The Fiddler’s
Companion
© 1996-2010 Andrew Kuntz
_______________________________
SW - SY |
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] |
SWAGGERING BONEY. AKA and see "The Old Frog Dance." English, Morris Dance Tune
(6/8 time). G Major. Standard tuning. AABBB (x4), AACCC (x4), AA. The morris dance
version was collected from the village of Longborough, Gloucestershire, in
England's Cotswolds, but "the tune was apparently popular all over
England, as a number of different songs were written to it" (Williamson,
1976). The title refers to Napoleon Bonaparte, dating the tune from the late
1700's to early 1800's. Bacon (The Morris
Ring), 1974; pg. 256. Mallinson (Mally’s
Cotswold Morris Book), 1976; No. 12, pg. 12. Williamson (English, Welsh, Scottish and Irish Fiddle
Tunes), 1976; pg. 21.
SWAGGERING JIG [1], THE (“An Port Bagarac” or “Port na Buaiceála”). AKA and see “Drunken Gauger [1],” "Girls take care how you marry,"
“Give Us a Drink of Water
[2],” “In debt in the public house,” “Jockey has gotten a wife,”
"Just at/in the
height of her bloom," “McDonnell’s
Rant” (O’Farrell), "The Noggin of
Cream," "Oh! The Marriage;,"
“Pol ruadh,” “An Seanduine Coileáilte”
(Breathnach - CRÉ II, 98), "The Silly Old Man," “Taim in Arrears,” "Taim in Arreir dTigh an Oil,"
"Tiggit along the Room,"
“The Virgin Queen,” "Welcome the
Piper.” Irish, Slip Jig. G Major. Standard. AAB (most versions): AABB
(Kennedy). There are several jigs with the title “Swaggering Jig.” Words have
been set to the tune, these from the band Dervish:
***
I went to the fair of Bellaghy,
I bought a wee swag of a pig,
I gathered it up in my arms,
and danced the swaggering jig.
And it's high to the top of the heather,
and high to the but of the sprig,
and high to the bonnie wee lassie
who danced the swaggering jig.
***
As I went to the fair of Bellaghy,
I bought a wee slip of a pig,
and being down by the poor house,
I whistled the swaggering jig.
And it's high to the cups and the saucers,
and high to the butter and bread,
and high to the bonnie wee lassie
who danced the swaggering jig.
***
I being down by the poor house,
I whistled so loud and so shrill,
I made all the fairies to tremble
that lived around Corcoran's hill.
And it's high to the top of the heather
and high to the but of the sprig,
and high to the bonnie wee lassie
who danced the swaggering jig.
***
Sources for notated versions: “From
Mrs. Close” [Stanford/Petrie]; Bothy Band [Sullivan]. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 81, pg. 19. O'Neill (O’Neill’s
Irish Music), 1915/1987; No. 220, pg. 117. O'Neill (Krassen), 1976; pg. 79.
O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1118, pg. 211. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 413, pg. 82. Roche Collection, 1982, Vol. 2; No. 269,
pg. 28. Stanford/Petrie (Complete
Collection), 1905; No. 961, pg. 245. Sullivan (Session Tunes), Vol. 3; No. 10, pg. 5. Tubridy (Irish Traditional Music, Book Two),
1999; pg. 41. Vallely (Learn to Play the Fiddle with Armagh Pipers Club),
197?; No. 29, pg. 29. Green Linnet Records SIF 1058,
Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985).
Kells Music 9502, Dervish – “Harmony Hill.”
X:1
T:Swaggering Jig, The [1]
M:9/8
L:1/8
R:Slip Jig
K:G
d|BGG AGE
DEG|BGG GFG A2d|BGG AGE DEG|cBA BGE D2:|
d|Bdd dge dBG|Bdd dBG A2d|Bdd dge
dBG|cBA BGE D2d|
Bdd dge dBG|Bdd dBG A2d|gfe ded
cBA|cBA BGE D2||
SWAGGERING JIG [2], THE (Port na Buaiceála). Irish, Slip Jig. E Minor. Standard
tuning. AABB. Breathnach points out the name was often used for jigs, although he
does not think this particular tune is the same as he found printed in other
collections. It is related in the first part to “Rakes of Drumlish [1].” Breathnach
(CRÉ IV), 1996; No. 39, pg. 21.
SWAGGERING JIG [3]. Irish,
Slip Jig. Giblin (Collection of
Traditional Irish Dance Tunes), 1928; 78.
"SWALLOW," SLOOP OF WAR. AKA and see “The Swallow [1].” American, Reel.
D Major. Standard tuning. AB. Cole (1000
Fiddle Tunes), 1940; pg. 48. Ryan’s
Mammoth Collection, 1883; pg. 75.
X:1
T:”Swallow,” Sloop of War
M:C|
L:1/8
R:Reel
R:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(FD)FA d2 de | fdgf eEEG | (FD)FA
d2de | (fa)ef d<d d2 | (FD)FA d2 de | fdgf eEEG |
(FD)FA d2 de | (fa)ef d<d d2 ||
fdfd afdf | egfe dBAg | fdfd afdf | (eg)fe d<d d2 |
fdfd afdf | egfe dBAG | FDFA dfag |
(fd)ef d<d d2 ||
SWALLOW [1], THE. AKA and see “Swallow, Sloop of War.” Scottish,
Reel. D Major. Standard tuning. AAB (Gow, Skye): AABB' (Athole). John Glen
(1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 36).
Carlin (The Gow Collection), 1986;
No. 527. Gow (Complete Repository),
Part 2, 1802; pg. 37. MacDonald (The Skye
Collection), 1887; pg. 63. Stewart-Robertson
(The Athole Collection), 1884; pg.
84. Green Linnet GLCD 1127, “Martin Hayes” (1993).
X:1
T:Swallow, The
M:C|
L:1/8
R:Reel
B:The Athole Collection
Z:AK/Fiddler’s Companion
K:D
A|FD F/G/A d2 d>g|f2 d>f eEEA|FD F/G/A d2 d>g|faef dDD:|
|:g|fefg
aeeg|fdgf e>EE>g|1 fefg aeeg fdec dDD:|2 fefg abag|fdec dDD||
SWALLOW [2], THE. AKA and see "Ballyket Courthouse," "Barry's Fancy," "Kathleen's Fiddle," "Micho Russell's Favorite,"
"Rattigan's," "St.
Andrew's." Irish, Reel. Irish, Reel. G Major (also played in F Major).
Standard tuning. AABB. Cló Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington – “The
Merry Love to Play” (2007). Green Linnet GLCD
1127, “Martin Hayes” (1993). Three Men and a Dog - "Shifting Gravel."
Moher - "Out on the Ocean."
SWALLOW [3], THE. American, Country Dance Tune. May be the tune
in version #1. Printed by John Carr in his American-published First Book of Cotillions (1801). Maggie’s Music MMCD216, Hesperus - “Early American Roots”
(1997).
SWALLOWTAIL COAT, THE. AKA and see "The Family Estate," "The Girl with the Handsome Face,”
"Joshua Gray," "McKenna's
Reel," "Miss Wright's
Reel," "Mollie's Bonnet,"
"Molloy's Night Cap,"
"Pigeon on the Gate [1],"
"The Pride of the Ball,"
"The Queen's Wedding," "Steeple Chase [1]," “The Swallow’s Tail Reel,” “The Swallowtail
Coat,” "Take your Hand Away,"
"The Village Reel."
SWALLOWTAIL JIG [1], THE. Irish, American; Jig. USA, western
Pennsylvainia. A Dorian. Standard tuning. AB (Bayard): AABB (Carlin, Phillips).
See Bayard's (1944) note for "Red Brick House in Georgia
Town" for extensive notes on this tune family. Source for notated
version: fiddler Tom McCreesh with Fennig's All Star String Band (N.Y.)
[Phillips]. Bayard (Hill Country Tunes),
1944; No. 45. (appears as "Swallow Tail"). Carlin (Master Collection), 1984; No. 238, pg.
138. Phillips (Traditional American
Fiddle Tunes) Vol. 2, 1995; pg. 381.
SWALLOWTAIL JIG [2], THE (Drioball na Fáinleoige). AKA and see "The Dancing Master," “Dromey’s Fancy,” “From the New Country,” "Swallow's Nest [1]." Irish, English,
Canadian, American; Double Jig. USA; New England, southwestern Pa. E Dorian (most
versions): A Dorian (Allan's): B Minor (Shears). Standard tuning. AB (Bayard):
AABB (most versions). A popular tune in Ireland, Britain and North America,
especially with beginners, although often considered too hackneyed for session
play. The title (in conjunction with the alternate title in O’Neill’s, “The
Dancing Master”) may possibly refer to the type of coat typically worn the by
early 19th century dancing master. Bayard (1981) identifies as
another member of the "protean" "Welcome Home" tune family.
Ken Perlman (1979) dates “Swallowtail Jig” to the mid‑nineteenth century
(perhaps on the strength of its appearance in Kerr’s c. 1880’s collection), and
says it is often used as the vehicle for Northumbrian sword dancing (for five
dancers with two‑handled swords). See also O’Neill’s related tune “Dromey’s Fancy.” Source for notated
versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa.,
1960); Thomas Hoge (fiddler and fifer from Greene County, Pa., 1948); Amasiah
Thomas (elderly fiddler from Jefferson County, Pa., 1952) [Bayard]; Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Allan's Irish Fiddler, No. 21, pg. 6 (appears as "Swallow's
Nest"). Bayard (Dance to the Fiddle),
1981; No. 594A‑C, pgs. 522‑523. Brody, 1983; pg. 270. Carlin (Master Collection), 1984; No. 239, pg.
139 (appears as "Swallowtail Jig #2"). Cole (1000 Fiddle Tunes), 1940; pg. 69. Cranford (Winston Fitzgerald), 1997; No. 193, pg. 76. DeVille, 1905; No. 52.
Jarman (Old Time Fiddlin' Tunes); No.
or pg. 17. S. Johnson (The Kitchen
Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 8. Kerr (Merry Melodies), vol. 2; No. 271, pg.
29. Miller & Perron (New England
Fiddlers Repertoire), 1983; No. 51. Reavy (The Collected Compositions of Ed Reavy), 1979; No. 28. Reiner (Anthology of Fiddle Styles), 1979; pg.
50. Robbins, 1933; No. 143. Ryan’s
Mammoth Collection, 1883; pg. 100. Shears (The Gathering of the Clans Collection, vol. 1), 1986; pg. 65 (pipe setting).
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 155. Spandaro
(10 Cents a Dance), 1980; pg. 22.
Sweet (Fifer’s Delight), 1965/1981;
pg. 31. White's Unique Collection,
1896; No. 42. White's Excelsior
Collection, 1907; pg. 22. Fretless 101, "The
Campbell Family: Champion Fiddlers" (1977). Front Hall 05, Fennigs All
Stars‑ "Saturday Night in the Provinces" (1975). Gael-Linn CEF
045, “Paddy Keenan” (1975). Kicking Mule KM-228, Bonnie Phipps – “Autoharpin”
(1982). Living Folk LFR-100, MacArthur Family – “On the Mountains High” (1971).
Transatlantic 341, Dave Swarbrick‑ "Swarbrick 2."
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:Swallow
Tail
M:6/8
L:1/8
R:Jig
S:White’s Unique Collection (1896), No. 38
Z:AK/Fiddler’s Companion
K:E Minor
(E/F/) |
GEE BEE | GEE BAG | FDD ADD | d^cd AGF | GEE BEE |
GEE (B2^c)
| d^cd AGF | (GE)E E2 :: B | B^c^d e2f | efe =d2B |
B^c^d e2f |
(ed)B d3 | B^c^d e2f | e2f edB | d^cd AGF | (GE)E E2 :|
SWALLOWTAIL REEL. AKA and see "Swallow's Tail Reel."
SWALLOWS IN FLIGHT. AKA and see “Bog of Allen.” “Tailor’s Thimble.” Irish, Double Jig. The
tune was miss-attributed as a composition of Gerry Harrington; it is actually
the jig “Banks of Allan,” a Scottish
tune that can be found in Kerr’s
collection. According to Paul de Grae, an honest mistake after a long day’s
recording, when a tune title eluded Mr. Harrington who thought he might have
penned the melody. Spin CD1001, Eoghan O’Sullivan,
Gerry Harrington, Paul De Grae - “The Smoky Chimney” (1996).
X:1
T:Swallows in Flight
R:jig
C:Gerry Harrington (actually a
misattribution-the tune is “Banks of Allan”).
D:The Smokey Chimney
Z:Harrington and de Grae sounds in B flat on the record
Z:however, the fiddle is tuned down 2 steps
(i.e. played in the ‘D’ postion)
M:6/8
L:1/8
K:D
F2F FED |FAA A2G |FGF FED |GBB BAG |FGA EFG
|D2F
FED |G2B AFD |FEE EDE :| |:~F FED|FAA A2d|Bcd Add|
~B AFE|~F FED|FAA A2d|Bcd AFD|FEE EDE:|
SWALLOW'S NEST [1]. AKA and see “Dancing Master,” “Dromey’s Fancy,” “From the New Country,” "Swallowtail Jig" [2]. Irish, Jig. E Dorian. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 180, pg. 42.
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 |
SWALLOW’S NEST [2]. Irish, Jig. D Major. Standard tuning. AABB’. Composed by County Cavan/Philadelphia
fiddler and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 89, pg. 99.
X: 1
T:The Swallow's Nest
R:jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Ed could not explain why certain tunes became
N:jigs and not reels or hornpipes. His simple
N:retort was:
N:"I guess a jig was just meant to be a jig."
K:D
A/2c/2 | dcd gdc | dAG FED | FAd cAF | E=cE GFE | DFA dAF |
EGB efg | f/2f/2df gec | edc d2 :: f/2g/2 | a<ba fdf | gag ecA | fef gfg |
ecA GFE | DFA dAF | EGB efg |1 f/2f/2df geA | edc d2 :|2 f2 f gec | edc d2 :||
SWALLOW’S NEST [3], THE. AKA and see “The Stolen Reel.” Irish, Reel. G Major.
Standard tuning. AABB. Composed by County Tipperary accordion player Paddy O’Brien
(1922-1991).
SWALLOW’S
RETURN, THE. Irish, Jig. Composed by the late
County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 29.
SWALLOW'S TAIL REEL, THE ("An Earbuill Ainleog," "Earball
an Ainleoige," “Driobhall na Fáinleoige” or "Eireaball na
Fáinleoige"). AKA ‑ "Swallowtail Reel." AKA and see "The Family Estate," "The Girl with the Handsome Face,”
"Joshua Gray," "McKenna's
Reel," "Miss Wright's
Reel," "Mollie's Bonnet,"
"Molloy's Night Cap,"
"Pigeon on the Gate [5],"
"The Pride of the Ball,"
"The Queen's Wedding," "Steeple Chase [1]," “The Swallowtail Coat,” "Take Your Hand Away," "The Village Reel." Irish, New England, Shetland;
Reel. Ireland; County Sligo, Kilkenny, Donegal, Tyrone. Shetland, Yell. A
Dorian (Am). Standard tuning. AB (O'Neill/1850): AABB (Allan, Breathnach,
Brody, Flaherty, Mallinson, Miller & Perron, O'Neill/Krassen, Sweet,
Tolman, Tubridy). Similar to "Pride of the Ball." Mulvihill gives
“Swallow’s Tail” as an accompaniment for the sixteen-hand reel. Caoimhin Mac
Aoidh (1994) states the tune is more correctly called in County Donegal the
“Swallow’s Tail Coat,” named after the long split-tail coats dancing masters
wore. The late Donegal fiddler Danny O’Donnell (1910-2001) said that it was a
very popular reel in his home of The Rosses, Donegal, for a particular type of
dance, and that people in the lower Rosses knew it under the title “The Queen’s
Wedding.” Breathnach (1985) gives titles for the tune in Ulster as “McKenna’s Reel,” “The Queen’s Wedding,”
“Mollie’s Bonnet,” “Molloy’s Night Cap,” and “Joshua Gray.” Paddy Kelly (originally
of Co. Tyrone) called the tune “McKenna’s Reel” after a local dancer named
McKenna. The names under which it appears in O’Neill are “The Swallow’s Tail,”
“The Steeplechase” and “Take your Hand Away,” while Ryan’s/Cole’s has it as
“The Pigeon on the Gate” and “The Pride of the Ball.” P.W. Joyce collected the
tune in the mid-19th century in Kilkenny; it appears as an untitled
reel in D Mixolydian in his Old Irish
Folk Music and Songs. Accordion player Joe Burke (b. 1939),
originally from Coorhoor, above Loughrea in County Galway, has an early playing
memory of fiddler Martin Hanny on a settle bed at a ‘station’ (house mass)
fiddling this tune (Vallely & Piggott, Blooming
Meadows, 1998), which so impressed him that he wished to get a similar
sound on his accordion. An
early recording of “The Swallow’s Tail” was by Ballybay, County Monaghan, piper
Robert William “Willie” Clarke (1889-1934) for Columbia Records of London in
1928, for a series of records entitled “The Pipes of Three Nations” (which included
a Highland piper and a Northumbrian small-piper). See also the related
melody “Grand Gates of
Annesbrook.” “McKenna’s [2]” is
similar enough that it is sometimes called “The Old Swallowtail.” Sources for notated versions:
fiddler Michael Coleman (County Sligo/New York City) [Breathnach]; flute player
Colm O'Donnell (b. 1962, Aclare, County Sligo) [Flaherty]. Allan's Irish Fiddler, No. 45, pg. 11. Breathnach (CRÉ III), 1985; No. 196, pg. 87. Brody (Fiddler’s Fakebook), 1983; pg. 270.
Flaherty (Trip to Sligo), 1990; pg.
14. Giblin (Collection of Traditional
Irish Dance Music), 1928; 11. Lyth (Bowing
Styles in Irish Fiddle Playing, vol. 1), 1981; 54. Mallinson (Enduring), 1995; No. 11, pg. 5. Miller
& Perron (New England Fiddlers
Repertoire), 1983; No. 128. Mulvihill (1st
Collection), 1986; No. 38, pg. 126.
O'Neill (Krassen), 1976; pg. 108. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1268, pg. 238. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 536, pg. 100. Sweet (Fifer’s
Delight), 1965/1981; pg. 68. Tolman (Nelson
Music Collection), 1969; pg. 10. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 19. Edison 50604 (78 RPM), John H. Kimmel (accordion player from
New York City), 1918 (appears as last tune of "Bonnie Kate Medley
Reels"). Folkways FG 3575, Barry, Gorman, Ennis, and Heaney‑
"Irish Music in London Pubs." Gael-Linn CEF 045, “Paddy Keenan”
(1975). Globestyle Irish CDORBD 085, The Kerry Fiddle Trio - “The Rushy
Mountain” (1994. Reissue of Topic recordings). Shanachie 33002, Michael Coleman‑
"The Legacy of Michael Coleman." Sonet 764, Dave Swarbrick and
Friends‑ "The Ceilidh Album.” Topic
TSCD 602, K. Scanlon – “Irish Dance Music” (1995. A reissue of the 1929
original). Topic
TSCD 669, Davie Rogerson (et al) – “Ranting and Reeling: Dance Music of the
north of England” (1998. Northumbrian fiddler Rogerson was born in 1901). Ón
tSean-Am Anall’ (Danny O’Donnell).
X:1
T:Swallowtail Reel
M:C|
L:1/8
K:A dor
gf|eA (3cBA eA cA|cd ef ge dB|G2 BG dG BG|Bd ef g2 fg|
eA (3cBA eA cA|cd ef g2fg|af ge dB GB|cA BG A2:|
|:cd|ea ag ab ag|ed ef ge dB|G BG dG BG|cd ef g2fg|
ea
ag ab ag|ed ef g2fg|af ge dB GB|cA BG A2:|
SWALWELL LASSES. English. England, Northumberland. The tune can be found in a notebook
of the 19th century Northumbrian collector John Stokoe. Front Hall FHR‑08, Alistair Anderson ‑ "Traditional
Tunes" (1976).
SWAMP CAT RAG. Old‑Time, Breakdown. USA, north Ga. G Major. GDad tuning. AABB.
The melody is known as a north Georgia tune, although Tony Russell says it
appears to be a version of “Cotten-Eyed
Joe [1].” The tune was recorded in 1930 by Lowe Stokes (1898-1933) with his
band The Swamp Rooters, which included (among others) Bert Layne on fiddle and
Arthur Tanner on banjo. Source for notated version: Liz Slade (Yorktown, New
York) [Kuntz]. Kuntz, Private Collection. County 514,
The Swamp Rooters (Lowe Stokes & Bert Layne) ‑ "Hell Broke Loose
in Georgia" (orig. rec. in 1930). Document DOCD8045, Lowe Stokes in
Chronological Order, vol. 1: 1927-1930 (1999 reissue). Global Village C‑302,
Okey Dokey St. Band ‑ "New York City's 1st Annual String Band
Contest ‑ November 1984."
X:1
T:Swamp Cat Rag
L:1/8
M:2/4
S:Liz Slade
N:GDad tuning
Z:Transcribed by Andrew Kuntz
K:G
A|B/A/B/c/ dB/(d/|d/)e/d/A/ B>A|B/A/B/c/ dB/d/|d/e/d/A/ B>A|B/A/B/c/ dB/d/|
d/e/d/d/ B>A|B/A/G/B/ A/G/E/G/|(A/ [GB]) ([G/B/] [GB]):|
|:(A|B/)A/G/D/ E/D/G/A/|B/G/B/(c/ c/)d/c/A/|B/A/G/D/
E/D/G/B/|(A/ [GB]) ([G/B/] [GB]):|
SWAMPLAKE BREAKDOWN, THE. AKA – “Shull
Creek.” Canadian, Breakdown. G Major. Standard tuning. AABB. The melody was
known to influential northwest Missouri fiddler Casey Jones (d. 1967), who
called it “Shull Creek.” Messer (Anthology
of Favorite Fiddle Tunes), 1980; No. 5, pg. 6.
SWAN, THE. AKA and see "Sean Ryan's Fancy Hornpipe."
Irish, Hornpipe. A Major (Ryan): G Major. Standard tuning. AABB. The tune is
one of Tipperary fiddler Seán Ryan's compositions, and is sometimes played in
the key of A Major. Ryan (Hidden Ireland),
pg. 15. Taylor (Crossroads Dance), 1992;
No. 55, pg. 42. Liz Doherty – “Last Orders” (learned
from Fisherstreet).
SWAN [2], THE.
English, Reel. G Major. Standard tuning. AA’BBCC. The melody appears in
print in David Rutherford’s Choice
Collection of Sixty of the Most Celebrated Country Dances (London, 1750),
reprinted in his Compleat Collection of
200 Country Dances, vol. 2 (1760). Source for notated version: the 1779
music manuscript of James Biggins (Leeds, west Yorkshire) [Callaghan].
Callaghan (Hardcore English), 2007;
pgs. 50 & 69.
SWAN ON THE LAKE, THE. Irish, Hornpipe. G Major. Standard tuning.
AABB. Composed by County Offaly musician Paddy O’Brien.
X:1
T:Swan on
the Lake, The
M:4/4
L:1/8
R:Hornpipe
C:Paddy O’Brien (Co. Offaly)
K:G
(3DEF | GFGA B(GE)G | DGBd g2 (3def
| gfge d(^ce)d | cEAG (FD)E(F |
{A}G)FGA B(GE)G | DGBd g2 (3def |
(gf)ge d^ced | cDEF G2 :|
|: Bc | dg3~ DGB(g | e)d^ce d2 Bd |
cEAc BDGB | A^GAB cABc |
d^c (3def gdba | gdBG (EG)ce | d2 Gd
cBed | cDEF G2 :|
SWAN SONG, THE (Tôn Alarch). Welsh. The tune is said to be an imitation of
a swan’s song, sung only just before it dies. Flying
Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy Ngwlad/The Sweet Harp of
My Land” (1996. From Edward Jones’ second book The Bardic Museum {1802}).
SWANS AMONG THE RUSHES. Irish, Double Jig. G Major. Standard tuning. AABB. A modern composition
by Barnagraove, County Cavan, fiddler and composer Ed Reavy (1898-1988), who
emigrated to Philadelphia, Pa., when still in his teenage years. The jig was
called for some reason the “Flock of Wild Geese” on the Rounder “Reavy” album
with Brendan Mulvihill and Billy McComiskey, whose band The Irish Tradition
also recorded it on their last album, “The Times We’ve Had,” under the title
“The Flight of Wild Geese.” Reavy (The
Collected Compositions of Ed Reavy), No. 82, pg. 90. Clo Iar-Chonnachta
CICD 173, Brian Conway – “Consider the Source” (2008). Green Linnet SIF 1063,
The Irish Tradition – “The Times We’ve Had.” Seamus Egan.
See also listing at: Alan Ng’s Irishtune.info |
X:1
T:Swans Among the Rushes
M:6/8
L:1/8
C:Ed Reavy
R:Jig
K:G
gfg agf | gdB e2d | cBc EFG | AGE
DB,C, |
D2B BAB | dcB c2e | fed cAF |1 AGF
GBd :| AGF G2A ||
Bcd efg | f2f ecA | GBd eag | fef g2g
|
Bcd efg | f2f ecA | fef agf |1 gba
g2d :| gba gef ||
X: 2
T:Swans Among The Rushes
R:Jig
C:Ed Reavy
M:6/8
L:1/8
Z:Joe Reavy
N:Ed loved to watch their flight and see them
N:"paddle in the cold companionable streams or
N:climb the air." He watched them, too, when
N:they laid their eggs among the rushes in the lake
N:waters near the family farm in Barnagrove.
K:G
f | gfg agf | gdB e2 d | cBc EFG | AGE D2 B, | DGB BAB | dcB cBc | fed cAF | GBA G3 :||
Bcd
efg | fdf ecA | GBd eag | fdf g3 | Bcd efg | fdf ece | fef agf | gba g2 :||
SWAN’S HORNPIPE. AKA and see “Cooper’s Hornpipe,” “Fox in the Dumps.”
SWANSEA/SWANSY
HORNPIPE. AKA and see “The Gloucester Hornpipe,” “The Man from Newry.’ English, Scottish;
Hornpipe. England, Shrophsire. G Major. Standard tuning. AABB (Ashman): AA'BB'
(Kerr). Fiddler Stephen Baldwin (1873-1955), of Upton Bishop, Herefordshire,
called the tune “Gloucester Hornpipe,” although that title seemed idiosyncratic
to him. O’Neill printed a version under the title “Man from Newry.” The
“Swansea Hornpipe” also appears in the c. 1780-1804 John Fife manuscript (pg.
117—the ms. is on microfilm with the National Library of Canada, Music Div.).
Fife was a Scottish musician, perhaps from Perthshire. The Swansea Hornpipe is
recorded as having been a type of dance in Wales around 1830, performed at
parish dances held every quarter on Monday evenings (M.E. Hartland,
“Breconshire Village Folklore,” Folklore,
vol. 24, No. 4, Dec. 1913). Source for notated version: a c. 1837-1840 MS by
Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 115, pg. 48. Kerr (Merry Melodies), vol. 2; No. 353, pg.
39. Menteith & Burgess (The Coleford
Jig: Tradtional Tunes from Goucestershire). Lapwing
106, Wallochmor Ceilidh Band – “Full Throttle!” (1982). Robin Huw Bowen –
“Hunting the Hedgehog” (1994).
X:1
T:Swansea Hornpipe
M:C
L:1/8
R:Hornpipe
S:Kerr – Merry Melodies, vol. 2, No. 353
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
G2g2 gdBG|c2e2e2g2|dBdB edcB|ABcA
GFED|G2g2 gdBG|
c2e2e2g2|dBdB ecAF|G2B2G2z2::BGBG Bd
d2|ecec eg g2|
dBdB ecAG|ABcA GFED|BGBG Bd d2|ecec
eg g2|dBdB ecAF|G2B2G2z2:|
SWEAT HOUSE, THE. Irish, Reel. G Major. Standard tuning. AA’BB.
Composed by Joe Liddy of County Leitrim. Dervish –
“Midsummer Night.”
X:1
T:Sweat House, The
R:Reel
D:Dervish
Z:Adrian Scahill
M:4/4
L:1/8
K:G
E2FD E2FA|BdAB defd|edfe dAAd|BdAF
DEFD|\
EBAF E2FA|BdAB defd|edfe dBAF|1 DEFD
E3D:|2 DEFD E3A||\
Bee2 fded|BdAB dAFA|Beef dAde|fdaf
gefd|\
Beeg fded|BdAB defd|edfe dBAF|DEFD
E3A:||
SWEDE SAW JIG. Canadian, Jig. G Major ('A' part) & D Major ('B' part). Standard
tuning. AA'BB'. Source for notated version: learned by fiddler Vic Kibler
(Hamilton County, N.Y.) from a recording by Canadian fiddler Rod Dorman
[Bohrer]. Bohrer (Vic Kibler), 1992;
No. 28, pg. 28.
SWEDEN'S MARCH. AKA and see "The King of Sweden's March."
Scottish, March (4/4 time). A Major. Standard tuning. AABBCCDDEEFFGGHH. The
tune which appears in the Shiels MS also was printed by Bremner in his Airs and Marches (c. 1756‑61, pg. 94) and from whom the
variations are derived, states Johnson (1984), who also says the Bremner text
shows the tune was originally in Baroque‑trumpet style. The tune is based
on a passamezzo‑moderno chord sequence (through strain 3, at which time
it changes to double‑tonic style), which was a 16th century Italian
import to the British Isles, though the variations were in the latest 18th
century style. Sweden March was also the name of a Scottish dance similar to a
hornpipe, and is mentioned in an account as being taught at a country dancing
master's school (probably in Kirkcudbright) in MacTaggart's Scottish Gallovidian Encyclopedia
(1824). Source for notated version: The
Shiels Manuscript, Crieff, 1820‑21 [Johnson]. Johnson (Scottish Fiddle Music in the 18th
Century), 1984; No. 40, pgs. 98‑99.
SWEDISH DANCE. English, Country Dance Tune (4/4 time). England, North‑West. A
Major. Standard tuning. AABB. Knowles (Northern
Frisk), 1988; No. 84.
SWEDISH JIG, THE. AKA and see “Arthur
Darley’s,” “The Bruckless Shore.”
Irish, Air. Ireland, County Donegal. See note for “Bruckless Shore.” Aly Bain & Phil Cunningham – “The Pearl” (1994).
SWEDISH MASQUERADE, THE.
X:1
T:Swedish Masquerade
M:4/4
L:1/4
K:G
D|G2GG|G2Ac|B2BB|B2ce|edBd|dcBA|G2G2|G3:|
M:3/4
|:B/2c/2|dBg/2e/2|dBd|cA B/2A/2|G/2F/2 G/2A/2 B/2c/2|dBg/2e/2|dBd|cAF|G2:|
M:2/4
L:1/8
|:Bc|dB ge |dB GB|cA FA|ed B2|dB ge|dB GB|cA FA|G2:|
SWEDISH WALTZ [1]. Old‑Time, Waltz. USA; Nebraska, Missouri. C Major. Standard
tuning. ABB (Christeson): AA'AA'BB (Phillips). Sources for notated versions:
Bob Walters (Burt County, Nebraska) [Christeson]; Doug Phillips [Phillips].
R.P. Christeson (Old Time Fiddlers
Repertory, vol. 1), 1973; No. 244, pg. 203. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 314. Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home
Rag." Caney Mountain Records CLP, Lonnie Robertson (Mo.) ‑
"Fiddle Favorites." James Bryan – “The First of May.”
X:1
T:Swedish Waltz [1]
M:3/4
L:1/8
R:Waltz
B:Christeson – Old Time Fiddler’s
Repertory, vol. 1
S:Bob Walters (Burt County, Neb.,
1950)
K:C
ef|g2e2c2|G2E2C2|FE FG AB|A3 ABA|GA
Bc de|d2B2G2|cB cd ef|g4 ef|
g2e2c2|G2E2C2|FE FG AB|A3 ABA|GA Bc
de|f2A2B2|c3 Bcd|c4||
ef|gf ed cB|cB AG AB|c2 E3F|G4 ef|gf
ed cB|c2B2c2|d3 ^cde|d4 ef|
g2e2c2|f4 e2|e2d2c2|A3 Bcd|e3 fec|d3
BdB|c3 Bcd|c4:|
SWEDISH (WALTZ) [2]. English,
Waltz. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 180, pg. 48.
X:1
T:Swedish Waltz
[2]
M:3/4
L:1/8
K:D
FG|A2 AF dB|{G}F4 DF|G2 GF GB|B2 A2
FG|…
SWEDISH WEDDING WALTZ. Old-Time, Waltz. D Major ('A' and 'C' parts) & A Major ('B' part).
Standard tuning. AA'BB'C. Source for notated version: Stuart Williams and Wayne
Holmes [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 315.
SWEENEY’S See “Sweeney’s
Polka.”
SWEENEY'S BUTTERMILK. AKA and see "Charlie
Lennon's No. 2," "Buttermilk
Mary [2]," "Charlie's
Buttermilk Mary," “Scarce o’
Taties [2]." Irish, Reel. A Dorian. Standard tuning. AABB. A modern
composition by fiddler Brendan McGlinchey (though sometimes mistakenly
attributed to Charlie Lennon). The story (as told by Juergen Gier) goes that
McGlinchey was attending a fleadh, tionol or similar event and found
accommodations in the caravan of a man named Sweeney, with whom he shared his
stay. Sweeney, as it happens, like McGlinchey was quite fond of buttermilk. The
tune is usually played in the key of B Minor/B Dorian. It appears in Bulmer &
Sharpley’s collection (Music from Ireland),
vol. 4, No. 14 (1974) under the title “Charlie Lennon’s,” meaning the source
was Charlie Lennon and at the time the tune’s title was unknown at the time.
***
Sharon Goldwasser tells this story:
***
I was at Gaelic Roots in 1998, and Brendan McGlinchey taught
fiddle
classes that year. On the first day, he asked all of us to play a tune for
him (to assess the class, I suppose). There were a few very talented
young
fiddlers (teens) and Brendan looked at one of them with a bit of a
twinkle
in his eye as the boy completed a reel. Brendan leaned forward and asked
the young man "Do you know the name of that chune?". The boy
replied
"Sweeney's Buttermilk". And then Brendan leaned in a
little closer and
asked -"And do you know who wrote it?" The boy shook his
head, and
Brendan said "I did". The look on the boy's face
was priceless!
***
See also the related “Margaret Stuart’s Reel.” Taylor
(Through the Half-door), 1992; No.
29, pg. 22. Green Linnet SIF 1040, Touchstone – “The
New Land.” Green Linnet SIF 3037, Silly Wizard - "Golden, Golden"
(1984). Shanachie 79016, Silly Wizard - “So Many Partings.” Shaskeen -
"Atlantic Breeze." Kevin Burke – “Sweeney’s Dream” (c. 1970’s).
X:1
T:Sweeney's Buttermilk
M:4/4
L:1/8
R:Reel
K:Bdor
FB~B2 FB~B2|dcBc AE~E2|FB~B2
ABce|afec Bage|
f2ec fcec|~B3c BAFE|FB~B2 ABce|afec
B2BA:|
|:FBdc BF~F2|EAcB AE~E2|FBdc
Bcdf|afec dBcA|
Bcde fB~B2|afec ABce|~f3a bf~f2|afec
B2BA:|
SWEENEY'S DREAM.
AKA and see "The Girl
with the Laughing Eyes," “The
Lame Fisherman,” "Paddy
Killoran's [1].” Irish, Reel. D Major. Standard tuning. AAB (Breathnach,
Vallely): AABB (Treoir). The title refers to the renowned south County
Sligo fiddler Paddy Sweeney (1894-1974), with whom Ballymote (also south Sligo)
fiddler Paddy Killoran (1905-1965) recorded the tune as a duet in the early
1930's in New York City. See also the “Rising
Sun [2]”/Brightest Eyes”/”Jolly Clam-Digger's” family of
tunes. Breathnach (CRÉ III), 1985; No. 108, pg. 54 (appears as “Gan ainm/No
title”). Treoir,
vol. 35, No. 1, 2003; pg. 29. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No.
35, pg. 18. Noel Hill & Tony Linnane (1979).
X:1
T:Sweeney’s Dream
M:C|
L:1/8
R:Reel
K:D
d~D3 ABdf | gfed fdBc | d~F3 ABdB | AFDF EF D2 :|
faab afdf | gfed cdeg | f~a3 b~g3 | afeg fdde |
f~a3 b~g3 |
afeg
fdBc | d~F3 ABdf | (3agf eg fd d2 ||
X:2
T:Sweeney’s Dream
M:C
L:1/8
R:Reel
S:Treoir – vol. 35, No.
1, 2003
K:D
dF F2 ABdf | gfeg fdBc |
dF F2 ABdB | AFdF EFDA |
dF F2 ABdf | gfeg fdBc |
dF F2 ABdB | AFdF EF D2 :|
|: fa a2 afdf | gfed
cdeg | fa a2 bgag | (3fga eg fdde |
fa a2 bf f2 | afeg fdBc
| dF F2 ABde | (3fga eg f2 fe :|
SWEENEY'S EYES (Suile Shuibhne). Irish. Composed by concertina player Niall
Vallely. Nomos – “Set You Free.”
SWEENEY'S HORNPIPE [1]. AKA and see "Sweep's Hornpipe [2]."
SWEENEY’S HORNPIPE [2]. Irish, Hornpipe. A Major. Standard tuning. AABB. The tune was recorded
by the melodeon playing Wyper Brothers in the early part of the 20th
century. Allan's Irish Fiddler, No. 81, pg. 21.
SWEENEY'S
(POLKA) [1]. AKA and see “Ballydesmond Polka” [4], “Denis Murphy’s.” Irish, Polka.
Ireland, west Kerry. A Major (most versions): G Major (Taylor/Tweed, Tubridy).
Standard tuning. AABB. One of the most widely known Sliabh Luachra (Kerry)
polkas. The Chieftains have recorded this tune under this title. Source for
notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border), who associates the tune with John Clifford [Moylan]. Mac
Amhlaoibh & Durham (An Pota Stóir:
Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 8, pg. 15
(appears as “Gan Ainm” {untitled}). Bulmer & Sharpley (Music from Ireland), vol. 2, No. 70. Mallinson (100 Polkas), 1997; No. 61, pg. 23.
Moylan (Johnny O’Leary), 1994; No.
282, pgs. 161-162. Mulvihill (1st
Collection), 1986; No. 13, pg. 114 (appears as untitled polka in wrong
mode). Sullivan (Session Tunes), vol.
2; No. 23, pg. 10. Taylor (Traditional Irish Music: Karen Tweed’s Irish
Choice), 1994; pg. 34. Tubridy (Irish
Traditional Music, vol. 1), 1999; pg. 8.
X:1
T:Sweeney’s Polka [1]
L:1/8
M:2/4
K:A
e2 ce|Ae ce|f/g/a/f/ ec|BA F2|ef/e/
ce|Ae ce|f/g/a/f/ ec|1 BA A2:|2 BA A>B||
|:ce f/g/a/f/|ec BA|ce a>f|ec
B2|ce f/g/a/f/|ec BA|ef/e/ cB|1 BA A>B:|2 BA A2||
SWEENEY'S (POLKA) [2]. New England, Polka. G Major. Standard tuning. AAB. A different tune
than "Sweeney's" [1]. Miller & Perron (101 Polkas), 1978; No. 1.
SWEENEY’S POLKA [3]. AKA and see “Denis
Murphy’s Polka [1].”
SWEENEY'S REEL. AKA and see "Cailini Deasa Mhuigheo," "Life of man,” “Music in the Forge,” “My Sweetheart Jane,” "Peigin
Leitir Mor," “The Pretty
Girls of Mayo.” Irish, Reel. See note for “Pretty Girls of Mayo.” The ‘A’ part
of "Sweet Biddy of Ballyvourney"
is also the same.
SWEENEY’S WHEEL. Irish, Reel. D Major. Standard tuning. AABBCCDDEEFFGG. Paul de Grae
identifies this tune as a composition of County Cork accordion player Jackie
Daly, composed for a ‘character’ named Sweeney who resides in Gort, County
Galway. A man of eccentric pursuits, one of Sweeney’s interests is trying to
design a perpetual motion machine, which Daly’s reflects in his tune by having
the melody go round and round without ever coming to an end (on the album it
simply fades out). Green Linnet SIF 1088, Patrick
Street – “No. 2 Patrick Street.” Jackie Daly & Patrick Street (et al) –
“The Big Squeeze.”
X:1
T:Sweeney’s Wheel
L:1/8
M:4/4
K:D
B2dB FBdB|GBdB
cdec|B2dB FBdB|cBAB cde2:|
Ad (3ddd adfd|adfd cde2|Ad (3ddd
adfd|cBAB cdeg:|
B2 dB FBdB|GBdB cdec| B2 dB
FBdB|cBAB cd e2:|
ge (3eee geaf|ge (3eee g3 f|geaf
gfed|cdef g3 a:|
c'a (3aaa fd (3ddd|cdef g3 a|c'a
(3aaa fedB|ABcd efga:|
fdBd FdAd|fdAd cdeg|fdAd FdAd|cBAB
cd e2:|
Ad (3ddd adfd|adfd cd e2|Ad (3ddd
adfd|cBAB cdeg:||
SWEEPING THE TOWN. AKA and see “The Good One.” Old‑Time,
Breakdown. D Major. Standard tuning. AB (Silberberg): AABB (Johnson): AA'BB
(Phillips). Phillips (1994) remarks this is a new name for an old tune (without
naming the original). In fact it appears to be a modern breakdown conversion of
a British jig called “The Queen’s Jig.” It has
similar melodic material to "Goodbye
Liza Jane" and Kirk Sutphin’s “Virginia Reel,” and some think it also
bears resemblance in the beginning to “Spotted
Pony.” Seattle fiddler Armin Barnet is credited with the title from an
off-hand remark he made about the tune, something to the effect that “that tune
sure has gotten popular all of a sudden. It’s sweeping the town.” Sources for
notated versions: fiddler Greg Canote [Phillips]; Warren Argo [Silberberg].
Johnson (The Kitchen Musician: Occasional
Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.),
1982 (revised 1988 & 2003); pg. 15. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 235.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 154.
SWEEP'S HORNPIPE [1], THE (Crannciuil an Sguabadoir/Sguabadora). AKA and see “Gray’s Opera House,” "The Great Eastern (Hornpipe),"
"Great Western
(Lancashire) Clog," "Belfast
Hornpipe [1]," "Royal Belfast,"
"Millicent's Hornpipe,"
"Millicen's Favourite." Irish, Hornpipe. D Major. Standard tuning.
ABC (Mitchell): AABBCC (O’Malley, O’Neill): AA’BB’CC (Moylan). Button-accordion
player Joe Derrane’s signature tune. Source for notated version: accordion
player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border)
[Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell].
Mitchell (Dance Music of Willie Clancy), 1993; No. 108, pgs.
92-93. Moylan (Johnny O’Leary), 1994;
No. 240, pg. 139. O’Malley (Luke
O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 119, pg. 60.
O'Neill (Krassen), 1976; pg. 177. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1613, pg. 299. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 852, pg. 147.
X:1
T:Sweep’s Hornpipe [1]
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of Ireland: 1001 Gems (1903), No. 852
Z:AK/Fiddler’s Companion
K:D
a>g|(3faf d>f
A>dF>A|D>FA>d f2 e>f|g>be>g d>fA>F|G>BA>F E2
a>g|
(3faf d>f
A>dF>A|D>FA>d f2 e>f|g>fe>d c>AB>c|d2f2d2:|
|:z2|G>FG>A
B>cd>e|f>gf>e d>cd>B|A2f2 f>e f2|G2e2 e>d e2|
G>FG>A
B>cd>e|f>gf>e d>cd>B|A>fe>d c>AB>c|d>fe>c
d2:|
|:a>g|(3fgf (3efe (3ded
(3cec|(3BcB (3ABA G2 b>a|
(3gag (3fgf (3efe (3ded|(3cdc (3BcB
A2 a>g|(3fgf (3efe (3ded (3cBc|
(3BcB (3ABA (3GAG (3FGF|E>ge>d
c>AB>c|d2f2d2:||
SWEEP'S HORNPIPE [2], THE (An Scuabaire). AKA and see “Jack O’Neill’s Fancy,” “Jim Coleman’s [2],” "Sweeney's Hornpipe [1]." G Major. Standard
tuning. AA'BB. Source for notated version: flute player John Joe Gardiner
(Ireland) [Breathnach]. Breathnach (CRÉ
III), 1985; No. 216, pg. 99. Comhaltas Ceoltoiri
Eireann CL21, John Joe Gardiner & the Kincora Ceili Band ‑ "Ceol
Tire" (1976).
SWEEP'S HORNPIPE [3], THE. English, Hornpipe. England, Shropshire. G
Major. Standard tuning. AABB. No apparent relation to versions #1 or #2.
***
Chimney sweep. The Warder Collection.
***
Source for notated version: a c.
1837-1840 MS by Ironbridge, Shropshire, musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 59,
pg. 23. Callaghan (Hardcore English),
2007; pg. 26. EFDSS CD13, Bursledon Village Band –
“Hardcore English” (2007. Various artists). MFY014, “The Bursledon Village
Band.”
X:1
T:Sweep's Hornpipe, The
M:4/4
L:1/8
H:1837
S:John Moore of Shropshire
Z:vmp.John Adams
K:G
D2|G2 BG E2 cA | FGAF G2 Bd | dcAc
cBGB | ABcA GFED | GABG ABcA | BcdB
cdef | gfgd ecAF | G2G2G2 :|| Bc| dBdB
g2 Bc| dedB G2 Bd | dcAc cBGB |
ABcA GFED | GABG ABcA | BcdB cdef |
gfgd ecAF | G2G2G2:|
SWEERIE BOX, DA. Shetland, Reel. G Major. Standard tuning. AABB. "The 'Sweerie Box'
is a recepticle for holding two reels of wollen thread so that they can both be
fed into the spinning wheel together. This is called 'twinin' in Shetland. The
tune tries to give the rhythm of the reels when they are twinin"
(Anderson). Anderson (Ringing Strings),
1983; pg. 77.
SWEET (ALA)'BAMA. Old‑Time, Breakdown. A Major.
AEae tuning. AABB. Source for notated
version: Liz Slade (Yorktown, New York) [Kuntz]. Kuntz, Private Collection. Voyager VRCD-354, Hart & Blech – “Build Me a Boat.”
X:1
T:Sweet ‘Bama
M:2/4
L:1/8
N:AEae tuning
N:Notated as fingered, not as
sounded
Z:Transcribed by Andrew Kuntz
K:A
A(f f)f/f/|e/A/c f>(f|e)(c
c/)A/c/A/|B/A/B/(B/ A/B/A/)e/:|
|:[A,/E/][A,/E/]f/(f/
e/)(A/c/)A/|B/A/B/(B/ c/B/)A|[A,/E/][A,/E/]f/(f/ e/A/c/A/| B/A/B/(B/ A2:|
SWEET BARROW, THE. Irish, Air (3/4 time). B Flat Major. Standard
tuning. AB. Stanford/Petrie (Complete
Collection), 1905; No. 339, pg. 86.
X:1
T:Sweet Barrow, The
M:3/4
L:1/8
R:Air
B:Stanford/Petrie, No. 339 (1905)
Z:AK/Fiddler’s Companion
K:Bb
BBA|G2F FFf|fgfedB|G2 FFGc|c3 d/c/ BA|(G2 F).F.F.f|
fgfe dc/B/|G2 FF/G/ BB|B3||Bde|f2 ed gf|fg fe dc|
d2
Bc/d/ ee|e3 f/e/ d/c/B/A/|G2 FFFf|f>g fe dc/B/|G2 FF/G/ BB|B3||
SWEET BEAULIEU GROVE. Irish, Air (4/4 time). E Flat Major. Standard tuning. AB. See note for
“The Enniskillen Dragoon(s) [1]”
for brief discussion of the structure of this tune and partial list of others
in this class. O'Neill (O’Neill’s Irish
Music), 1915; No. 34, pg. 25.
X:1
T:Sweet Beaulieu Grove
M:C
L:1/8
R:Air
S:O’Neill’s Irish Music (1915)
Z:AK/Fiddler’s Companion
K:Eb
G2 | B2 cB G2E2 | FE DB, B2 CD | E2
FE C2C2 | C4 z2 CD | EDEF G2 FE |
FEFG B2G2 | G2 cB G2=B2 | c4z2 || CD
| EDEF G2 FE | FEFG B2 GG |
G2 cB G2 =B2 | c4z2 ec | BcBG F2 EF
| ECB,G, B,2 CD | E2 GF E2C2 | C6 ||
SWEET BETSY FROM PIKE. See "Villikens and his
Dinah." American, Song Air. The vehicle for the American song “Sweet
Betsy from Pike” is derived from the English air to “Villikens and his Dinah.”
SWEET BIDDY DALY (Brigidin Deas Ní Dalaig). AKA and see “Buttermilk Mary [3],” “Coleman’s Favourite,” “Fond of the Ladies” (‘A’ part
only), “The Frolicksome Dame,”
“Haley’s,” “A Health to the Ladies,”
"The Irish Miller," “The Irish Rover,” “Irishman’s Heart to the Ladies,”
“Irishman’s Love [1],” “The Móinín Jig,” “The Mountain Road [2],” “The Mountainy Boy,” “The Night of the Wedding,” “O’Mahony’s Jig,” “Over the Callows,” “Paddy Clancy’s,” “Pat Beirne’s Favourite,” “The
Runner,” “The Queenstown Jig,” "Saddle the Pony [2]" (Roche), “To
the Ladies.” Irish, Double Jig. A Major. Standard tuning. AA’B (Moylan): AABB
(O’Malley, O’Neill). Caoimhin Mac Aoidh states the ‘B’ part is similar to that
of “Saddle the Pony” and identical with that of the Donegal jig “The Pet in the Kitchen.” Sources for
notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border) [Moylan]; fiddler and accordion player John McGrath (d.
1955, New York) [O’Malley]. Moylan (Johnny
O’Leary), 1994; No. 326, pg. 186. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 83,
pg. 42. O'Neill (Krassen), 1976; pg. 67. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1084, pg. 204.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 278, pg. 61. Shanachie
79093, Paddy Glackin & Robbie Hannan – “The Whirlwind” (1995).
X:1
T:Sweet Biddy Daly
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 278
Z:AK/Fiddler’s Companion
K:A
a|ecA BAG|AFE
EFA|Bdc BAB|dBB B2a|ecA BAF|
AFE
EFA|Bdc BAB|cAA A2:||:A|cee
dff|cee ecA|
cde eaf|ecA B2A|cee dff|cee ecA|Bdc
BAB|cAA A2:|
SWEET BIDDY OF
BALLYVOURNEY (Brigidin Milis/Deas
ui/ua Baile-Muirne). Irish, Reel. G Major. Standard
tuning. AAB. See also the ‘A’ parts of
“Pretty Girls of Mayo,”
“Sweeney’s Reel.” Breathnach (1963) is of the
opinion that the second part of this tune in O’Neill does not go with the first
part. Paul de Grae finds variants as “The
Music of/in the Forge,” Breathnach’s “Tameen’s
Reel,” Clancy's "Ceol na
gCeartan" and “Irishman’s Love
[2]” in Ryan’s Mammoth Collection
(1883). O'Neill (Krassen), 1976. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1301, pg. 244. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 566, pg. 104.
X:1
T:Sweet Biddy of Ballyvourney
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 566
Z:AK/Fiddler’s Companion
K:G
G2 BG Bdde|fdgd fdcA|G2 BG Bdde|fdcA AG G2:|g2 dg gbag|f2 de fgaf|
g2 dg gbag|fdcA AG G2|g2 dg g2
de|fgag fdef|dfga b2 ag|fdcA AG G2||
SWEET BUNCH OF DAISIES
[1]. Old‑Time, Bluegrass;
Breakdown. USA; West Virginia, Texas. C Major (Brody): B Flat Major (Phillips).
Standard tuning. AA. Source for notated version: Kenny Baker [Phillips]. Brody
(Fiddler’s Fakebook), 1983; pg. 271.
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 139. County 744, Kenny
Baker‑ "Dry and Dusty." County 2705, Kenny Baker - "Master
Fiddler." Document 8040, “The Hill Billies/Al Hopkins and His Buckle
Busters: Complete Recorded Works in Chronological Order, Vol. 2” (reissue).
Rebel 1545, Curly Ray Cline‑ "Why Me Ralph?" County 747, Clark
Kessinger‑ "Sweet Bunch of Daisies." CMH 9006, Benny Martin‑
"The Fiddle Collection." Stoneway 104, Chubby Wise‑
"Chubby Wise and His Fiddle."
SWEET
BUNCH OF DAISIES [2]. Old‑Time, Waltz. USA;
Alabama, Mississippi, Georgia, Missouri, Arizona. G Major. Standard tuning. AB.
The earliest citation for this tune is from Arizona fiddler Kenner C. Kartchner
who learned it as one of his first, in 1898 (Shumway). It was remembered
by north Georgia fiddler Lowe Stokes (1898-1982) as having been fiddled by his
father. “Sweet Bunch of Daisies” was recorded in 1924 for Gennett and in 1929
for Columbia by fiddler Jess Young (Chattanooga, Tenn.), and apparently
popularized by him among fiddlers (C. Wolfe, The Devil's Box, Dec. 1981, vol. 15, #4). It appears in the
repertoires of both the Stripling Brothers (Ala.) {who recorded it in 1934 for
Decca although it was not issued}, and Freeny's Barn Dance Band (twin fiddle
band from Leake County, Mississippi), 1930. Tommy Magness (1911-1972), born in
north Georgia near the southeastern Tennessee border, knew the tune and
recorded it for Roy Acuff on a home recorder in 1948. Source for notated
version: Hillis Taylor and Vivian Williams [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 316. Ruth (Pioneer
Western Folk Tunes), 1948; No. 131, pg. 46. Heritage 048, Gordon Tanner ‑
"Georgia Fiddle Bands" (Brandywine 1982).
SWEET BUNDY. Old-Time, Breakdown. D Major. Standard tuning. AABB'. Source for
notated version: fiddler Lotus Dickey (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 236.
SWEET
CASTLE HILL. Irish, Air (3/4 time). G Major.
Standard tuning. AB. Source for notated version: P.J. Healy, San Francisco [O’Neill].
O’Neill (Waifs and Strays of Gaelic
Melody), 1922.
X:1
T:Sweet Castle Hill
M:3/4
L:1/8
S:P.J.Healy, San Francisco
Z:Paul Kinder
R:Air
K:G
"Andante"G/2D/2E|G3 A B2|AG G3 A|B2 AG E2|G4 B2|
cd/2e/2 d2 BA|G2 EG A2|d2 e2 de| B2 AG A2|B2 AG E2|
D4 DE|G3 F E2|D2 d3 B|A3 G A2|G4||
DE|G3 A B2|GA B2 AG|E G3 DE|G2 A B3|
AG E A3|B A3 z2|d2 e2 de|B2 A2 GA|B2 AG E2|
D4
DE|G3 F E2|D2 d3 B|A3 G A2|G4||
SWEET CASTLE HYDE. AKA and see “One night I dreamt.”
SWEET CASTLEWON BERE. Irish, March. D Major. Standard tuning. AABB. Roche Collection, 1982, vol. 2; No. 351, pg. 62.
SWEET CHILD. AKA‑ "Honey," "The Crawdad Song." Old‑Time;
Breakdown and song. USA; Missouri, Oklahoma, Louisiana. A Major. AEae tuning. One
part tune.
***
Standin' on a corner and I meant no harm my honey,
Standin' on a corner and I meant no harm my sweet child;
Standin' on a corner and I meant no harm
A big policeman took me by the arm my sweet child.
***
Rared and I kicked and I tried to get loose my honey,
Rared and I kicked and I tried to get loose my sweet child;
Rared and I kicked and I tried to get loose,
But he took me off to the calaboose my sweet child.
***
A little bit cloudy but it ain't a‑gonna rain my honey,
A little bit cloudy but it ain't a‑gonna rain my sweet Child;
A little bit cloudy but it ain't a‑gonna rain,
We'll take a trip on the north bound train my sweet child.
***
When I die don't bury me a‑tall my honey,
When I die don't bury me a‑tall my sweet child;
When I die don't bury me a‑tall,
Just lay me away in alcohol (al‑ky hol) my sweet child.
(Missouri words from Thede, who also
prints the Louisiana version of the lyrics).
***
Thede (The Fiddle Book), 1967; pg. 72‑73.
SWEET COLLEEN RUE. Irish, Slow Air (4/4 time). D Mixolydian. Standard tuning. One part.
"I learned this air from hearing it often sung at home when I was a child.
I find an almost identical setting in Forde's Collection, given to him by Mr.
Deasy of Clonakilty Co. Cork.
***
One evening fresh and fair as I roved to take the air,
Advancing by its side where the stream did gently glide,
‘Twas there I first espied my sweet Colleen Rue." (Joyce).
***
Joyce (Old Irish Folk Music and Song), 1909; No. 12, pg. 9.
X:1
T:Sweet Colleen Rue
M:C
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Song (1909)
Z:AK/Fiddler’s Companion
K:Dmix
DE|GAGE c2 dc|A>GED D2DE|G>AGE
c2 d>c|A2 d>d d2 cd|edce d2 dB|
cBAG E2 GA|c>d e/d/c/B/|A>G
E/D/C/D/|E2 D>D D2||
SWEET CONCLUSION, THE. English, Jig. England, Dorset. D Major.
Standard tuning. AABB. Trim (Thomas Hardy),
1990; No. 38.
SWEET COOTEHILL TOWN. AKA and see "The Peacock [1]."
Irish, Air (4/4 time, "slow and with expresseion"). Ireland, Munster.
G Major. Standard tuning. AB. "This song comes from Cootehill in the
County Cavan. How it got to Limerick, where I heard it, is more than I can
tell; and indeed I know nothing whatever about it save that I learned it when a
mere child from the inimitable singing of Dave Dwane of Glenosheen, the best
local singer we had. I heard him sing it for the last time at an 'American
Wake,' i.e. a meeting of friends on the evening before the departure of several
young people for America, as a farewell celebration. The song was very suitable
for the occasion: and poor Dave‑‑who was himself going away with
the others‑‑sang it with such intense feeling and power, that the
whole company‑‑men, women, and children‑‑were in tears.
That is now more than sixty years ago; and to this hour I find it hard to
restrain tears when I recall the scene. The air belongs I think to Munster; for
I heard it played and sung everywhere, and quite often with other words besides
'Sweet Cootehill Town'. It is sometimes called 'The Peacock', which is
certainly not its original name. Versions of it have been published in Smith's Vocal Melodies of Ireland and
elsewhere. In Cork and Limerick the people often sang to it Burns's song,
'Adieu, a heart‑warm fond adieu,' so that it was commonly known by the
name of 'Burns's Farewell'. Mr. Patrick O'Leary of Graignamanagh‑‑an
excellent authority on the folk music and song of that neighbourhood‑‑has
informed me that, in his part of the country‑‑Kilkenny and Carlow‑‑this
song is usually sung at the little gatherings of friends on the evening before
the departure of emigrants for America: as I heard it sung in Limerick. The air
seems to have been used indeed as a general farewell tune, so that‑‑from
the words of another song of the same class‑‑it is often called
'Good Night and Joy Be With You All'. The Cootehill words are now published for
the first time. The last verse presents a pleasing picture: but alas, how
seldom we see it realised!" (Joyce, 1909).
***
Now fare you well, sweet Cootehill town,
The place where I was born and bred’
Thro’ shady groves and flowery hills,
My youthful fancy did serenade.
But now I’m bound for Amerikay,
A country that I never saw,
Those pleasant scenes I’ll always mind,
When I am roving far awa.
***
Joyce (Old Irish Folk Music and Songs), 1909; No. 384, pg. 191‑192.
X:1
T:Sweet Cootehill Town
M:C
L:1/8
R:Air
N:”Slow and with expression”
B:P.W. Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:E Minor
B/A/|GF EE/F/ GG AG/A/|BB B/A/ G/A/
BD D2 B/A/|G F/>E/ E>F|
G>B AG/A/|Be d/B/ A/B/ GE
E||B/c/|d>e dB/d/ e/d B/c/ d e/d/|
CB AG/A/|BD DB/A/|G F/>E/ E
E/F/|G>B AG/A/|Be d/B/ AB GE E||
SWEET CREAM AND
PEACHES. Old-Time, Breakdown.
X:1
T:Sweet Cream and Peaches
C:from John W. Summers
M:C
Z:Transcribed by Joel Shimberg
L:1/8
Q:385
K:D
fa | a2b2a2 fe | defd edBd | AFAB
dBde | fdfa e2fa |
a2b2a2 fe | defd edBd | AFAB dBde |
fdec d2::A2 ||
A6dA | BAFD EFDE | FAAF ABde | fedf
edBd |
A6dA | BAFD EFDE | FAAF ABde | fdec
d2:|
X:2
T:The tune formerly know as Sweet
Cream and Peaches
M:6/8
L:1/8
S:John W. Summers
Z:Transcribed by Paul Tyler
K:D
dAd faa|Add fga|aba gfe|{fg}fed
{cd}cBA|
dAd faa|Add fga|1aba gfe|fed cAc|d2d
d3:|
2bag fed|cAc d2B|:
A2F EDE|AFD A,CE|D2F/2G/2 A2A|def
{fg}fef|edB {Bc}BAB|
A2F {EF}EDE|AFD EDE|D2F A2A|def
{fg}fed|Ace d3:|
SWEET CUP OF TEA, THE. Irish. The tune was often played by Seamus
Ennis, who said the phrase was a code-word for tea spiked with whiskey or poitin.
SWEET ELLEN [1]. AKA ‑ "Figure Eight." American, Reel. D Major. Standard
tuning. AAB (Howe): AABBCCDD (Cole/Ryan). Contra dance directions to the tune
are printed in the Ryan/Cole editions. Cole (1000 Fiddle Tunes), 1940; pg. 26. Howe (1000 Jigs and Reels), c. 1867; pg. 70. Ryan’s Mammoth Collection, 1883; pg. 171.
X:1
T:Sweet Ellen [1]
M:4/4
L:1/8
N:Howe calls it “A Slide”
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
D2 FA fedB | AFFD E2E2 | D2 (FA) fedB | AFEF D2D2 :|
fedB ABde | fafd e2 ef | fedB ABde | faeg f2d2 | DAFA DAFA |
DAFA B2E2 | DAFA DAFA | BABc d2d2 | f2 df e2 cA |
d2 Bd c2 AA | BAFA BcdB | AGFE D2D2 ||
SWEET ELLEN/ELLUM [2]. AKA and see "Post-Oak Grove,"
"The Gem of Ireland," "Billy Howard's Tune" (Pa.),
"Hopple's Hornpipe"
(Pa.), "Village Hornpipe."
American, Reel. USA, Pennsylvania. D Major. Standard tuning. AB. Bayard (1981)
finds the tune with many different titles and variations in the United States,
but cannot trace it satisfactorily in British tradition. See also note for “Village Hornpipe,” and Lymon Enloe’s “, 1928; No. 27. Howe (Diamond School for the Violin), 1861;
pg. 52. Ryan’s Mammoth Collection,
1883. Thede (The Fiddle Book), 1967;
pg. 49 ("Last of Callahan"). White's
Unique Collection, 1896; No. 108. White's
Excelsior Collection, 1907; pg. 48 (3rd tune).
SWEET EVELINA. American, Waltz and Song Tune. USA, Arkansas. D Major. Standard tuning.
ABB. The title appears in a list of traditional Ozark Mountain fiddle tunes
compiled by musicologist/folklorist Vance Randolph, published in 1954.
***
Way down in the meadow, where the lily first blows,
Where the wind from the mountain ne'er ruffles the rose
Lived fond Evelina, the sweet little dove,
The pride of the valley, the girl that I love.
Cho: Sweet Evelina, dear Evelina,
My love for thee shall never, never die. (Ford)
***
Ford (Traditional Music in America), 1940; pg. 142 (additional lyrics on
page 403).
SWEET FLORA. Irish, Double Jig. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 226, pg.
25.
X:1
T:Sweet Flora
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 4, No. 226
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
c3 BAB | cAF EFG | A2f ecA | BcA GFE
| c3 BAB | cAF EFG | A2f ecA | B3A3 :|
|: e3 cde | fgf agf | e3 edc | BcB
GFE | e3 cde | fgf agf | ecf ecA | B3A3 :|
SWEET FLOWERS OF
MILLTOWN. AKA – “Tom Morrison’s Reel.” Irish,
Schottische. D Major. Standard tuning. AA’B. Recorded in New York in 1927 by
White Park, near Glanmaddy, Co. Galway, flute player Tom Morrison (born c.
1888) for Columbia Records. Morrison, writes Reg Hall (1995), was the son of a
blacksmith and emigrated to the United States in 1909, where he became an
associate of fiddler Michael Coleman and accordion player Peter Conlon. The
melody is a variant of the “Off/Going
to California [1]” family of tunes. It was recorded by Kevin Burke as a
reel on “Portland” (appears as “Tom Morrison’s”). Topic
TSCD602, (Ed. by Reg Hall) Tom Morrison – “Irish Dance Music” (1995. A reissue
of the 1927 original). Conal O’Grada – “The Top of Coom.”
X:1
T:Sweet Flowers of Milltown, The
M:C|
L:1/8
D:Conal O'Grada:The Top of Coom
S:Sean
Ryan, Minstrel's Fancy
R:Schottische
K:D
~G3B AGEF|GFGB d3d|edge dBAG|GAFG
EFDE|
G2GB AGEF|GFGB dGBd|e2ge dBAG|AGFA
GDEF:|2 AGFA G2Bd||
~g3z abaf|gage d2Bd|edge dBAG|GAFG
EFD2|
~g3z ~a3f|~g3e dGBd|e2ge dBAG|AGFA
G2Bd|
~g3z abaf|gage dGBd|edge dBAG|GAFG
EFD2|
~G3B AGEF|GFGB d3d|edge dBAG|A2F2
G2z2|
SWEET HEART YOU KNOW
MY MIND. AKA -
“I have a little trade.” Irish, Air (4/4 time). Ireland, Connaught. F Major.
Standard tuning. AB. Similar to “The
Girl I Left Behind Me [1].” Stanford/Petrie (Complete Collection), 1905; No. 758, pg. 190.
X:1
T:Sweet heart you know my mind
T:I have a little trade
N:”A Connaght tune.”
M:C
L:1/8
S:Stanford/Petrie (1905), No. 758
Z:AK/Fiddler’s Companion
K:F
f>e | dB AF DE FG | Ac de f2 fe |
de cA G>A GF | F6 fe | dB AF DE FG |
Ac de f2 ef | de cA GA GF | F6 || AG
| FA cd/e/ f2 ef | ge fd cA F>G |
Ac df ec dc | c6 f>e | eB AF DE
FG | Ac de f2 fe | d>e cA GA GF | F6 ||
SWEET INNISFALLEN. AKA and see “Widow Machree,” “(My) Ain Kind Dearie (O),” “Have you seen or have you
heard.” Irish, Air (4/4 time). D Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 114.
X:1
T:Sweet Innisfallen
M:4/4
L:1/8
R:Air
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D
(d>edc) (B2A2) | d>cde f3A |
d3c {c}B2A2 | (B2c2d3)F | G2 (BG)F2 A>F |
(D>EFA) {c}B2AA | (d>ef)A
(B>cd)G | (F>G) E2 D4 ||
SWEET INNISMORE. Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. “As
sung in Connemara” (Petrie). Source for notated version: “From Mary O’Malley,
Arran-More, 7th Sept., 1857" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 376, pg.
95.
X:1
T:Sweet Innismore
M:3/4
L:1/8
R:Air
N:”Andante”
S:Stanford/Petrie (1905), No. 376
Z:AK/Fiddler’s Companion
K:Eb
(3Bcd | e2B2 AG | AB c2 BA | F2E2E2
| E4 FG | A2B2 cd | e2e2 fe |
e2_d2B2 {d/c/}| B4 AG | A2B2 cd |
e2e2 fe | e2_d2 Bc | B4 (3Bcd |
e2B2 A/F/E/F/ | AB c2 BA | {A}F2E2E2
| E4 ||
SWEET IS THE LASS THAT DWELLS AMONG THE HEATHER. Scottish, Slow Strathspey. A Major. Standard tuning. AAB. Carlin (The Gow Collection), 1986; No. 223. Gow
(Complete Repository), Part 2, 1802;
pg. 5. McGlashan (A Collection of Reels), c. 1786; pg. 31.
X:1
T:Sweet is
the Lass that Dwells Among the Heather
M:C
L:1/8
R:Strathspey
S:McGlashan
– Reels (c. 1786)
Z:AK/Fiddler’s Companion
K:A
C>AE>F E/C/E/F/ A>c|e/d/B/A/ B/A/B/c/ AFFA|A2 E>F E/C/B/A/ E/F/A/B/|e/c/B/A/ B/A/B/c/ AA A:|
||A/4B4/c|de g/f/e/d/ c>d f/e/d/c/|B/A/B/c/ d/c/B/A/ BFFB/c/|d>e g/f/e/d/ c>d f/e/d/c/|e/c/B/A/ B/A/B/c/ AA AB/c/|
dB, g/f/e/d/ cA, g/e/d/c/|B/A/B/c/ d/c/B/A/ BFFB|c>e d>f ef/g/ ac|e/c/B/A/ B/A/B/c/ AA A2||
|:CE E>F E/C/E/F/ A>c|e/c/B/A/ B/A/B/c/ B/c/B/A/ F/A/E/A/|
A,/C/E/A/ E/F/E/D/ E/C/B,/A,/ E/F/A/c/| e/c/B/A/ B/A/B/c/ A/B/c/B/ A2:|
||A/4B/4c/|~d>e g/f/e/d/ ~c>d f/e/d/c/|B/A/B/c/ d/c/B/A/ B/c/B/A/ F/A/B/c/|
d/c/d/e/ d/e/4f/4 e/d/ c/B/c/d/ c/d/4e/4 d/c/|e/c/B/A/ B/A/B/c/ A2 A, A/B/4c/4|
d/c/d/B/ d/f/b/d/ c/B/c/A/ c/d/a/c/|B/A/B/c/ d/c/B/A/
B/c/B/A/ FE>D|CeDf Ef/g/ ac|e/c/B/A/
B/A/B/c/ AE A,||
SWEET JENNY JONES. AKA and see “Cader Idris,” “Grace
Darling,” "Jenny Jones," "How Paddy Was Fooled,"
"Widow on the Train."
AKA – “Lighearted I Stroll Through the Vale of Llangollen.” Welsh (originally),
English; Waltz, Morris Dance Tune (3/4 time). D Major (Mallinson): G Major
(Barnes): C Major (Bacon, Johnson). Standard tuning. ABA {x6} (Bacon,
Mallinson): AABB (Johnson): AABC (Barnes). As “Cader Idris” this melody was an
1804 composition of the 19th century harper John Parry, ‘Bardd
Alaw’, and named by him after the mountain in Meirionnydd, Wales. Parry did
much to promote and popularize Welsh music in England in both music hall and
fashionable society settings, and he was very successful with this air which
was immensely popular in 19th century England. It was first
published by him in The Welsh Harper,
being an Extensive Collection of Welsh Airs (1839). There is a special
dance associated with the tune (“Cader Idris”) in Wales.
***
The Jenny Jones of the title was
said to have been a dairymaid at Pontblyddin Farm, who fell in love with a
ploughman named Edward Morgan. Edward went to sea and spent twenty years in the
Navy, however, he returned to marry Jenny.
The story entranced actor Charles James Mathews, who visited Wales
around 1825 and actually met the Morgans and heard their story first-hand.
During his trip he heard a harper play Parry’s melody in the hotel he was
staying at in Llangollen, and memorized it, not knowing who composed it. He was
inspired to write a song about the Morgans to the melody, called “Song of Jenny
Jones and Ned Morgan,” and performed it for friends in London when he returned.
At the end of the evening’s entertainment an elderly gentleman approached him
and claimed it was he who originally wrote the tune. It was called “Cader
Idris,” the old man—Bardd Alaw himself—said, and it had won him a prize at the
1804 Eisteddfod. Mathews continued to perform the song which caught on
immediately. It struck a romantic chord, and was popular for nearly two
decades, enough to generate other ‘Jenny Jones’ songs and parodies. Figures of
Jenny Jones were fashioned in chinaware, horse-brasses, and other items.
***
There was another real-life Jenny
Jones from Llangollen. Born Jane Drumley (sometimes Browne) in Granard, County
Longford, Ireland in June, 1789. There she met and fell in love with Lewis
Griffiths, a soldier who had been posted to Granard, and he began courting her,
walking her home from church for many months. Jane was aged fourteen.
Griffiiths had been a farm worker in Wales and came of age just at the time
that conscription for the armed services was effected by the government, which
was sore in need of men to fight in the Napoleonic wars. Each parish was required
to send a man, and, while Lewis was not initially chosen, the man whose lot it
fell to was unsuited to the service and Griffiths volunteered to take his
place. He was in training for the army in Dubin when they met, and was a
serviceman in the 23rd Royal Welch Fusiliers. After some months she
left school, about the time that Lewis’s unit received orders for duty abroad;
the couple hurriedly married in Granard. Lewis’s service did not stop them from
starting a family and Jane and he had a daughter. When she was about six months old Lewis was ordered to Ostend,
Belgium, with his unit and managed to bring his family along with him—Jane,
like many soldier’s wives, became a laundress for the unit, and also acted as
nurse. After a few weeks Griffith’s unit was ordered to march toward the French
in the prelude to Waterloo, and again Jane managed to accompany the army,
although no provision had been made for camp followers, and there were little
enough provisions for the army itself. Still, Jane persevered and foraged for
food, bringing what she could back to Lewis. Finally the Welsh Fusiliers were
ordered into battle, and once again Jane accompanied her husband, staying with
him during the initial hostilities until ordered to the rear. She took refuge
in a chapel, but it came under cannon fire from the French, and was abandoned
when it was hit. Jane was on the field for three days, and after the battle
Jane searched for Lewis. Hearing that he had been wounded she began searching
the field aid stations with no success. Finally she met a soldier from the
Fusiliers who informed her that her husband had been taken to a hospital in
Brussels. There she finally located and found his wounds serious but
survivable. Six cannon ball splinters removed from his shoulder, but Lewis made
a recovery and rejoined his unit a month later. He finished his service and was
discharged, after which the family went to his home town of Talyllyn, Wales.
There he worked in a slate quarry until his accidental death in 1837, when he
was killed by falling rock.
***
Jane—Jenny—later (in 1853) married
John Jones, also of Talyllyn, and with him had more children, to a total of
nine, although he too predeceased her. She found work as a hotel laundress
until age prevented her, and in the end received a meagre pension from
Guardians of the Golgellau rate payers. Jenny Jones died in April, 1884, and is
buried in Talyllyn Churchyard.
***
“Sweet Jenny Jones” was used as the
vehicle for morris dances in several village traditions, but it is particularly
associated with the village of Adderbury, Oxfordshire, in England's Cotswolds,
where it was always the first dance of the season. Adderbury men sang often
during their performances and tended to use song tunes more than other teams.
During this number dancers sang the following:
***
My sweet Jenny Jones is the pride of Llangollen,
My sweet Jenny Jones is the girl I love best.
***
John Kirkpatrick (1976) notes that
the 3/4 time morris step is different from the normal one used, and that the
pause in the stepping coincides with the pause in the musical phrase. “The
stepping in the cinquepace (meaning five steps), or galliard, of Elizabethan
times is exactly the same rhythm as this,” he says. The song tune was later
converted into a broadside ballad called "The Widow on the Train,"
from which it found its way into American old-time repertoire as a waltz.
Northumbrian musicians picked up the tune and renamed it after a local heroine,
Grace Darling. Bacon (The Morris Ring),
1974; pg. 6. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 88 (appears as “Morsel Circle”, the name of a
dance by Philippe Callens set to the tune). Johnson (The Kitchen Musician, No. 1, 1991; pg. 6. Mallinson (Mally’s Cotswold Morris Book), 1988; No.
41, pg. 26. North Star NS0038, "The Village
Green: Dance Music of Old Sturbridge Village." Topic TSCD458, John
Kirkpatrick - “Plain Capers” (1976/1992).
X:1
T:Sweet Jenny Jones
M:3/4
L:1/8
R:Waltz, Air
K:
A2|d2A2F2|D3E
F2|G2B2e2|d2A2c2|d2A2F2|G3AB2|
A2d2c2|d4:||de|f2d2f2|e2c2A2|d2B2d2|c2A2
de|
f2d2f2|e2c2A2|d2c2B2|A4
Bc|d2A2F2|D3E F2|
G2B2e2|c2A2c2|d2A2F2|G3A
B2|A2d2c2|d4||
SWEET JENNY LEE. Old-Time. Bee Balm 302, “The Corndrinkers.”
SWEET JOURNEYS. American, Waltz. A Major. Standard tuning. AABB (Cranford): AA'BB'
(Matthiesen). Composed in 1990 by fiddler George Wilson (Hudson Falls, NY).
Cranford (Jerry Holland’s), 1994; No.
277, pg. 81. Matthiesen (Waltz Book I),
1992; pg. 49. Boot
Records, Jerry Holland - “Master Cape Breton Fiddler” (1982). Fiddlesticks
cass., Jerry Holland - “Fathers and Sons” (1992). Green Linnett, Jerry Holland
- “The Fiddlesticks Collection” (1995).
SWEET KATE. English, Country Dance Tune (6/8 time). G Major. Standard tuning. ABB.
There are modal elements in the tonality of the ‘B’ part. Sharp (Country Dance Tunes), 1909/1994; pg. 39.
X:1
T:Sweet Kate
M:6/8
L:1/8
S:Sharp – Country Dance Tunes (1909)
Z:AK/Fiddler’s Companion
K:G
(d>cB) (c>BA) | ddd (d2 B/c/ |
d>cB) (c>BA) | BGG G3 |
(d>cB) (c>BA) | ddd (d2 B/c/ |
d>cB) (c>BA) | (BGG) G3 ||
|: AAA A3 | ccc c3 | ggg g2g |
(=f2d) (d>ef) | (g>=fe) (f>ed) |
(e>dc) (d>cB) | (c>BA d2)(c
| BGG) G3 :|
SWEET KATHLEEN MACHREE (Caitilin Dileas Mo Croide). Irish, Air (6/8 time). B Flat Major
(Joyce): C Major (O'Neill). Standard tuning. One part (O'Neill): AB (Joyce).
Source for notated version: "copied by Mr. Pigot from a MS. lent to him by
Miss O'Connell of Grena, Killarney" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 802, pg. 390. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 558, pg. 98.
X:1
T:Sweet Kathleen Machree
M:6/8
L:1/8
R:Air
N:”With spirit”
S:O’Neill – Music of Ireland (1903), No. 558
Z:AK/Fiddler’s Companion
K:C
G|c>dc cec|cAc cGc|cEc
cde|f>dd d2f|e>dc cec|cAc cGc|cEc ceg|fdB c2f|
ece egf|ece ege|f>dd d2e|f>dd
d2f|ege fdf|edc cAG|GEG c2d|ece g2f|e>cc c2d|e>cc c2||
SWEET KILLALOE. AKA ‑ "Cill‑Dalua Dileas." AKA and see “Fare Thee Well, Sweet
Killaloe.” Irish, March (2/4 time). D Major/Mixolydian. Standard tuning.
AAB (O'Neill {1850}): AABB (O'Neill's {1915}). A member of the "Oro, Welcome Home" tune family {see
Bayard's (1944) note for "Bonaparte Crossing the
Rhine [1]"}, as are the tunes "The Oyster Wife’s/Wives' Rant,"
"The Haughs o’ Cromdale,"
"The Hillside [2]," "Wate You How the Play Began,"
and others. Killaloe is in County Clare at Kincora, and home of the
eleventh-century Irish King of Munster Brian Boru. Ruins of his fort can still
be seen there. O'Neill (O’Neill’s Irish
Music), 1915/1987; No. 100, pg. 56. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1809, pg. 339.
X:1
T:Sweet Killaloe
M:2/4
L:1/8
R:March
S:O’Neill – Music of Ireland
(1903), No. 1809
Z:AK/Fiddler’s Companion
K:D
(F/G/) | AD FE/D/ | A/B/A/G/ EF/G/ |
AD FE/D/ | CD EF/G/ |
AD FE/D/ | A/B/A/G/ EE/F/ | GE =cE |
D2 D :|
|| G | AB/c/ dc | AB =c2 | EF G>F
| EF G2 | AB/c/ dc | AB =cA |
GE =cE | D2 DG | AB/c/ dc | AB =c2 |
EF G>F | EF G2 |
AB/c/ dc/d/ | ed cA | GE =cE | D2 D
||
SWEET LITTLE CUCKOO, THE (An Cuicin bInn). Irish, Air (cut time). D Major/B
Minor. Standard tuning. AAB. Roche
Collection, 1982, vol. 1; No. 63, pg. 30.
SWEET LITTLE JULIE. Old-Time, Breakdown. USA; western North Carolina, southwestern
Virginia. D Major. Standard tuning. The melody is known as a Surry County,
North Carolina, regional tune but was also in the repertoire fiddlers across
the state line like Uncle
Norman Edmonds (Hillside, Virginia). County
CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994). Heritage
Records HR23, Harold Hausenfluck and Abe Horton ‑ "Cornbread,
Molassees, and Sassafras Tea."
X:1
T:Sweet Little Julie
M:C|
L:1/8
R:Reel
S:Kirk Sutphin
N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:D
f(a|a)f a2 fe f2| a3A a2 fa|abaf edB2|d3 B A2 f(a|a)a a2 fe f2|a3A a2 f(a|
a)baf ed B2|d4B A2 B(d||d)B d2 dB A2|f3e f2 e(f|f)fe d2B2|d3 B A2 B(d|
d)B d2 dB A2|f3e f2 f(e|e)d B2A2B2|d3B A4 ||
SWEET LOVELY JOAN. Irish, Air (4/4 time). F Major. Standard tuning. One part. Source for
notated version: “From Mr. F.J. Southwell” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 721, pg.
181.
X:1
T:Sweet Lovely Joan
M:C
L:1/8
R:Air
N:”Andantino”
S:Stanford/Petrie (1905), No. 721
Z:AK/Fiddler’s Companion
K:F
FTG | A3B AG FE | F2D2D2 A=B | c3d
cB AG | A2d2d2 zA |
D3c d2f2 | A2 AG F3G | A=B c2E2G2 |
F2D2D2 :|
SWEET MAID OF
GLENDAUREL. Scottish, March (2/4 time). A
Mixolydian. Standard tuning. AAB. The
Scots Guards Standard Pipe Settings suggests that “The Sweet Maid of
Glendaruel” follow “Campbell's
Farewell to Redcastle.” Christine Martin (2002) prints the tune along with
“Terribus” and “Corriechoillies Welcome to the Northern Meeting” as a medley
for the dance The Gay Gordons. Glendaruel is on the way to Tighnabruaich from
Glencoe and is nearly as far to the south from Glencoe as Redcastle is to the
north. Martin (Ceol na Fidhle), vol.
1, 1991; pg. 35. Martin (Traditional
Scottish Fiddling), 2002; pg. 73.
SWEET MAID OF MULL, THE.
Scottish, Jig. A Major. Standard tuning. AABB. Composed by A.C. Beaton.
Miller (Fiddler’s Throne), 2004; No.
107, pg. 73. Temple TP022, Battlefield Band – “Music
in Trust” (1986).
SWEET MALLY. AKA and see “Bonnet Makers of Dundee,” “Burnt Leg.” See “Sweet Molly [2].”
SWEET MARIE. Old-Time, Breakdown. A Major. AEae tuning.
SWEET MAY MORNING (Madainn chiuin cheitein). Scottish, Slow Air (6/8 time). E
Minor. Standard tuning. AABB. "This is the air associated with the pensive
soliloquy of a peasant of the district of Ardnamurchan, toiling with an
unpropitious season at the ordinary labours of the field, and hesitating
whether he should emigrate or pay his landlord, Sir James Riddell, triple rent,
or at least a large increase, offered by others for his farm. His local
attachment on one side, and his inability on the other, generating fresh and
contending sensations which, in the editor's opinion, the air fairly
conveys" (Fraser). Fraser (The Airs
and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874;
No. 113, pg. 45.
X:1
T:Sweet May morning
T:Madainn chiuin cheitein
M:6/8
L:1/8
R:Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:G
E/F/|G>AG G>AB|d>ec B2f|g>fg edc|B>AB G2 e/f/|g>fg edc|
G>AG e2 (3g/f/e/|d<BA G>AB|G>AF E2:|
|:B/^c^d|e>^de =d>^cd|e>^de =d2 e/f/|g>fg edc|B2A G2(3d/e/f/|
g>ab edc|B>AB e2 (3g/f/e/|d<BA G>AB|G>AF E2:|
SWEET MILK AND PEACHES. Old‑Time, Breakdown. USA; Mississippi, Alabama. D Major. Standard
tuning. AA'BB'C. Played by Rock Ridge, Alabama, fiddlers around 1920 (Bailey).
Source for notated version: c. 1930’s recording of fiddler Willie Narmour
(1889-1961, Carroll County, Mississippi) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol.
1), 1994; pg. 236.
SWEET MISS JULIE. Old‑Time, Breakdown. USA, southwestern Va. According to Tom
Carter and Blanton Owen, this is a "band tune" characteristically
associated with Patrick County, southwestern Va.
SWEET MOLLY [1]. AKA and see "Hopetoun House,"
“Life of Man [2],” “The Youngest Daughter [1].” AKA –
“Sweet Mally.” Scottish, Reel. E Minor. Standard tuning. AAB. John Glen (1891)
finds the earliest printing of the tune in Neil
Stewart's 1761 collection (pg. 11), and later by the Gows. It appears in
Northumbrian musician William Vickers’ 1770 music manuscript under the title
“Life of Man.” The melody has many variants in Ireland as well (see note for
“Youngest Daughter [1]”). Source for notated version: copied from O’Farrell’s Pocket Companion (1804-10)
[O’Neill]. Gow (Complete Repository),
Part 1, 1799; pg. 17. Kerr (Merry
Melodies), vol. 1; Set 7, No. 4, pg. 6. MacDonald (The Skye Collection), 1887; pg. 91. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 240. Stewart-Robertson
(The Athole Collection), 1884; pg.
248. Williamson (English, Welsh, Scottish
and Irish Fiddle Tunes), 1976; pg. 66.
X:1
T:Sweet Molly [1]
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Emin
e|E/E/E BE dEBe|dBAF DEFD|E/E/E BE dEBe|dBAF BBE:|
F|Eeef gfed|BdAF DEFD|Eeef gfed|BdAF BEEF|Eeef gfed|
BdAF DEFf|afge fde^c|dBAF BBE||
X:2
T:Sweet Molly [1]
M:4/4
L:1/8
S:O'Farrell's Pocket Companion 1804-10
Z:Paul Kinder
R:Reel
K:G
EEBE dEBe|dBAF DEFD|EEGE dEBe|dBAF BE E2:||
Beef gfed|(3Bcd AF DEFD|Beef gfed|BdFA BE E2|
Beef
gfed|(3Bcd Af defa|"tr"afge fde^c|dBAF BE E2||
SWEET MOLLY [2]. AKA and see “Bonnet
Makers of Dundee,” “The Corby
and the Pyett.” Scottish, Reel and Strathspey. E Minor. Standard tuning.
AABB. James Oswald printed the tune under the “Corby and the Pyett”
title in his Caledonian Pocket Companion
(1743-48), while Robert Bremner gives
it as “Bonnett Makers of Dundee” in his 1757 collection. It is probably the reel "Sweet Mally"
contained in the Gillespie Manuscript of
Perth, 1768. Aird (Selection of Scots, English, Irish and
Foreign Airs), c. 1782. Scottish (?), Reel. D Major. Standard. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 188, pg. 44. Kerr (Merry
Melodies), vol. 4; Nos. 125 & 126, pg. 15.
X:1
T:Sweet Molly [2]
M:C
L:1/8
R:Strathspey
S:Kerr – Merry Melodies, vol. 4, No. 125
Z:AK/Fiddler’s Companion
K:Emin
E<e e>f e2 ed>B |
d>ef>d e>Bd>A | B<e e>f e2 d>B | A>Bd>F E/E/E E2 :|
|: F<F F>E D>EF>A |
B<B B>A B>de>f | d>Bd>A B<e e>f | d>Bd>F (3EEE E2
:|
X:2
T:Sweet Molly [2]
M:C
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 126
Z:AK/Fiddler’s Companion
K:Emin
Eeef e2 (dB) | defd eBdA | Beef e2
(dB) | ABdF E/E/E E2 :|
|: F/F/F (FE) DEFA | B/B/B (BA) Bdef
| dBdA Beef | dBdF E/E/E E2 :|
SWEET MOLLY [3] (Mairin Deas). Irish, Air (6/8 time, "with feeling").
D Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 377, pg. 66.
X:1
T:Sweet Molly [3]
M:6/8
L:1/8
R:Air
N:”With feeling”
S:O’Neill – Music of Ireland (1903), No. 377
Z:AK/Fiddler’s Companion
K:A
A|d>ed c>BA|d>ed
f>ac|d<dd {d}c>BA|d>ed f>aa|aggg gff|e>fg b/a/g/f/g/e/|
d>ed {d}c>BA|Bdc d2a|a/g/gg
gff|e>fg b/a/g/f/g/e/|d>ed {d}c>BA|Bd>c d2||
SWEET MOLLY [4]. AKA and see "B(h)aintreach
na Radaireacht," "The
Youngest Daughter [1]," "Cock your pistol,
Charley/Charlie [2]," "Polly's
Reel," "Captain
Murray's Reel," "The Tap Room,"
"Hopetoun House."
SWEET MOLLY MALONE (Maire Maiseac Ni Maeleoin). AKA "Cockles and
Mussels." Irish, Air (3/4 time). G Major. Standard tuning. One part
(O’Neill): AB (Tubridy). A famous song having its origins in street balladry,
popularized on the Music Hall stage. The words are credited in one old
publication to a Martin Corrigan, by what authority is not known, but are most
often simply said to be anonymous. Sean Murphy explored the song in his 1992
booklet "The Mystery of Molly Malone” (Divelina Publications, ISBN 0
9512611 2 6), and found that it was actually written by Scottish-based James
Yorkston in the latter part of the 19th century. The song has been
associated with Dublin for many years, and has become almost an anthem of the
city. It begins:
***
In Dublin's fair city, where the girls are so pretty...
***
A somewhat similar melody was used
by Mozart for the last movement of his Piano
Concerto no. 22 in E Flat, K.482, composed at a time when Mozart was often
in the company of the Dublin-born operatic tenor Michael Kelly. The connection
with “Molly Malone,” if any, is not known. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 483, pg. 84. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 1.
X:1
T:Sweet Molly Malone
T:Molly Malone
M:3/4
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 483
Z:AK/Fiddler’s Companion
K:G
D2|G2G2G2|GB3G2|A2A2A2|Ac3
c2|B2d2d2|d2B2G2|F2A2A2|A4D2|G3G G2|
GB3G|A2A2A2|Ac3 A2|Bd3 G2|Bd3 F2|A3G
G2|G4||
SWEET MOLLY ROE. AKA and see "Moll Roe{'s}
[1]."
SWEET NELLY MY HEART'S
DELIGHT. English, Air (6/8 time). G Major.
Standard tuning. AB. The song appears in "The Merry Musician; or, A Cure
for the Spleen," Watts' Musical
Miscellany (1729), and broadsides.
***
Sweet Nelly, my heart’s delight,
Be loving and no not slight
The proffer I make, for modesty’s sake;
I honour your beauty bright.
For love I profess, I can do no less,
Thou has my favour won;
And since I see your modesty,
I pray you agree, And fancy me,
Tho’ I’m but a farmer’s son.
***
Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 125‑126.
X:1
T:Sweet Nelly My Heart’s Delight
L:1/8
M:6/8
R:Air
S:Chappell – Popular Music of the Olden Time
(1859)
Z:AK/Fiddler’s Companion
K:G
D|G>AG B2c|(d3 d2)e|d>cB
ABG|(E3 E2)D|G>FE A2A|
B>AG c2B|ABG
G2F|(G3G2)||D|G>AG G2G|A>BA A2A|
B^cd d2c|(d3d2)d|dcB ABc|BdG
E2D|G>FE A2A|B>AG C2B|
ABG G2F|(G3G2)||
SWEET PEGGY. AKA – “Sweet’s the Name of
Peggy.” Canadian, Reel. E Mixolydian. Standard tuning. AB. Recorded on 78RPM
disc by Cape Breton fiddler Joe MacLean. Cranford (Jerry Holland: The Second
Collection), 2000; No. 149, pg. 56.
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Snyder’s Cape Breton Fiddle
Recording Index |
SWEET PEGGY PICKEN. English. England, Northumberland. Title appears in Henry Robson's list
of popular Northumbrian song and dance tunes ("The Northern Minstrel's
Budget"), which he published c. 1800.
SWEET PORTAFERRY (Cuan Milis an Challaidy). Irish, Air (3/8 time). E Flat
Major. Standard tuning. AB. The melody is related to "An Londubh Agus an Ciarseach"
(No. 7 in Bunting's 1840 collection). Source for notated version: the Irish
collector Edward Bunting noted the tune from "J. McCracken Esq. Belfast,
1800." O'Sullivan/Bunting, 1983; No. 76, pgs. 119-120.
X:1
T:Sweet Portaferry
M:3/8
L:1/8
R:Air
S:Bunting
Z:AK/Fiddler’s Companion
K:Eb
B/A/|GGA|F2 G/F/|EFG|B2
c/d/|ece/c/|B/A/GF|EEE|E2 B/A/|GGA|F2 G/F/|
EFG|B2
c/d/|ece/c/|BGF|E2E|E2||B/A/|GAB|e2 e/d/|cBc|E2 E/F/|GBB|ede|
c2c|B2 B/A/|GGA|F2 G/F/|EFG|B2
c/d/|ece/c/|B/A/GF|EEE|E2||
SWEET POTATO PIE. AKA and see "Good Lager Beer,"
"The
Frost's on the Pumpkin and the Fodder's in the Shock," "The Wearing of the Green." A
local south western Pennsylvania title for this tune.
SWEET PUDDING. AKA and see "Lumps of
Pudding(s) [2]," "Shives Of
Bread."
SWEET RICHARD. English, American; Reel. G Major. Standard tuning. AABB. The earliest
version of the tune appears in Wright's
Collection, published in London by Johnson c. 1742. Dancing Master Thomas
Wilson (Companion to the Ball Room, 1816) gives its provenance as Welsh,
and James Aird (Selections, vol. 3, 1788) also says “Sweet Richard” is
Welsh, although his is a different tune altogether than the one here. A variant
of this tune appears in 24 Country Dances
for the Year 1771 (Thompson, London), and a third version of the melody was
copied in 1782 by Aaron Thompson, Fife Major in the New Jersey line and a
native of Connecticut. “Sweet Richard” also appears in the music manuscript
copybook of Captain George Bush, of the Continental Army. Kate Van Winkler
Keller (“Fiddle,
Dance and Sing with George Bush”) notes the similarity between Bush and
Thompson’s music and dance figures, and believes it is possible the both
collected dances that may have been performed in the winter encampments at
Morristown, New Jersey (1778-1780). The version published in England by
Thompson appeared in America in Select
Collection (Ostego, New York) in 1808, and was entered into the 1781 music
copybook of Fife Major Nathaniel Brown (“of the Fourth Connt. Regt,” stationed
at Verplank’s Point on the Hudson in Westchester County, and in Durham, Conn.).
A slightly altered version of the Thompson tune also appears in the music
manuscript collection of Northumbrian musician William Vickers, begun in 1770.
The same Sweet Richard title, although a fourth tune, appears in Preston's 24 Country Dances for the Year 1797
(London). Seattle (William Vickers),
1987, Part 3; No. 564. Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 3), 1773; No. 121. Wilson (Companion to the Ball
Room), 1816; pg. 103. Gourd Music 110, Barry
Phillips – “World Turned Upside Down” (1992).
X:1
T:Sweet Richard
M:2/4
L:1/8
R:Reel
K:G
DG GA/G/|F(A A)B/A/|GA/B/ c/B/A/G/|B(d
d)c|B>c de|dc B2|
c/B/A/G/ F/G/A/F/|G2G2:||:gg ga/g/|f>e d/e/f/g/|agfe|f(d d)c/B/|c(e e)B/A/|
B(d d)B|c/d/B/c/ A/B/G/A/|F(d d)c|B>c de|dc B2|c/B/A/G/ F/G/A/F/|G2G2:||
X:2
T:Sweet Richard
M:C
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
D(G G)F/E/ F(B B)A/G/ AB c2|B>cdB cABG|EAGF
G[DB][B,d][G,g]:|
|:gggg ffff|eeee dd d2|gggg ffff|eeee d2d2|
ec
e2 dB d2|cBAG Bc d2|BcdB cABG|EAGF G[DG][B,d][G,g]:||
SWEET ROSE OF HEAVEN. Old-Time, Waltz. Recorded in the 78
RPM era by the Taylor-Griggs Louisiana Melody Makers.
SWEET ROSLEA AND THE
SKY OVER IT. AKA and see "The Ewe Reel," "The Ew(i)e Wi' the Crooked
Horn [1]," "The Ram with the Crooked Horn," "Bob with the One Horn [2],"
"The Pretty Girl in Danger,"
"The Merry Lasses," "The Kerry Lasses [1]," "My Love is Far Away," "The Lowlands of Scotland,"
"Peter Street [2]," "The Red Blanket," "Miss Huntley's," "Go see the Fun," "The Foe."
SWEET SILAS. Old‑Time. USA, Alabama. Decca 5069 (78
RPM), Stripling Brothers (Ala.) {1934}.
SWEET SIXTEEN. AKA and see “Buffalo Nickel
[1],” "Chinky Pin,"
"Darling Child," "Farmer Had a Dog," "Fourth of July," "Hair in the Butter," "I'm My Momma's Darling (Child),"
"Lead Out," "Love Somebody [2]," "Midnight Serenade [1],” "My Love Is/She's But a
Lassie Yet [1]," "Old
Kingdom," "Richmond Blues,"
"Ten Nights in a Bar Room,"
"Too Young to Marry [1],"
“Tripping on the Mountain,”
"Yellow Eyed Cat." American,
Reel. Widely known in central eastern states. It has been pointed out that the
tune resembles the Irish song “As I Roved Out” and the
tune “O’Keeffe’s Slide.” The
tune derives, however, from the Scots tune “My Love is But a Lassie Yet,”
although the title may derive from the song “Sixteen Come Next Sunday.” The
tune was the repertories of Buffalo Valley, Pa., region dance fiddlers Harry
Daddario and Archie Miller. Cassette C-7625, Wilson
Douglas (W.Va.) - "Back Porch Symphony."
SWEET SUSAN. AKA – “Susan’s Gone.” Old‑Time, Breakdown. USA, Kentucky. G
Major. Standard tuning. AB. Source for notated version: James W. Day (AKA
Jilson Setters) {Ashland, Kentucky, 1937} [Titon]. Titon (Old Time Kentucky
Fiddle Tunes), 2001; No. 158, pg. 183. Library of
Congress 1019A2, Jilson Setters/J.W. Day (Ky.), recorded for L of C by John
Lomax in Ashland, Ky., 1937. Rounder 0380, Roger Cooper – “Going Back to Old
Kentucky” (1997).
SWEET TIBBY DUNBAR. AKA and see “(A) Draught of Ale,”
"Farrell's Pipes," "The Fourpenny Girl,” “Grania’s Welcome Home [2],”
“Highway to Dublin,” “Langstrom’s Pony,” “The Priest’s Leap [3],” “Saddle the Pony [3].”
SWEET TRANSPORTS. English (?), Air (4/4 time). D Mixolydian. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 97
X:1
T:Sweet Transports
M:C
L:1/8
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:Dmix
FG | A>FAd gfed | (Bc/d/) AF {F}E3B | AFAd gfed | (Bc/d/) AF D>E D :| f |
gfed B2 cd | A>ddf f2 e>f | ecBA ^G/F/d/c/ e/d/c/B/ | A2 Be A3F |
G>AGB AF d>c | BAGF F2 EF/G/ | AFAd fg {f}a3A | (Bc/d/) AF DE D F |
E/D/E/F/
D>E D/F/A/d/ A/d/f/a/ | af e/d/e/f/ d2 ||
SWEET WILLIAM'S FAREWELL (TO BLACK-EYE'D SUSAN). AKA and see "All in the Downs," "Thus when the swallow, seeking prey," "Black& Eyed Susan [2]." English, Air (3/4 time). C Dorian. Standard tuning. AB. The music to this ballad is by Richard Leveridge while the words are by John Gay, based on the popular story of the courtship of William Whitcraft and Susan Cole, of Plymouth, commonly known as "Sweet William" and "Black-Eyed Susan" (from a c. 1775 chapbook, perhaps from Newcastle, called “A Western Garland” where it gives the story in verse). A version of this ballad was frequently reprinted in the late 18th-century as “William and Susan's Garland.” The lyric was first published by Gay in 1720, but was set to music by Leveridge and appeared in Watts' Musical Miscellany (1730), then ballad operas and broadsides from 1730 and later. Chappell and Scott note that Leveridge was "a genial and popular personage, possessed of a fine (bass) voice..," who was in the habit of challenging people to singing contests. In general, however (and despite his popular tune "Roast Beef of Old England"), he was thought a rather dull and mediocre composer; Chappel thinks the original tune for "Sweet William" was improved by time and the alterations of other performers. Gay also used the tune in his opera The Beggar's Opera (1729) under the title "Thus when the swallow, seeking prey." When Vauxhall Gardens was re-opened to the public in 1736, Peter Monamy was one of the artists commissioned to paint scenes of the creations and recreations of English life. One of the subjects he chose to illustrate was Gay’s song “Sweet William’s Farewell to Black-Eyed Susan.” Rod Stradling and Mike Yates (in a 2000 Musical Traditions article on singer Walter Pardon) note that “the song became extremely popular for 100 years or more - so much so that a number of sequels sprang up to trade on the original's popularity. Sweet William's Return to his Dear Susan was followed by Sweet Susan's Constancy and The True Answer to Black-Ey'd Susan … there may have been others (vague rumours of Son of Black-Eyed Susan and Black-Eyed Susan Goes Line-Dancing have been heard …) Even a stage play resulted, Black-Eyed Susan or All in the Downs (1829), involving the imagined melodramatic consequences of Sweet William's return.” Frank McHugh, writing on the London theatre season of 1812-1813, records: “David Mayer notes that the character Black-Eyed Susan appeared in pantomime soon after Jerrold's melodrama of 1829, but that she had appeared much earlier--in fact in the Sans Pareil pantomime of 1812-13, Davy Jones's Locker; or, Black-Eyed Susan. Mayer says, "A summary of the pantomime in the playbill of the 1813 Davy Jones suggests how extensively the character of Black Ey'd Susan belonged to the theatre, equally suitable to pantomime arrangers and to such serious dramatists as Jerrold" (Harlequin in His Element, 82-3).” Gay’s lyric begins:
***
All in the Downs the Fleet was moor'd
The streamers waving in the wind,
When Balck-eyed Susan came on board
"O where shall I my true love find?
Tell me, jovial sailoers, tell me true,
If my Sweet William sails among the crew?”
***
The song’s popularity waned greatly
after the mid-19th century, although there were occasional survivals
to modern times in tradition. Stradling and Yates cite its appearance in Bob
Hart’s, of Snape, Suffolk, repertoire in the 1970’s, and Walter Pardon’s sound
recording. Chappell (Popular Music of the
Olden Time), vol. 2, 1859; pg. 144. Scott, 1926; pg. 4.
X:1
T:Sweet Williams Farewell to
Black-Ey’d Susan
M:3/4
L:1/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:Cdor
G2c2d2|e2d2c2|=B2c2d2|G4c2|BA
G2F2|E4D2|C2D2F2|G6|G2c2d2|e4d2|e4f2|
G6|f6|d2c2B2|c2d2e2|f2d4|e6||g2f2e2|f2e2d2|=B2c2d2|G6|E2F2G2|F>G
A2G2|
G2A2=B2|c>d
e2d2|e2d2c2|B2c2=B2|c6||
SWEET WILLY. English. England, Northumberland. One of the "missing tunes"
from William Vickers' 1770 Northumbrian dance tune manuscript.
SWEET WILLY-O. English, Jig. England, Northumberland. D Major. Standard tuning. AABB.
An irregular tune—the ‘B’ part is six measures long, the ‘A’ part is eight
measures. The melody is one of the "missing tunes" from William
Vickers' 1770 Northumbrian dance tune manuscript, and presumably different than
his "Sweet Willy" as it appears in the contents with a different page
number. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II,
1782; No. 184, pg. 68.
X:1
T:Sweet
Willy O
M:6/8
L:1/8
S:Aird,
vol. II (1782)
Z:AK/Fiddler’s Companion
K:D
(3A/B/c/ | ded FAd | fga agf | gag Bdg | bc’d’ d’c’b | aba afd |
gBB B2c | ded fga | bee e2 :: A | ded faf | ded faf | ded
faf |
d=c’c’ c’ba | bge afd | ded d2 :|
SWEETEST FLOWER WALTZ. American, Waltz. The tune was recorded by the East Texas Serenaders
around 1930, though it was learned by the group's fiddler, Daniel H. Williams,
from a northern fiddler named Mr. Brigsley. Williams recorded the tune for
Columbia in 1927. County 410, "The East Texas
Serenaders, 1927‑1936" (1977).
SWEETEST
LASSIE. Scottish, Country Dance Tune (2/4
time). D Major. Standard tuning. AABB. Aird
(Selections of Scotch, English, Irish and
Foreign Airs), vol. II, 1785; No. 141, pg. 52.
X:1
T:Sweetest
Lassie
M:2/4
L:1/8
S:Aird,
vol. II (1785)
Z:AK/Fiddler’s Companion
K:D
ff/d/ | gg/e/ | af d2 | efgf | e/f/e/d/ {d}cB/A/ | ff/d/ gg/e/ | afdA | B/e/g/e/ dc dd d2 :|
|:
ee/c/ ff/d/ | ge e2 | ff/d/ gg/e/ | af f2 | ABcd | e/d/e/f/ ge | f/a/f/d/
e/g/e/c/ | dd d2 :|
SWEETHEART REEL, THE. Irish, Reel. A Dorian. Standard tuning. AAB.
Source for notated version: “From my mother” [Mulvihill]. Mulvihill (1st Collection), 1986; No.
145, pg. 39. O’Neill (Waifs and Strays of
Gaelic Melody), 1922; No. 203.
X:1
T:Sweetheart Reel, The
M:4/4
L:1/8
S:Capt. F. O'Neill
Z:Paul Kinder
R:Reel
K:Ador
A/2G/2|:EAAB "tr"e2 dB|"tr"e2 dB GABG|EAAB "tr"edef|"tr"gedB "tr"BAA2:|
eaac' "tr"b2 ag|(3efg dg egdg|eaac' "tr"b2 ag|(3efg "tr"dB "tr"BA A2|
eaac'
"tr"b2 ag|(3efg dg egdg|bgaf "tr"gfed|(3efg dB
"tr"BA A2||
SWEETHEART’S WALTZ. Scottish, Watlz. The melody was composed by Charles D’Albert
(1864-1932), a Glasgow-born pianist and composer who was a student of Franz
Liszt. D’Albert became a naturalized German citizen (he was the son of a
French/Italian father and an English mother, never spoke English fluently, and
considered himself to be German) and composed 21 operas, a symphony, two piano
concerti, and numerous lesser works. See also his “King Pippin Polka.”
SWEETNESS OF MARY, THE. Canadian, Slow Air or Slow Strathspey. Canada;
Cape Breton, Prince Edward Island. A Major. Standard tuning. AA’BB’. Composed
by Joan MacDonald Bowes, born in Foot Cape, Inverness County, Cape Breton, who
played piano for the Detroit-based The Five MacDonald Fiddlers on many of their
1960's recordings (the group included the famous Cape Breton composer Dan R.
MacDonald). She composed the melody in honor of St. Mary. It has become popular
at Scottish, and lately, even English sessions, in part from its inclusion in
the repertoire of the English Country Dance Band (Stroud, Gloucestershire). The
Gaelic language Cape Breton newspaper Am Braighe also published a
version of the tune. Source for notated version: Kenny Chaisson (b. c. 1947, Bear
River, North-East Kings County, Prince Edward Island; now resident of Rollo
Bay) [Perlman]. Cranford (Jerry Holland: The Second Collection), 2000;
No. 3, pg. 2. Harp String House (Horo Gheallaidh, vol. 2/Session Tunes for
Scottish Fiddlers). Perlman (The
Fiddle Music of Prince Edward Island), 1996; pg. 207. Culburnie COL 113D, Aladair Fraser & Tony McManus –
“Return to Kintail” (1999). Jerry Holland – “Master Cape Breton Fiddler”
(1982).
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:Sweetness of Mary, The
C:Joan McDonald Boes
S:Aly Bain (from a TV programme)
Z:Nigel Gatherer
R:strathspey
M:4/4
L:1/8
K:A
EA>B |: c2 cB/A/ F2 FA/B/ | c<e^d<f e2 ef/g/ |a>gf>e e>dc>d |
e<f cA B2 A>B | c2 cB/A/ F2 FA/B/ | c<e^d<f e2 ef/g/ |a>gf>e e>dc>d |
1 e<ac<B A>EA>B :|2 e<ac<B A2 || a>b | c'>ea<c' b>eg<b | a>gf<a e4 | f>ed>f e>dc>d |
e<a c<A B2 a>b | c'>ea<c' b>eg<b | a>gf<a e4 | f>ed>f e<ac>d | e<a c<B A2 :|]
SWEETS O' WEAVER. Old‑Time, Breakdown. USA; Arizona, Texas. D Major. Standard
tuning. AABB (Phillips): AA'BB' (Shumway). Identified by Arizona fiddler Kenner
C. Kartchner as "a good one, from Old Texas." Source for notated
version: Kenner C. Kartchner (Arizona) [Phillips, Shumway]. Phillips (Traditional American Fiddle Tunes), vol.
1, 1994; pg. 236. Shumway (Frontier Fiddler),
1990; pg. 270.
SWEETS OF MAY, THE (Aoibhneas na Bealtaine). AKA and see "Follow Me Up to Carlow."
Irish, Set Dance (6/8 time). D Major (Keegan, Sullivan): G Major (Mulvihill,
Tubridy). Standard tuning. ABC (Mulvihill): AA'BB'CC' (Sullivan, Tubridy). The
song "Follow Me Up to Carlow," uses the first two parts of the tune.
The Sweets of May set-dance is danced primarily in northern Ireland; some say
it is traditional to County Armagh. South Armagh fiddler Josephine Keegan
(2002) prints dance instructions along with the music for two versions: and
‘older’ one and a more recent melody. Jordan (Whistle and Sing), 1975; 12. Keegan (The Keegan Tunes),
2002; pg. 114. Mulvihill (1st
Collection), 1986; No. 2, pg. 118. Sullivan (Session Tunes), vol. 2; No. 49, pg. 21. Tubridy (Irish Traditional Music, Book Two),
1999; pg. 27. Gael Linn CEFC025 - "Rince an 3u/
Ce/im."
X:1
T:Sweets of May
M:6/8
L:1/8
R:Set
Dance
K:G
d/2c/2|\
"G"B2G
"D7"AFD|\"G"GAG "D7"Gdc|\
"G"B2G
GAB|\"C"cBc "D7"d2c|\
"G"B2G
"D7"AFD|\"G"GAG "D7"Gdc|\
"G"B2G
"D7"AFD|\"G"G3 ‑G2:|\
A|\
"Am"ABA
A2G|\"Em"E2F G2"E"^G|\
"Am"ABA
c2d|\"Dm"e2d "E7"c2B|\
"Am"ABA
A2G|\"Am"ABA c2d|\
"Am"A2A
"G"BAG|\"Am"A3 ‑A2:|\
(3A/2B/2c/2|\"D"d3 dcd|\
"D"D3 DED|\"Am"c3
cBc|\
"D7"D3
DEF|\"G"G2D "D7/a"G2A|\
"G/b"B2G
"C"B2c|\"D7"d2D DEF|\
"G"G3 ‑G2:|
SWELLS OF COOLRAHAN, THE. Irish, Reel. G Major. Standard tuning. AAB. O’Neill (1922) remarks: “It may be remarked that Mr. Dunne was a farmer of the townland of Kilbraugh not far from Thurles, Tipperary. From his wonderful repertory of dance tunes, generously contributed some years ago, many have been selected.” Source for notated version: Pat. Dunne manuscript [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 297.
X:1
T:Swells of Coolrahan, The
M:4/4
L:1/8
S:Pat. Dunne manuscript
Z:Paul Kinder
R:Reel
K:G
DEGB A2 GA|cGAG cG E2|DEGB A2 GA|cded cA A2:||
degb bgaf|gfga gedB|dega bgaf|eaab a2 ge|
dega bgaf|gfga gedc|BAGB AGED|EGFA G2 z2||
SWIFT FROM THE COVERT (Cliste O'n G-Coill). Irish, Air (6/8 time, "with
spirit"). G Dorian. Standard tuning. AB. O'Neill (Music of Ireland:
1850 Selections), 1903/1979; No. 112, pg. 20.
X:1
T:Swift from the Covert
L:1/8
M:6/8
R:Air
N:”With spirit”
S:O’Neill – Music of Ireland (1903), No. 112
Z:AK/Fiddler’s Companion
K:Gmin
D|DGG G^FG|AGA f2=e|fed dcA|AGA
F2D|DGG G^FG|AGA fd^e|f2d cA^F|G3 G2||
d|g>dd g>dd|gd=e f3|Ff=e
f_ed|cAG F2 G/F/|DGG G^FG|AGA fd=e|f2d cA^F|G3 G2||
SWIMMING IN THE GUTTER. American, Jig. D Minor ('A' part) & F Major ('B' part). Standard
tuning. AABB. The 'A' part can be played in D Minor or D Major (as in Sweet).
Composition credited to one Conn. Regan in Cole's 1000. Cole (1000 Fiddle Tunes), 1940; pg. 76. Ryan’s Mammoth Collection, 1883; pg.
107. Sweet (Fifer’s Delight),
1965/1981; pg. 34. Tolman (Nelson Music
Collection), 1969; pg. 2.
X:1
T:Swimming in the Gutter
M:6/8
L:1/8
R:Jig
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:Dmin
{A/4=B/4^c/4}d3 AFA | d3 AFA | d^cd
fed | eba gfe | d3 AFA | d3 AFA |
def gag |1 fdd d3 :|2 fdd d |: cB |
Ac(f {g}f)ef | ac’a fcf | dbd cac | Bag ecB |
Ac(f {g}f)ef | ac’a fcf | dbd cac |1
{f}ede f :|2 {f}ede f2z ||
SWINFORD LASSES. Irish, Jig. D Major. Standard tuning. AABB. Swinford,
or Béal Átha na Muice, County Mayo, is an Irish market
town situated on a tributary of the River Moy. Kennedy (Traditional
Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours),
1997; No. 181, pg. 43.
SWING AWAY. Canadian, Breakdown. A Major. Standard tuning. AB (Silberberg): AA'BB
(Phillips). Silberberg’s version is in 12/8 time while Phillips’ is in cut
time. Source for notated version: George Wilson (Wynantskill, N.Y.) [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 1, 1994; pg. 237. Silberberg (Tunes I Learned at Tractor
Tavern), 2002; pg. 154. Front Hall FHR‑024,
Fennig's All‑Star String Band ‑ "Fennigmania" (1981.
Learned from a Canadian fiddler recording for the Banff label). Kicking Mule
KM216, George Wilson ‑ "New England Contra Dance Music" (1977).
SWING BRIDGE HORNPIPE, THE. English, Hornpipe. D Major ('A' part) & F
Major ('B' part). Standard tuning. AA'BB'. Newly composed by guitarist and
fiddler Ged Foley, of the group Patrick Street and others. Knowles (Northern Frisk), 1988; No. 154.
SWING
LADY HOME. Old-Time, Song Air. BEae tuning.
Art Stamper learned the tune from the banjo playing and singing of his father
Hiram, and converted it to a fiddle tune. He remembered words to the tune (that
turn out to be the chorus), similar to a singing-call for dancing, as:
***
Swing the lady up and down, swing the lady
round;
Swing the lady up and down, swing the lady
home.
***
Ruth
Crawford Seeger included the tune in her book on children's folk songs,
and her
daughter Peggy sang it on a CD based on the book. Peggy sang this verse with the chorus given above:
***
I built my lady a fine brick house, I built in
a garden;
I put her in, but she jumped out, So fare thee
well, my darling.
***
The tune has some resemblances to
“Johnson Boys.” County CO-CD-2729, Art Stamper –
“Goodbye Girls, I’m Going to Boston” (2000).
SWING NINE YARDS OF
CALICO. Old-Time, Breakdown. USA, Kentucky.
A Major. Standard tuning. AA'BB'. Source for notated version: J.P. Fraley
(Rush, Kentucky) [Phillips]. Phillips (Traditional
American Fiddle Tunes), 1994; pg. 237.
SWING YOUR PARTNER [1]. AKA and see "Second John
Henry." Old-Time, Breakdown. G Major. Standard tuning. AA'B. The tune
was originally recorded by Richard Biggar and the Four Virginians. Source for
notated version: Kirk Sutphin with the Hollow Rock String Band [Phillips].
Phillips (Traditional American Fiddle
Tunes), vol. 2, 1995; pg. 140.
SWING YOUR PARTNER [2]. Old-Time, Breakdown. G Major ('A' part) & C Major ('B' part).
Standard tuning. AB (Silberberg): AA'BB' (Phillips). Source for notated
version: Jere Canote [Phillips]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 141. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 154.
SWINGING AROUND THE
CIRCLE (Ag Luascanact Fa
Cuairt). Irish,
Hornpipe. D Major. Standard tuning. AABB. A very similar tune is the Joseph
Allard's "Reel du Chauffeur."
See also "Ned Kendall's
Hornpipe [2]." O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 947, pg. 162.
X:1
T:Swinging Around the Circle
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
947
Z:AK/Fiddler’s Companion
K:D
FG|ABAG FDFA|BABc dcdB|AfdB
AFDF|EDEF E2 FG|
ABAG FDFA|BABc dcdB|AdcB AGFE|D2 DE
D2:|
|:FG|Ad (3dcd Ad (3dcd|Adfd
edcd|efgf edcf|edcB AGFG|
Ad (3dcd Ad (3dcd|Adfd edcd|efgf edce|d2
dc d2:|
SWINGING FIDDLES. AKA and see “Three Fiddle Swing.” Bluegrass, Breakdown. USA. G Major.
Standard tuning. AABB. Brody (Fiddler’s
Fakebook), 1983; pg. 271. Voyager 301, Bud
Meredity and Lonnie Peerce‑ "Fiddle Jam Session." Gusto 104, Buddy Spicher‑ "30
Fiddler's Greatest Hits."
SWINGING MEME. Canadian, Reel. Canada, Prince Edward Island. A Mixolydian/Major.
Standard tuning. AA’BB’. Perlman (1996) explains that ‘Meme’ is an Acadien
French word for ‘granny’ or ‘nanny’. Composed by Wellington, East Prince
County, Prince Edward Island, Acadien-style fiddler Edward P. Arsenault (b.
1938). Source for notated version: Edward P. Arsenault [Perlman]. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 102.
SWINGING ON A GATE. Irish, American; Reel. USA, New England. G Major. Standard tuning.
AABB. An Irish reel that has become very popular at New England contra dances,
especially when backed with a swing chord progression. See related hornpipe
"Katherine Brennan's
Favorite." The tune’s origins are obscure, however, it appears to have
been composed in comparatively modern times. A creditable rumor has it that it
came out of the New York Irish traditional music community sometime in the
mid-20th century. The alternate title, “Katherine Brennan’s
Favorite” points its being populazed by a teacher of New York fiddler Andy
McGann’s, which certainly dates it prior to any of the printed sources listed
below. Sources for notated versions: Delaware Water Gap (N.Y.) [Brody]; April
Limber [Phillips]; the Bridge Ceili Band [Mulvihill]. Brody (Fiddler’s Fakebook), 1983; pg. 272.
Bulmer & Sharpley (Music from Ireland),
vol. 1, No. 53. Laufman (Okay, Let's Try
a Contra, Men on the Right, Ladies on the Left, Up and Down the Hall),
1973; pg. 35. McNulty (Dance Music of
Ireland), 1965; pg. 16. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 87. Mulvihill (1st Collection), 1986; No..
24, pg. 6 (appears as “Swinging on the Gate”). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 237.
Sannella, Balance and Swing (CDSS).
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 155. Sweet (Fifer’s Delight), 1965/1981; pg. 71. Folkways FTS 31098, Ken Perlman ‑ "Clawhammer
Banjo and Fingerstyle Guitar Solos." Front Hall 05, Fennigs All Stars‑
"Saturday Night in the Provinces." Front Hall 03, Dudley Laufman‑
"Swinging on a Gate." Green Linnet 1009, Edire Og Ceili Band‑
"Irish Music: The Living Tradition." Green Linnet 1021, Father Charles
Coen‑ "Father Charlie." Kicking Mule 205, Delaware Water Gap‑
"From the Rivers of Babylon to the Land of Jazz" (1979. Learned from
Dudley Laufman's Canterbury Dance Orchestra).
X:1
T:Swinging on a Gate
M:C|
L:1/8
R:Reel
K:G
|:ge dB G2 AB|cA BG AG EG|DG Bd g2g2|fg ag fd ef|
ge dB G2 AB|cA BG AG EG|cA BG AG EG|DG GF G2 d2:|
|:gf ga ba gf|gf ed B2 AG|EA AB cB AG|EA AB cd ef|
gf
ga ba gf|gf ed ed Bd|cA BG AG EG|DG GA G4:|
SWISS BOY, THE. AKA – “The Merry Swiss Boy,” “Swiss Air.”
English, Swiss, Air (2/4 time). England; Lincolnshire, Dorset. D Major.
Standard tuning. AABB. There was a vogue for a time in both England and the
United States during the 1820’s and 1830’s for ‘Tyrolese Melodies’, popularized
by touring singing groups from the Continent, including yodellers. “The Swiss
Boy,” or as it was often called, “The Merry Swiss Boy,” was a particularly
popular song composition of Ignaz Moscheles (from his Tyrolese Melodies), a friend of Beethoven’s and teacher of Franz
Mendelson’s. Although originally a song air, the melody was adapted for dancing
as a march or even a polka. The tune appears in many British fiddlers’
manuscripts. In addition to Gibbons and Hardy (cited below in source
information) it appears in the music manuscripts of George Spencer (Leeds, west
Yorkshire, 1831), Charles Fox (Beverley, east Yorkshire, 1830), John Moore
(Tyneside, 1841), the Browne family (Troutbeck, Cumbria), James Haslingden
(Midlands or south of England, 1827), and James Winder (Wyresdale, Lancashire,
1835). It was published in America in Riley’s Flute Melodies (book 4, 1826).
Source for notated version: the 1823-26 music ms. of papermaker and musician
Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds)
[Sumner]; the Hardy family music manuscripts (Dorset) [Trim]. Callaghan (Hardcore English), 2007; pg. 51. Kerr
(Merry Melodies), vol. 3; No. 389, pg. 43 (appears as “Swiss Air”). Sumner (Lincolnshire Collections, vol. 1: The Joshua
Gibbons Manuscript), 1997; pg. 94 (originally set in the key of ‘C’). Trim
(Thomas Hardy), 1990; No. 9.
X:1
T:Swiss Air
T:Swiss Boy, The
M:2/4
L:1/8
B:Kerr – Merry Melodies, vol. 3, No. 389
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
(F/G/)|AF/G/ AF/G/|Af/e/ dA/A/|Ag/f/
ef/e/|(d2A) (F/G/)|
AF/G/ AF/G/|Af/e/ dA/A/|Ag/f/
ef/e/|d3:|
|:A|Ae/d/ cA/A/|Af/e/ dA/A/|Ae/d/
cA/A/|Af/e/ dF/G/|
AF/G/ AF/G/|Af/e/ dA/A/|Ag/f/
ef/e/|d3:|
SWISS CHALET. A member of the tune family that includes “Damon’s Window/Winder,” “The Devil in Georgia [2],” “Grand Honrpipe [1],” “Mud Fence,” “Ride the Goat Over the
Mountain,” "Rocky Mountain Goat,”
“Railroad(ing)
Through the Rocky Mountains.”
SWISS COTTAGE. AKA and see "Ballindalloch."
Scottish, Reel. A Major. Standard tuning. AAB. Composed by violinist and
fiddler Charles Grant (b. Strondhu, Knockando, 1806‑d. 1892), a pupil of
William Marshall and a friend of the family. After Marshall's death he
inherited the master's violin, a token of esteem from the family. Neil (The Scots Fiddle), 1991; No. 77, pg.
101.
SWISS GALOP. Scottish, Galop (2/4 time). C Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 389, pg.
42.
X:1
T:Swiss Galop
M:2/4
L:1/8
R:Galop
S:Kerr – Merry Melodies, vol. 4, No.
389 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:C
G>c c2|G>e e2|
gdgd|ecec|G>c c2 |G>e e2|gdgd cz [Ec]z:|
|:d>ed>^c|(dg)d2|(ba)(ba)|(ag)(ag)|d>ed>^c|(dg)d2|(ba)(ba)|gz
[Bg]z:|
SWISS GIRL, THE. English, Jig. England, Dorset. G Major.
Standard tuning. AABB. Trim (Thomas Hardy),
1990; No. 7.
SWISS GUARDS’ MARCH.
???, March (4/4 time). C Major. Standard tuning. AABB. Howe (Complete
Preceptor for the Accordeon), 1843; pg. 15.
X:1
T:Swiss
Guards’ March
M:4/4
L:1/8
R:March
S:Howe – Complete Preceptor for the Accordeon
(1843)
Z:AK/Fiddler’s Companion
K:C
d2 d>d d2c2 | (3Bcd (3edc B2A2 | G2 G>G G2 :: G/A/B/c/ |
d2 d>d d2 (3edc | d2 d>d d2 e>f | ggef g>gf>e | d2 d>d d2 z2 |
C4
DCFE | E4 FEAG | G3f edcB | c2 c>c c2 :|
SWISS WALTZ [1]. Switzerland, New England, England; Waltz (3/8 time). England, Yorkshire.
B Flat Major (Linscott, Merryweather & Seattle): D Major (Merryweather
& Seattle). Standard tuning. ABB (Linscott): AABBCCDD (Merryweather &
Seattle). Linscott (1939) identifies this as a 18th century melody. Source for
notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897
(Helperby, Yorkshire) [Merryweather & Seattle]. Linscott (Folk Songs of Old New England), 1939;
pg. 119‑120. Merryweather & Seattle (The Fiddler of Helperby), 1994; Nos. 87-88, pg. 51.
SWISS
WALTZ [2]. English, Scottish, American; Waltz. D Major (Howe/Diamond, Kennedy, Kerr): C Major (Howe/Accordeon). Standard tuning. AABB.
Although the tune appears in collections in Britain and the US, it is
presumably Swiss in origin. Howe (Complete
Preceptor for the Accordeon), 1843; pg. 23. Howe (Diamond School for the Violin), c. 1861. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 181, pg. 48.
T:Swiss Waltz [2]
M:3/8
L:1/8
R:Waltz
S:Elias Howe – Diamond School for the Violin (v. 1861)
Z:AK/Fiddler’s Companion
K:D
A/>f/|dd A/>f/|dd A/>f/|eaa|fd A/>f/|dd A/>f/|dd A/>f/|eaa|d2 :|
|:e/>f/|g/>f/e/f/g/f/|f/>e/d/e/f/d/|e/>d/c/d/e/c/|d/>e/f/>g/a/>f/|
g/>f/e/f/g/f/|f/>e/d/e/f/d/|e/>d/c/d/e/c/|d/>e/f/>g/a/>f/|d4:|
SWORD DANCE. AKA and see "Tail Toddle,"
"G(h)illie Callum."
Scottish, Sword Dance. A Mixolydian. Standard tuning. AB. The famous Scottish sword dance is a solo dance performed over crossed
swords laid on the ground. The is a colourful legend that the sword dance was
created in mediaeval times by Malcolm Canmore, who after killing one of
Macbeth's chieftains, crossed his sword over that of the vanquished and danced
about them in celebration. Unfortunately, there is no direct evidence that a
dance was performed over crossed swords until the 17th century or so. Hardie (Caledonian Companion), 1992; pg. 51.
Skinner (The Scottish Violinist), pg.
21.
X:1
T:Sword Dance
M:C
L:1/8
S:Skinner – The Scottish
Violinist
Z:AK/Fiddler’s Companion
K:A Major
E || A<A c>A d2 B<=G |
A<A c>A e2 c<A | B<E E<e d2 B<=G |
A<A c>e d<B e>E | (3Ace
(3Ace d2 B<=G | (3Ace (3Ace (3Ace (3Ace |
(3Adf (3Ace d2 B<=G | (3Ace (3Ace
d<B e || E | A<A c>e =g2 B<=G |
A<A c>e a>ba>f | =g>g
a/g/f/e/ d<g B<=G | A<A c<e d<B e>E |
(3Ace (3Ace =g2 B<=G | (3Ace
(3Ace a>b af | =g>g a/g/f/e/ d<=g B<=G | A<A c>e d>B e ||
SWORD DANCER'S SONG, THE. English, Air (4/4 time). England,
Northumberland. G Mixolydian. Standard tuning. One part. "The sword
dancers' song and interlude is virtually a drama, which Brand supposed to be a
composition made up of the gleaning of several obsolete customs anciently
followed in England and other countries. Sir Cuthbert Sharp, in The Bishoprick Garland, gives a version
of the drama, but the action and speeches have varied from time to time; and
even at this day parties of from six to ten pitmen‑‑decorated with
ribbons, and each having a sword‑‑make their appearence about
Christmas time, and perform this descriptive play, which one of the party
chants to the tune above. At the termination of the play the whole party dance
the sword dance to the following tune, commonly called 'Kitty Bo‑Bo'"
(Bruce & Stokoe). Bruce & Stokoe (Northumbrian
Minstrelsy), 1882; pg. 137.
X:1
T:Sword Dancers’ Song, The
M:C
L:1/8
R:Air
S:Bruce & Stokoe – Northumbrian
Minstrelsy (1882)
Z:AK/Fiddler’s Companion
N:”Adantino”
K:G
d2|e2c2d2B2|G6
G2|B2d2=f2f2|c6B2|c3d eg3|d6B2|G2B2c2A2|G6||
SWORD IN (THE) HAND, THE (An Claíomh i Láimh). AKA and see “(A)round the World for Sport [2],”
“The Cork Lasses,” “Conlon’s Dream,” “Conolon’s Dream,” "The Little Pig
Lamenting the Empty Trough," "Sally on the Shore." Irish,
Reel. E Dorian (Alewine): E Minor (Breathnach). Standard tuning. AABB
(Breathnach): AA'BB' (Alewine). Source Brogan also called the tune “The Little
Pig Lamenting the Empty Trough.” “The Cork Lasses” title is from the Goodman Manuscript in the Library of
Trinity College, Dublin. Bulmer & Sharpley print it under the title
“Conolon’s Dream,” from fiddler Sean McGuire. “The Kerry Reel [3]," from
Breathnach’s Ceol Rince na hÉireann IV
(No. 112) is a version of “The Sword in Hand.” See also the related “Rambler in Cork.” Finally, “The Breast
Knots” shows similarities with this tune. Source for notated version: accordion
player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Alewine (Maid that Cut Off the Chicken’s Lips),
1987; pg. 32. Breathnach (CRÉ I),
1963; No. 144, pg. 57. Green Linnet Reocrds SIF 1058,
Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985).
Green Linnet SIF 3013, The Bothy Band - “Out of the Wind, Into the Sun.”
X:1
T:Sword in Hand, The
R:Reel
Z:Yuval
D:Bothy Band: Out of the Wind, Into
the Sun
M:C|
K:Edor
G2BG FGAF|EBBA BGEF|G2BG FGAc|1 d2AG
FDEF:|2 d2AG FDDg||
|:f2ec dBAF|EBBA BGEg|f2ec dBAF|1 G2AG
FDDg:|2 G2AG FDEF||
X:2
T:Sword in Hand, The
R:reel
M:4/4
L:1/8
K:D
G2BG FGA=c|B2BA BGEF|G2BG FABc|dBAG
FDEF|\
GB,EG FA,DF|EBBA BGEF|G2BG FABc|dBAd
BEE2:||\
(3gag fg edBA|G2BG Bdef|(3gag fg
edBc|dBAG FDD2|\
(3gag fg edBA|G2BG Bdef|gfed
efge|dBAF DFAF:||
SWORD OF ST. COLUMBA. AKA and see “"Sord
Colmcille.” Irish, Polka. D Major. Standard. AABB. The tune was recorded by the
Gallowglass Ceili Band as “Sord Comcille.” Paul de Grae says the tune is
commonly played in Sliabh Luachra (by Jackie Daly, among others), despite some
thought by others that it may have originated in the north of Ireland. He notes
that a lilting version, slightly altered, called “Sonny Sweeney’s Polka” appears on Tommy
Hayes’s album “A Room in the North” lilted by his elderly aunt Meta Costelloe.
X:1
T:Sword of St. Columba, The
M:2/4
L:1/8
R:polka
S:Donegal/Glasgow fiddler Eddie
Marley
Z:Ted Hastings
K:D
DF AB/c/|dd c/B/A|A,C E>F|GG
F/G/F/E/|!
DF AB/c/|dd c/B/A|A,>C E/G/F/E/|D2
D z:|!
fA fA|ff/g/ f/e/d|eA eA|e(e/f/)
e/c/d/e/|!
fA fA|ff/g/ f/e/d|e/d/c/B/
A/G/F/E/|D2 D2:||
SWOWER CREEK [1]. AKA and see "Harlequin
Hornpipe [1]," "Constitution
Hornpipe [2]." American, Hronpipe. USA, southwestern Pa. G Major.
Standard. AA'B. Bayard (1981) speculates the title could be a corruption of the
Pennsylvania Dutch for "Schwaber." He also thinks "The Men From Ulster" could be a
related tune." Source for notated version: Samuel Losch (fiddler from
Juniata County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 306, pg. 259.
SWOWER CREEK [2]. American, Reel. USA, southwestern Pa. D Major. Standard. AB. The second
part is that of "Soldier's Joy [1]."
Source for notated version: Samuel Losch (fiddler from Juniata County, Pa.,
1947; learned from his father and Christ Hopple) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 307, pg.
259.
SYDNEY FIDDLERS, THE. Canadian, Jig. Canada, Cape Breton. C Major.
Standard tuning. AA’BB’. Composed by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976). The city of Sydney lies in the northeast part of Cape
Breton island. Cameron (Trip to Windsor),
1994; pg. 50.
SYLPH, THE. AKA and see "Plymouth Lasses," “The Self [2].” English, Jig. D Major
(Hardings): C Major (Ashman). Standard tuning. AABB. A sylph was a kind of
fairy; winged, kindly disposed to humans, often depicted as tiny cherubs. The
title, however, is probably derived from a pantomime called The Sylphs; or, Harlequin’s Gambols,
staged at Covent Garden in 1774. The music for the production was by John
Abraham Fisher (1744-1806), an English violinist and composer who began his
career playing in London theatre orchestras, but who rose quickly to lead the
Covent Garden orchestra (from c. 1769-1778). He wrote for the theatre, composed
violin pieces, six symphonies and an oratorio, and also penned popular
pleasure-garden songs. For a time he led the Vauxhall Garden orchestra.
***
A Sylph. From a sketch by Howard Wookey.
***
The melody appears in a number of 19th
century English musician’s manuscripts under titles such as “The Self” (Joshua
Gibbons), “The Sylph” (John Clare, John Moore), “The Cylph Dance,” etc. Moore
gives the alternate title “Plymouth Lasses.” The jig also appears in the music
manuscripts of Lionel Winship (Wark, Northumberland, 1833), Rev. Robert
Harrison (Brampton, Cumbria, 1820), John Moore (Tyneside, 1841), the Hardy
family (Dorset), William Calvert (Leyburn, north Yorkshire, 1812), John Baty
(Bethel, Northumberland, 1840-60), Thomas Lambert (Ferrybridge, Yorkshire) and
C.J. Surtees (Northumberland). In America the tune was published in Willig’s Collection of Popular Country
Dances, No. 3 (Philadelphia, Pa., 1812), and dance instructions were given
in a few other publications. Source for notated version: a c. 1837-1840 MS by
Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 2a, pg. 1. Callaghan (Hardcore English), 2007; pg. 64. Hardings All Round Collection, 1905; No.
46, pg. 14. Topic 12TS283. Topic TSCD 669, Billy
Ballentine (et al) – “Ranting and Reeling: Dance Music of the north of England”
(1998. Billy Ballentine (born c. 1890’s) was a shepherd, and a piccolo and
concertina player from Simmonburn Common, near Wark, Northumberland).
X:1
T:Sylph, The
M:6/8
L:1/8
S:Harding’s All-Round Collection
(1905)
Z:AK/Fiddler’s Companion
K:D
D | DFA dfa | agf efg | fag fed |
cee e2D | DFA dfa | agf efg |
faf gec | edd d2 :||: D | DFA dcB |
BAG F2D | FAD FAD |
CEE E2F | DFA dcB | BAG F2D | FAf
gec | edd d2 :|
SYMMONDSBURY MUMMER'S
MARCH. English, Morris tune? (4/4 time). A
Major. Standard tuning. AABB. Symmondsbury is in West Dorset, where a famous
Mummers’ Play was kept alive in oral tradition, first written down by Bert Legg
in the 1920’s or 1930’s when he was age 80 or more. As is typical with mumming
tradition, the play is performed in public at the year-end holidays: New Year’s
eve in the village pub, and by arrangement at other local places. In 1975 it
was discoved that in the late 19th century there were two rival
groups of mummers, one group from Symondsbury and one from neighboring Burton
Bradstock, that vied for local attention with each competing for a bigger
audience (and a bigger gate) through innovations in both music and words.
Evidently a fight between the two groups held at Ryberry Hill, Symondsbury,
resulted in the Symondsbury group retaining a sword that became the discovered
artefact. Spandaro (10 Cents a Dance),
1980; pg. 36.
SYMPHONY, THE.
AKA and see “Ay(e) Me.”
SYMON
BRODIE. See "Simon Brodie."
SYMPHONY, THE. AKA and see "Ay(e)
Me."
SYNTHA. American, Reel. D Major. Standard tuning. AABB. Composition credited to
one Jas. Hand in Ryan’s Mammoth
Collection (1883). It is one of the more American vernacular sounding tunes
in the volume. Cole (1000 Fiddle Tunes),
1940; pg. 19. Ryan’s Mammoth Collection,
1883; pg. 44.
X:1
T:Syntha
M:2/4
L:1/8
R:Reel
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:D
(a/g/) | f/a/e/c/ .d(c/A/) | B/d/A/F/
E/D/B,/A,/ | .D(F/B/) .A(F/A/) | B/d/A/F/ .E(a/g/) | .f(e/c/) .d(c/A/) |
B/d/A/F/ E/D/F/A/ | A/B/d/e/ f(e/c/)
| d/B/A/F/ D :: (f/g/) | a>b a/f/d/f/ | g/f/e/d/ c/A/B/c/ |
d>f e/d/f/d/ | B/d/A/F/ .E(f/g/)
| a/f/g/e/ f/d/e/c/ | d/e/f/d/ e/d/B/A/ | {e}d/c/d/A/ B/d/A/F/ | G/B/A/F/ D :|
SYRIACUS. AKA and see “The Jew Jig,” “Sackow’s,” “Tripping Upstairs [2].” Irish, Double
Jig. D Major. Standard tuning. AABB. McNulty (Dance Music of Ireland), 1965; pg. 22.
SYRON. Northumbrian. One of the "missing tunes" from William
Vickers' 1770 Northumbrian dance tune manuscript.
________________________________________
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