The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
HOME
ALPHABETICAL FILES REFERENCES
STI - STO |
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] |
STICK A PIN THERE.
English, Jig. G Major. Standard tuning. AABB. The title is the burden of
a song called “The Doctor Outwitted.” Thompson (Compleat Collection
of 200 Favourite Country Dances, vol. 1), 1757; No. 142.
X:142
T:Stick a Pin there
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:G
D|G>Bd c>BA|d>FG A2A|B<GB A>GF|B>d^c d2::A|B>GD E2 G/G/|cAE F2A|
d>BF G>AB|c>Ad {c}B2
B/c/|d>cd e2 A/B/|c>Bc d2d|g>fe d>cB|e>cd G2:||
STICK ACROSS THE HOB, THE. AKA and see “Lyon’s Favourite,” “Maurice Carmody’s Favourite,”
"Morrison's Jig [1]," “Paddy Stack’s Fancy Jig.”
STICK BEAT, THE. AKA and see "Old Stick Beat March,"
"Old Seven Spot," "Old Number Seven," "Taylor's March," "Frank Keeney [2]," "Davistown." American, March (2/4 time).
STICK DANCE. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AB
(x5), A. From the Upton‑on‑Severn area of
STICK IT IN THE ASHES. AKA and see “Farrell
O’Gara’s Favorite Reel,” “Last
Night in Leadville,” “Last
Night’s Fun [1],” “Old Joe
Sife’s Reel.” American, Reel. A Major. Standard tuning. AABB. The tune
appears again in Ryan/Cole under the title “Pretty Jane’s Reel.” O'Neill prints
variants as "Macroom Lasses" and
"More Power to Your Elbow."
Cole (1000 Fiddle Tunes), 1940; pg.
25. Ryan’s Mammoth Collection, 1883;
pg. 50.
X:1
T:Stick it in the Ashes
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
A | E/A/A/B/ c/B/c/d/ | e/c/d/B/
c/A/E/A/ | E/A/A/B/ c/B/c/d/ | e/c/A/c/ .B.A | E/A/A/B/ c/B/c/d/ |
e/c/d/B/ c/A/E/A/ | E/A/A/B/
c/B/c/d/ | e/c/B/c/ A :: (3e/f/g/ | .a(c/a/) (e/a/)(c/A/) | d/B/c/A/ (B/F/).F |
.a(e/a/) e/a/a/c’/ | b/a/b/c’/ aa | a/c’/f/a/
e/a/c/e/ | d/B/c/A/ (B/F/).F | (E/A/)(A/B/) c/B/c/d/ | e/c/B/c/ A :|
STICK IT IN THE MIDDLE. Old‑Time. The title appears in a list of traditional Ozark
Mountan fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
STICK THE MINISTER [1]. AKA and see "Allie Crocker.”
Irish, Reel. D Major. Standard tuning. AAB. Roche
Collection, 1982, vol. 1; No. 197, pg. 75.
STICK THE MINISTER [2]. AKA and see "De'il
Stick the/da Minister."
STICK THE MINISTER [3?]. A tune by this title appears in the Bodleian
Manuscript, which bears the inscription “A Collection of the Newest Country
Dances Performed in
STICK THE WORLD BEFORE
YOU. Irish, Jig. Kidson (
STICKS AND STONES. AKA and see "Helter Skelter."
Old‑Time, Quadrille (6/8).
STILE OF BALLYLANDERS, THE. Irish, Reel. E Dorian. Standard tuning. AB.
Some relation to the “Reel of Bogie”
family of tunes. Bulmer & Sharpley (Music
from
STILL ON THE HILL. AKA and see "Sells'
Brothers Circus Rag." Old-Time, Country Rag/Swing Tune. D Major ('A',
'B' and 'C' parts) & A Major ('D' and 'E' parts). Standard tuning.
AABBCCDDEE. The alternate title refers to the Sells Brothers circus, a
latter-19th century outfit dominated by Peter Sells. Circusus
provided employment for many musicians at various times in their careers. Source for notated version: Howard
Forrester, who had the tune from Uncle Dave Macon [Devil’s Box,
Phillips]. Devil’s Box, vol. 22, No. 3, Fall 1988; pg. 22. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 136. Fiddler FRLP001, Tom Doucet (
X:1
T:Sells’ Brothers Circus Rag
T:Still on the Hill
L:1/8
M:2/4
S:Howdy Forrester, learned it from Uncle Dave Macon
B:The Devil’s Box
N:Transcribed by John Hartford, who notes Forrester recorded the tune
N:under the title “Still on the Hill.”
N:Order of the parts is ABCABDA
K:D
F/G/||AA B/A/F/E/|DA, DA,|FF/G/ F/D/D/F/|EA, EA,|cc/d/ c/B/A/F/|
EE/F/ E/D/C/B,/|A,/d/c/B/ A/G/F/E/|D3:|
F/G/||AD/F/ A/F/A/d/|fA fA|e/d/c/B/ A/c/e/f/|dgAg|gg g/f/e/d/|cc/d/ c/B/A/G/|
A/B/c/B/ A/G/F/E/|d3 F/G/|AdAd|ff/g/ fd|e/d/c/B/ A/c/e/f/|gAgA|
e/d/c/B/ A/c/e/f/|g/f/g/a/ g/f/e/d/|eB A/B/c/A/|d3||
A|:(a2 a>)b|a3 A|(d2 d/)B/A/F/|E4|g4|g3 c/B/|A/B/c/B/ A/G/F/E/|d3:|
e|:c’3 e|a3 e|(a2 a/)f/e/c/|B4|g(b b2)|b3 g/f/|e/f/g/f/
e/d/c/B/|A3:|
STILL THEY SAY SHE'S
KIND OF PRETTY.
STILL WAITING. AKA and see "Toujours
Apres Esperer."
STILLHOUSE. AKA and see "Cider Mill."
Old‑Time, Breakdown.
STILLHOUSE BRANCH. AKA – “Still House Branch.” Old‑Time, Breakdown.
STILLMAN'S REEL. The melody appears in
the Company of Fifers and Drummers
(1976), Book I, pg. 27.
STILLY NIGHT [1], THE. Scottish, Strathspey. A Major. Standard. AABB.
Kerr (Merry Melodies), vol. 3; No.
93, pg. 12.
X:1
T:Stilly Night [1]
M:C
L:1/8
R:Strathspey
B:Kerr – Merry Melodies, vol. 3, No. 93
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
c2 (c>B) A<F
F<A|E>EA>c (B/c/d) c2|c2 (c>B) A<F F<A|E<E e>c ({c}B2)
A2:|
|:E>AA>c B>AA>A|B>A
d>c ({c}B2)A2|E>AA>A B>AA>A|e>cc>A (B/c/d) c2||
STILLY NIGHT [2]. Irish, Jig. B Flat Major. Standard. AABB. Kerr (Merry Melodies), vol. 4; No. 240, pg. 26.
X:1
T:Stilly Night [2]
M:6/8
L:1/8
R:Jig
B:Kerr – Merry Melodies, vol. 4, No. 240
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:B Flat Major
d3 d2c|B2G G2B|F2F B2d|cde d3|d3
d2c|B2G G2B|
F2B d2B|c3B3::F2B B2B|c2B B2B|c2B e2d|
c3B3|FBB B2B|c2B B2B|f2d d2B|cde
d3:|
STINGO. AKA ‑ "Oil of Barley,"
"Cold and Raw," “Juice of Barley [1],” "The Mother Beguiles the
Daughter,” “Up in the Morning Early." English, Country Dance Tune (6/4
time). G Dorian. Standard tuning. AABC. The air was published by Playford in
his English Dancing Master (1651).
There is a song called "A Cup of Old Stingo" contained in Merry Drollery Complete, 1661 &
1670, which Chappell (1859) says must be forty or fifty years younger than that
publication, if it is the original song, thus placing it in the reign of King
Charles I. Stingo is evidently a brewed alcoholic beverage, according to the
lyrics of this ballad. The Merry Drollery
ballad begins:
***
Good fellow use to take-a;
It is distilled with Nard most rich,
And water of the lake-a.
***
Of hop a little quantity,
And Barm to it they bring too;
Being barrell’d up, they call’t a cup
Of dainty good old stingo.
***
In the area
once countryside outside London, on the road toward Paddington, there was an
establishment called The Yorkshire
Stingo opposite Lisson Grove, that “invited the wayfarer to its tea-garden
and bowling-green; it was much crowded on Sundays, when an admission fee of
sixpence was demanded at the doors. For that a ticket was given, to be
exchanged with the waiters for its value in refreshments; a plan very constantly
adopted in these gardens, to prevent the intrusion of the lowest classes, or of
such as might only stroll about them without spending anything” (R. L.
Chambers, Book of Days, vol. 2,
1863).
***
The tune
appears under the title of “Stingo, or the Oyle of Barley” in John Playford’s Dancing Master from 1651-1690, and
afterwards as “Cold and Raw.” The “Cold and Raw” title was derived from a “New
Scotch Song” to the tune by Thomas D'Urfey, printed in one of his books in
1688. Sir John Hawkin’s givens an anecdote about Queen Mary, consort of King
William III, and says: “Mr. Gosling and Mrs. Hunt sung several compositions of
Purcell, who accompanied them upon the harpsichord; at length the Queen
beginning to grow tired, asked Mrs. Hunt if she could not sing the old Scots
ballad of ‘Cold and Raw’.” A similar tune, under the rather vague title
“Northern Catch” (Catch=simple song) appears in John Hilton’s Catch that Catch Can (1652). D’Urfey
printed another song to the melody in his Pills
to Purge Melancholy (1719), called “A New Song to the Scotch Tune of ‘Cold
and Raw’.” Samuel Bayard (in his article “A Miscellany of Tune Notes,” Studies in Folklore, pg. 170) finds the
melody under the title “Captain Gwynn’s Attack” on pg. 80 of the first book of
Nicholas Bennett’s Alawon fy Ngwlad
(1896) and again in Bennett’s second volume in “a curious set” as “Judge a
Point” (pg. 97).
***
Chappell (Popular Music of the Olden Time), vol.
1, 1859; pgs. 298‑299. Raven (English
Country Dance Tunes), 1984; pg. 37. Harmonia Mundi
907101, The King's Delight - "17c. Ballads for Voice & Violin
Band" (1992. Appears as tune for "The Little Barley-Corne").
T:Stingo
T:Oil of
Barley, The
T:Cold and
Raw
M:6/4
L:1/8
S:Chappell
– Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s
Companion
K:G Dorian
G4G2 d4B2 |
c2 A4 F4F2 | G4G2 d4B2 | G6B6 :|
B4B2 B4 AB
| c4c2 c4c2 | d4d2 g4g4 | d6f6 ||
B4B2 B4 AB
| c4c2 c3d_e2 | d3c B2 c4 A2 | G6 B6 ||
X:2
T:Northern
Catch
M:6/8
L:1/8
S:John
Hilton – Catch as Catch Can (1652)
Z:AK/Fiddler’s Companion
K:E Minor
z|E2E
B2B|Bd2 D3|E2E B2G|E3 G2:||G|G2G G2G|A2B c2B|
B2B ed2|B3
d2G|G2G G2G|A2B c2 d/c/|B>AG F>ED|E3B2||
STINKING BEAR. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
STIR HER UP AND HOLD
HER GANGING. Scottish. The melody appears in the
Skene MS. (a lute MS of 1615‑20 or 1534), and later in Henry Playford's
collections of the late seventeenth century and in his collection of Scottish
dance tunes of 1700.
STIR THE COUCHE-COUCHE. AKA and see "Brasse
le Couche-Couche."
STIR THY/YOUR FEET JOHNNY. AKA and see “Keep Your Feet, Johnny,” "Northern Road," "Boher O'Huaid." Irish, Jig. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 176, pg. 41. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 47.
X:1
T:Stir Your Feet Johnny
M:6/8
L:1/8
R:Jig
S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)
Z:AK/Fiddler’s Companion
K:D
d | AGF A2D | DED FED | AGF A2D | F3d3 | AGF A2D | DED AGF |
EFE E2F G3B3 :| ABc d2F | AGF d2F | ABc dAF | B3d3 | ABc ded |
cBA d2A | Bcd EGE | G3B3 | ABc d2F | AGF d2F | ABc dAF |
B3d3 | faf gec | fdB AFD | EFE E2F | G3B3 ||
***
***
Sources
for notated versions: Bill Hardie (
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:
S:session playing
Z:Juergen.Gier@post.rwth‑aachen.de
M:4/4
L:1/8
R:Strathspey
K:D
D2F>A D>A F<A|A,2 C>E A,>E C<E|\
D2F>A D>A F<A|1(3Bcd (3efg (3fed (3cBA :|2\
(3Bcd (3efg f<d d|]A|d2 f>d g>e f>d|\
B2 c>d (3efd (3cBA|d2 f>d g>e f>d|\
(3Bcd (3efg f<d d>A|d2 f>d g>e f<d|\
B2 c>d (3efd (3cBA|(3fga (3gfe (3dcB (3AGF|\
(3GAB (3ABc (3dAG (3FGE|]
X:2
T:
M:C
L:1/8
R:Strathspey
S:MacDonald
– Skye Collection
(1887)
Z:AK/Fiddler’s Companion
K:D
A,|D<D F>D A>D F>D|A,<A, C>A, E>A, C<E|D<D F>D A>D F>A|
(3Bcd (3efg (3gfe (3cBA|D<D F>D A>D F>D|A,<A, C>A, E>A, C>E|
D<D F>D A>D F>A|(3Bcd (3efg f<d d||A|d<d f>d g>e f>d|
(3Bcd (3efg (3fed (3cBA|d<d f>d g>f g>b|(3agf (3gfe (3dcB (3AGF|
d<d f>d g>e f>d|(3Bcd (3efg (3fed (3cBA|(3fga (3gfe (3dcB (3AGF|
(3GAB (3ABc (3dAG (3FED||
STIRLINGSHIRE MILITIA. Scottish, "Rather Slow" March. A Major. Standard tuning.
AABBCCDD. A 19th century tune composed by Hugh MacKay. Source for notated
version: Winston Fitzgerald (1914-1987,
X:1
T:Stirlingshire Militia
M:2/4
L:1/8
R:March
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:A
e|A/A/e/A/ cB/A/|A/B/c/a/ ec/A/|A/A/a/f/
e/f/e/A/ | cB/>B/ Be | A/A/e/A/ cB/A/|
A/B/c/a/ eB/A/|A/A/a/f/
e/f/B/e/|cA/>A/ A:|
|:g|a/e/f/a/ fe/c/|ea/e/
fe/c/|e>f e/f/e/A/|cB B/B/g | a/e/f/a/ fe/c/ | ea/e/ fe/c/ |
f/e/a/f/ e/f/B/e/|cA A/A/:|
|:e | A/A/A/c/ e/A/c/A/ | e/A/c/A/
cB/A/ | A/A/a/f/ e/f/e/A/ | c>B B/B/e |
A/A/A/c/ e/A/c/A/ | ea/e/ cB/A/ |
f/e/a/f/ e/f/B/e/ | cA A/A/ :|
|: fg | a/e/c/e/ A/e/f/e/ | a/e/c/e/
fe/c/ | a/e/c/e/ A/e/c/e/ | fB B(f/g/) |
a/e/c/e/ A/e/f/e/ | a/e/c/e/ fe/c/ |
f/e/a/f/ e/f/c/e/ | cA A/A/:|
STIRLINS IDA LUM. Shetland, Reel. D Major. Standard tuning. AAB. "Composed in 1979
while sitting inside the ruins of Tom (Anderson's) maternal great grandfather's
house and listening to the Starlings feeding their young somewhere up the old lum
(chimney)" (Anderson).
STOCAINNEAN DAOIMEAN (Checkered Stockings).
Scottish, Air (4/4 time). E Dorian. Standard tuning. One part. A popular
puirt a beul (mouth music) tune.
***
Haio hairum, stocainnean daoimean,
Haio hairum, stocainnean daoimean,
Haio hairum, stocainnean daoimean,
‘S iad bhios grin anns na lòrns.
***
Martin (Traditional Scottish Fiddling), 2002; pg. 75.
X:1
T:
L:1/8
M:C|
R:Hornpipe
D:G
cc|Bd g2g2 fg|afdB c2 BA|Bdgf
edcB|AGFE D2 dc|
Bd g2g2 fg|afdB c2 BA|cedc
BGAF|G2G2G2:|
|:dc|BcdB edcB|cdBc A2 cB|AbcA
dcBA|BcAB G2 dc|
BGBd bgdB|cAce afdB|cedc
BGAF|G2G2G2:|
***
A stór mo croí, when
you're far away,
From the homes you'll
soon be leaving,
And it's many's the time
by night and day
Your heart will sorely
be grieving.
Though the stranger's
land is rich and fair
And riches and treasures
golden,
You'll pine I know for
the long long ago
And the love that's
never olden.
***
A stór mo croí, in the
stranger's land,
There is plenty of
wealth and earnings,
Wealth and gems adorn
from the rich and the grand,
But there are faces with
hunger tearing,
Though the road is weary
and hard to thread
And the lights of the
city may blind you
You'll turn, a stoir,
for
And the ones you left
behind you.
***
A stór mo croí, when the
evening sun
Over mountains and
meadows is falling
Won't you turn away from
the throng and listen
And maybe you'll hear me
calling.
Though the voice you'll
hear is surely mine
For somebody speedily
returning,
A run, a run, won't you
come home soon,
To the ones who will
always love you.
***
The
tune is popular at current singing sessions and competitions, and sometimes
suffers from the frequency of its hearing. Terry Moylan once played the air on
the pipes in the famous piper Willie Clancy’s company, and the latter remarked
it was his favorite of all. Source for notated version: “From the whistling of
a native of Crossmolina in the county Mayo, 1852; and its origin may with great
probability be assigned to that very musical county” [Joyce]. Howe (1000 Jigs and Reels), c. 1867; pg. 26.
Joyce (Ancient Irish Music),
1873/1890; No. 34, pg. 36. Claddagh CC4, Sarah and Rita Keane (east
X:1
T:Astoreen
Mcahree
T:O
Treasure of My Heart
M:3/4
L:1/8
R:Air
N:”Slow
& sad”
S:Joyce
– Ancient Irish Music (1890)
Z:AK/Fiddler’s Companion
K:Dmin
D2
DEFG | A2d3c | B2A2 GF | D2 D4 | c2c2d2 | c2A2G2 | A2d2d2 |
d4
de | f2e2d2 | c3 edc | B2A2 GF |D2 D4 | c3 edc | B2A2G2 | A2F2 F>G | F6 ||
STOLEN APPLES.
American. Composed by flute player Malcolm Dalglish. Green
Linnet GLCD 1200, Lunasa – “Otherworld” (1999).
STOLEN BREEKS, THE (Briogais Mhic Rùairidh). Scottish, Slow Air (6/8
time). C Minor. Standard tuning. AABB. "The air of the Stolen Breeks has a
set of excellent but rather splentic words, allusive to the proscription of the
Highland dress after the 1745, which hint as it might have happened, that if
the Jacobite party had prevailed, or might still prevail, the first thing they
ought to do, should be to 'proscribe the breeches in turn, and have an
opportunity of seeing one half of their adversaries perish of cold; in short,
that their more delicate southern neighbors could not less relish the
proscription of the one than they disrelished the proscription of the other,
and that payment in kind would be the justest sort of retribution'"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the
X:1
T:Stolen
Breeks, The
T:Briogais
Mhic Rùairidh
M:6/8
L:1/8
R:Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Cmin
C
| E>FG BGB| G2c cze| c>BA GAF| G2C CzC| E>FG BGB| Gcd edc| c>BA
GAF|E2C Cz:|
|:
G| c>dc BAG| edc BAG| cde dc=B| c2C CzC| E>FG BGB| Gcd edc| cGA GAF|E2C
Cz:|
STOLEN KISS, THE. Scottish, Air. Composed
by James Oswald (d. 1769) and used by Robert Burns for his lyric "Go Fetch
to me a Pint o' Wine."
STOLEN PURSE [1], THE (An Sparan Do Bi Giodte). AKA and see "An
Fhuiseog ar an Tra," “The Lark on
the Strand [1],” "The Old Woman
Lamenting Her Empty Purse," Irish, Double Jig. D Major. Standard
tuning. AABBCC. Breathnach (1963) states this tune was adapted by O’Neill from
“The Old Woman Lamenting Her Empty Purse.” Similar to “The Lark on the
X:1
T:Stolen
Purse, The
M:6/8
L:1/8
R:Jig
S:O’Neill
– Dance Music of
Z:AK/Fiddler’s Companion
K:D
G|FED
c/B/Ag|fed cAG|A/B/AG ABc|dcA ABG|FED c/B/Ag|fed cAF|G3 GAF|DGG G2:|
|:B|cBA
fAg|fed cAG|A/B/AG ABc|dcA ABG|FED fAg|fed cAF|G3 GAF|DGG G2:|
|:f|a/g/fa
g/f/eg|fed cAG|A/B/AG ABc|dcA Afg|a/g/fa g/f/eg|f/e/df ecA|G3 GAF|DGG G2:|
STOLEN PURSE [2], THE. Irish, Jig. G Major. Standard tuning. AABB. O’Neill (1922),
remarks: “This rare jig tune which has haunted my memory for years was
evidently derived from ‘The Old Woman Lamenting Her Purse’, No. 560, O'Neill's
Music of Ireland 1903. The air does not appear in the Bunting Collections. A
setting in which the first part is repeated after the second part is printed
without note or comment in Petrie's Complete Collection of Irish Music.”
O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 145.
X:1
T:Stolen
Purse (#145), The
M:6/8
L:1/8
S:Capt.
F. O'Neill
Z:Paul
Kinder
K:G
dBA
AGA|BGG G2 B|dBA ABd|efe edB|
dBA
AGA|BGG G2 A|GED G2 A|Bdd edB:|
|:def
g2 b|agf "tr"g2 e|def g2 a|bge edB|
def
g2 b|agf g2 a|bgg agf|"tr"e2 d efg:||
STOLEN REEL, THE. AKA and see “The
Swallow’s Nest [3].” Irish, Reel. G Major. Standard tuning. AABB. Bill
Black (1996) says flute player Mike Rafferty “borrowed” this tune from
X:1
T:
The Stolen Reel
S:
M. Rafferty
Q:
350
R:
reel
Z:Transcribed
by Bill Black
M:
4/4
L:
1/8
K:
G
BA
| G3 A GEDE | G2 BG BedB | AE E2 A2 Bc | egfa gedB |
G3
A GEDE | G2 Bd efge | dG G2 eGBG | FGAF G2 :|
Bc
| dg (3gfg edBA | GEDE G2 Bd | eaab aged | BABd e2 ge |
dg
(3gfg agbg | aged e2 ge | dG (3GFG eGBG | FGAF G2 :|
STONE CUTTERS YARD.
Northumbrian. One of the "missing tunes" from William Vickers' 1770
Northumbrian dance tune manuscript.
STONE FIDDLE, THE/THE FIDDLE STONE. Irish, Reel. F Major. Standard tuning.
AABB’. Composed by fiddler and piano player Josephine Keegan (b. 1935), of
Mullaghbawn, south County Armagh, inspired by The Fiddle Stone, a giant stone
fiddle which stands at Castle Caldwell, Belleek, Co. Fermanagh, set on a
peninsula on Lough Erne. The stone commemorates the unfortunate drowning of
inebriated fiddler Denis McCabe in 1770, who fell from a family barge belonging
to Sir James Caldwell during a convivial excursion. Sir James erected the stone in his memory, with the inscription:
***
Beware ye fiddlers of ye
fiddlers’ fate,
Nor tempt ye deep lest
ye regret too late,
Ye ever have been deemed
to water foes,
Then shun the lake till
it with whisky flows,
On dry land only
exercise your skill,
There you may play and
drink your fill.
***
Keegan
(The Keegan Tunes), 2002; pg. 28.
STONE FRIGATE, THE. Canadain, Reel.
STONE GRINDS ALL.
AKA and see “The Job of Journey
Work [1].”
STONE IN THE FIELD [1], THE (An Chloch sa nGarrai). Irish, Reel. A Dorian.
Standard tuning. AB (Breathnach): AABB (McNulty). Source for notated version:
piper Sean Potts (
X:
1
T:Stone
in the Field, The [1]
M:4/4
L:1/8
Q:180
S:Tommy
Reck
R:Reel
Z:Andrew
Pickering
N:Posted
to the woodenflute mailing list January 2002
K:ADor
AG|EAAG
ABcd|eaaf gedB|cBAc BG {A}(3GFG|AcBA GEDF|
EAAG
ABcd|eaaf gedB|cBcd efed|cABG A2:|
cd|eaag
agab|c'2 ba gedB|cBAc BG {A}(3GFG|AcBA GED2|
ea
{b}(3aga bg {a}(3gfg|agef gfga|bgaf gedB|AcBG A2:|
X:2
T:Stone
in the Field, The [1]
R:Reel
M:4/4
L:1/8
K:G
EAAG
ABcd|eaaf gedB|cBAc BAGB|AcBA GEED|
EAAG
ABcd|eaaf gedB|cBcd eage|1 dBGA BAAG:|2 dBGA BA (3Bcd||
eaa^g
a2ab|bc'ba gedB|cBAcBAGB|AcBA GEED|
ea~a2
bg~g2|agef gfga|bgaf gedB|1 AcBG ABcd:|2 AcBG A4||
STONE IN THE FIELD [2], THE. Irish, Jig. G Major. Standard tuning. AABB. A jig-time
version of the reel “Greenfields
of America [1].” See also “Molly
Brallaghan [1].” The tune was recorded by pipers Tom Ennis and by Seamuis
Ennis. Miller (Fiddler’s Throne),
2004; No. 103, pg. 71.
X:1
T:Stone
in the Field, The [2]
S:Padraig
O'Keeffe MS, via 'Music from Sliabh Luachra'
Z:Nigel
Gatherer
L:1/8
M:6/8
K:G
B|cBA
BdB|AGA BGE|DEG AGA|BdB AGE|cBA BdB|AGA BGE|
DEG
AGA|BGG G2::D|GBd gdd|edd gdB|GBd gdB|
AGA
BGE|GBd gfg|e/f/ge fdB|GBB AGA|BGG G2:|]
X:2
T:Stone
in the field (The)
M:6/8
L:1/8
R:Jig
Z:Andrew
Pickering
K:G
cec
BdB|AGA BGE|DEG AGA|BdB AGE|
cec
BdB|AGA BGE|DEG AGA|BGF G3:|
GBd
g3|ede gdB|GBd gdB|AGA AGE|
1
GBd g3|ede gdB|G2 B AGA|BGF G3:|
2
g3 f3|edB AGE|G2 B AGA|BGF G3|
STONE MOUNTAIN RAG.
Old-Time, Country Rag. C Major. AABBC. The melodic contour resembles the
“Stone’s Rag”/”Whiskers” type of tunes. The ‘B’ part begins on an A Major
chord. OKeh 45423 (78 RPM),
STONE MOUNTAIN TODDLE. Old‑Time,
Breakdown.
STONE OF THE TUB.
See "Clach Na Cudain [2],"
"Keystone of Inverness."
STONE OUTSIDE DAN MURPHY'S DOOR, THE. Irish, Canadian; Waltz.
STONEBYRES. Scottish, Reel. A
Dorian. Standard tuning. AABB'. Kerr (Merry
Melodies), vol. 3; No. 140, pg. 17.
X:1
T:Stonebyres
M:C
L:1/8
R:Reel
S:Kerr
– Merry Melodies, vol. 3, No.
140 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:Amin
EAAB
c2 (Bc) | dcBA GABG | EAAB c2 (BA) | BGdB A/A/A A2 :|
|:
cde^f gage | dcBA GABG |1 cde^f gage | dBGB A/A/A A2 :|2 cedf eaec | BGdB A/A/A
A2 ||
STONECUTTER'S JIG, THE.
AKA and see “John Naughton’s (Jig),” “Jug of Brown Ale,” “The Mug of Brown Ale [2],” “Old Man Dillon,” "One Bottle More [2]." Irish, Jig.
A Dorian. Standard tuning. AB. Source for notated version: Patrick MacDowell,
"distinguished sculptor: born in
STONEHILL FAIR, THE. Irish, Jig. D Major. Standard tuning. AABB. Composed by
X:1
T:
Stonehill Fair
C:
© B. Black
Q:
325
R:
jig
M:
6/8
L:
1/8
K:
D
A
| FBB dBB | afd cBc | FBB dcd | fdc B2 A |
FBB
dBB | afd cBA | FAd BAB | dAF D2 :|
A
| Bff cff | dfa baf | d2 f
Bff
cff | dfa afa | b2 f agf | edc d2 :|
STONEHOUSE JIG, THE. Canadian, Jig.
STONE'S RAG.
AKA and see "Whiskers," "Lone Star Rag [1]," "Forty‑Eight Dogs in
the Meathouse." Old‑Time,
See also listing at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources |
X:1
T:Stone’s
Rag
M:C
L:1/8
K:C|
c>d
e(g g)a g>e|a>g e(c c)d c2|F>G A c2 d c2|d>c A d2 c A2|B>d B G2
^F G>A|
B>d
B G2 ^F G>A|1 c2 A c2 d e2|g8:|2 g>f g(a a)>g e2|c8||
|:a>g
e>a g>e a>g|e>a g>e a>g e2|d>c A>c c>A d>c|A>d
c>A d>c A2|1
B>d B G2 ^F G>A|B>d B G2 ^F G>A|c2 A c2
d e2|g4 z^g3:|2 c’ c’3 a4| g>e g(a a)>g e2|e>d e(g g)e d2|c8||
STONE'S THROW. Old‑Time,
Breakdown. A Major (Frets): G Major (Sutherland). AEae tuning. AA'B (Frets):
AA’BB’ (Sutherland). Composed in 1983 by
STONEWALL
STONEWALL
STONEY CREEK [1].
STONY CREEK [2]. Old-Time, Breakdown. A Major. Standard
tuning. AABB. A different tune than “
STONEY FORK.
Old‑Time, Breakdown or Polka.
STONY
HILL.
Irish. The tune was transcribed by Steve MacDonogh in his book Green and Gold, that used the 1982 Wren
event as an opportunity to explore historic and folklore background of the
tradition.
X:1
T:Stony
Hill
B:Green
and Gold: The Wrenboys of Dingle, by Steve MacDonogh
N:Fergus
O'Flaherty said "...There's a version of it on a De Danann
N:record:
Charlie Pigott picked it up from the Flannerys, who'd be
N:his
uncles, I suppose." An amalgam of
tunes, it is basically a
N:version
of the eighteenth century "Rose Tree", starting with a
N:piece
from "Leather Away the Wattle-o!" [Steve MacDonogh]
N:transposed
from E flat
Z:Transcribed
by Paul de Grae
M:2/4
L:1/8
K:G
B/A/|GD
B,D|G2 Ge|dB B/A/G/A/|BA AB/A/|
GD
B,D|G2 Ge|dB AB|G2 G:|
d|e>d
eg|G>F Ge|dB B/A/G/A/|BA Ad|
e>d
eg|G>F Ge|dB AB|G2 Gd|
e>d
eg|G>F Ge|dB B/A/G/A/|BA AB/A/|
GD
B,D|G2 Ge|dB AB|G2 G||
STONY HOLLOW.
American, Country Dance Tune.
X:1
T:Stony
Hollow
M:2/4
L:1/8
K:C
B|AGEG|e4|d
c2 E|G3 c|B2 B>A|B3 A|A G2 E|G3 A/B/|
cGcd|e>d
e2|
M:3/4
L:1/8
d2
e3 E|
M:2/4
L:1/8
G3
c|B>A B2|GG ed|(c4|c):|
STONEY MAN, THE. Irish, Reel. Composed by Nenagh,
STON(E)Y POINT [1]. AKA and see "Stony Point Reel" (Pa. title), “Buck Creek
Girls,” “Booker’s Bluff,” "Hop
Along, Sally," “Hop Skip
Squirrel,” "Hop Squirrel,"
“Off with Your Jacket,” "Old Dad," "Pigtown Fling," "Wild Horse," "Wild Horses at Stoney Point,"
"White Horse [3]". "Kelton's Reel." American and British
Isles; Breakdown and Reel.
STONY POINT [2].
AKA – “Stoney Point.” AKA and see "Norah the Pride of Kildare.”
American, Jig. D Major. Standard tuning. AABB. “
X:1
T:
M:6/8
L:1/8
K:D
F/G/
| ABA FDF | dcd AFD | FGA def | e2E EAG | FDF AFA |
GBG
cBA | fed Adc | (d3 d2) :: d/c/ | BcA def | gfe agf | ecA Fad |
A3
G3 | FAd dAF | Gbe efg | fed Adc | (d3 d2) :|
STONY POINT [3].
American, March (6/8 time).
STONEY RIDGE STOMP.
AKA and see "Sandy River Belle
[2]." Old‑Time, Breakdown.
STONY ROAD, THE. English, Jig. G Major. Standard tuning.
AABB. Kennedy (Traditional Dance Music of Britain
and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 177,
pg. 42.
STONEY/STONY STEPS, THE (An Chéim Cloiche). AKA and see “Good for the Tongue,” “Jenkin’s Hornpipe,” “Na Cois Ceimeanna,” “The Stepping Stones [1],” “Washington Hornpipe.” Irish, Reel. D
Major (McNulty): D Mixolydian/Major (Breathnach). Standard tuning. AB
(Breathnach): AAB (Taylor): AABB (McNulty, Mulvihill). Sources for notated
versions: accordion player Treasa Potts (
X:1
T:Stony
Steps, The
M:C|
L:1/8
Q:220
R:reel
Z:Philippe
Varlet
K:D
A3
B AF~F2|ABdf efdA|FA~A2 BFAF|GEAG FDFG|
A3
B AF~F2|ABdf efdA|FA~A2 BFAF|GEAG FDD2||
{a}fedc
defg|afbf afeg|fded fded|ABAG FDD2|
{a}fedc
defg|afbf afeg|~f3 d e2 de|fa{b}af efdB||
STONY STEPS HORNPIPE.
AKA – “Stoney Steps,” “Stone Steps.” AKA and see "Blake's Hornpipe" [2],
"The Brewer's Horse,"
“Novey Gallows.” English, Irish;
Hornpipe. B Flat Major. Standard tuning. AABB. A very popular melody in the
English repertoire. Attributed to Tyneside fiddler and composer James Hill in
Kohler’s Violin Repository
(Edinburgh, 1881-1885), but may have simply been passed on by him‑‑see
X:1
T:Stony
Steps, The
M:C
L:1/8
R:Hornpipe
or reel
S:Levey
– Dance Music of
Z:AK/Fiddler’s Companion
K:B_
(3F/G/A/
| B>cd>e (f>B) {c/}(3BAB | (gB)(aB) (bB) {c/}(3BAB |
G>BF>B
G>BF>B | (c<e) dc (BA)GF | B>cd>e (f>B) {c/}(3BAB |
g(B
a)(B b)B {c/}(3BAB | G>BF>B (eg)fe | d>cB>A B2 z :: f |
f>B
{c/}(3BAB | f>B {c/}(3BAB | g>(ab>)(a g>)(^fg>)(d |
g>)(^fg>)(d e>)(dc>)(B |
A>)ed>c
B>AG>F | B>cd>e f>B {c/}(3BAB | g(Ba)(B b)B {c/}(3BAB |
G>BF>B e>gf>e | d>c B>A B2 z :|
STONEY STEPS [3].
English, Hornpipe. G Major. Standard tuning. AB. Offord (John of the Greeny Cheshire Way).
X:
1
T:Stoney
Steps
M:4/4
L:1/8
S:Offord
Z:p
K:G
G2
BG dBgB|ecAd GFED|ECB,C A,2 AB|cABG GFED|
G2
BG dBgB|ecAd GFED|ECB,C A,2 AB|cAGF G4||
G,A,B,C
DEFG|ABcD B2G2|BcAF G2 ef|ged^cd4|
dBgd
=cBed|cBAG FEDC|B,DGD CEAc|BAGF G2z2||
STONEY STEPS [4]. English, Hornpipe. C Major. Standard tuning.
AABB. Source for notated versions: the 1823-26 music mss of papermaker and
musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire
Wolds) [Sumner]. Callaghan (Hardcore
English), 2007; pg. 98. Sumner (
X:1
T:Stoney
Steps Hornpipe [4]
M:C|
L:1/8
R:Hornpipe
S:Joshua
Gibbons manuscript (1823-26)
K:C
cdef
gec’g|afed cBAG|AFEF C2 de|fedc cBAG|cdef gec’g|
afed
cBAG|AFEF C2 de|fdcB c2::FG cc FG cc|defd cBAG|
AcBd
egac’|bagf g4|affd gedc|defd cBAG|AFEF C2 de|fdcB c4:|
STONEYBATTER [1] (Bóthar na gCloch). AKA and see “Fill the Bumper Fair,” “Hey for Stoney Batter,” “Love and Whiskey.” Irish, Slig Jig. B Minor
(‘A’ part) & G Major (‘B’ part). Standard tuning. AABB. Breathnach (1963)
identifies this tune as a variant of “Bob and
Joan,” “Boban John,” or (in older collections) “Bobbing Joan,” commonly
found in 18th century collections. He prints this verse:
***
Hi for Bob and Joan, Hi
for Stoneybatter,
Leave your wife at home,
or surely I’ll be at her.
***
See
also the related “Butterfly [3].” Source for notated version: piper Seán Potts
[Breathnach]. Breathnach (CRÉ I),
1963; No. 63, pg. 27.
STONY BATTER [2] (Bóthar na gCloch). Irish, Single Jig. D Major. Standard tuning.
AB. Unrelated to “Stony Batter [1]." Source for notated version: fiddler
and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his
manuscripts in the 1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 65, pg. 32. Drumlin
Records, Brian McNamara – “A Piper’s Dream.”
STOOL OF REPENTANCE, THE. AKA and see “The Wright’s
Rant.” Scottish (originally), English, Canadian, American; Jig. USA, New
England. Canada, Prince Edward Island. A Major (most versions): G Major (Kerr
vol. 3). Standard tuning. AABB. "Old" (Gow). “The Stool or
Repentance” is the name of a Scottish jig that has not only survived but has
remained popular for nearly three centuries. An early version of the melody can
be found in the William Dixon manuscript dated 1734, and, as “Border Reel” it
can be found in David Young’s Duke of Perth ms. from the same year. Printed versions
from the 18th century often give the tune as “Wright’s
Rant.” In the 19th century the jig appears in several Scottish collections
such as MacDonald’s Skye Collection, Stewart-Robertson’s Athole Collection and one of Nathaniel Gow’s volumes. It was included in a number of 20th century
collections, and its modern popularity, especially with contra-dancers, is
attested to by its inclusion in The
Portland Collection and The New
England Fiddler’s Repertoire, standard contra-dance volumes.
***
The
curious title comes from Scottish church history and has to do with a survival
of old Roman Catholic tradition. Several authorities report that in the Old
Scottish Kirk transgressors, particularly adulterers, were often given the
penance in church of sitting themselves for one or two weeks before the entire
congregation on the cutty stool or the ‘stool of repentance.’ This artefact was
actually a special seat or stool dedicated for the purpose and was set up
before the pulpit. In some congregations the “penitent” had to stand on the
stool after the service was over to receive the minister’s rebuke. The practice
was in regular use during the hey-day of the Scottish fiddle composers in the
late 18th and early 19th century, and in fact the Scots national poet Robert
Burns' was one of its more notable victims. His famous satirical verse
"Holy Willie's Prayer," about a godly hypocrite, was inspired perhaps
by his own experience of being made in 1784 to sit before the congregation on
the famous stool, “Clad in the black sackcloth gown of fornication” (McIntyre,
1995). This was in consequence of his dalliance with Elizabeth Paton, by whom
he fathered an illegitimate child. He
was hardly chastened by the experience, however, as later that same year,
before the birth of his daughter Elizabeth, he wrote his song “The
Fornicator”:
***
But my downcast eye be
chance did spy
What made my lips to
water,
Those limbs so clean
where I, between,
Commenc’d a Fornicator.
***
In
the 18th century collections of James Aird (Airs and Melodies, vol. 1)
and Robert Bremner (1757) it is called “The Wright’s Rant.” It is a favorite
jig among modern contra dance musicians in the United States. Reg Hall (1998)
notes that the tune has had long enough currency in Northumberland to be
considered a local tune. Sources for notated versions: Becky Tracy [Phillips];
Reuben Smith (b. 1931, Blooming Point,
X:1
T:Stool
of Repentance, The
M:6/8
L:1/8
R:Jig
B:Stewart-Robertson
– The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:A
Major
e|a2e
c2e|agf edc|aff f2e|fag f2e|a2e c2e|agf edc|d2f efg|a2c B2A:|
|:cAA
eAA|cAA edc|dBB fBB|dBB fed|cAA eAA|cAA edc|d2e f2e| fac B2A:|
STOOPED OLD MAN, THE (An
Seanduine Crom). Irish, Air (6/8 time). F Major. Standard
tuning. AB. "From the whistling of Joe Martin of Kilfinane, about 1852.
Different from 'Seanduine Cam', or 'Seanduine
Crom,' Stanford‑Petrie, No. 1225. Compare this
with 'Thamama Hulla,' the air of
S:Joyce – Old
Irish Folk Music and Songs (1909)
(3F/G/A/|BBB AAA|GAF D2C|FFF AGF|G2G G2A|
BBB AAA|FAF D2C|CDF AFG|F2F F2||
(3F/A/c/|_e2f e2d|c2c def|B2B A2A|G2G GAF|
BBB AAA|FAF D2C|FFF AFG|F2F F2||
STOORIE MILLER. Scottish, Strathspey. An alternate name for one of the “
STOP TUNE. AKA and see "Take Off Your Hat Off to the Ladies."
American, March. D Major. Standard tuning. One part. Bayard (1944) thinks
perhaps this was originally a stage piece. The title comes from a theatric
affectation; somewhere in the course of playing, the performer would stop and
take off his hat. Source for notated verison: Mrs. Sarah Armstrong (Derry, Pa.,
1943) [Bayard]. Bayard (Hill Country
Tunes), 1944; No. 42.
STOP WALTZ [1]. Old‑Time, Waltz. USA, Iowa. D Major. Standard tuning. AABB.
Christeson says the same descriptive title has been used for other waltzes.
Source for notated version: Frame Davis (Des Moines, Iowa) [Christeson]. R.P.
Christeson (Old Time Fiddlers Repertory,
vol. 1), 1973; pg. 185.
X:1
T:Stop Waltz [1]
M:3/4
L:1/8
S:R.P. Christeson
– Old Time Fiddler’s Repertory, vol. 1 (1973)
K:D
FG|A4 [FA][GA]|A2
fe f2|A4 [FA][GA]|A2 fe f2|e2 ab a2|e2 ga gf|ef ed cB|A2F2G2|
A4 [FA][GA]|A2 fe
f2|A4 [FA][GA]|A2 fe f2|e2 ab a2|e2 ga g2|AA BA cA|[F4d4]:|
|:a2|a4
aa|a2f2d2|A2 z2z2|z2z2 ef|g4 gg|g2e2c2|A2 z2z2|z2z2 fg|
a4 aa|a2f2d2|B2
z2z2|z2z2 ef|gf ed cB|A2B2c2|d3 cde|d4:|
STOP WALTZ [2]. English,
Waltz. D Major. Standard tuning. AABBCCDC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 179, pg. 48.
X:1
T:Stop Waltz [1]
M:3/4
L:1/8
K:D
FG|BA AF GB|Af fA
Af|Ge eG Ge|Fd dF FG|BA AF GB|…
STOP,
YOU ROGUE, STOP. AKA and see "Be Easy, You
Rogue," "Priest With the Collar."
STÓR MO CHROÍ, A. See “(A) Stoir mo Chroi.”
STORIES WITH JIM AND JACK MACLEAN. Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AA’B.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 38, pg. 11.
STORM, THE. Irish, Jig. A version of “King of the Pipers.” Duval & Jones (A
Dossan of Heather: Irish traditional music from Packie Manus Byrne of Donegal
for tin whistle, fiddle or flute), 2000.
STORMONT LADS, THE. Scottish, Strathspey. G Major (Cranford, Kerr, Stewart-Robertson): F
Major (Gow). Standard tuning. AAB (Gow): AABB (most versions). Source for
notated version: Cape Breton setting by fiddler Brenda Stubbert (b. 1959, Point
Aconi, Cape Breton) [Cranford]. Cranford (Brenda
Stubbert’s), 1994; No. 68, pg. 24. Gow (Second
Collection of Niel Gow’s Reels), 1788; pg. 10 (3rd edition). Kerr (Merry Melodies), vol. 1; Set 14, No. 3,
pg. 10. The Piper’s Assistant, 1877. Stewart-Robertson (The Athole Collection),
1884; pg. 166. WMT002, Wendy MacIsaac –
“That’s What You Get” (1998?).
B:Stewart-Robertson
– The Athole Collection (1884)
B|G>Bd>B
G<B d2|eee>d e<f g2|g>be>g d<G B>d|e>dg>B A2G:|
|:B|G<g
g>d B<G B2|A<a a>g a>b e2|g>be>g d<G
B>d|e>dg>B A2G:|
B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd
ed., pg. 10 (orig. 1788)
f|c<F”tr”c>A
FA/B/ c2|d<G d>B GB/c/ d2|”tr”f>adf .c.F.A.c|{e}dc/d/ fA “tr”G2F:||
A|Fff>e fF
A2|Ggg>f gG g2|”tr”f>adf cFAc|d<c f>A ({A}G2F2|
F>f
e/f/g/e/ fF A2|Gg ^f/g/a/f/ gG g2|=fa/f/ df/d/ cFAc|dc/d/ fA/B/ ({A}”tr”G2 F||
STORMSTOWN. American, Song Tune? or March? USA,
southwestern Pa. G Major. Standard tuning. AB. Stormstown is the name of a
village in Centre County, Pa. Source for notated version: James McKivison
(fiddler from Centre County, Pa., 1930) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 25, pgs. 27‑28.
STORMY
VOYAGE (An
Aisdear Anfac). AKA and see "Captain Thompson." Irish, Air (4/4
time, "with spirit"). D Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 86, pg. 15.
S:O’Neill – Music
of Ireland (1903), No. 86
(3A=B^d | d3e f2e2 | d3c A2 GE | D3E F2G2 | A6 A2 |
d3e f2e2 |
d3cA2 GE | A2 GE D2D2 | D6 || AG | F2F2F2 ED | E2E2E2
D^C |
D3E F2G2 | A6 A2 | d3e f2e2 | d3c A2 GE | A2 GE D2D2
| D6 ||
STORMY
WEATHER [1]. AKA and see "Miss Mona(g)han(‘s Reel)," "The Belles of Tipperary [2],"
"The Connacht Lasses," "The Green Fields to America," "The Blea‑berry Blossom," "Jackson's Welcome to Cork [1],"
"The Four Courts of Dublin," "Johnny Shooting in the Glen," "O'Connell in Clare," "The Barrow Castle," "Lamont's Reel," "The White‑haired Piper," "The Dandy Girl/Lass/Lasses," "The Kerry Star." Irish, Reel. D
Major. Standard tuning. AB. Source for notated version: fiddler John Doherty
(1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty
(The Northern Fiddler), 1979; pg. 75.
STORMY
WEATHER [2]. Irish. Ireland, Donegal. A different
Donegal tune than the “Stormy Weather” in the Northern Fiddler.
STORNOWAY CASTLE. Scottish, Reel. A Mixolydian. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 9.
STORYTELLER
[1], THE (An
Scealaide). Irish, Double Jig.
C Major. Standard tuning. AABB. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 743, pg. 138.
S:O’Neill – Music
of Ireland (1903), No. 743)
c/d/ | e>dc cAG | GEG GEG | e>dc c<ge | edd
d2 c/d/ |
e>dc cAG | GEG GEG | cge d>cd | ecc c2 :|
|: G/F/ | EGc cec | GBd dfd | ceg g>fe | e>dd
d2 e/f/ |
g>ec cec | dBG G2F | EGc d>cd | ecc c2 :|
STOURTON
WAKE. AKA and see “London Pride.” AKA – “Stornton Wake.”
English, Morris Dance Tune (cut time). G Major. Standard. AAB. Collected from
the Cotswold village of Adderbury. A “Stourton Wake” was also danced in the
village of Longborough, although the tune there was “London Pride,” “noted by
Misses Daking, Marshall and Blunt from Fred Webb of Bloxham, whose father had
been a Longborough musician.” Bacon (Handbook of Morris Dances), 1974; pg. 321.
Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 124.
X: 1
T: Stourton Wake
M: 4/4
S: Seabright
N: Paul Turner
A: Adderbury
O: English
R: Reel
K: E Dorian
V:1 ~ given
V:2
D2 |: E2 z4 D2 :|
P: A
|: B3 c d2 B2 | AGFE F2 D2 | E2 B2 BAGF | E4 E4 :|
P:B
B3 c d2 B2 | ed cB c2 A2 | B3 c d2 B2 | e4 B4 |
B3 c d2 B2 | AGFE F2 D2 | E2 B2 BAGF | E4 E4 ||
STOW FAIR. English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. AABB. The melody first appears in print in R. Baldwin’s London Magazine, or Gentleman’s Monthly Intelligencer (1760). The fair at Stow-on-the-Wold, Gloucestershire, dates from the year 1330, and was originally a market and hiring fair, and survives in modern times as a horse fair. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 29.
X:1
T:Stow Fair
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
Bc|d2 Bd|f2 df|b2f2|f2g2|f2 ed|edcB|AB c2|c2 Bc d2 Bd|f2 df|b2f2|
f3g|f2 ed|edcB|F2B2|B2::d/c/|BABG|d2 Bc|dcde|f2 de|f3g|
fdcB|AB c2|c2 ga|bagf|b2 ag|fdcB|G2 FE|DF B2|Gc
e2|.c2 .B2|.B2:||
_______________________________
HOME ALPHABETICAL
FILES REFERENCES
© 1996-2010 Andrew Kuntz
Please help maintain the viability of the Fiddler’s
Companion on the Web by respecting the copyright.
For further information see Copyright and Permissions Policy or
contact the author.