The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
_______________________________
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STI - STO |
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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 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. 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. 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. 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. 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. 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. 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 "Northern Road," "Boher O'Huaid." Irish, Jig. D Major. Standard tuning. AAB. 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. 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. 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:D
Minor
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:C
Minor
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|