tunes), 1986. Bayard (Dance
to the Fiddle), 1981; No. 275A‑B, pgs. 230‑231. Breathnach (CRÉ II), 1976; No. 160, pgs. 84‑85.
Brody (Fiddler’s Fakebook), 1983; pg.
264. Burchenal (American Country Dances, vol. 1),
1918; pg. 37. Callaghan (Hardcore English),
2007; pg. 49. Carlin (English Concertina),
1977; pg. 37. Cazden (Dances from
Woodland), 1945; pg. 17. Cazden, 1955; pg. 344. Christeson (Old Time Fiddlers Repertory, vol. 2),
1984; pg. 7. Cole (1000 Fiddle Tunes),
1940; pg. 21. DeVille, 1905; No. 68. Dixon (Remember
Me), 1995; pg. 59. Fiddler Magazine,
vol. 3, No. 1, Spring 1996; pg. 32. Ford (Traditional
Music in America), 1940; pg. 78. Hall & Stafford (Charlton Memorial Tunebook), 1974; pg. 34. Hardie (Caledonian Companion), 1992; pg. 37. Harding Collection (1915) and Harding's Original Collection (1928),
No. 15. Howe (Musicain's Omnibus),
pg. 41. Howe (1000 Jigs and Reels),
c. 1867; pg. 74. Huntington (William
Litten's), 1977; pg. 23. Jarman (Old
Time Fiddlin' Tunes); No. or pg. 12. Johnson, vol. 7, 1986‑87; pg. 9.
Kennedy (Fiddler’s Tune Book), vol.
1, 1951; No. 16, pg. 8. Jordan (Whistle
and Sing), 1975; 80. Kerr (Merry
Melodies), vol. 1; No. 6, pg. 24. Linscott (Folk Songs of Old New England), 1939; pg. 112. MacDonald (The Skye Collection), 1887; pg. 5.
Merryweather & Seattle (The Fiddler
of Helperby), 1994; No. 5, pg. 29. Miller & Perron (New England Fiddler’s Repertoire), 1983;
No. 94. O'Malley, 1919; pg. 24. O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 371, pg. 179 (listed as a hornpipe). Phillips
(Fiddle Case Tunebook: British Isles), 1989; pg. 44. Phillips
(Traditional American Fiddle Tunes),
vol. 1, 1994; pg. 229. Plain Brown Tune Book, 1997; pg. 50. Raven (English Country Dance Tunes), 1984; pg.
189. Robbins, 1933; No. 78, pg. 25. Ryan’s
Mammoth Collection, 1883; pg. 46. Saar, 1932; No. 13. Sharp (Country Dance Tunes), 1994; pg. 4.
Skinner (Harp and Claymore), 1904;
pgs. 96-97 (includes several variation sets). Stewart-Robertson
(The Athole Collection), 1884; pg.
15. Sym, 1930; pg. 7. White's Unique
Collection, 1896; No. 79, pg. 14. Beltona BL2096
(78 RPM), Edinburgh Highland Reel and Strathspey Society (1936). EFDSS CD13, Parry’s
Barrel Organ – “Hardcore English” (2007. Various artists). F&W Records 4, "The Canterbury Country Orchestra
Meets the F&W String Band." Fretless 136, Arm and Hammer String Band‑
"Stay on the Farm." Green Linnet 1023, Joe Shannon and Johnny
McGreevy‑ "The Noonday Feast." Kicking Mule 209, Hank Sapoznik‑
"Melodic Clawhammer Banjo." Saydisc SDL 234, Parry’s Barrel Organ
(vol. 11 in the Golden Age of Mechanical Music). Topic 12T280, J. Scott Skinner‑
"The Strathspey King." Topic TSCD752, Morris Motors Band – “Stepping
Up” (2004. Compilation CD). Voyager 320‑S, Frank Ferrel‑
"Fiddle Tunes." “The Fiddler’s Companion” (1980).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk
Music Index: An Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Speed the Plough [1]
M:C|
L:1/8
S:Reel
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
E|A2(Ac efec|eaec efec|dfdB cecA|FBBA GABc|ABcd efec|eaga ecAc|
decd BcAB|FAGB A2A||g|a2 (ag aece|aAgA fAec|dfdB cecA|FBBA GABd|
cAce aece|fgaf ecAc|decd BcAB|FAGB A2A||
X:2
T:Speed the Plough
M:2/4
L:1/8
R:Reel
B:George P. Knauff –
N:Published in
Z:AK/Fiddler’s Companion
K:A
(A/B/c/)d/ (e/a/).e/.c/|(e/f/).e/.c/ (e/a/).e/.c/|(d/f/).d/.B/
(c/e/).c/.A/|B/c/B/A/ G/B/E|
(A/B/c/)d/ (e/a/).e/.c/|(e/f/).e/.c/ (e/a/).e/.c/|(d/f/).d/.B/
(c/e/).c/.A/|F/B/A/G/ A z:|
|:a/A/c/e/ a/e/c/e/|a/A/g/A/ f/A/e/A/|d/f/d/B/ c/e/c/A/|B/c/B/A/ G/B/B|
A/A/c/e/ (a/e/c/e/)|(f/d/A/d/) (e/c/A/c/)|(d/f/d/B/) (c/e/c/A/)|F/B/A/G/ A
z:||
SPEED THE PLOW [2] (Deifrigh leis an gCéachta). AKA and see “Charlie Mulvihill’s (Reel)
[2],” “Cronin’s Fancy
Hornpipe,” “Johnny Cronin’s Fancy,” “The Kilfenora Reel [3],” “O’Keeffe’s Reel [2],” “O’Keeffe’s Speed the Plough,”
“Tom Billy’s (Reel) [3]."
Irish, Reel. D Major. Standard tuning. AABB (Alewine, Harker/Rafferty): AA'BB
(Breathnach). The tune is associated with Co. Kerry, Ireland, where it
is known as one of the “Doon Reels”
(from the playing of Sliabh Luachra fiddle master Pádraig O’Keeffe {1887-1963},
who played six reels—‘from Doon’—one after the other) and where it sometimes
goes by the title “Doon Reel.”
Sliabh Luachra (Co. Kerry) fiddlers Denis Murphy (1910-1974) and Julia Clifford
(1914-1963) recorded it as “Mulvihill’s Reel” on their album “Kerry Fiddles,”
referring to Bronx, New York, accordion player Charlie Mulvihill. Paddy Cronin
recorded the tune on a 78 RPM disc about 1952, and the melody sometimes bears
his name (“Paddy Cronin’s Reel”). Similarly, flute player Mike Rafferty played
the tune with Paddy’s brother, fiddler Johnny Cronin, and sometimes called the
tune “Johnny Cronin’s Fancy.” There is a related, untitled, reel in
Breathnach’s CRÉ V (1999, No. 201,
pg. 96). Sources for notated versions: flute player Matt Molloy & fiddler
Tommy Peoples (Donegal, Ireland) [Breathnach]; New Jersey flute player Mike
Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Alewine (Maid that Cut Off the Chicken’s Lips),
1987; pg. 31. Breathnach (CRÉ III),
1985; No. 92, pg. 45. Harker (300
Tunes from Mike Rafferty), 2005; No. 100, pg. 31. Moylan (Johnny O’Leary), 1994; No. 93, pg. 53. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 3; 14. Claddagh CC5, Denis Murphy and Julia Clifford- “The Star
Above the Garter.” Mulligan Records LUN 017, "Matt Molloy, Paul Brady & Tommy
Peoples" (1978). Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s
Banks” (2002). Topic 12T309, Padraig O’Keeffe,
Denis Murphy & Julia Clifford - “Kerry Fiddles” (appears as “The Doon”).
Topic 12T357, Johnny O’Leary - “Music for the Set” (1977. Appears as “Charlie
Mulvihill’s”).
See also listing at Alan Ng’s Irishtune.info |
X:1
T:Speed the Plow [2]
T:Tom Billy’s
T:O’Keeffe’s Plough
L:1/8
M:C|
K:D
A2 FA df~f2| efef dB~B2 | A2FA dfed | dBAF AD~D2 :|
fa~a2 afdf | gefd edBA | fa~a2 afdB | ABde fee2|
fa~a2 afdf | gefd edBA | ~F2AF G2BG | ABde fd~d2 :||
X:2
T:Speed the Plough [2]
R:reel
D:Molloy, Peoples, Brady
D:Paul McGrattan: The Frost Is All Over
Z:id:hn-reel-212
M:C|
K:D
d3A BAFB|AF~F2 EFDE|F2AF G2BG|ABde fgfe| d2dA BAFB|AF~F2 EFDE|
F2AF G2BG|1 ABde fddc:|2 ABde fdde||:fa~a2 afdf|gefd edBd|faab afdB|
ABde feeg| faaf afdf|gefd edBA|F2AF G2BG|1 ABde fdde:|2 ABde fgfe||
"Variations:"
dedA BAFB|AF~F2 EFDE|F2AF ~G3B|ABde fdef|dA~A2 BAFB|AF~F2 EFDE|
F2AF GABG|1 ABde fgfe:|2 ABde fdde||:faaf afdf|gefd edBd|faaf ~a3f|
ABde fe~e2| faab afdf|gefd edBA|F2AF G2BG|1 ABde fdde:|2 ABde fdef||
SPEED THE PLOW [3]. Old-Time, Breakdown. A Major. Standard or AEae tunings. AABB. No
resemblance to either “Speed the Plow” [1] or [2]. Kerry Blech traces the
introduction of this tune to the Seattle area through several fiddlers,
starting with fiddler Armin Barnet of the Hurricane Ridgerunners and working
backward. He finally tracks it down to a recorded performance in 1970 at the
Union Grove Fiddler’s Convention of Antrim, New Hampshire, fiddler Rodney
Miller. Miller told Blech he had learned it from New York fiddler Robert
‘Fiddler’ Beers at the Fox Hollow festival in the 1960’s. The tune was recorded
by the Beers Family on a long out-of-print LP entitled “Introducing the Beers
Family.” The liner notes (by Robert Sherman) read indicated that Beers learned
his "Speed the Plow” from his maternal grandfather, George Sullivan.
Sullivan was born in Ireland, but raised in America, and was the champion
old-time fiddler of North Freedom, Wisconsin, “a fellow, so his daughter says,
who could play and sing the whole night through without ever repeating the same
tune. . ." Apparently Beers spent
many an evening as a kid listening to Sullivan, whose music continued to fill
the house long after the kids went up to bed. Sources for notated versions: The
Hurricane Ridgerunners (Seattle, Washington) [Songer]; Miche Baker-Harvey
[Silberberg]. Silberberg (93 Fiddle Tunes
I Didn’t Learn at the Tractor Tavern), 2004; pg. 41. Songer (Portland Collection), 1997; pg. 188.
SPEED THE PLOW [4]. AKA and see “Father
Kelly’s (Reel) [1].” Irish, Reel.
SPEEDWELL. English, Country Dance Tune
(2/4 time). G Major. Standard tuning. AAB. A modern composition by John
Stapledon (1992). Barnes (English Country Dance Tunes, vol. 2), 2005;
pg. 122.
SPEEDY ROASTED FADGE, THE. AKA and see “The Lady on the Lake.”
SPEIC SEOIGHEACH, AN (The Joycean Greeting). Irish, Air (3/8 time). G Major. Standard
tuning. One part. The melody appears in Thompson’s Hiberian Muse of 1786. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 65, pg. 58. Columbia Legacy CK 48693, "The Best of the
Chieftains" (1992).
SPÉIRBHEAN AN LOCHA. AKA and see “The Lady
on the Lake.”
SPEIR-MNA UA
LIOS-CEARBAILL, NA. AKA and see "The Belles of Liscarroll."
SPEIS INGINE BLAIR. AKA and see "Miss
Blair's Fancy."
SPELL, THE. AKA and see “Love in a Village [1].” Scottish,
English; Reel. England, Northumberland. C Major. Standard tuning. AAB (Gow,
Martin): AABB (Bremner). John Glen (1891) finds the earliest appearance of tune
in Robert Bremner's 1757 collection.
It is one of the "missing tunes" from William Vickers 1770
Northumbrian dance tune manuscript. Bremner (Scots Reels), 1757; pg. 73. Carlin (The Gow Collection), 1986; No. 398. Gow (Complete Repository), Part 3, 1806; pg. 20. Martin (Taigh na Teud), 1990;
pg. 7.
X:1
T:Spell, The
M:C|
L:1/8
R:Reel
S:Gow – 3rd Repository (1806)
Z:AK/Fiddler’s Companion
K:C
~C2 EG cGEC|~C2 EG FDB,G,|~C2 EG
cGEC|ecGF E2C2:|
g>age f>gfd|efec (B/c/d) G2|G2
GA Bcde|(f/g/a) gf e2 ce|g>age f>gfd|
efec (B/c/d) G2|G2 GA Bcde|(f/g/a)
gf {f}e2 dc||
SPELLAN THE FIDDLER (Ua Spealain an Fidileir/Beidleadoir). Irish, Hornpipe. G Major. Standard
tuning. AABB. This and the other ‘Spellan’ tunes (“Spellan’s Delight,”
“Spellan’s Fancy,” “Spellan’s Fiddle,” “Spellan’s Inspiration”) were obtained
from a MS in the possession of Sergeant James O’Neill, the musically literate
fiddler who was Captain Francis O’Neill’s collaborator on “Music of Ireland.”
Spellan, according to Brendan Breathnach (Ennis, 1977), was a leader of an
orchestra in Dublin who later moved to Belfast, though Breathnach suggests
Spellan may not indeed have composed “Spellan the Fiddler.” Caoimhin Mac Aoidh
states that O’Neill’s source was one Spillan, a fiddler from Kerry, who had a
penchant for composing. See also the related “Tailor’s
Twist.” Source for notated version: B/C button accordion player Billy
McComiskey (Baltimore) [Taylor/Tweed]. O'Neill (Krassen), 1976; pg. 204.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1731, pg. 322. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 911, pg. 156. Taylor (Traditional
Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 42.
X:1
T:Spellan the Fiddler
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
911
Z:AK/Fiddler’s Companion
K:G
(3DEF|G>DB>G
d>Bg>d|b>g (3ded c>BA>G|Fd^cd Adcd|d>ce>d c>AF>D|
G>DB>G d>Bg>d|b>g
(3ded c>BA>G|f>ec>A e>dB>G|FA (3DEF G2:|
|:g2|b>gd>B
G>Bd>g|a>fc>A F>Ac>f|a>gb>a c’>ba>g|f.ed>c
B>AG>F|
F>DB>G d>Bg>d|b>g
(3ded c>BA>G|f>ec>A e>dB>G|F2A2 (3DEF G2:|
SPELLAN'S DELIGHT (Taitneam Ui Spealain). Irish, Hornpipe. A Major. Standard
tuning. AABB. See note for “Spellan the Fiddler.”
Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler
originally from County Down and Francis O’Neill’s collaborator [O’Neill].
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1614, pg. 300.
X:1
T:Spellan’s Delight
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1614
Z:AK/Fiddler’s Companion
K:A
E2 | (3AcA E>c d>BG>B |
A>c (3efg a>ec>e | d>bc>a B>ge>g |
a>ec>e f>dB>G | (3AcA
E>c d>BG>B | a>gb>g a>ec>e | d>ce>d f>ea>g |
b>ge>g a2 :: e2 | a>be>g
a>ec>e | (3def (3edc d>BG>B | c>ea>c’ d’>c’b>a |
g>ba>f e2 f>g |
a>gb>g a>ec>e | d>bB>g a>ec>e | d>ce>d
f>ea>g | b>ge>g a2 :|
SPELLAN'S FANCY (Roga Ui Spealain). Irish, Hornpipe. A Major. Standard tuning.
AABB. See note for “Spellan the Fiddler.”
Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler
originally from County Down and Francis O’Neill’s collaborator [O’Neill].
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1615, pg. 300.
X:1
T:Spellan’s Fancy
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1615
Z:AK/Fiddler’s Companion
K:A
e>d | c>ae>c (3AcA Eg |
a>ec>a e>cA>e | f>dB>G e>cA>E |
(3CEA (3ceg (3agf (3fed |
c>ae>c (3dfd B>d | c>aA>a e>cA>c’ |
d’>be>e’ c’>ae>c’ |
d’>be>b a2 :: B>A | G>BE>B A>cE>d |
c>eA>g a>ec>a |
f>dB>g a>ec>a | [A2g2][A2f2][A2e2] (3efg |
(3aed (3cBA G>BE>d |
c>ea>g b>ge>d | c>ea>c’ d’>bg>e | d>BG>E A2 :|
SPELLAN'S FIDDLE (Fidil Ui Spealain). AKA and see “An Cora Donn,” “Gahan’s Hornpipe,” “Jim Mullin’s Hornpipe.” Irish,
Hornpipe. G Major (O'Neill/Krassen): A Major (O’Malley, O'Neill/1850): B Flat
Major (Begin). Standard tuning. AABB (O’Neill): AA’BB’ (Begin, O’Malley). See
note for “Spellan the Fiddler.” Paul de Grae
identifies Ryan/Cole’s hornpipe “Amazon” as a
version of “Spellan’s Fiddle.” Martin Mulvihill (1986) printed the tune under
the title “An Cora Donn.” Sources for notated
versions: Chicago Police Sergeant James O’Neill, a fiddler originally from
County Down and Francis O’Neill’s collaborator [O’Neill]. fiddler Dawson
Girdwood (Perth, Ottawa Valley, Ontarion) [Begin]. Jordan (Whistle and Sing), 1975; 35. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 128,
pg. 64. O'Neill (Krassen), 1976; pg. 177. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1616, pg. 300. Coleman Center CD CC004, P.J. Hernon, Donal Hernon, Maria
Lynn McHugh – “The Mountain Road” (1999. Various artists. “A Compilation of
tunes popular in South Sligo”).
X:1
T:Spellan’s Fiddle
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Music of Ireland (1903), No. 1616
Z:AK/Fiddler’s Companion
K:A
c>d | e>ag>b a>fe>c | A>GA>B c>AE>D | C>EA>c d>cB>A | G>Be>g f>cd>B |
A>ag>b a>fe>c | A>GA>B c>AE>D | C>EA>c (3Bgf (3edB | A2c2A2 :|
|: G>A | B>cB>A G>Be>f | g>ag>e B>eg>b | a>gf>a g>fe>g | f>b^d>b c>bB>b |
B>cB>A G>Be>f | g>bg>e d>eg>b | a>f^d>B (3dcB (3AGF | (3EGB (3egb e’2 :|
SPELLAN'S
INSPIRATION (Beodact Ui
Spealain).
Irish, Hornpipe. B Flat Major. Standard tuning. AABBCC. See note for “Spellan the Fiddler.” Begin (Fiddle Music in the Ottawa Valley: Dawson
Girdwood), 1985; No. 21, pg. 34. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1612, pg. 299. Viva W103, Sean
McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,”
the first recording of McGuire that Josephine Keegan accompanied on piano).
SPELLMAN’S CLOGS. Fiddler FRLP001, Tom Doucet (Nova
Scotia/eastern Mass.) - “The Down East Star.”
SPENCE COURT HORNPIPE. Shetland, Hornpipe. D Major. Standard tuning. AABB. Composed by
Shetland fiddler Magnus Sutherland in 1919. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 28.
SPENCER WADE'S TUNE. AKA and see "The Old
Town Band [1]." The name of a Greene County, Pennsylvania, man
(reportedly a fifer, fiddler and singer) was attached to this tune, probably
because he either liked the tune, played it commonly, or both.
SPENCE'S REEL [1]. AKA and see "The
Gossan that beat his father," "The
Laurel Bush," "The Yeoman's
Reel," "The West Gale,"
"The Reel of Bogie," "The Showman's Reel," "The Castlebar Traveller,"
"Tuehey's Reel," "The Humours of Loughrea,"
"Lough Aisles Return."
SPENCE'S REEL [2]. English (?), Reel. D Major. Standard tuning. AA’BB.
X:1
T:Spence's Reel [2]
M:4/4
L:1/8
R:Reel
K:D
defe d2A2|ABAG F2D2|d2ef gfed|e2e2e2A2|defe d2A2|
ABAG F2D2|d2ef gfed|1e2 d2d4:|2 e2d2d2e2|
|:f2df afdf|afdf g2f2|e3fe3f |edcB A4|f2df afdf|
afdf g2f2|efgf edcB|A2d2d 2e2:|A2d2d4||
SPENCE’S TENT. English, Reel. G Major.
Standard tuning. AAB. Composed by Tyneside publican, fiddler and composer James
Hill (c. 1811-1853). The title refers to a Newcastle publican named Spence, who
had an establishment on the Newcastle Quayside, and who would also do business
from a tent set up at the track on racing days. Northumbrian Pipers’ Society (The Fiddle Music of James Hill), 2005;
No. 30, pg. 11.
X:1
T:Spence’s Tent
M:C|
L:1/8
R:Reel
C:James Hill
K:G
DF|G2 FA GABc|d2 ^ced=cAF|GgdB
GecA|FcAF D2 EF|G2FA GABc|
d2^ce d=cAF|GgdB GecA|FcAF
G2:||dC|B,D D2 GABc|dGeG fGgG|
Aced cBAG|F2A2A2 DC|B,DD2 GABc|dGeG
fGgG|Acec BAGF|
A2G2G2DC|B,DD2 GABc|dGeG fGgG|Aced
cBAG|F2A2A2GF|
GgdB GecA|FcAF D2EF|Gcec
BAGF|A2G2G2||
SPENCIE'S REEL. Shetland, Reel. Composed, says Tom Anderson (1978), by John Anderson of
Voe at a dance in the House of Windows, Mid Yell, in 1759. It was remembered there
were so many girls by the name of Spence that he named the tune "Miss
Spencie's Reel." Topic 12TS379, Aly Bain &
Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2" (1978).
SPEY IN SPATE (An Tuile sa Spé). AKA and see “John Stewart’s [1].” Scottish, Reel.
D Major. Standard tuning. One part (Hunter, Martin & Hughes): AABB (Hinds):
AA’BB (Cranford): AA’BB’ (Breathnach). A 19th century composition that is
sometimes attributed to the great Scottish concert fiddler and composer James Scott Skinner (1843-1927), however, it does not
appear in any of his own publications of compositions. He did play it however,
and included the tune in his 1921 concert set romantically entitled "Warblings
From the Hills.” The Spey is the swiftest-flowing river in Scotland, and a
vigorous and impressive sight when in spate. During the “Muckle Spate” of 1829
two of the four arches of the stone bridge over the Spey at Fochabers were
carried away by the torrent. It was recorded on 78 RPMs by both
X:1
T:Spey In Spate, The
Z:Nigel Gatherer
M:4/4
L:1/8
K:D
D2 FD A,DFA|dcBA ^GAFD|E2 GE
B,EGB|gecA GECA,|
D2 FD A,DFA|dDcD BDAf|gefd ecdB|AFGE
DABc||
d/d/d fd AdFA|DFAd fagf|e/e/e ge
BeGB|CEAc egfe|
d/d/d fd AdFA|DFAd fagf|gefd
ecdB|AFGE D4|]
SPIDDAL REEL, THE. Irish, Reel. G Major. Standard tuning. AABB.
X:1
T:Spiddal Reel, The
M:C
L:1/8
K:G Major
dB ~B2 dB ~B2 | dA ~A2 dA ~A2 | DE FG AB cA | de fg af
ge |
dB ~B2 dB ~B2 | dA ~A2 dA ~A2 | DE
FG AB cA | dB cA BG G2 :|
|: f2 fe de fg | ad ~d2 dc AB | c3d
cB AB | cA dc AG EG |
f2 fe de fg | ad ~d2 dc AB | c3d cB
AB | cA GE FD D2 :||
SPIDDLE SPADDLE.
English, Jig. D Major. Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours),
1997; No. 172, pg. 41.
SPIDER AND THE FLY, THE. Scottish, Country Dance Tune (2/4 time). A
Major. Standard tuning. ABB'. Kerr (Merry
Melodies), vol. 3; No. 376, pg. 41.
X:1
T:Spider and the Fly, The
M:2/4
L:1/8
R:Country Dance Tune
S:Kerr – Merry Melodies, vol. 3, No. 376
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
(c/d/)|eeee|eeee|fagf|e3e|eddd|dcce|fdBG|A/E/F/G/
A/B/c/d/|e/e/e/e/ ee|e/e/e/e/ ee|
f/f/a/a/ g/g/f/f/|e/e/e/e/
ee|e/d/d/d/ dd|d/c/c/c/ ce|fdBG|A3|:E|Acce|Acce|eddd|d2c2|
A/A/c/c/ ce|A/A/c/c/ ce|fdBG|1 A3:|2
A/E/F/G/ A/B/c/d/||
SPIDER BIT THE BABY. Old-Time, Breakdown. C Major. From fiddler Kenny Baker.
SPIDER ISLAND JIG. Canadian, Jig. D Major. Standard tuning. AA'BB'. Source for notated
version: learned by fiddler Vic Kibler (Hamilton County, N.Y.) from the
recording "Ed Gyurki, Canada's Champion Fiddler 1958‑1959"
[Bohrer]. Bohrer (Vic Kibler), 1992;
No. 23, pg. 23. Alcazar
Dance Series ALC‑201, Jerry Robichaud ‑ "Maritime Dance
Party" (1978).
SPIDER’S WEB, THE. Composed by flute
player Vincent Broderick, originally from Bullaun, near Loughrea, County
Galway, hard by the Turoe Stone, a famous Iron Age monument. Broderick (The Turoe Stone).
SPIKE ISLAND LASSES
[1] (Gearrchaile Oileán Píce). AKA – “Cloichíní Beaga na Farraige.” AKA and
see “The Small Stones of the Sea.” Irish, Reel. D Mixolydian. Standard tuning.
ABCD (Breathnach, Vallely): AA’BCD (Taylor). Spike Island, in Cork Harbour, is
the site of a former military installation, and is presently used as an
incarceration facility for adolescent offenders. “One of the great tunes in
piping repertoire,” opines Leitrim uilleann piper Brian McNamara (2004), who
believes the melody started out as a two part reel and developed into the
four-part tune that is more common today. He points out that the two-part
version is associated with concertina repertoire, particularly with the playing
of Mrs. Crotty. Breathnach (1963) notes that O’Neill’s “Reidy’s Reel” (in O’Neill’s Waifs and Strays of Gaelic Melody) is a
version of this tune, although the second half-phrase of the ‘B’ part that he
prints belongs with “The Bank of Ireland.”
Sometimes this tune is played in a medley followed by “Dogs Among(st) the Bushes.”
Sources for notated versions: piper Willie Clancy/Liam Mac Flannchadha (Miltown
Malbay, County Clare, Ireland) [Breathnach]; set dance music recorded at Na
Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRÉ I), 1963; No. 143, pg. 57. Taylor (Music for the Sets: Blue Book), 1995; pg. 29. Vallely (Play
50 Reels with Armagh Pipers Club), 1982; No. 16, pg. 10. Columbia CAL504-1, Paddy O’Brien (195?). Green Linnet, The
Irish Tradition – “The Corner House” (1978). Drumlin Records BMNCD2, Brian
McNamara – “Fort of the Jewels” (2004). Hot Conya HCR03, Paddy Keenan &
Tommy O’Sullivan – “The Long Grazing Acre.” Rounder 6005, James Keane – “Irish
Traditional Instrumental Music, vol. 1: East Coast of America” (1987). RTE
225CD, Elizabeth Crotty – “Concertina Music from West Clare.” Shanachie 79035,
Planxty – “Words and Music” (1982). Ronan Browne & Peter O’Loughlin – “The
South West Wind” (1988). Micho Russell – “Ireland’s Roving Ambassador” (1993).
Billy McComiskey (et al) – “The Big Squeeze.” Dan Ar Braz & L’Heritage Des
Celtes – “Live.”
T:Spike Island Lasses [1]
M:C|
L:1/8
R:Reel
K:D
d | =cAGB A~D3 | FDAD FGAd |=cAGB AG (3EFG|Adde fded|
=cAGB A~D3 | FDAD FGAd |=cAGB AG (3EFG|Addc d3||e|
f2 df efge | fded c~A3 | f~d3 edcA | Addc d2 cd|eaag efge |dfed c~A3|
A~d3 fded | Addc d2 || ed |=cAGB ~A3d|~B3G AG (3EFG|Adde fded|
=cAGB ~A3d | BGGB ~A3d |=cAGB AG (3EFG | Addc d3||e|(3fed ad fdad|
(3fed ad g~e3 | fdad bdad | eage dcAc|defg ~a3b |agfa ~g3e|fedf edcA|dcde fded||
SPIKE ISLAND LASSES
[2] (Gearrchaile Oileán Píce). AKA and see "The Boat Street Lasses," "Coming through the Field(s),"
"The Creeping Mouse,"
"Down the Street," “Frank Roche’s Favorite,” “John Roche’s Favorite,” "Lady Ann Hope [1],” "The Maid of the Forest," "Miss Thornton's {Reel},"
"O'Loughlin's Reel,"
"Salamanca [2]," “Signora Ferze’s Hornpipe,”
"Thro the Fields [2],"
“Tiger Hornpipe.” Irish, Reel.
SPILLING OF THE KALE, THE. AKA and see “The Haughs of Cromdale.”
SPIN AND GLOW. American (originally), Canadian; Jig. G Major. Standard tuning. AA’BB’.
Composed by fiddler Frank Ferrell (Boston, Mass.). The tune was named for a
neon-colored fishing lure, which the composer thought “spins and glows just
like the dancers do.” Ferrell caught his first Steelhead trout fishing in the
Pacific northwest with the lure. Perlman (1996) notes the tune was introduced
to Cape Breton fiddlers by Buddy MacMaster. Sources for notated versions:
fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia)
[Cranford]; Stephen Toole (1927-1995, Green Road, Queen’s County, Prince Edward
Island) [Perlman]. Cranford (Brenda
Stubbert’s), 1994; No. 113, pg. 40. Ferrell (Music for the Feet). Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 126. Brenda Stubbert - “Tamerack ‘er Down”
(1985). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition”
(2003).
SPINDLESHANKS. See “Spinkle Shanks [1]."
SPINKLE SHANKS [1]. AKA – “Spindleshanks.” AKA and see “Free and Easy [2]," “The Kerry Lasses [4],” “Mulqueen’s,” “The Tinker’s Reel [1].” Irish, Reel. G
Major (Chieftains): D Major (De Danann, Miller). Standard tuning. AABB.
Breathnach (CRÉ II), 1976; No. 187
(appears as “Gan ainm”/Untitled). Miller (Fiddler’s
Throne), 2004; No. 249, pg. 151 (appears as “Spindle Shanks”). Green Linnet SIF 1122,
Kevin Burke - “Open House” (appears as untitled reel). Ossian OSS 79, Boys of
the Lough – “Regrouped” (appears as “Mulqueen’s”). Sugar Hill SU 1130 De Dannan
- “Song for Ireland” (appears in the set “Mulqueen’s Reels”). Conal O’Grada -
“Top of Coom.” Chieftains – “Water from the Well” (appears as part of Kilfenora
set).
See also listings at: Jane
Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s
Irishtune.info |
X:1
T:Spindleshanks [1]
M:4/4
L:1/8
K:D
|F2 EG FD DE|EG AG FD
DE|F2 EG FD DE|FA Bc dF EG|
F2 EG FD DE|FG AG FE
DE|F2 EG FD DE|FABc d2 cd ||
|:e4 ef ed|cd ef g2
fg|e4 ef ed|cA Bc d2 cd|
e4 ef ed| cd ef g2 fg|af
f2 ge e2|1 df ec d2 cd:|2 df ec e4||
X:2
T:Spindle Shanks [1]
T:Mulqueen's
R:reel
H:Also played in G, #352
D:Open House: first album
D:Cran: The Crooked Stair
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
Z:id:hn-reel-613
M:C|
K:D
F2EG FDDE|FDAG FDDE|F2EG FDDE|1 (3FGA Bc dBAG:|2 (3FGA Bc d2cd||
~e3d efed|cdef g2fg|1 ~e3d efed|cABc d2cd:|2 af~f2 ge~e2|dfec dBAG||
SPINDLESHANKS [2]. AKA and see “McGettrick’s,”
“The Small Hills of Offaly.” Irish, Reel. G Major. Standard tuning. AB.
A different tune than “Spinkle Shanks [1].” Sligo whistle player Jimmy
McGettrick was apparently the source for the tune. Connolly & Martin (Forget Me Not), 2002; pgs. 106-107. Shanachie 79019, Chieftains - “Chieftains 10” (last in set
of reels on track 3). Comhaltas Ceoltóirí Éireann, Charlie Lennon – “Lucky in
Love” (1981. Learned from flute and whistle player Jimmy McGettrick, from
Lissinanny, near Ballymote in County Sligo).
X:1
T:Spindleshanks [2]
M:C|
L:1/8
R:Reel
K:G
d2 ge dBAG|FDAD BDAF|G3E DGBG|FAdc
BGGB|
d2 ge dBAG|(3FED AD BDAF|GFGE
DGBG|FAdc BG G2||
gedB cAAg|fdad bdad|gedB cAAc|dega
bg{a}gf|gedB cAAg|
fd (3ddd bdaf|gedB cAAc|dega
bg{a}ge||
SPINNER'S DELIGHT, THE (Taitneam An Sniomaide). Irish, Reel. A Major. Standard
tuning. AB (O'Neill/1850): AA'B (O'Neill/Krassen). See also the related “Fairy Reel.” Source for notated version: Chicago
Police Sergeant James O’Neill, a fiddler originally from County Down and
Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 128.
O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1380, pg. 257.
X:1
T:Spinner’s Delight, The
M:C|
L:1/8
R:Reel
S:O’Neill – Music of Ireland (1903), No. 1380
Z:AK/Fiddler’s Companion
K:A
ed | c2 cB Acec|dcBA GABd | cAce
fdfa | (3gab eg afed | c2 cB Acec |
dcBA GABd | (3cBA (3cde dBGB | AcBG
A2 || cd | e2 ag aecA | B2 Bc dcBc |
Aced ceba | ge^de fe=dB | e2 ag aecA
| d2 fg fgaf | E2 gf edcB | AcBG A2 ||
SPINNER'S LILT, THE (Abran Sniomaide). Irish, Jig. D Major. Standard
tuning. AABB. Source for notated version: Chicago Police Sergeant James
O’Neill, a fiddler originally from County Down and Francis O’Neill’s
collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 62. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1058, pg. 199.
X:1
T:Spinner’s Lilt, The
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 1058
Z:AK/Fiddler’s Companion
K:D
D2F FGA | ABA AGF | D2 F FGA | BAB
gec |
d2F FGA | ABA AGF | GBG FAF | EFA B2
A :|
|: d2f faf | d2f ecA | d2f faf | ede
f2g |
agf bag | fed cBA | dcB AGF | EFA
B2A :|
a spinney is a small wood with undergrowth, a copse or
thicket
X: 1
T:The Spinney
M:4/4
L:1/8
Q:180
C:Joe Liddy
S:"The Leitrim Fiddler" (Dublin 1981)
R:reel
Z:BB
K:Ador
dB | "Am" A2 GA "G/B"EA"C"BA | "Em"
eABA "D/F#" ge"G"dB | "Am" A2 GA "G/
B"eA"C"BA | "Em"GEDB, "G" DEGB |!
"Am" A2 eA "G/B"BA"C"eA | "Em" BAGF
"D/F#"GA"G"Bd | "Am"eged "G/
B" BA"C"GE | "Em"GBdB A2 :|!
Bd |"Am" ea a2 "C" agab | "D add4" gaba bedB |
"Am" A2 BA "C" eABd |"
Em" g2 fg "G" edBd |!
"Am" ea a2 "C" agab | "D add4" eged BAGB |
"Am" A2 eA "C" BAGE |
"G"DEGB "Em" A2 Bd ||!
"Am" ea a2 "C" agab | "D add4" gafg edBd |
"Am" eABA "C" gefd
| "Em" edBA "G" GFGB |!
"Am" A2 eA "C" BAeA | "D add4" gedc BAG[EB] |
"Am"A2 Bd "C"gaba
| "Em" gedB "Am" A2 ||
SPINNIN' WHEEL [1], THE. Scottish, Reel. D Major. Standard tuning. AAB.
Composed by J. Scott Skinner (1843-1927) and
published in his Logie Collection.
Skinner (The Scottish Violinist), pg.
3. Altan - “Runaway Sunday” (from Donegal fiddler John Doherty who played it
in a medley he called “Flood on the Holm” which included the tunes “The Brides
Reel” and “The Auld Wheel”). Capelhouse Records, James Kelly – “Traditional
Irish Music” (1996).
X:1
T:Spinnin’ Wheel [1]
M:C|
L:1/8
C:J. Scott Skinner
Z:AK/Fiddler’s Companion
K:D
A | F>D D/D/D (FG).A.B | cdAd
BEEA | F>D D/D/D (FG).A.B | cdAd fd[A,D] :|
|| g | .f(dcd) ABcd | efgf eEEg | .f(dcd) ABcd | egfe {c}dD[A,D]g |
.f(dcd) ABcd | efgf eEEG | F>D D/D/D (FG).A.B | cdAd FD[A,D] ||
SPINNING WHEEL [2], THE (An Turna). AKA and see “Miss McDonald{’s} [3].”
Irish, Reel. A Major. Standard tuning. AA'BBCDD. An ‘A’ Major setting of “Miss
McDonald.” O'Neill (Krassen), 1976; pg. 96. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1203, pg. 227. O'Neill (Dance Music of
Ireland: 1001 Gems), 1907/1986;
No. 479, pg. 92.
X:1
T:Spinning Wheel, The [2]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 479
Z:AK/Fiddler’s Companion
K:A
cAAc BAAd|cefg a2 ga|bBBc dcBA|1
cefg afed:|2 cefg afec||
|:(3AAA AF FEEF|A2 Bc dcBc|(3AAA AF FEEe|(3fga ec dcBc:|
||Aceg agfe|fefg afec|Aceg agfe|(3fga (3gab afec|Aceg agfe|
fefg
agaf|(3bag (3agf (3gfe (3fed|(3fga (3gab afec||
|:(3fga ec dcBc|AEAB cAce|(3fga ec dcBc|AFFD FA A2:|
SPINNING WHEEEL [3], THE. Scottish, Jig. G Major. Standard tuning. AABB.
The ‘A’ part is similar to that of “Spinning Wheel [4]." Kerr (Merry Melodies), Vol. 3; No. 270, pg.
30.
SPINNING WHEEL [4], THE. AKA and see "Garrett Barry{‘s Jig},"
"Gearoid de Barra," "Kiss
Me Darling," "The Ladies'
Fancy [3]", "The
Maid at/of the Spinning Wheel," "Norah, with the Purse," “Noran Kista,” “Nora’s
Purse,” "Norickystie,” "The Road to Lurgan," “Sergeant Early's Jig," “Tune the Fiddle,” “The Wild Irishman [4].” Irish, Jig. D
Major.
SPINNING
WHEEL [5], THE. Scottish
(?), Jig. E Minor. Standard tuning. AABB. Aird (Selection of Scotch,
English, Irish and Foreign Airs), vol. II, 1782; No. 194, pg. 72.
X:1
T:Spinning Wheel
M:6/8
L:1/8
S:Aird, vol. II (1782)
Z:AK/Fiddler’s Companion
K:Emin
G/F/ | E2e edc | BAG FED | E2e (e/f/gf) | e2E E2F | E2e edc | BAG FED |
E2e egf | e2E E2 :: F | GAG (Bcd/G/) | FEF DEF | GFE D2f | efg B2f |
gfe
dcB | ABG FED | E2e (efg/)f/ | e2E E2 :|
SPINNING WHEEL SONG, THE. AKA and see "Luibin [1]."
SPINSTER’S WALTZ. Waltz. D Major. Standard tuning. AA’BB. Composed by Evan Lurie,
sometimes member of the Lounge Lizards who is also known for his film scores. Shanachie 79077, Arcady – “After the Ball.”
X:1
T:Spinster's Waltz
R:waltz
C:Evan Lurie
Z:Gerry Strong
M:3/4
L:1/8
Q:1/4=120
K:D
FA|:d3 c Bd|F4 DF|d3 c Bd|F4 DF|d3 c
BA|c3 B A2|A2 c4-|c4 EG|d3 c Bd|G4
EG|d3 c Bd|G4 EG|c3 B A2|c3 B A2|A2
d4-|1d4 FA:|2d6||
|:dg bd gb|dg bd gb|a6|f6|Bd gB
dg|Bd gB dg|f6-|f3 z3|Bd gB dg|Bd gB
dg|f6|d4 c2|B4 c2|A4 D2|D6-|D3 z3:|
"Variation"
|dg bd gb|dg bd gb|a6|f6|Bd gB dg|Bd
gB dg|f6-|f3 z3|
Bd gB dg|Bd gB dg|f6|d4c2|B4 c2|A4
D2|D6-|D3 z3|
|dg bd gb|dg bd gb|a6|f4 a2|a4
g2|g6|g4 f2|f6|Bd gB dg|
Bd gB dg|f6|d4 c2|B4c2|A4 D2|D6-|D3
z3||
SPIORA AIRGID, AN (The Silver Spire). AKA and see “The Silver Spire.”
SPIRIT OF 1880. AKA and see “The Dawn [1],” “Miller’s Reel [1].” Irish, Reel. Ryan’s Mammoth Collection, 1883; pg. 48.
SPIRIT OF 1881. American, Hornpipe. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 98. Ryan’s Mammoth Collection, 1883; pg.
134.
X:1
T:Spirit of 1881
M:2/4
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(3A/A/A/ (c/A/) e(a/g/) |
({g}f/)e/f/g/ a/b/a/f/ | (3A/A/A/ (c/A/) e({g}f/)e/ | d/c/B/A/ G/B/E/G/ |
(3A/A/A/ (c/A/) e(a/g/) | f/e/f/g/
a/b/a/f/ | a/g/a/e/ f/d/B/G/ | AcA :: A/B/ | c/A/E/A/ c/e/c/A/ |
d/B/G/B/ d/f/e/d/ | c/A/E/A/
c/e/c/A/ | B/A/G/F/ EA/B/ | c/A/E/A/ c/e/c/A/ |
d/B/G/B/ d/f/e/d/ | c/e/A/c/
B/d/G/B/ | AcA :|
SPIRIT OF GAMBO. From Tobias Hume’s Poeticall
Musick (1607). Maggie’s Music MMCD216, Hesperus -
“Early American Roots” (1997).
SPIRIT OF IRELAND, THE. AKA and see "Spirit of New Orleans," "The Spirits of France." Irish, March. D
Major. Standard tuning. AA'BB'. Roche
Collection, 1982, Vol. 2; No. 329, pg. 57.
SPIRIT OF NEW ORLEANS. "The Spirit of Ireland,"
"The Spirits of France." Old‑Time,
Breakdown. C Major. Standard tuning. AABBCCDDEE. The title predates Arlo
Guthrie's 1970's ballad and does not reference the famous railroad train. Ford
(Traditional Music in America), 1940;
pg. 68.
SPIRIT OF THE DANCE. English, Jig. England, Dorset. G Major. Standard tuning. AABB. From the
Thomas Hardy family music manuscripts,
X:1
T:Spirit of the
dance
M:6/8
L:1/8
R:Jig
K:G
G2D E2D|G2D E2D|GAB cBc|ABG FED|G2D E2D|G2D E2D|GAB cde|cAF G3:|
|:DGB
c3|B 3 A3|ABc d2e|c2d B3|GAB c3|B3 A3|ABc B2c|B2A G3:|
SPIRITS OF FRANCE, THE. AKA and see "The Spirit of New Orleans," "The Spirit of Ireland." American, March (4/4 time). USA, southwestern Pa. C Major. Standard tuning. AB (Bayard): AABB (Howe). Howe (c. 1867) prints directions for a contra-dance to the tune. However, the dance seems much older than his publication, for directions to Spirits of France appear in several publications and commonplace books, as it was, for example, in the copybook of Mrs. George Webb (probably from Vermont), dating from the 1798. It appears to have been particularly popular from the late 1790’s through the first decade of the 19th century. The tune perhaps appears earliest in The Ladies and Gentleman’s Companion, published in Massachusetts in 1803. These dates suggest that the title refers not to (or perhaps both too) French wine or liquor, but rather to the French Revolution of the late 18th century, which resonated considerably in America. Source for notated version: William Shape (fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 104, pg. 60. Howe (Diamond School for the Violin), 1861; pg. 46. Howe (1000 Jigs and Reels), c. 1867; pg. 81.
X:1
T:Spirits
of
L:1/8
S:Howe – Diamond School for the Violin (1861)
Z:AK/Fiddler’s Companion
K:C
g/e/ | cc B/c/d/B/ | c/B/c/d/ c(a/f/) | dd d/e/d/c/ | B/c/d/B/ G(F/E/) | Fddc |
EccA | Bc (d/c/)(e/d/) | (c/B/)(c/A/) G :: E/F/ | G/F/E/F/ GG/D/ | F/E/D/E/ FF/D/ |
E/C/E/G/ c/G/E/C/ | D/C/D/E/ DE/D/ | .C.c.G.e. | .c.g .g(f/e/) | de/d/ (c/B/)(A/B/) | (c/B/)(c/d/) c :|
SPIRITS OF THE MORNING, THE. AKA and see "Whiskey Before Breakfast."
SPIRIT O' WHISKY [1]. Shetland, Shetland Reel. From the island of Unst, Shetland.
SPIRITS OF WHISKY [2]. AKA and see "Three
Little Drummers [1]," "Cock
in the Heath [1]," “Connie O’Connell’s (Jig) [1],”
"Humors of Duagh,"
"Humors of Listivain,"
"Quinn's Jig," "Two and Sixpenny Girl," "The Money I Want," "Ryan's Travels," "The Aherlow Jig." Irish, Jig. A Dorian.
Standard tuning. AABB. This belongs to the "Hillside [2]" family of tunes; see
Bayard's (1944) note for "The Red Brick House in
Georgia Town." According to Breathnach (1985) this was a County Limerick
title. Bayard (Hill Country Tunes),
1944; No. 46 (appears as an untitled quadrille). Cole (1000 Fiddle Tunes), 1940; pg. 62. Ryan’s Mammoth Collection, 1883; pg. 92.
X:1
T:Spirits of Whisky [2]
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Ador
(B/d/) | eAA eAA | BGG BGG | eAA eAA
| def gdB | eAA eAA |
BGG BGG | def gdB | B(.G.G) G2 :: g
| eaa eaa | egg egg | eaa eaa |
def gdB | eaa eaa | egg egg | def
gdB | B(.A.A) A2 :|
SPIRIT OF WHISKEY [3], THE. Irish,
Slip Jig. A Dorian. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 79, pg. 19.
SPIRITS OF WINE. Irish. The title refers to a stage in
the distilling of malt whisky, which is usually matured in sherry casks. Altan – “Runaway Sunday” (learned
from a recording by Donegal fiddler John Doherty). John Doherty – “The Floating
Bow.”
SPIRVIN'S FANCY. AKA and see "Thompson's Reel." Irish, Reel. G
Minor (Cole, Ryan, Tolman): E Minor (Miller). Standard tuning. AB (Cole, Ryan,
Tolman): AABB (Miller). See also the related “Girl that broke my heart [1].”
Cole (1000 Fiddle Tunes), 1940; pg.
12. Miller (Fiddler’s Throne), 2004;
No. 250, pg. 151. Ryan’s Mammoth
Collection, 1883; pg. 34. Tolman (Nelson
Music Collection), 1969; pg. 9.
X:1
T:Spirvin’s Fancy
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:G Minor
(d/c/)||B/G/F/D/ DC/C/|D/G/G/^F/
G/A/B/c/|d/B/c/A/ B/G/F/A/|C/G/G/^F/ G/A/d/c/|
B/G/F/D/ DC/C/|D/G/G/^F/
G/A/B/c/|d/B/c/A/ B/G/F/A/|D/G/G/^F/ G||
Bd/f/ b/d/f/d/|Bd/f/ g/d/f/d/|Bd/f/
b/d/f/d/|c/=B/c/d/ _B/G/G|
Bd/f/ b/d/f/d/|Bd/f/
f/d/f/d/|b/d/b/d/ f/d/f/d/|c/=B/c/d/ _B/G/G/B/||
SPIT FIRE (REEL). AKA and see "Acrobat's Reel," “Baker’s Reel,” “The Whistler and His Dog.” American, Reel. USA; New York, New England. B Flat Major: G Major (Cazden). Standard. AB (Burchenal): AABB (Cazden, Cole, Miller & Perron). Although the term “spit-fire” was used as a general superlative in the 19th century, it may just be possible that the tune was named for the Spitfire, an extreme clipper ship built in 1853 in Frankfort, Maine, for Messrs. Manning & Stanwood, and Thomas Gray & Co., of Boston. The ship was 224 feet long and her figurehead was a gilded eagle. The Spitfire was damaged in 1863 and sold to a London owner, but references to her drop from sight after 1874. Paul de Grae finds a cognate tune in Breathnach’s Ceol Rince na hÉirreann, vol. IV (137), from Breathnach’s own manuscripts, and says it was recorded under the title “The Whistler and His Dog” by east Galway fiddler and melodeon player Rose Murphy on her 1977 Topic recording. Burchenal associates the tune with the dances Beaus of Albany and The Lady of the Lake. Perhaps the earliest recording is from 1913 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford. Burchenal (American Country Dances), 1918; pg. 32 and 34 (appears as "The Lady of the Lake" [1] and "Beaus of Albany [2]"). Cazden (Dances from Woodland), 1945; pg. 26. Cole (1000 Fiddle Tunes), 1940; pg. 23. Kerr (Merry Melodies), vol. 3; pg. 38. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 85. Ryan’s Mammoth Collection, 1883.
X:1
T:Spitfire Reel
M:C|
L:1/8
K:Bb
|:f2|b2 fe dc Bd|cB Ac B2 BG|FG AB cd ec|dc Bd c2f2|
b2 fe dc Bd|cB Ac B2 BG|FG AB cd ec|dB cA B2:|
|:fg|fd Bd fd gd|fd Bd fd bd|fd Bd fd gd|ed cd e2 fg|
fd Bd fd gd|fd Bd fd bd|ba gf ed cB|AB cd e2:|
SPITHEAD FLEET. English, Country Dance Tune (6/8 time). G Minor. Standard tuning. AABB.
Spithead was a main staging area for the British fleet in the days of sail,
from its convenient location as the sheltered eastern part of the channel
between Hampshire, England, and the Isle of Wight. In 1797 a celebrated wartime
Royal Navy mutiny occurred in the fleet stationed at Spithead: the crews sent
the officers ashore, ran the ships by committee, and soon won their demands for
better wages and working conditions. Kidson remarks “Spithead Fleet” is “an air
of considerable merit, greatly reminding one of certain Scottish tunes, with a
termination more Irish in character." Kidson’s version of the tune is from
Samuel, Ann and Peter Thompson's Collection
of 200 Country Dances (vol. 1, c. 1780-90, a reprint of the c. 1758
collection, according to Bruce Olson), but it also appeared in John Johnson’s Choice Collection of 200 Favourite Country
Dances (vol. 8, 1758). The jig does not seem to have had widespread
currency. Somewhat curiously, however (for, after all, it honors the British
Navy), it appears in the music manuscript copybook of an American Revolutionary
War fifer named Nathaniel Brown, of
X:1
T:
M:6/8
L:1/8
R:Jig
S:Frank Kidson – Old English Country Dances (1890)
Z:AK/Fiddler’s Companion
K:Gmin
G/F/|DGA Bcd|cAF F2A|BGA Bdg|fdB
B2a|bag fdd|
fdd ecc|d g2 fdc|BGG G2::d|gfg
def|Bcd f2d|
gfe dcB|gfe d2a|bag fdd|fdd dcc|d g2
fdc|BGG G2:|
X:2
T:Spithead Fleet
M:6/8
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:Gmin
G/F/|DGA
Bcd|cAF “tr”F2A|BGA Bdg|fdB “tr”B2a|bag fdd|fdd ecc|d g2 fdc|BGG G2:|
|:d|gfg def|Bcd “tr”f2d|gfe dcB|gfe d2a|bag fdd|fdd ecc|d g2 fdc|BGG G2:||
SPLA-FOOT NANCE. Irish, Air (6/8 time, "with spirit"). G Major. Standard
tuning. AB. "There was a holf‑comic song to this air, composed in my
own time by a local bard, ridiculing a neighbour, a big bony ungainly girl,
universally known as 'Spla‑foot Nance'" (Joyce). Joyce remembered
but one verse:
***
There was Spla-foot Nance to try her chance,
She took a notion of a man;
She stood on her toes and says she—“here goes,
I’ll cock my cap at Shaun MacCann.”
So Slpa foot Nance began to dance
And off to Shaun’s little house she ran;
But his mother rushed out with a terrible shout;--
“How daar you come coortin to Shaun MacCann!”
***
Joyce (Old Irish Folk Music and Song), 1909; No. 132, pg. 67.
X:1
T:Spla-Foot Nance
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs (1909)
Z:AK/Fiddler’s Companion
K:G
B/A/|G2A B2d|e2d g2f|efg d2B|c2A
A2B/A/|G2A B2d|e2d g2e|
=f2d c2A|A2G G2||d|g2d e2d|e2f
gfe|d2B c2d|e2A A2B/A/|
GAG BAB|def g2e|=fef dcA|A2G G2||
SPLASHING OF THE CHURN
[1], THE (Gluigir A
Mhaidir).
Irish, Jig or Air (6/8 time). D Major. Standard tuning. AABB. "A different
tune with this name is in Petrie; reprinted in Stanford‑Petrie"
(Joyce). Not musically related to the tune listed as "Gliogar an mheadair”
(Gurgling of the Churn). Joyce (Old Irish
Folk Music and Song), 1909; No. 699, pg. 350.
SPLALSHING OF THE CHURN [2], THE
(Gliogar an Mheadair). AKA and see "Milk
the Churn," "The Night of Fun,"
"Two in a Gig," "Humours of Bottle Hill,"
"The Old Dutch Churn,"
"The Dublin Boys," "Dublin Streets," "A Fig for a Kiss [1]," "She is fit for a kiss,"
"Gáire na mBan." Irish, Slip
Jig. E Minor. Standard tuning. AABB. O’Neill (1922) remarks: “This
spirited Slip Jig is a variant of ‘Dublin Streets’, obtained from Mr. Ennis of
the Irish Music Club of Chicago, and published in former O'Neill Collections.
‘The Splashing of the Churn’, or in Irish Glugur
an Meadair is the original name of the tune. Following is another version
of it [“Humors of Bottle Hill”], obtained thru the courtesy of Sergt. James P.
Walsh of Chicago whose manuscript collection has been a prolific source of many
desirable melodies hitherto unpublished.” A version of the tune (under the
“Splashing” title) appears earlier than O’Neill (who also published it as “Fig
for a Kiss) in P.M. Haverty’s One Hundred
Irish Airs Arranged for the Pianoforte (New York, 1885). Sources for notated versions: concertina player
Mrs. Dalton (Co. Limerick, Ireland) [Breathnach]; Ennis (Chicago) [O’Neill].
Breathnach (CRÉ II), 1976; No. 101,
pg. 53. O’Neill (Waifs and Strays of
Gaelic Melody), 1922; No. 181.
X:1
T:Splashing of the Churn, The
M:9/8
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
K:G
G2 B E2 B BAG|F2 A D2 A AGF|G2 B E2 B BAG|BdB AGF E3:||
g2 e g2 e edB|f2 d ded fga|g2 e g2 e edB|dBA ABd e3|
g2 e g2 e edB|f2 d ded fga|g2 e f2 d edB|BdB AGF E3||
SPLENDID HORNPIPE, A. Irish, Hornpipe. See also the related “Honeysuckle [2]” and “Stacks’s Hornpipe.” Breathnach (CRÉ IV), 1986; No. 222 (appears as
untitled hornpipe).
SPLENDID ISOLATION. AKA and see “McGlinchey’s [2],"
“Brendan McGlinchey’s.”
Irish, Reel. Composed by fiddler Brendan McGlinchey in 1972 as a reel, the
result of an “outpouring of emotion” following the end of a tour and the
parting of friends. McGlinchey reworked the tune twenty years later as an air,
after he resumed playing after a long hiatus.
X:1
T:Splendid Isolation
M:4/4
L:1/8
C:Brendan McGlinchey
R:Reel
Z:N. Ishii
K:Gdor
FGAF GdcA|G2AG FGAc|dAcA GABc|dggf
g2ga|
bgag fd (3ddd|fgeg fdcA|G2AG
FGAc|dAcA G4:|
|:g2ag fd (3ddd|gfdc Acdc|AG (3GGG
Acdc|AG (3GGG F4|
FGAF GdcA|GdAG FGAc|dg (3ggg
fgag|fdcA G4:||
X:2
T:Splendid Isolation
S:Silly Wizard
D:So Many Partings
N:as "McGlinchey's Reels",
together with \#3
C:Brendan McGlinchey
Z:Juergen.Gier@post.rwth-aachen.de
L:1/8
M:C|
K:Ador
A,2(3B,A,G, A,EDB,|A,2B,A,
G,A,B,D|EB,DB, A,B,CD|EFB^G A3 B|\
(3BAG BA GE ~E2|G2GA GEDB,|A,2B,A,
G,A,B,D|EB,DB, A,4::\
a2ba ge ~e2|aged (3Bcd ed|BA
~A2Bded|BAAB G2~G2|\
G2BG AedB|~A2BA GABd|ea ~a2gaba|gedB
A4|]
SPLENDID SHILLING, THE. English, Country Dance Tune (6/8 time). G
Major. Standard tuning. AA'BC. The tune dates to c. 1790. Barnes (English Country Dance Tunes), 1986.
SPLIT LEVEL, THE. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AABB.
Composed by Dougie MacDonald. Cranford (Jerry
Holland’s), 1995; No. 159, pg. 45.
SPLITTIN' RAILS. Old‑Time, Breakdown. C Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg.
54.
X:1
T:Splittin’ Rails
M:2/4
L:1/8
R:Reel
S:Ford – Traditional Music in America (1940)
Z:AK/Fiddler’s Companion
K:C
C/E/G/z/ c>d|c>B c2|D/F/A/z/
d>e|d>c d2|G/B/d/z/ b2|G/B/d/z2 a2|
G/B/d/z/ g>a|g>f g2|C/E/G/z/
c>d|c>B c2|D/F/A/z/ d>e|d>c d2|
G/B/d/z/ b>f|a2g2|G/c/c/z/
cd|(c2c2)::(e2e2)|f3f|e2d2|
d>c d2|(b2b2)|(a2a2)|a>b
a>f|(g2g2)|(e2e2)|(f2f2)|
e2d2|d>c d2|G/B/d/z/
b>f|a2g2|G/c/c/z/ c>d|(c2c2):|
_______________________________________
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