The Fiddler’s Companion

© 1996-2008 Andrew Kuntz

_______________________________

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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, THE. See “Spa Dance.”

 

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}. Standard tuning. AB. Aird (Selection), vol. II, 1782; No. 62, pg. 23 (appears as “The Spa”). McGlashan (Collection of Scots Measures), c. 1780; pg. 42.

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||

                          

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. Cape Breton, March. Composed by Marcel Doucet. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

           

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 BA GA | AFD BA GA | BeB fB gB |

gfe f^d B=d | ~edc BA GA | AGF (E2E2):

P:B

|:

M:8/8

EFG G2B dB |

M:7/8

ABc BF Ed | ~edc BA GA |

M:8/8

{G}AGF F2G FD | EFG G2B dB |

M:7/8

ABc BF Ed | ~edc BA GA |

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 Ireland.’ The first verse of the 18th century song describes the contempt the men of the western part of the island faced when they had to apply to the landholding farmers of the richer lands of Munster and Leinster for work. Ó hAllmhuráin points out it was the spailpín and his family who were the chief victims of the Great Famine in the mid 19th century.

***

AN SPAILPÍN FÁNACH

***

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 Connaught version is also

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 France will float instead,

And the Pike stand by the Rover!

***

When to Callan once, with hook in hand,

I’d go for early shearing,

Or to Dublin town—the news was grand

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 Island!

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 Galway.

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 Ireland), 1995; No. 94, pg. 81. O’Neill (1001 Gems), 1907/1986; No. 972, pg. 167. Dervish – “At the End of the Day.”

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 Ireland), 1995; No. 59, pg. 53. Claddagh CC 9, Sean MacDonagh - "An Aill Bhain" (1971).

           

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 Ulster term for such laborers was ‘Rabble’.

***

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.”

           

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 England located on the northern boundary of Hempstead Heath. An engraving dated 1745 shows it to have been laid out with a formal arrangement of trees and turf introduced to England by the Dutch William of Orange. It was said to have been built on the site of a lodge at the entrance to the Bishop of London’s domain, and that the lodge was once tenanted by a family connected with the Spanish embassy; another version attributes to a Spaniard the conversion of the lodge into a house of entertainment.

***

The establishment’s greatest hour came during the anti-Catholic Gordon Riots in London (1780) in which the famous lawyer Lord Mansfield’s house in Bloomsbury Square was sacked and burned, the rioters then crying “To Ken Wood!” Ken Wood was another of Mansfield’s residences, right next to the Spaniard, and directly along the route of the mob. The Spaniard’s publican, thinking quickly and with cool nerves, invited the rioters to refresh themselves and threw open his house and cellars for their entertainment. Secretly, however, he dispatched a rider to summon the Horse Guards from their barracks. Ken Wood helped by setting up tubs of stong ale outside their premises, and by the time the small detachment of troops arrived the rioters were so disorganized they were compelled to flee. 

***

The melody was known in the Netherlands as “Bockxvoetge” (Goat-foot), a reference to the pipe-playing god Pan. The title is from a text by Dutch poet Stribee, who published it in his book Chaos, set to the tune called “Mooren-dans,” or, in England, “The Spaniard” (Spanyard). The melody (as “Bockxvoetge”) was published in the Netherlands in 1649 in a volume called Der Fluyten Lust-Hof (The Flute’s Garden of Delights) by Jacob van Eyck (c. 1590-1657), a recorder player, carillonneur of the Utrecht Dom Cathedral, and director of all the bells and clock-chimes of the city. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 25. Raven (English Country Dance Tunes), 1984; pg. 31 & 40.

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," "Logan County." A mood piece commonly found in 19th century instructors for the parlour guitar (Mark Wilson). Bill Boyd's Cowboy Ramblers' 1939 version of the tune (backed by "New Spanish Two Step") became the second best-selling country music recording for the year 1939. It was one of two sides (with “Cotton Patch Rag”) recorded in March,1929, by Atlanta, Georgia, guitarist John “Seven foot Dilly” Dilleshaw, and released on OKeh records (two other pressings from the session were not released). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Marimac 9008, The Lazy Aces String Band ‑ "Still Lazy After All These Years" (1986). Recorded Anthology of American Folk Music, 1978, Pete Steele (Ky.) ‑ "Traditional Southern Instrumental Styles."

           

SPANISH GIPSY, THE. AKA and see "Fairy Queen," "Come Follow (Follow Me)." English, Country Dance Air (6/4 time). D Major (Raven): C Major (Chappell). Standard tuning. One part. The air appears in Playford's Dancing Master (1650), 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 "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," 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. 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 Cadiz" (which occurred in June, 1596). The ballad was entered at Stationers' Hall to William White in 1603 and the song appears in the Skene Manuscript (c. 1615 or 1620), Percy's Reliques, and The Quaker's Opera (1728). Kines (1964) reports the Englishman in the song has variously been identified as being Sir Richard Levison, Sir John Bolle, and a gentleman of the Popham family. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 84‑85. Kines, 1964; pg. 77 (appears as "The Spanish Lady"). Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 30.

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 Ireland” (1958).

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 Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

           

SPANISH PATRIOTS, THE. English, Hornpipe. England, Yorkshire. D Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 17, pg. 32.

 

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 Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Source for notated version: Bob Will (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 134. Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker (Mich.) (1966).

 


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 Tyrol,” points out Liz Stell. A Scottish dance called Spanish Waltz was also called the Waltz Country Dance and the Guaracha Waltz. Source for notated version: Benjamin B. Lovett’s Good Morning: Music, Calls and Directions for Old-Time Dancing as revived by Mr. and Mrs. Henry Ford (1943) [Matthiesen]. Matthiesen (Waltz Book I), 1992; pg. 46. 

X:1

T:Spanish Waltz

L:1/8

M:3/4

N:AABBCAABB.

S:Elias Howe – Diamond School for the Violin  (c. 1861)

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 Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 95, pg. 38.

           

SPANKING JACK.  English, Air (whole time). G Major. Standard tuning. AB. The title is from a song by Charles Dibdin (1745-1814), one of England’s most popular songwriters, composers, actors and dramatists of the late 18th and early 19th centuries. It is called “Grieving’s a Folly,” and begins:

***

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,