The Fiddler’s Companion
© 1996-2009 Andrew Kuntz
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ST. |
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] |
ST. ADELE'S REEL. French‑Canadian, Reel. Front Hall FHR‑010,
Bill Spence and Fennig's All Stars ‑ "The Hammered Dulcimer Strikes
Again" (1977).
ST(E). AGATHE. AKA and see “St(e). Anne’s Reel.” French‑Canadian,
Reel. D Major. Standard tuning (fiddle). AABB. One of Bayard's Pennsylvania‑collected
untitled reels (1981; No. 78, p. 50) resembles this tune's 'A' part. Messer (Way Down East), 1948; No. 39. Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 59, p. 35 (appears as "Sainte Agathe").
X:1
T:Sainte Agathe
M:2/4
L:1/8
R:Reel
K:D
A|:ff/g/ f/e/d/B/|AF/G/
A/F/A/d/|B/G/G/G/ GF/G/|B/A/A/A/ Ad/e/|ff/g/ f/e/d/B/|
AF/G/ A/F/A/d/|B/G/B/d/
c/A/c/e/|d/f/e/c/ d::a>g|f/d/f/a/ f/d/f/a/|a/g/g/f/ gg/f/|
e/d/c/b/ A/B/c/e/|b/a/a/^g/ aa/g/|f/d/f/a/
f/d/f/a/|a/g/g/f/ gg/f/|e/d/c/B/ A/B/c/e/|f/d/e/c/ d:||
ST. ANDREW'S. AKA and see "Ballyket Courthouse," "Barry's Fancy," "Kathleen's Fiddle," "Micho Russell's Favorite [1],"
"Rattigan's," "The Swallow [2]." Irish, Reel. Bulmer
& Sharpley (Music from
ST. ANDREW'S ASSEMBLY. English, Country Dance Tune (4/4 time). B Flat Major. Standard tuning
(fiddle). AA'BB'C. The melody was composed by Ludwig Beethoven. An ‘assembly’
was a social club.
ST(E). ANNE'S REEL. AKA – “St. Agathe.”
AKA and see “La Reel de la Baie Ste. Anne.” Canadian (originally), American,
Irish; Reel and Breakdown.
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:St. Anne’s Reel
L:1/8
M:C|
S:Jay Ungar (Hudson Valley, New
York)
Z:AK/Fiddler’s Companion
K:D
de|f2 (fg) fedB|A2 F2 F3 A|B2G2G2
(FG)|B2A2A2 a2|f2 (fg) fedB|A2 FA DFAd|
(BG)Bd (cA)cd|e d2 )e d2:||:ag|fdf(a
fd)fg|ag2(a g2)(gf)|e(dcB) Ace^g|
ba2b a2 (ag)|fdf(a fd)fg|ag2(a g2)
(gf)|e(dcB) Aceg|f d3 d2:||
ST. ANNE'S TUNE. English, Dance Tune. G Major. Standard tuning. AB. One of the tunes used
in the Abbots Bromley (Staffordshire) horn dance. "This four bar melody is
the same tune that Edie Sammons recalled (see "Edie Sammon's Tune") but with a
different rhythm. It was first published in 1924 in the 'Leaflet' of SS. Mary's
and Anne's Guild, St. Mary's and St. Anne's being schools in Abbots
Bromley" (Bullen). Bullen, Andrew, Country
Dance and Song, May 1987, Vol. 17, pg. 11.
SAINT-ANTOINE. AKA and see “Saint-Siméon
[1].” French-Canadian, Reel. A Major. Standard tuning. AABB. The tune is
associated with the repertoire of master Québec fiddler Joseph Bouchard
(1905-1980), who recorded the tune in three parts. Source for notated version:
fiddler
ST. BASIL'S HYMN. Greek. A traditional tune for the
Greek New Year. Flying Fish FF‑266, Malcolm
Dalglish & Grey Larsen ‑ "Thunderhead" (1982). Yodel‑ay‑hee
#002, Critton Hollow Stringband ‑ "Sweet Home" (1983).
X:
1
T:St. Bernard's Waltz
M:3/4
L:1/4
Q:100
C:Ward & Swallow
S:Play Intro-A-A-B-C
K:C
"C"[[.c/2G/2E/C/2]
[.c/2-c2G/2-G2E/2-E2C/2-C2]|"C"C,[CEG][CEG]|"C"G,[CEG
][CEG]|"C"C,[CEG][CEG]|"C"G,[CEG][CEG]||!
|:"C"e3|c3|Gz"Eaug".^G|"Am".AzG|"C"e3|"Edim"g3|"Dm"f3-|f2G|f3|d3|"G7"B
3|"Dm"A3|"G7"GBd|"G"g"D7"^f"G7"=f|"C"e"F7"_e"C"=e|"G7"dBG|"C"e3|c3|Gz"Ea
ug".^G|"Am".AzG|"C"E3|G2^G|"F"A3-|ABc|"C"c"G"B"F"A|"C"c"G"B"C"G|Gce|ggf|e
3|"G"d3|"C"c.G.A|"G".B"C".c"G".d:|!
"C"e2g|"G"d2g|"C"c"(knock)"zz|"(knock)"z2z|"C"G2A|"G"F2G|"C"E3|GAB|c3|"F"cBA|"G7"G2F
|"G"D3|G2F|D3|"Am"A2"Cdim"G|"G7".G"Dm".A"G".B|"C"e2g|"G"d2g|"C"czz|z2
z|"C"c3|c2B|"F7"A3|"G7"G"E+"^G"F"A|"C"c3|"F"B2A|"C"G2c|EGc|e2e|"G"fed|"C
"c.G"D7".A|"G".B"C".c"G".d||!|"C"e3|c3|Gz"Eaug".^G|"Am".AzG|"C"e3|"Edim"g3|"Dm"f3-|f2G|f3|d3|"G7"B
3|"Dm"A3|"G7"GBd|"G"g"D7"^f"G7"=f|"C"e"F7"_e"C"=e|"G7"dBG|"C"e3|c3|Gz"E+
".^G|"Am".AzG|"C"E3|G2^G|"F"A3-|ABc|"C"c"G"B"F"A|"C"c"G"B"C"G|Gce|ggf|e3|
"G"d3|"C"c3|"Fm6".d"Am".e"F".f|"C"[.G3.g3|"C".Czz||
ST. BERNARD'S WELL. AKA and see "Barnard's Will,"
"Shammie Breeches."
Scottish, Reel. G Major. Standard tuning. AA'BB'. St.
Bernard's Well is a mineral spring by the Water of Leith, on the outskirts
of
ST. BOTOLPH HORNPIPE. American, Hornpipe. A Major ('A' part) & E Major ('B' part).
Standard tuning. AABB. The name '
X:1
T:St. Botolph Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(3EFG | A>cB>A A>ce>c |
d>ef>g a>fe>c | A2 (c>B) A>ce>c | B>cB>A
G>EG>B |
A2 (c>B) A>ce>c |
d>ef>g (3aga e>c | f>ed>f e>cA>c | B>AG>B A2 :|
K:E
(GA) | (cB)B>B B2 (cd) |
e>de>f g2 (fg) | a>gf>a g>fe>g | f>ed>c B>AG>A |
(cB)B>B B2 (cd) | e>de>f g2 (fg) | a>gf>a g>fe>g |
f>ed>f e2 :|
X:1
T:
M:C|
L:1/8
S:John Young – second volume of the Dancing Master (
Z:AK/Fiddler’s Companion
K:A
E2|A2 ed c2A2|c2e2e2
fg|a2g2f2e2|dcBc dcBc|A2 ed c2A2|
c2e2e2fg|a2g2f3e|e6::e2|fefg
agfe|fedc B2 cd|
e2 fe dcBA|G6 E2|A2 cA F2 dB|G2 ec
A2 ag|fedc B3A|A6:|
ST. BRIDE’S BELLS.
English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB.
The tune and dance instructions were first published in John Hinton’s
periodical Universal Magazine of Knowledge and Pleasure (London, 1754),
and in R. Baldwin’s periodical London Magazine, or Gentleman’s Monthly
Intelligencer (London, 1755). Later it was published in Charles and Samuel
Thompson’s 1757 collection and in John Johnson’s 200 Favourite Country Dance
Tunes, vol. 8 (London, 1758). The melody was entered into the music
manuscript copybooks of Perthshire fiddler John Fife (1780), and London
musician Thomas Hammersley (1790). In America, the melody appears in the 1797
copybook of Mansfield, Conn., fiddler Thomas Cary.
***
The ring of bells in St. Bride’s
church was justifiably famous for centuries, until their final destruction in
an air-raid in 1940. Peal-ringing became an organized musical endeavour in the
17th century, with societies devoted to the performances of composed
music for ringing bells. It was even considered a feat of endurance, for teams
of bell-ringers would sometimes peal their bells for up to 4.5 hours. The most
famous peal-composer was Benjamin
Annable, who died on February 1st 1756, and was buried under the tower of St.
Brides. The following appeared in an unidentified newspaper, and shows the
esteem with which he was held:
***
A few nights ago was buried
under the tower of St. Bride's Mr. Benjamin Annable
the best ringer that was
ever known in the world. Till his time ringing was only called
an art, but from the
strength of his great genius he married it to the mathematics and
'tis now a science. This man
in figures and ringing was like a Newton in philosophy,
a Ratcliff in physic, a
Hardwick in wisdom and law, a Handel in music, a Shakespeare
in writing and a Garrick in
acting. O rare Ben!"
***
Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 113. Wilson
(Companion to the Ball Room), 1816; pg. 104.
X:1
T:St. Bride’s Bells
M:2/4
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:A
a|gfed|cBAa|gfed|c2
Aa|gfed|cBAa|(g/a/b) B^d|e2 E:|
|:a|fdBg|ecAa|fdBg|e2 Aa|fdBg|ecAc|dfBg|a2 A:||
ST. CATHERINE'S (REEL). Scottish, Reel. G Major. Standard tuning. AABB. Credited to A.M. Volti
in Kerr’s collection, presumably a relation to Carl Volti, who
contributed many tunes to the Kerr collections. Kerr (Merry Melodies), vol. 3; No. 66, pg. 9.
X:1
T:St. Catherine’s
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 3, No. 66
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
D|G2 ge d2 BG|c2 AG (GF)ED|G2 ge
d2BG|EGFd BGG:|
|:d|g2 Be dBG2|EFGA GFED|g2 Be
dBG2|EGFd BGG:|
ST. CIARÁN’S BUSH. Irish, Hornpipe. Composed by
ST. CLAIR’S HORNPIPE
[1]. Canadian, Hornpipe. D Major.
Standard tuning. AABB. Messer (Way Down
East), 1948; No. 69. Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 115, pg. 72 (appears as "St.
Clair").
X:1
T:St.Clair
Hornpipe
R:Hornpipe
M:2/4
L:1/16
Z:Transcribed
by Bruce Osborne
K:D
AG|FADF
Adcd|edcd e2ef|gfed edcB|ABAG F2AG|
FADF
Adcd|edcd e2ef|gfed cABc|d2f2 d2:|
|:FG|A^GAF
DFAF|GABc edcB|A^GAF DFAF|GFED E2FG|
A^GAF DFAF|GABc edcB|ABAF AGFE|D2F2
D2:|
ST.
CLAIR’S HORNPIPE [2].
X:1
T:St.
Clair’s Hornpipe [2]
M:2/4
L:1/8
S:White’s Unique Collection (1896), No. 99
Z:AK/Fiddler’s Companion
K:D
A |
B/A/^G/A/ D/F/A/c/ | e/d/c/d/ F/A/e/f/ | f/e/^d/e/ A/c/e/g/ | (f/c/)(d/B/) AA |
B/A/^G/A/
D/F/A/c/ | e/d/c/d/ F/A/c/d/ | (f/e/).^d/.e/ (A/c/).e/.f/ | dfd :|
|: (e/f/) |
.g/(e/^d/e/) A/c/e/g/ | (f/d/)(c/d/) F/A/d/f/ | (e/c/)(^B/c/) E/A/c/e/ |
e/d/c/d/ (A/F/)(B/A/) |
.g/(e/^d/e/)
A/c/e/g/ | (f/d/)(c/d/) F/A/d/f/ |(e/c/)(^B/c/) E/A/c/e/ | (e/d/)(f/e/) d :|
ST. COLUMBA’S HYMN. AKA and see "Caol Mhiule"
(The Narrows of Mull).
ST. ELMO HORNPIPE. AKA and see “Shunster’s
Hornpipe,” “Sunshine Hornpipe.”
American, Hornpipe. A Major. Standard tuning. AABB. It sounds like a 19th
century stage hornpipe. Cole (1000 Fiddle
Tunes), 1940; pg. 98. Ryan’s Mammoth
Collection, 1883; pg. 132.
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:St. Elmo Hornpipe
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
cd | (3eae (3cec (3AcA (EA) | CEAc ecAc
| (3dfd (3cec (3BdB (3AcA | GBAF E2 (cd) |
eace AcEA | CEAc ecAc | (3dfd (3cec
(3BdB (3GBG | A2a2A2 :|
|: Bc | dBGB EGBc | dBGB d2 (cd) |
ec (3AcA (EA)cd | ec (3Ace a2 ga |
fdBd (3fed (3cBA | (3GAB (3AGF E2 (
cd) | (3eag (3fed (3cBA (3BAG | A2a2A2 :|
ST-FÉRÉOLE. French-Canadian, Reel. D Major.
Standard tuning. AABB. Known as a beginner’s tune. St-Féréole is a town on the
north bank of the St. Laurence River, north east of Québec city.
X:1
T:St-Féréole
M:2/4
L:1/8
R:Reel
S:Fiddler Pascal Gemme (of the group
Genticorum)
K:D
D/E/F/G/ AF/A/|dF A2|fe/d/
cA|B/A/B/c/ BA|D/E/F/g/ AF/A/|
dF A2|fe/d/ cA|B/A/B/c/ d2::A/c/d/e/
f/f/e/d/|ef g2|B/A/B/c/ BA/G/|
F/G/A/B/ A2|A/c/d/e/ f/f/e/d/|ef
g2|B/A/B/c/ B(3A/A/A/|B/A/B/c/ d2:|
ST. FRANCIS. Canadian, Reel. G Major. Standard tuning. AABB. Messer (Anthology of Favorite Fiddle Tunes),
1980; No. 82, pg. 57.
ST. GEORGE FOR
***
Why should we boast of Arthur and his knights,
Knowing well how many men have endured fights?
For besides King Arthur and Lancelot du
Or Sir Tristram de Lionel, that fought for Ladies’ sake,
Read in old histories and there you shall see,
How St. George, St. George the Dragon made to flee.
Saint George he was for England,
St. Denis was for France,
Sing Honi soit qui mal y pense.
***
Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 102‑103.
X:1
T:St. George for
M:C
L:1/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:A
A2 AA A3B|A=GFE F4|FBBB BB B2|BAGF
G2 EE|A2A2A2 AA|A2 A,A, E2 EE|
B2 BB BBBB|BAGF G4|A2 cc eeee|e2 EE
E2 FG|A3 E F3 C|DD EE A,2||zE|
A3B c2A2|d6 cB|A4 A2 GF|E6 E2|A6
A2|D6 F2|E6 E2|A,8||
ST. GEORGE’S FIELDS.
English, Jig. G Major (‘A’ part) & G Minor (‘B’ part). Standard
tuning. AABBCCDD. The melody is unique to Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773). Thompson (Compleat Collection
of 200 Favourite Country Dances, vol. 3), 1773; No. 88.
X:1
T:St. Georges Fields
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:G
BAB G2d|d2e d3|cdc B2B|ABA G2D|BAB G2d|d2e d3|gag f2f|efe
d3:|
|:d2d ded|c2B c2A|c2c Bcd|c2B A3|d2d e2e|fga g2G|cdc B2B|ABA G3:|
K:Gmin
|:BAG
d2e|d2c B2A|BAG ^F2G|c2B A3|BAB c2e|d2c B2F|fed gfe|d2c B3:|
|:dcd e2d|c2d B2A|Bcd c2B|A2G ^F3|gab a2g|^fga g3|dcd edc|B2A G3:||
ST. IVES FEAST. AKA and see “Bodmin Riding,” “Grand Turk’s March,” “Ct. Brown’s March.” AKA – “
ST. JAMES' BASIN. English, Jig.
ST. JAMES’S PARK [1]. English, Country Dance Tune
(cut time). D Major. Standard tuning. AABB. “St.
James’s Park” appears in the second volume of the Dancing Master, third edition (
X:1
T:St. James’s Park [1]
M:C|
L:1/8
S:Playford – Dancing Master
Z:AK/Fiddler’s Companion
K:D
DE|F2D2A2d|c3B A2B2|c2d2e2c2|dcde d2
ef|g2 fg e2 fg|
f2ed c2BA|d2 ef f3e|e6::e2|c2 BA d2
ef|g2 fg e2a2|
f2 dc B2e2|cdcB A2c2|d2 cd B2 cd|c2
Bc A2ag|f2 gf e3d|d6:|
ST. JAMES’S PARK [2]. English, Country Dance Tune (12/8 time). A Major. Standard tuning (fiddle). AABB. The melody, like many in Charles and Samuel Thompson’s first collection, appeared earlier in London publisher John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 6 (1751). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 31.
X:1
T:St. James’s Park [2]
M:12/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Fynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
ecA ABA ABA f/g/af|ecA ABA ABA B/c/dB|ecA ABA ABA (f/g/a)f|edc dcB A3 a3:|
|:ecA
aec ecA fgaf|ecA aec ecA (e/f/=g)e|ecA aec ecA f/g/af|eaf ecB A3 a3:||
ST. JOBE'S WALTZ. Old-Time, Waltz. C Major. Standard tuning (fiddle). AABB'. Source for notated
version: A.L. Steeley with the Red Headed Fiddlers [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; p. 304. Document 8038, The Red Headed
Fiddlers – “Texas Fiddle Bands” (reissue).
ST. JOE HORNPIPE. Old‑Time, Breakdown.
X:1
T:St. Joe Hornpipe
M:2/4
L:1/16
Q:122
S:from Cyril Stinnett
A:Missuori
B:transcribed as #45 in OTFR
N:the
title likely refers to the northwest
Z:B. Shull, trans.; R.P. LaVaque, ABCs
K:Bb
(FGA|B2)d(f
b2)b(f|a2g2 (ga)ge|(Ac)ef a2(=ef|g2)f(=e fg)fc|! (Bc)df b2b(f|a2)g2
(g^fg)=e|(fa)gf =e(cA)c|B2(3cBA) B2:|! |:[B,2D2]|[B,2D2]DF B2Bc|(dcd)e
(dc)A(B|cd)c(B A)FGA|(BAB)(c dBFD|! [B,2D2]DF (BAB)c|(dcd)e (dc)A(B|cd)c(B
A)FG(A|Bd)cA B2:|!
ST.
JOHNSTON’S.
Irish, Hornpipe. E Flat Major. Standard tuning (fiddle). AA’BB’. The
hornpipe appears in
X:1
T:St.
Johnston’s
M:C
L:1/8
R:Hornpipe
B:Luke O’Malley Collection of Irish Music,
vol. 1, No. 132 (1976)
Z:AK/Fiddler’s Companion
K:Eb
GA=A|:BGeB
=AecA|BGeB =AecA|Bcdc BAGA|(3BcB AF E2 (3GA=A|
BGeB =AecA|BGeB
=AecA|Bcdc BAGF|1 (3EGB (3eBG E2 (3GA=A:|2 (3EGB (3DFA E2 ed||
|:cdef gc
~c2|agfa gc ~c2|(3ded G2 (3ded G2|(3G,=BD (3GBd gfed|
cdef
gc~c2|agfa gc ~c2|(3ded G2 (3ded (3G=Bd|1 gfed c2 ed:|2 gfed c2 (3GA=A||
ST. JOSEPH'S REEL. American, Reel. D Major. Standard tuning. AB (Silberberg): AABB.
Private collection (circulated among contra-dance musicians). Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 137.
ST. KATHERINE’S. English, Country Dance Tune
(cut time). G Major. Standard tuning. AA’B. The melody appears in the early 18th
century publications by John Walsh’s Compleat
Country Dancing Master (
ST. KEVIN. Irish, Jig. B Flat Major (Kerr): D Major (Miller). Standard tuning. St.
Kevin (493-613) was an Irish saint, a contemporary and acquaintance of St.
Columba. He was both a hermit and an abbot, off and on, and was known as a
patient man and a friend to animals. One legend has it that the aged King
O’Tool of Glendalough, a pagan, made a pet of a goose. The beloved animal
became aged and weak, and the king, knowing of Kevin’s holiness and affinity
for animals, sent for the holy man. O’Tool demanded that Kevin make the goose
young again, which request Kevin said he would grant if he would be rewarded
with a gift of any land the goose would fly over. The king, knowing the bird
was flightless in its infirmity, readily agreed. Kevin then touched the bird and indeed the years sloughed off. Now able to take flight, the goose flew over
the
X:1
T:St. Kevin
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 2, No. 276
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:Bb
F|Bcd dcB|G3 GAB|FGF FBd|c3 d2F|Bcd
dcB|G3 GAB|FGF FBd|c3 BAB||
cAF dBG|c3 (A2B)|cAF dcB|A3
(c2^c)|dAA ABc|B3 (A2B)|cGG GAB|A3 c2||
ST. KILDA REEL, THE. Scottish, Reel. B Flat Major. Standard tuning.
AABB. Gatherer (Gatherer’s Musical Museum),
1987; pg. 4. Gow, The Beauties of Niel
Gow (1819).
X:1
T:St. Kilda’s Reel
M:C
L:1/8
S:From Ann Winnington’s music
manuscript book (No. 20), from the early 19th century.
N:Winnington was an American,
probably a pianist, who resided in
K:Bb
f2 fe d(BB)d | f2 fe d(BB)d | f2 fe
d(BB)d | cdcB AFFA :|
|: d2 dc BGGB | dedB G2 GB | dedc
BGGB | cdcB AFFA :|
ST. KILDA WEDDING, THE (A' bhanais Irteach). Scottish (originally), Canadian;
Strathspey, Reel and Air.
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:
M:C|
L:1/8
S:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
A/A/A A2 A>cec|B/B/B (cA F2 (EF|A/A/A Acec|1 f/f/f (fe fefa:|2 f/f/f (fe fefg||
agab
aeea|fgag f2 (ed|cefg agfa|eaca B2 (AF:|
ST. KRISPAIN'S COBBLERSGUILD
TUNE. Flemish in origin. Rounder Records 0216, John McCutcheon ‑ "Step by
Step" (1986).
ST. LAWRENCE JIG. French Canadian, New
X:1
T:St. Lawrence
M:6/8
L:1/8
R:Jig
K:D
ABA FAd|f2d A2d|c2B G2B|B2A F2G|ABA FAd|f2d A2d|cec ABc|d3 d3:|
|:a2g
B2g|g2f A2d|cde ABc|dcB A2f|A2g B2g|g2f A2d|d2c cBc|d3 d3:|
ST. LEGER'S ROUND. See "Sellinger's
Round."
T:
M:3/4
L:1/8
R:Waltz
S:Elias Howe –
Z:AK/Fiddler’s Companion
K:D
FG|BAAFGB|AffAAf|GeeGGe|FddFFG|BAAFGB|AffAAf|GeeGGe|d3 z||
AFD|CEEAAc|ceeggb|baaffd|Acceeg|Addffa|z2 z Ace|f3 Ade|f3 Ace|g3 Ace|
g3
eag|f3 faf|e3 eae|dcdfec|d3||
ST. MARGARET'S HILL. English, Country Dance Tune (3/2 time). G Minor. Standard tuning. ABB.
An early 18th century tune (1713) for a three-couple country dance set, first
published by Playford. St. Margaret’s Hill is in
ST. MARTIN'S. English, Country Dance Tune (2/2 time). A Dorian/Minor. Standard
tuning. AABB. The tune was first published in Playford's English Dancing Master (1651). Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 43. Sharp (Country Dance Tunes), 1909/1994; pg. 19.
X:1
T:
M:2/2
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:Amin
|: E2 | AB c2 Bc d2 | c4 c2d2 |
e^fg2 f3e | e6 e^f |
g2 ^fe d2 de | =f2 ed c2 cd | e2 ec
B3A | A6 :|
|: z2 | B2e2B2c2 | B3A G^F E2 |
cde^f d3e | c6 e^f |
g2 de =f2 cd | e2 Bc d2 cd | e2 dc
B3A | A6 :|
ST. MARY'S. AKA and see “Ballymote,” “Church Street (Polka) [1],"
“Flanagan’s (Polka),” “Gurteen Cross,” “Oyster River (Reel),” “Paige’s.” Irish
(originally), English; Polka. G Major. Standard tuning. AABB (Mallinson): AABB’
(Moylan): AA’BB’ (Callaghan). A polka from the north of
X:1
T:St. Mary’s Polka
T:
T:Gurteen Cross
R:polka
D:Ben Lennon, The
Z:Jeff Myers
M:2/4
L:1/8
K:G
D/|GB
GB AB/A/|Gg e/f/g/e/|dBAG/A/|BG
G-G/:|
A/|Bd g-g/A/|Bd g-g/A/|Bd ge|f-f/g/
fg|ag e/f/g/e/|dB AG/A/|
Be d/B/A/B/|G2{B}G-G/:||
ST. MARY'S BELLS. English, Morris Jig. G Major. Standard tuning. AABBCC. A modern
composition by editor Michael Raven. Raven (English
Country Dance Tunes), 1984; pg. 206.
ST. MICHAEL’S JIG. AKA and see “Thunderhead.”
Breton, Jig.
ST.
MUNGO’S WELCOME TO SCOTT SKINNER. Scottish, March (4/4 time). A
Major. Standard tuning. AABCCD. Composed by Scots fiddle-composer J. Scott Skinner (1843-1927), apparently (from a note
printed underneath the tune) in recognition of an appearance at the Celtic
Tournament at
X:1
T:St. Mungo’s Welcome to Scott
Skinner
M:C
L:1/8
R:March
N:”Heroically.”
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
F | E>D CE F/A/G/B/ AB/c/ |
.d.c.B.A. (G2F) A | E>D CD/E/ F/A/G/B/ A.f/.e/ | d/c/B/A/ [.Ec][.DB] ({B}A2)
[CA] :|
e | a>g ({g}f)e (fg/a/) ec/A/ |
fedc (c2B) .e | a>g ({g}f)e (ag/a/) (ec/A/) | .d/.c/.B/.A/ [.Ec][.DB]
{B}[C2A2][CA] e |
(aA) (fA) (e/f/g/a/) (e/c/B/A/) |
fedc (c2B).e | E>D .C.D/.E/ F/A/G/B/ (Aa/.e/) | f/e/d/c/ cB ({B}A2) [CA] ||
F | E/F/D/E/ CD/E/ F/A/G/B/ AB/c/ |
d/e/c/d/ B/c/A/B/ (G2F) A | E/F/D/E/ C/A,/D/E/ F/A/G/B/ A/e/f/e/ |
.d/.c/.B/.A/ cB A2 [CA] :| (e |
a/g/f/e/) (f/e/d/c/) (d/e/f/g/) (a/e/c/A/) | (d/e/f/e/) (d/c/B/A/) (c2 {d/c/}B)
e |
(a/g/f/e/) (f/e/d/c/) (d/e/f/g/)
(a/e/c/A/) | (d/c/B/A/) cB B2 A e | a/.A/.f/.A/ .e/.A/.c/.A/ (.e/.f/.g/.a/)
(.e/.c/.B/.A/) |
(f/g/a/e/) d/c/B/A/ (c2 {d/c/}B)E |
E/D/C/E/ F/A/G/B/ A/e/a/c’/ e’A | (d/c/B/A/) (E}[Ec] [F/d/][E/c/] {c}[D2B2][CA]
||
ST. PATRICK WAS A
GENTLEMAN [1] (Bud Duine Uasal Noam
Padraic). AKA
and see "The House That Pat Built". Irish, Air (2/4 time,
"lively"). A Major. Standard tuning. AB. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 613, pg. 108.
X:1
T:St. Patrick was a Gentleman [1]
M:2/4
L:1/8
R:Air
N:”Lively”
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:A
e|cA AB|cd ec|BG GB|d B2 d|cA AB|cd
eg|ae ed|c A2||g|ag ab|ae ef|
gG GB|d B2 g|ag ab|ae ef|gG GB|d B2
e/d/|cA AB| cd ec|BG GB|d B2 e|
cA AB| cd eg|ae ed|c A2||
ST. PATRICK WAS A
GENTLEMAN [2]. AKA and see AKA and see “Alasdair MacAlister,” “Denis Doody’s [2],” “From Billy to Jack,” “Glen Cottage Polka [2],” “The Green Cottage [2],” “Green cottage
polka, no. 2,” “The Glin Cottage
Polka [1],” “McAllister’s Fling,”
“Quarry Cross,” "St. Patrick Was Your Patron Saint."
Irish, Polka or Air (4/4 time).
X:1
T:St. Patrick was a Gentleman [2]
M:4/4
L:1/8
R:Polka
S:Mac Amhlaoibh & Durham – An Pota Stoir
Z:AK/Fiddler’s Companion
K:Emin
B/A/|GE ED B,
|: Be e>f eB BA | Be ef e2 ef | g
fg/f/ eB BA | BE E/F/G/A/ B2B2 :|
X:2
T:Mecklinburgh
M:4/4
L:1/8
R:Shape Note Hymn Air
S:
Z:AK/Fiddler’s Companion
K:Gmin
z2 d4 | B22G2G2 | D2G2G2B2 | A3G
F2A2 | (B2A2) G4 :|
z2 G4 | G2A2B2c2 | d2d2G2A2 | B3c d2e2
| (f3e) d2f2 |
g2e2g2d2 | c2B2c2e2 | d3B G2A2 |
(B3c) d2A2 | B2G2G2G2 |
D2G2G2B2 | A3G F2A2 | (B2A2) (G4 |
G8) ||
ST. PATRICK WAS A
GENTLEMAN [3]. AKA and see “The Day I Married Susan,” "The Night I Married Susie," "Beidh ril againn," "Billy O'Rourke's the
Buachaill [1]," "An Bóthar ó thuaidh go dtí
Árainn" (The South Road to Aran). The melody appears in Petrie, pg.
419, although the song is not usually sung to this air. See also related tunes
"Ballahaboy Fair," "Tristram Shandy," "Arra Kitty be easy."
ST. PATRICK WAS A
GENTLEMAN [4]. Irish, March (2/4 time). F Dorian. Standard
tuning. AB. “The original melody of ‘St. Patrick was a Gentleman’ as played by
the Irish Militia Bands” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 346, pg.
87.
X:1
T:St. Patrick was a Gentleman [4]
M:2/4
L:1/8
N:”Original melody…as played by the Irish Militia Bands.”
B:Stanford/Petrie, No. 346 (1905)
Z:AK/Fiddler’s Companion
K:Ab
cB|A>FFF|CFFG|A>FFA|c2
cB|A>FFF|CFFA|G>EEG|B2||
AG|A>Bcc
fccB|A>Bcc|f3G|ABc=d|EBBA|G>EEG|B2 AG|
A>Bcc fccB|A>Bcc|f2
fg|afg=e|fccB/A/|G>EEG|B2||
ST. PATRICK WAS YOUR
PATRON SAINT. AKA and see “Denis Doody’s [2],” “Glen Cottage Polka [1]," “Quarry Cross,” "St. Patrick Was a Gentleman" [2].
ST. PATRICK’S DAY IN
THE EVENING. AKA and see “Baxter’s Big,” "The Fisherman's Widow,” “The Friendly Neighbor,” “The Rambling Pitchfork.”
ST. PATRICK'S DAY (IN
THE MORNING) {"La Feile Naoim
Patraic," "La Feile
Padraig" or "La Gheile Paidric"}. AKA and see "Barbary Bell," "The Kerry Dance" (Roche), "Patrick's Day," "Sheelah's Wedding," "Though Dark Be Our Sorrows,"
"The
Old Woman Tossed Up (in a Basket/Blanket) [1]" (Sharp). Irish,
English, Scottish, American; Air, Set Dance (6/8 time) and Jig.
***
The melody has been danced and
marched to in
***
Samuel Bayard (1981) observes there
are two main sets of the tune which have coexisted; a standard form and an
extension form (having extra measures: 10, 12, 14 or 16 have been recorded). He
notes references under the given title above date back to 1748 and 1762 (see
Moffat, pg. 272). Another form also has also existed for over 150 years to
which Thomas Moore wrote his song "When in death I shall calm
recline;" this form often appears in older collections under the title
"The Legacy [1]." Bayard
collected both the standard and extension forms of the tune in southwestern
***
“St. Patrick’s Day” was famously
recorded on a 78 RPM by piper Leo Rowsome (recorded with “The Blackbird”). Rowsome’s recording has a
story associated with it, as told by Sean Reid in the sleeve notes to "Leo
Rowsome volume 1" (Ossian OSS 66), to the effect that “it was an impromptu
studio session where Leo wrote out the music on the back of an envelope for two
English musicians, who had no knowledge of Irish music, but who just happened
to be there and ad-libbed their way through some truly great music”
(communicated by Anthony Buffery). Buffery says that, according to Reg Hall,
“in reality, Rowsome had been invited to
***
In Irish tradition “St. Patrick’s
Day” is one of the four tunes called the Traditional Sets (i.e. set dances),
along with “Job of Journeywork,”
“The Blackbird” and “Garden of Daisies [1].”
***
Sources for notated versions: six
southwestern Pa. fiddlers and fifers [Bayard]; the Irish collector Edward
Bunting noted the tune from Patrick Quinn the harper in 1792; a c. 1837-1840 MS
by Shropshire musician John Moore [Ashman]; the 1823-26 music mss of papermaker
and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen,
Lincolnshire Wolds) [Sumner]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Aird (Selections), 1778, vol. 1, No. 50. Allan's Irish Fiddler, No. 117, pg. 30. Ashman (The Ironbridge Hornpipe), 1991; No. 79,
pg. 32. Bayard (Dance to the Fiddle),
1981; No. 633, pgs. 555‑557. Carlin (The
Gow Collection), 1986; No. 391. Bunting, 1840; pg. 67. Cole (1000 Fiddle Tunes), 1940; pg. 76. Cranitch (Irish Fiddle Book), 1996; No. 95, pg.
164.
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:St. Patrick’s Day in the Morning
L:1/8
M:6/8
K:G
GAG GBc|ded dBG|AGA BGD|EFE E2D|GAG GBc|ded dBG|AGA BGD|E2F G2D:|
|:def
g2g|fed edB|def gag|fed e3|def g2g|fed edB|def gag|fed efg:|
X:2
T:St. Patrick’s Day in the Morning
L:1/8
M:6/8
K:G Major
D|GAG GAB|ded dBG|AGA BGD|EFE E2D|
GAG GAB|ded dBG|AGA BGD|E2F G2:|
B|def gag|fed edB|def gag|fed e2d|
def gag|fed efg|dBG GAB|ded dBG|AGA
BGD|
EFE E2D|GAG GBd|gfe dBG|AGA BGD|E2F
G2:|
X:3
T:
M:6/8
L:1/8
R:Jig
S:William Vickers’ music manuscript
collection (Northumberland, 1770)
K:G
B|G2G GAB|ded dBG|BAB BGE|EFE
E2D|GAG GAB|ded dBG|
BAB BGE|E3 G3::def g2e|f2d e2c|def
g2e|f2d e3|
def g2e|f2d efg|GAG GAB|dbd dBG|AGA
BGE|E3 G3:|
ST. PATRICK’S EVE. Irish, Jig. A Dorian. Standard
tuning. ABCD. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south
ST. PATRICK'S JIG. Canadian, Jig. A Major. Standard
tuning. AABB. Composed by
ST. PATRICK’S (MARCH). AKA and see “Centenary March.”
Irish, March (4/4 time). D Major. Standard tuning. AABB. The tune usually is
known as the “Centenary March.” Mulvihill (1st
Collection), 1986; No. 2, pg. 103.
X:1
T:
M:3/4
L:1/8
K:C
{^d}e6 | {e^}e6 | {^d}ez c3A | G6 |
{^f}g6 | {^f}g6 | {^f}gz b3a |
(g2 ^f2 =f2) | {^d}e6 | {e^}e6 |
{^d}ez c3A | G6 | g3g g2 | f2e2d2 |
c2G2e2 |1 cGABcd :|2 c2 z2 d2 |:
c’c’c’c’c’c’ | c’2b2a2 | bbbbbb |
b2a2g2 | aaaaaa | a2e2f2 |1 g2b2e’2
| d’4 d2 :|2 g2z2g2 | f2 ^f2=f2 :|
{^d}e6 | {e^}e6 | {^d}ez c3A | G6 |
{^f}g6 | {^f}g6 | {^f}gz b3a |
(g2 ^f2 =f2) | {^d}e6 | {e^}e6 |
{^d}ez c3A | G6 | g3g g2 | f2e2d2 |
c2G2e2 | c2 ||
K:F
|: c2f2 | a2z2a2 | z2 {^g}a2 {^g}a2
| c’2 z2 b2 | z2 a2g2 | f2z2e2 |
z2 {^d2}e2 {^d2}e2 | g2z2f2 | z2
c2f2 | a2z2a2 | a2z2a2 | z2 {^g}a2 {^g}a2 |
c’2 z2 b2 | z2 a2g2 | f2z2e2 | z2 a2
g2 | f3ff2 | f2z2z2 :|
X:1
T:
M:C|
L:1/8
R:Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Bb
(3FGA | BFDF B2 (AB) | cAFA c2 (Bc)
| dcBA GABc | A2F2F2(GA) | BFDF B2 (AB) |
cAFA c2 (Bc) | dfdB AecA | B2d2B2 ::
(f=e) | f_edc =BGAB | ({d}c)=Bcd e2 (ed) |
edcB AFGA | ({c}B)ABc dfec | BFDF B2
(AB) | cAFA c2 (Bc) | dbge dBcA | B2b2B2 :|
SAINT RAYMOND’S FLING. Irish, Fling. D Major. Standard
tuning. AB. Composed by
X:1
T: Saint Raymond's
C: © B.Black
Q: 300
R: hornpipe
M: 4/4
L: 1/8
K: D
DEFG A2 d2 | BGBc dA F2 | DEFG A2 d2 | BABd e4 |
fddf gBBg | acca bafe | f2 df cfBf | AFEF D4 ||
fefg fBBc | d2 e2 f2 a2 | eB B2 AF F2 | AFEF D4 |
fefg
fB B2 | abag fd d2 | DEFG AdcB | AGFE D4 ||
ST. RUTH'S BUSH. “Jude’s Bush.” Irish, Reel. A Dorian. Standard. AABB. According to
Philippe Varlet the tune was composed around 1936-1940 by fiddler Paddy Kelly
(of the Aughrim Slopes band) and was first recorded by the Kincora Ceili Band
led by Ms. Kathleen Harrington. The bush (or tree) is where the French
commander the Marquis de St. Ruth’s head was found after he was killed by a
cannon ball while on his white charger at the Battle of Aughrim in 1691.
Aughrim is approximately 30 miles east of
***
Charlie Piggot, in his book Blooming Meadows (1998, written with Fintan Vallely), relates that he witnessed Doolin, County Clare, tin whistle player Micho Russell (1915-1944) hold spellbound a crowd of several thousand at the Circus Krone in Munich with his introduction to this tune. Russell was known for his gift of weaving lore, associations, assertions and traditions into his music, and regaled the audience with the stories of St. Ruth, incidents from the battle, and the bush that could still be seen. Pausing for an effectual moment, he then said, ‘faith’, that he wouldn’t play the tune after all but another instead!
***
It was also recorded for
See also listings at: Jane
Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s
Irishtune.info |
X:1
T:St. Ruth's Bush
B:Micho Russell, The Piper's Chair
M:C
K:Ador
d|:eAA>B c2BA|GEE>
eAA>B c2BA|GEE>
eaa>e a2ag|eaag bgag|dgg>f
g2gf|dgg>f gfed|\
eaa>e a2ag|eaag bgag|e2e>f
g2g>e|dBGB A4:|
X:2
T:St. Ruth’s Bush
M:C|
L:1/8
S:Mulvihill – 1st Collection (1986)
K:G
g2|eAAB {d}cBcA|GE {F}(3EDE {F}EDEG|AGAB
{d}cBcd|ea{b}ag egdg|
eAAB {d}cBcA|GE {F}(3EDE
{F}EDEG|AGAB cdef|dBGB A2:|
|:Bd|ea{b}ag abag|eaag bgag|eg{a}gf
g2 (fg)|egfg edBd|
ea{b}ag abag|ea{b}ag bgag|edef
{a}gfge|dBGB A2:|
SAINT-SAUVEUR. Canadian, Reel. D Major.
Standard tuning (fiddle). AA’BB’.
X:1
T:Saint-Sauveur
C:Trad
O:
R:reel
M:2/4
L:1/16
K:D
FG |: A2AA ABcd | A2 (3AAA ABcd | F3G FEDE |
FDEF E2FG | A2AA ABcd | A2(3AAA ABcd | efed cABc |
[1dfec d2FG :|2dfec dABc |: d2fd adfd | adfd cABc |
d2fd adfd |1efed cABc :|2efed c2A2 |: fgfe dedB |
ABAG FAGF | EAAA cAeA | cABc (3BcB A2 | fgfe dedB |
ABAG FAGF | EAcA eABc |1dfec d4 :|2dfec d2FG ||
SAINT-SIMÉON [1].
AKA and see “Saint-Antoine.” French-Canadian,
Reel. The tune appears under this title on
SAINT-SIMÉON [2]. AKA and see “(La) Ronfleuse Gobeil.” The tune was recorded under this title by French-Canadian fiddler Joseph Bouchard (1905-1980) on his Compo Records LP, “Reel carnaval” (1968).
X:1
T:
M:C
L:1/8
R:Hornpipe
S:John Moore manuscripts c.
1837-1840
Z:AK/Fiddler's Companion
K:Bb
fe | dcBA BcdB | (3cdc (3BAG F2 FE |
DFBF GecA | B2 B>B B2 z2 | dBdf eceg |
fdfa gegb | bagf =ef (3gab | a2f2f2
:: fe | d>B (3BAB d>B (3BAB |
G>E (3EDE G>E (3EDE | cBcd
edcB | A>F (3F=EF A>F (3FEF |
f>B (3BAB g>B (3BAB | gfga
b>B (3BAB | Ggfe dcBA | c2B2B2 :|
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[COMMENT1]This was Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.