The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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SAR - SAY

 

 

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]

 

 

 

SARA BUIDHE. AKA and see "Yellow Sara."

                       

SARABAND, THE. English, Country Dance Tune. Published in Playford in his English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 38.

 

SARABAND OP DE DUCHESSE.  See “The Duchess Saraband.”

 

SARAH ARMSTRONG.  Old-Time, Breakdown. D Major. Standard tuning. AABB. The tune was collected from Derry, Pennsylvania, fiddler Sarah Armstrong in November, 1943, by Prof. Samuel Bayard, and appears as an untitled tune in his book Hill Country Tunes (1946, No. 33). It was given the title “Sarah Armstrong” in modern times when it gained some currency among “revival” fiddlers. Source for notated version: Greg Canote [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 38.

X:1

T:Sarah Armstrong's Reel

M:C

L:1/8

B:Bayard--Hill Country Tunes, No. 33 ("Old Reel")

S:Mrs. Sarah Armstrong, near Derry, Pa., Nov. 1943

K:D

(A,2|A,2) D2 B,2 D2|A,2 DE FE D2|E2A2F2A2|E2 AB cB A2|

A,2 [G,2D2] B,2 [G,2D2]|A,2 DE FE D2|E2 A2 A3B|AGFE D2:|
|:d2 dA dAF[DA]|E2E2 EFGA|B2 Bc BAFE|D2 [D2d2] [Dd]ABc|

d2 dA dAF[DA]|E2E2 EFGA|B2 Bc BAFE|D2 [D2d2][D2d2]:||

                       

SARAH DELL. American, Polka. USA, New England. A modern composition by Peterborough, New Hampshire, contra-dance musician and composer Bob McQuillen. Alcazar Dance Series FR 203, Rodney Miller ‑ "New England Chestnuts" (1980).

           

SARAH HOBBES’. AKA and see “Bill Harte’s Reel.”

                       


SARAH MACARTHUR’S. AKA and see “Mrs. John Angus MacArthur’s” (Bean Iain Aonghais Nic Artair). Canadian, Strathspey. Canada, Cape Breton. A Major/Mixolydian. AEae or Standard tunings. AAB. Sources for notated versions: Mary MacDonald (learned from Sarah MacArthur), and Donald Angus Beaton and Kinnon Beaton (Mabou, Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 132. CEI 8001, Winnie Chafe - “Echoes” (1988). NXD-5447, Doug MacPhee - “Cape Breton Master of the Keyboard” (appears as “Curly Sandy Beaton’s Strathspey”). Rounder 7011, Kinnon and Donald Angus Beaton - “The Beaton’s of Mabou” (1978. Appears as “Mrs. John Angus Mac Arthur’s”). WRC1-5253, Brenda Stubbert - “Tamerack ‘er Down”.

                       

SARAH’S JIG. American, Jig. D Major. Standard tuning. AA’BB. Composed by Peterborough, New Hampshire, piano and accordion player Bob McQuillen, in honor of Sarah Forbes Bauhan, a whistle player. Source for notated version: fiddler Sally White (Scio, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 175.

X:1

T:Sarah's Jig

L:1/8

M:6/8

K:D

"D"DEF "A"EFG | "D"F2 D DFG |\"D"AFA "G"B2 c | "D"d3 -d2 A |

                       

SARAH SMITH’S JIG. American, Jig. USA, New Hampshire. G Major. Standard tuning. AABB. Composed by Peterborough, New Hampshire, piano and accordion player Bob McQuillen.

X:1

T:Sarah Smith's Jig

C:Bob McQuillen

M:6/8

L:1/8

R:Jig

K:G

DGB AGe |\dBG A2 G |\ged Beg |\dBG A2 E |\

DGB AGe |\dBd ega |\bge dBA |\BGG G2 z |:

                       

SARAH'S DELIGHT. Irish, Reel. G Major. Standard tuning. James Kelly & Paddy O’Brien – “Spring in the Air.” Shanachie 34014, James Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland” (1995).

X:1

T:Sarah’s Delight

R:Reel

M:4/4

L:1/8

K:G

G2(3Bcd GdBd|GdBd cAAd|D2FA dAFA|d2fd cAFA|\

G2(3Bcd GdBd|GdBd cAAd|DEFG AB (3cBA|dcAF G3F:||\

GABd gfag|fdd2 afd2|DE=FA c3d|edd2 cAFA|\

GABd gfag|fdd2 afde|=f3e fedc|AGFA G3F:||

                       

SARAH'S REEL. AKA and see "You're a long time a courting," "The Road to Dublin," "A Mile from Dublin," "Within a Mile of Dublin [1]," "The Maid of Ballintra," "Through the Fields [3]," "The Kerry Lasses [2]," "The Meadow in Bloom," "An Giobarach."

                       

SARAH'S VALENTINE. Irish, (Slow) Jig. G Major. Standard tuning. AA’BB. Composed by Eamon Flynn.

X: 1

T: Sarah's Valentine

R: jig (slow)

M: 6/8

L: 1/8

C: Eamon Flynn

K: G

d | gfg agf | gdB c2 d | BAB cAG | FG^G ABd |

gfg agf | gdB c2 d | BDB ADA |1 G3 G2 :|2 G3 G2 D ||

B,C^C DEF | GAB c2 d | BAB cAG | FG^G AFD |

B,C^C DEF | GAB c2 d | BDB ADA | G3 G2 :|

                       

SARATOGA HORNPIPE [1]. American, Scottish, Canadian; Hornpipe. F Major. Standard tuning. AABB. New York City writer, researcher and musician Don Meade believes the tune was named for Saratoga, New York, a still-fashionable spa and resort town, also known for its summer horse-racing. Sources for notated versions: Ruthie Dornfeld (Seattle, Washington) [Phillips]; concertina player Joel Bernstein (Seattle, Washington) [Songer]. Cole (1000 Fiddle Tunes), 1940; pg. 101. Howe (1000 Jigs and Reels), c. 1867; pg. 58. Kerr (Merry Melodies), vol. 2; No. 380, pg. 42. Martin & Hughes (Ho-ro-ghedllaedh), 1990; pg. 42. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 224. Songer (Portland Collection), 1997; pg. 176. Ryan’s Mammoth Collection, 1883; pg. 137. Randel Bays & Joel Bernstein - “The Rashers.” Nomos (appears as “Saratoga Reel”).

X:1

T:Saratoga Hornpipe [1]

M:2/4

L:1/16

K:F Major

|: AB | c=BcA d_Bfd | cAFA cAdc| BAGB AGFA | Gc=Bd c_BAB |

c=BcA d_Bfd | cAFA cdef | defg efga |f2f2f2 :|

|: ef | aAgA fAeA | fAeA dAfA | eA^ce agfe | fgef defg |

aAgA fAeA | fAeA dAdf | efga bgeg | f2f2f2 :|

X:2

T:Saratoga Hornpipe [1]

R:Reel

M:4/4

L:1/8

K:C

EF|G^FGE A=FcA|GECE GEAG|FEDF EDCE|DG^FA G=FEF|\

G^FGE A=FcA|GECE GABc|ABcA BcdB|1 (3cBc e2 c2 EF:|2 (3cBc e2 c2 Bc||\

eEdE cEBE|cEBE AEcE|BE^GB edcB|c2 Bc ABcd|\

eEdE cEBE|cEBE AEcE|Bcde fdBd|c2 e2 c2 Bc:||

 

SARATOGA HORNPIPE [2]. Irish, Hornpipe. D Major. Standard tuning. AABB. Roche Collection, 1982, vol. 3; No. 169, pg. 59. Edison 50900 (78 RPM), Joseph Samuels, 1920 (appears as last tune of "Miss Johnson's Party Medley").

 

SARATOGA HORNPIPE [3]. AKA ‑ "Queer's Hornpipe" (Pa.). American, Hornpipe. USA, southwestern Pa. G Major (Bayard): A Major (Bayard). Standard tuning. AB. The first half of the tune appears also in "Kitty O'Neill [3]," "Old Time (Straight Jig) [2]," "Away Back," and "Snapping Jig," "Duncan's Reel [1]," "Little Billy Wilson," (or “Billy Wilson,” an alternate title for “Ace of Spades”) and an untitled breakdown in Christeson (1973, No. 37). See also the Missouri “A & E Rag.” Sources for notated versions: fiddlers Steffy (Pa., 1949), Wilbur Neal (Jefferson County, Pa., 1948), and Harry Queer (Westmoreland County, Pa., 1957) [Bayard]. Bayard, 1981; No. 285A‑C, pgs. 238‑239.

                       


SARATOGA LANCERS. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AA’BB’. Robert Stubbert remembered a set called the Saratoga Lancers being danced to this tune on the wharf in Alder Point when he was a boy, according to Paul Cranford (1994). Source for notated version: Robert Stubbert via his daughter, fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton) [Cranford]. Cranford (“Brenda Stubbert’s”), 1994; No. 54, pg. 19. Brenda Stubbert - “House Sessions” (1992).

                       

SARATOGA REEL [1]. American, Reel. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 15. Ryan’s Mammoth Collection, 1883; pg. 38.

X:1

T:Saratoga Reel [1]

L:1/8

M:2/4

R:Reel

K:A

c/d/|e/^d/e/f/ e/d/c/B/|A/a/g/a/ ec|df/e/ d/c/B/A/|G/A/B/G/ Ec/d/|

e/^d/e/f/ e/d/c/B/|A/a/g/a/ ec|d/f/e/d/ c/B/A/G/|AAA:|

|:G/A/|B/E/~E B/E/d/E/|c/E/~E c/E/e/E/|B/E/~E B/E/d/E/|

c/A/E/C/ A,c|B/E/~E B/E/d/B/|c/E/~E c/E/e/c/|d/f/e/d/ c/B/A/G/|AAA:|

 

SARATOGA REEL [2]. Irish (?), Reel. The group Nomos recorded the tune in the key of F Major on their first CD.

X:1

T:Saratoga Reel [2]

R:Reel

M:4/4

L:1/8

K:C

EF|G^FGE A=FcA|GECE GEAG|FEDF EDCE|DG^FA G=FEF|\

G^FGE A=FcA|GECE GABc|ABcA BcdB|1 (3cBc e2 c2 EF:|2 (3cBc e2 c2 Bc||\

eEdE cEBE|cEBE AEcE|BE^GB edcB|c2 Bc ABcd|\

eEdE cEBE|cEBE AEcE|Bcde fdBd|c2 e2 c2 Bc:||

                       

SARO. AKA and see "Caro in the Cabbage Patch," "Cow in the Cabbage Patch," "Julie Girl." Old‑Time, Breakdown. USA; West Virginia, eastern Tennessee, Virginia. D Major. Standard. AABB. Recorded in 1928 for Brunswick/Vocalion by West Virginia string band duo the Cumberland Mountain Entertainers (Sam Caplinger & fiddler Andy Patterson {1893‑1950}). Later the duo moved to Akron, Ohio, and formed the Dixie Harmonizers, who recorded for Gennett. Tom Carter and Barry Poss (1976) remark that the tune is common in the Patrick County, southwestern Virginia, area both as a dance or 'band' tune, and a song (with many verses).

***

Saro, Saro, come lay your hand in mine,

Treat you like a lady just long as the sun does shine.

Ya hadn't been gonna marry me, ya ought't told me so,

I could have been a married man, forty years ago.

Went to see my gal one day, what'd ya reckon she done,

Stole her arm around my neck, thought my time had come.

Went to see my gal one day, where'd ya reckon I found her,

Found her in a buckleberry patch, forty men around her.

Went to see my gal one day, she met me at the door,

Shoes and Stockings in her hand, feet all over the floor.

Once I was a little boy, all I want's a knife,

Now I am a great big boy, all I want's a wife.

Used to be a little boy, tot my momma's switches,

Now I am a great big boy, wear my daddy's britches.

High jack, low jack, tray (?) can't be low

Before I play an unfair game, take my money and go.

(Tom Carter & Blanton Owen from Calvin Pendleton)

***

Source for notated version: Dudley Spangler [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 215. Broadway 8159, The Blue Ridge Highballers ‑ "Julie Girl." County 201, The Old Virginia Fiddlers ‑ "Rare Recordings 1948‑49." County 405, The Hillbillies ‑ "Soldier's Joy Medley." County 531, Caplinger's Cumberland Mountain Entertainers (Roane County, Tenn.) ‑ "Old Time String Band Classics, 1927‑1933" (1975). Rounder 0057, Calvin Pendleton (Patrick County, Va.) ‑ "Old Originals, vol. 1" (1978).

                       

SARONA. Scottish, Slow Air (4/4 time). D Major. Standard tuning. AB (Skinner/Violinist): ABCDEF (Skinner/Harp). Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Dedicated to W. Ferrier, Broughty Ferry. Skinner (The Scottish Violinist), pg. 49. Skinner (Harp and Claymore), 1904; pgs. 162-163.

X:1

T:Sarona

M:C

L:1/8

R:Slow Air

S:Skinner – The Scottish Violinist

Z:AK/Fiddler’s Companion

K:D

(F3E D2)F2 | (A3G)F2A2 | (d3c)B2A2 | (dA GF (F2E) z | (F3E) D2F2 |

(A3G)F2A2 | (d3c) dA GF | F2E2D4 || .A2.d2.c2 de | (d3A) G2F2 |

.E.F.G.A .B.c.d.A | (Bc/d/) GF (F2E) z | (F3ED2)F2 | (A3G) F2A2 |

(d3c) dA GF | F2E2D4 ||

                       


SARSFIELD MARCH. AKA and see "The March of the Tribes to Galway," "The Galway Girls," “High Way to Galloway,” "All the Ways to Galway [1]," "The Road to Lisdoonvarna [2]," "Slash Away the Pressing Gang," "Yankee Doodle Dandy."

                       

SARSFIELD’S LAMENTATION. Irish, Slow Air or Lament (3/4 time). D Minor. Standard tuning. AABB. O’Neill states this melody is “entirely distinct from the melody of that name in modern publications” (for which see “Lament for Sarsfield [1]”). He obtained it from The Hibernian Muse, printed in London, 1787. The title refers to General Sarsfield, the Irish commander at the Siege of Limerick, a circumstance that O’Neill says “obviously accounts for its being confounded in later times with ‘Limerick's Lamentation’. This composition bears no resemblance except in name to the "Lament for Sarsfield" No. 433 in O'Neill's Music of Ireland, Chicago, 1903.” O’Neill (1913), pg. 117. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Sarsfield's Lamentation

M:3/4

L:1/8

S:The Hibernian Muse, London 1787

Z:Paul Kinder

R:Air

K:F

"Andante sostenuto"Ac|d2 d2 cA|f2 f2 e>d|c>d c>A G>A|F2 G2 A/2G/2F|

D2 de c>A|f>g gf/2g/2 a2|F3 G Ac|G4:|

|:AB|d2 d2 c>A|f2 f3 E/2F/2|g2 g3 f/2g/2|a2 ba ge|

d>e d>c d/2c/2A|f2 g/2f/2g a2|F>E F>f d/2c/2A|G4:||

                       

SARSFIELD’S QUICKSTEP. Irish. AB. A variant of “MacAllisdrum’s March” in two parts. It appears in Haverty’s Three Hundred Irish Airs, published in 1858-1859.

                       

SASKATCHEWAN JIG. Canadian, Jig. Canada, Ontario. A Major. Standard tuning. AABB. Source for notated version: fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]. Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 41, pg. 52.

X:1

T:Saskatchewan Jig

M:6/8

L:1/8

S:Caremelle Begin – from a transcription of Ontario fiddler Dawson Girdwood

K:A

e3 [d3e3]|:[ce]BA GFE|DCB, (C2B,)|A,CE AGA|Bee (e2d)|[ce]BA GFE|

DCB, C2B,|A,>AA GAB|1 cAA A2e:|2 cAA A2 E||

|:Ace aga|gff  ({g}f)ef|EGB gfg|fec e3|Ace aga|gff ({g/}f)ef|EGB gfe|dcB [A2e2] e:|

                       

SASQUATCH BREAKDOWN. Canadian, Breakdown. D Major. Standard tuning (fiddle). AA'BB'. Source for notated version: Composed by Arthur Lindstrom in 1970 (Prince George, British Columbia) [Gibbons]. Gibbons (As It Comes: Folk Fiddling From Prince George, British Columbia), 1982; No. 9, pp. 24‑25.

                       

SATAN'S NIGHTMARE. AKA and see "Devil's Dream [1]." A local southwestern Pa. title for "Devil's Dream."

                       

SATELLITE REEL.   Canadian, Reel. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989); one of several tunes he composed in honor of the c. 60’s-70’s space program. Durocher was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pp. 25-27].

 

SATIN BREECHES. English, Reel. England, North‑West. A Mixolydian. Standard tuning (fiddle). AAB. Knowles (Northern Frisk), 1988; No. 23.

                       

SATIN SLIPPER, THE (“An Brog Sróil” or “An Slipéar Sróil”). AKA and see “The High Road to Galway.” Irish, Reel. D Major. Standard tuning (fiddle). AB (Breathnach/Killoran, O'Neill/1850): AA'B (O'Neill/Krassen): AA’BB’ (Breathnach). The tune also appears in the late 19th century collection of Alex Sutherland of County Leitrim. Sutherland was a fiddler from Drumreilly in south County Leitrim, who amassed a huge, though unpublished, collection of tunes in the early 20th century. A portion of the collection was deposited by Sutherland in the Irish Folklore Commission archives; unfortunately, the remainder was accidentally destroyed. See also the related “Aggie Whyte’s (Reel) [2],” “The New Found Out,” “Seamus Connolly’s (Reel).” The tune was recorded in 1931 by the Siamsa Gaedheal Ceilidhe Band under the title “[[High Road to Galway]].” Sources for notated versions: Chicago fiddler John McFadden, originally from County Mayo [O’Neill]; fiddler Paddy Killoran (Co. Sligo), from a 1949 Radio Éireann recording [Breathnach]; Brendan Breathnach, unattributed, from his An Cnusascht Iomlán den Cheol Damhsa [Small/Breathnach]. Breathnach (CRÉ V), 1999; No. 116 (i) and (ii), p. 60. O'Neill (Krassen), 1976; p. 115. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1304, pg. 245. Treoir, vol. 35, No. 2, 2003; p. 24. Drumlin Records, Brian McNamara – “A Piper’s Dream” (2000. Learned from the Sutherland collection).

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Satin Slipper, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1304

Z:AK/Fiddler’s Companion

K:D

A3B AFFA | dcBA BAFA | dcBd cBAc | BAFA (3Bcd cB | A2 AB AFFA |

dcBA BAFA | dfed cedc | BAFA  B3 || c | defg agab | afeg fBBc | defg agab |

afeg fddc | defg agab | afec defg | agfe fedc | dcBA (3Bcd cB ||

X:2

T:Satin Slipper, The

M:C

L:1/8

R:Reel

S:Treoir, vol. 35, No. 2 (2003)

K:D

B |: A3B AFFA | d2 cA BGGB | A2 FA dcdf | edBA BddB |

A3B AFFA | d2 cA BGGB | A2 FA dcdf | edBA Bdde |

f2 df g2 ag2 | f2 df edBA | f2 df g2 fg | abaf edde |

f2 df g2 ag | f2 df edBd | A2 FA dcdf | edBA Bd d2 :|

                       

SATISFIED. American, Two-Step (?). F Major. Standard tuning (fiddle). AB. Source for notated version: Peter Martin [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; p. 122.

                       

SATURDAY MORNING REEL. Old‑Time, Breakdown. USA, Missouri. A Major. Standard tuning (fiddle). AABB. Source for notated version: Dr. Jimmy Gray (St. Louis County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; p. 20.

X:1

T:Saturday Morning Reel

M:2/4

L:1/8

B:Christeson – Old Time Fiddler’s Repertory, Vol. 2 (1984)

Z:AK/Fiddler’s Companion

K:A

E/F/ | A/AA/ EC/E/ | AA/B/ A/c/e | ea/f/ e/c/A/c/ | e/ef/ e/d/c/B/ |

A/AA/ EC/E/ | AA/B/ A/c/e | ea/b/ a/f/e/d/ | c/A/B/c/ A :|

|: e/g/ | a/b/a/f/ ec/e/ | c’/e/c’/e/ ee | f/e/d/f/ ee | f/e/d/f/ e/f/g/e/ |

a/b/a/f/ e/c/e | c’/e/c’/e/ ec/d/ | ea/b/ a/f/e/d/ | c/A/B/c/ A :|

                       

SATURDAY MORNING WALTZ.  American, Waltz. F Major. Standard tuning (fiddle). AB. Composed by pianist Dave Wiesler in 1997. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 86 (appears as "The Molly Andrew", the name of a dance by Brooke Friedly and Chris Sackett set to the tune).

 

SATURDAY NIGHT [1]. Canadian, Breakdown. C Major. Standard tuning (fiddle). AABB. Messer, 1948; No. 4. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 24, pg. 26. Sannella, Balance and Swing (CDSS).

X: 1

T:Saturday Night Breakdown

T:Saturday Night [1]

R:Reel

M:2/4

L:1/16

Z:Transcribed by Bruce Osborne

K:C

ef|g2ef age2|c2G2 E4|FGFE DEFG|AGG^F G2ef|

g2ef age2|c2G2 E2G2|FEFG dcBd|c2e2 c2:|

|:EG|c2G2 EFGE|c2G2 E2G2|FGFE DEFG|AGG^F G2AB|

c2G2 EFGE|c2G2 E2G2|FEFG dcBd|c2e2 c2:|

 


SATURDAY NIGHT [2]. English, Morris Dance Tune (6/8 time, 'slows' in 4/4 time). B Flat Major (Bacon): C Major (Raven): F Major (Bacon): G Major (Bacon‑Longborough, Mallinson). Standard tuning (fiddle). AB (Bacon‑Longborough): AABB (Bacon‑Bledington, Raven): AAB (Bacon, Mallinson). Collected from the villages of Bledington (Gloucestershire), Bucknell (Oxon) and Longborough (Gloucestershire) in England's Cotswolds. Bob Patten collected this verse from Harry Adams at Ile Abbots, Somerset, in 1978:

***

Saturday night I lost my wife

And where do you think I found her?

Up in the moon, playing a tune

With all the girls around her.

***

Bacon (The Morris Ring), 1974; pgs. 89, 121, 259. Mallinson (Mally’s Cotswold Morris Book), 1988, vol. 2; No. 33, pg. 17. Raven (English Country Dance Tunes), 1984; pg. 80. EMI/Harvest 7243 8 29861 2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

X:1

T:Saturday Night [2]

M:6/8

L:1/8

R:Morris dance tune

N:The 4/4 part is the “slows”; tempo resumes upon the return to 6/8

Z:AK/Fiddler’s Companion

K:G

GAB Gdd |dAA A2 | BAG E2E | AGF G3 :|

ADD D3 | AAB c3 | BAG Bcd | DGF G3 | ADD D3 AAB c2 |

M:4/4

L:1/8

B2A2 G4 | B2c2 d4 | D2G2F4 |

M:6/8

L:1/8

G3 G3 ||

 

SATURDAY NIGHT [3] (Oidce Dia-Satairne). Irish, Air (6/8 time, "with spirit"). G Mixolydian. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 234, pg. 40.

X:1

T:Saturday Night [3]

M:6/8

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 234

Z:AK/Fiddler’s Companion

K:G

G/B/|de=f edB|AGG G2B|def gag|=fdB c2 B/c/|def gag|=fdB c2 B/c/|

de=f edB|AGG G2||B|BGB gag|=fdB c2 B/c/|de=f edB|BAG A2 B/c/|

def gag|=fdB c2 B/c/|de=f edB|AGG G2||

 

SATURDAY NIGHT [4]. Shetland, Shetland Reel. From the island of Whalsay, Shetland.

                       

SATURDAY NIGHT AND SUNDAY MORN. English, Country Dance Tune (6/8 time). D Major. Standard tuning. AB. The melody was published by Playford in his The English Dancing Master (1651). It was a surprising survivor in widespread oral tradition in Cotswold morris dancing several hundred years later, with a Longborough version being called “The Marriage Vow.” Barnes (English Country Dance Tunes), 1986. Raven (English Country Dance Tunes), 1984; pg. 45 (a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1909/1994; pg. 67. Topic Records TSCD550, Brass Monkey – “Flame of Fire” (2004).

X:1

T:Saturday Night and Sunday Morn

M:6/8

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:D

(f | f>ed a2) (A | e)ee e2(g | f>ed a2) (A | d)dd d2 (f | f2d a2) (A |

e)ee e2(g | f>ed a2) (A | d)dd d2 || (c | B>AG F>ED) | eee e2 (c |

B>AG F>ED) | ddd d2(c | B>AG FED) | eee e2(d | c>BA GFE) | ddd d2 ||

                       

SATURDAY NIGHT BREAKDOWN. Old‑Time, Breakdown. C Major. Standard tuning. AB (Silberberg): AABB (Phillips, Songer). The tune was used as the theme of Sandy Bradley’s Potluck, heard for a time on public radio, played by Seattle brothers Jere and Greg Canote, according to Susan Songer (Portland Collection). Source for notated version: fiddler Wil Gilmer with the Leake County Revellers [Phillips]; Laurie Andres [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 215. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 141. Songer (Portland Collection), 1997; pg. 176. County 532, "The Leake County Revelers: Saturday Night Breakdown, 1927‑1930 Recordings" (1975).

                       

SATURDAY NIGHT RAG. Old‑Time. USA, Mo. Caney Mountain Records CEP 212 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66.

                       

SATURDAY NIGHT SPECIAL. See "Evangeline Special."

                       

SATURDAY NIGHT WALTZ [1]. American, Waltz. G Major ('A' part) & C Major ('B' part). Standard tuning. AABB. Source for notated version: learned at jamborees of the Original Michigan Fiddlers' Association from Bob Fleck (Michigan) who had the tune from Arthur Kole (Long Lake, Michigan) [Johnson. Johnson also states she later heard the tune played by a German band at an Oktoberfest in Cincinnati, Ohio]. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc. No. 1), 1991; pg. 4.

 

SATURDAY NIGHT WALTZ [2]. Old-Time, Waltz. G Major. Standard tuning. AABB'. No relation to "Saturday Night Waltz [1]." Source for notated version: Jim Childress with Uncle Henry's Favorites [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 305. County 2730, Rafe Stefanini – “Glory on the Big Spring.”

 

SATURDAY NIGHT WALTZ [3]. Old‑Time, Waltz. USA, Arkansas. This is perhaps the same as version #2. County 519, Fiddlin' Bob Larkan & Family ‑ "Echoes of the Ozarks, Vol. 2."

 

SATURDAY NIGHT WALTZ [4]. AKA and see "Valse de Samedi Soir."

                       

SATURDAY OF MORNING. English, Jig. E Minor. Standard tuning. AB. The melody is contained in the Joseph Kershaw manuscript. Kershaw was a fiddler who lived in Slackcote, Saddleworth, North West England, in the 19th century, and his manuscript dates from around 1820 onwards. The Joseph Kershaw Manuscript, 1993; No. 27.

                       


SAUGER SAKE QUADRILLE. American, Dance Tune (2/4 time). USA, northern Michigan. The second change of this quadrille is in the B Flat and F Major. A 3rd part, in E Flat Major, was dropped from oral tradition in northern Michigan, remarks Paul Gifford. Don Messer recorded the second change of “Sauger Sake” as “Atlantic Polka No. 2.”

           

SAUGHEY RIGG.  English, Hornpipe. England, Northumberland. F Major. Standard tuning. AABB. . Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Graham Dixon (1995) discovers that Saughey Rigg is a farm at Melkridge, near Haltwhistle, Northumberland, on the Roman Wall. A family named Fidler lived there in the 19th century, coincidently, says Dixon, they were well-known in the area as fiddlers and horse-dealers (see “Mrs. Fidler’s Fancy”). Sources for notated version: an unattributed 19th century manuscript in the Beamish Museum (set in the key of G Major); the late 19th century manuscript of C. “Kit” Liddell [Dixon]. Dixon (Remember Me), 1995; pg. 32.

           

SAULT'S FAVORITE (Roga Ui Sault). Irish, Hornpipe. F Major. Standard tuning. AABB (O’Neill): AA’BB’CD (Mulvihill). Source for notated version: from the manuscript collection of retired businessman and Irish music enthusiast John Gillan, collected from musicians in his home county of Longford and the adjoining Leitrim [O’Neill]. Mulvihill (1st Collection), 1986; No. 10, pg. 90 (appears as “Sault’s”). O'Neill (Krassen), 1976; pg. 214. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1767, pg. 329.

X:1

T:Sault’s Favorite

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1767

Z:AK/Fiddler’s Companion

K:F

C2 | F>EF>A c>=Bc>d | f>ga>f c2 c>B| (3ABc f>d c>AG>F | E>FG>A G>EC>E |

F>EF>A c>=Bc>d | f>ga>f c2 c>B | (3ABc f>d c>AG>E | F2A2F2 :: c2 |

(3fga c>a f>ac>a | (3gab d>b g>bd>b | (3fga c>a f>ac>a | g>fe>d c2 d>e |

f>ca>c f>ca>c | g>cb>c g>cb>c | c’2 b>a g>fe>g | f2a2f2 :|

                       

SAULT'S OWN HORNPIPE (Crannciuil Sault Fein). Irish, Hornpipe. G Major (Mulvihill, O’Neill): F Major (Mulvihill). Standard tuning. AABB. Mulvihill (1st Collection), 1986; No. 9, pg. 90 & No. 13, pg. 91 (two versions in different keys, appearing as “Sault’s Ver. No. 1" & “No. 2"). O'Neill (O’Neill’s Irish Music), 1915/1987; No. 313, pg. 155. O'Neill (Krassen), 1976; pg. 187. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1660, pg. 309. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 877, pg. 151. Shanachie 34016, Joe Burke, Andy Mc Gann and Felix Dolan – “The Funny Reel” (1995).

X:1

T:Sault’s Own Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 877

Z:AK/Fiddler’s Companion

K:G

d>c|B>GB>d g>b (3agf|gzGz DzG,z|c>Bc>d e>fg>f|e>dc>B A2 d>c|

B>GB>d g>b (3agf|g>b (3agf g2 d>c|B>dg>d e>cA>F|G2B2G2:|

|:B>c|d>gg>a g2 f>g|d>g (3gag d>g (3gag|d>gb>g a2 g>a|

e>a (2aba e>a (3aba|d>gg>a g2 f>g|eggg dgga|b>ga>f g>de>c| B>GA>F G2:|

                       

SAUNDERS BRANE. Scottish. Composed by Sampson Duncan (1790‑1822) from Kinclaven in Fife. He played at times with both Nathaniel and Niel Gow, the latter giving him one of his fiddles on his deathbed. "The title refers to Saunders Borlum, from whom he took lessons; Duncan's father was a miller, and Saunders' payment was in 'brane', bran or oatmeal" (Alburger, 1983).

                       

SAUNTERING IN THE LANE. Irish, Reel. D Major. Standard tuning. AA'BB'. O'Neill (Krassen), 1976; pg. 148.

                       

SAUSAGE [1]. Scottish, Reel. G Minor. Standard tuning. AB. Composed by William C. Honeyman, published in his collection. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 30.

 

SAUSAGE [2]. Scottish, Strathspey. G Minor. Standard tuning. AAB. Composed by William C. Honeyman, published in his collection. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 30.

                       

SAUT DE/DU LAPIN [1] (“Leap of the Rabbit” or “Rabbit’s Jump”). French‑Canadian, Reel. F Major (Begin): G Major (Hart & Sandell, Songer). Standard tuning. AABB (Hart & Sandell, Songer): AA'BB'A"A"'B"B"' (Begin). Sources for notated versions: French-Canadian violinist Joseph Bouchard (1905-1980) via button accordion player Philippe Bruneau (Québec) [Begin]; fiddler Ruthie Dornfeld (Seattle) [Songer]; fiddler Lisa Ornstein [Hart & Sandell]. Begin (Philippe Bruneau), 1993; No. 56, pg. 83. Hart & Sandell (Dance ce Soir), 2001; No. 32, pg. 62. Songer (Portland Collection), 1997; pg. 177. Tradi-Spec 8401, Richard Forest & André Filion - “Tradi/son de passage” (1984).  Varrick VR‑038, Yankee Ingenuity ‑ "Heatin' up the Hall" (1989). Denis Pepin – “Danseries de la belle province” (1984). 

X:1

T:Saute de Lapin

M:2/4

L:1/16

Q:120

R:Reel

K:G

|:"G"BcBA GABc|"G"d2B2"D7"A4|ABcB ABcd|"C"e2f2 "D7" (3(ded d2|!

"G"BcBA GABc|"G"d2B2 "D7"A4|ABcB ABcd|1"D7"edfd "G"g2 z2:|2 "D7"edfd "G"g2 |!

|:ef|"G"gdBc d2ef|gdBc d2dd|"D7"^cddd cddd|"D7"^cddd cddd|!

"G"gdBc d2ef|gdBc d2dd|"D7"^cddd cddd|"D7"edfd "G"g2:|!

 

SAUT DU LAPIN [2] (The Rabbit’s Leap).  AKA and see “La claquese,” “La pèteuse,” “Reel de Lapin.” French-Canadian, Reel. G Major. Standard tuning. AABB. Hart & Sandell (2001) identify the tune as from the repertoire of fiddler Lucien Mirandette (1924-1993), from St-Cutbert in the Lanaudière region. The leaping rabbit is signified by plucked strings interspersed through the tune. Hart & Sandell (Dance ce Soir), 2001; No. 62, pg. 95.

                       

SAUT DU CHIEN, LE (Dog's Leap). French, Polka. G Major. Standard tuning. AABB. Composed by Frederic Paris. Stevens (Massif Central), vol. 1, 1987; No. 116.

                       


SAUTE, CRAPAUD (Jump, Toad Frog). Cajun, Waltz. USA, Louisiana. G Major (Greenblatt): A Major (Francois). Standard or GDgd tunings. AABB'CC' (Greenblatt): AABAAB(Vocal). This very old melody is perhaps the most widely known of any Arcadian dance tune, suggests Harry Smith (Folkways FA29552, 1952), “for full notes see Whitfield’s Louisiana French Folk Songs (101).” Raymond Francois (1990) quotes accordion player Moise Robin:

***

Yes, me and "Boy" Fruge went to Memphis Tennessee to

make some records. "Boy" had no musicians with him.

When we arrived there, he found a pop bottle case made

of wood and turned it upside down and stomped on that

for his drum effect while recording. The first song he

recorded was "Saute, Crapaud."

***

Source for notated version: Isom J. Fontenot (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pg. 273. Greenblatt (Cajun Fiddle Book), 1985; pgs. 12‑13. Arhoolie Records AR-5009, Ison J. Fontenot. Columbia 40513F (78 RPM), Columbus Fruge (1920). Folkways FA 2952, Columbus Fruge ‑ "Anthology of American Folk Music, vol. 2: Social Music" (1952). Victor 22184A {78 RPM}, Columbus Fruge (1929).

                       

SAUTERELLE, LA.  French, Country Dance (2/4 time). D Major. Standard tuning. AABBCC. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 12.

X:1

T:Sauterelle, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 12

Z:AK/Fiddler’s Companion

K:D

{e}d2 (AG) | FAFD | d2 ef | gedc | {e}d2 AG | FAFD | gedc | {e}d2 D2 :|

|: defg | af (g2 | g)e f2 | .e(cBA) | defg | af (g2 | g)edc | {e}d2D2 :|

|: (.F2 F)D | (.G2 G).E | (.F2 F)D | E4 | (.F.D.E.F.) (.G.A.B.c) | {e}d3B | AFGE | D4 :|

                       

SAUVAGE SU' L' CHICOT (Indian on a Stump). Cajun, Two-Step (4/4 time). USA, southwestern Louisiana. A Major {Francois}: G Major {Greenblatt}. CABA (the "Indian tuning") or Standard tunings. AABBCC {Greenblatt}: ABA(Vocal)ACA(Vocal)ACA(Vocal)AC {Francois}. Other tunings have also been employed, including AAea and AEac#. Source for notated version Dewey Balfa (La.) [Francois]. Francois (Yé Yaille Chère!), 1990; pgs. 465-466. AABBCC. Greenblatt (Cajun Fiddle Book), 1985; pg. 35. Swallow Records SW-LP6011, the Balfa Brothers.

                       

SAVAGE DANCE. English (?), Dance Tune (cut time). G Major. Standard tuning. AABBCCDD. Aird (Selection of Scotch, English, Irish and Foreign Airs), Vol. II, 1782; No. 159, pg. 66.

X:1

T:Savage Dance with Variations

M:C|

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

G3d BdGB | A2D2 G/A/B/A/ GD | G3d BdGB | A2D2 G4 :|

|: B2c2 dBGg | e2 ce dBAG | B2c2 dBGg | e2 ce d2 D2 | G3 d BdGB |

A2D2 G/A/B/A/ G2D2 | G2 d2 BdGB | A2D2 G4 :|

|: GDGd B/c/d/B/ GB | A2D2 G/A/B/A/ GD | GDGd B/c/d/B/ GB | A2D2 G4 :|

|: BGcA dBGg | ecBc dBAG | BGcA dBGg | e2 ce dDEF | GDGd Bd B/A/B/G/ |

A2D2 G/A/B/G/ GD | GDGd B/c/d/B/ GB | A2D2 G4 :|

                       

SAVAGE HORNPIPE, THE.  English, Hornpipe. G Major: B Flat Major (Clare, Leadley). Standard tuning. AABB. The melody appears in the mid-19th century music manuscript copybooks of Helperby, Yorkshire, fiddler Lawrence Leadley (1827-1897) as an untitled hornpipe (No. 32) in the key of B flat major. It also appears in the John Clare (1793-1864, Helpstone, Northants) manuscripts (also set in B flat). Peter Cooper suspects the title may possibly refer to the poet and playwright Richard Savage (c. 1697-1743), author of The Bastard (1728). Savage’s life was one of literary success coupled with personal problems that included debt, blackmail and murder, and he died in debtors prison, having been abandoned one by one by his friends. He was the subject of Samuel Johnson’s Life of Savage (1744), one of the most elaborate of the doctor’s Lives of the English Poets. Callaghan (Hardcore English), 2007; pg. 23. Cooper (99 English Fiddle Tunes), 2006. Merryweather & Seattle (The Fiddler of Helperby), 1994; pg. 36, No. 32 (“Untitled Hornpipe V”). Big Chain BC 103, Copper & Bolton – “The Savage Hornpipe” (2006). Osmosys OSMOCD015, Blowzabella – “Bobbityshooty” (1998).

X:1

T:Savage Hornpipe, The

M:4/4

L:1/8

R:Hornpipe

K:Bb

F2|BABc Bcde|f=efg fdBd|G2G2 GABG|FDFB FDB,D|EDEF GBAc|

Bcde fga2|fdcB GABc|d2B2B2::fe|dfBf dfBf|cfAf cfAf|

BdGd BdGd|AcFc AcFD|EDEF GBAc|Bcde fgab|fdBd ecBA|B2B2B2:|

 

SAVAGE MOUNTAIN HOEDOWN. Old‑Time, Breakdown. USA, Maryland. Philo 1023, Jay Ungar & Lyn Hardy ‑ "Songs, Ballads & Fiddle Tunes" (1975. Learned from Earl Eisler of Finzel, Maryland).

                       

SAVE ME FROM DEATH (Saor Me On T-Eug). AKA and see "Ciste No Stor," "Hide me from Death," "Fairy Queen [1]," "Awake the Heart's Slumbers." Irish, Air (3/4 time, "plaintively"). D Major. Standard tuning. AB. The melody appears under this title in Holden's collection of 1806/07, volume II, pg. 3, and in his post 1806 collection, volume I, pg. 5. O'Neill's (Music of Ireland: 1850 Melodies), 1979; No. 557, pg. 98.

X:1

T:Save Me from Death

M:3/4

L:1/8

R:Air

N:”Plaintively”

S:O’Neill – Music of Ireland (1903), No. 557

Z:AK/Fiddler’s Companion

K:D

(3ABc|d2d2A|dc BA Bc|d>e dc BA|d3e (3def|c2 dc BA|F4 A2|B3c d>e|d4 fe|

d2 de/f/ ed|c2 cd/e/ d>c|B>c dc BA|F4 (3def|B2 dc BA|F4 A2|B3c d{f}e|d4||

de|f2 f>e f>g|f2 fg/a/ gf|e2e2e2|e3f ac|d2 df ed|c2 cd/e/ dc|B>c dc BA|F4 AB/c/|

d>F F2 ED|D4 (3def|e2 dc Bc|{B}A4 (3def|A>B dc BA|B>A F3A|B3 cd{f}e|d4||

                       

SAVING THE HAY. AKA and see “Ormond Sound.”

                       

SAVOIR VIVRE, LE. English, Slip Jig. D Major. Standard tuning. AABB. From  Preston's "24 Country Dances For the Year 1794". Trim (Thomas Hardy), 1990; No. 98.

                                   

SAVOURNA DELIGHT ("Savourneen Dheelish"  or "Sa Muirnin Dilis"). Scottish, Irish (originally); Slow Air (4/4 time). D Major. Standard tuning. AABB (Gow): AB (Roche). A note in Gow states "A favorite Irish air." Bayard (1981) observes it is essentially the same tune as "Tatter Jack Walsh," "The Garden of Daisies [2]," "The Palatine's Daughter," "So Now My Dear Johnny," and "The Rough Heathy Little Hill" (An {Garbh‑} Chnoicin Fraoigh). See also Petrie’s “Derry Brien.” Carlin (The Gow Collection), 1986; No. 555. Gow (Fourth Collection of Niel Gow’s Reels), 2nd ed., originally 1800; pg. 10. Roche Collection, 1982, vol. 1; No. 47, pg. 24.

X:1

T:Savourna Delight

M:C

L:1/8

R:Air

N:”Slow”

N:”A Favorite Irish Air”

B:Gow – Fourth Collection of Niel Gow’s Reels (1800)

Z:AK/Fiddler’s Companion

K:D

A|d2 d>e (dc) c>d|”tr”B>A(B=c) ~B>AF>d|AGFE D2 FA|B>c “tr”c2 [F3d3] A|(df)ad (c/d/)e dc|“tr”B>AB=c “tr”B>AF>d|

A>B (A/G/).F/.E/ D2 FA|B>c “tr”c2 [F3d3]::A|d2 ~de f2 ef|”tr”g2 fe fdB>c|(df)ed (ce)dc|

”tr”BAB{d}c “tr”BAF>a|a2 a/g/f/e/ d2 dc|”tr”B>Afd “tr”d>e {d/e/}f2 {e/d/c/B/}|A>B (A/G/)F/E/ D FA|B>c “tr”c2 [F3d3]||

                       

SAVOURNEEN DHEELISH. AKA and see "Savourna Delight."

                       

SAVOYARDS, LES. French, Country Dance (6/8 time). G Major. Standard tuning. AABBCC. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 26.

X:1

T:Savoyards, Les

M:6/8

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 26

Z:AK/Fiddler’s Companion

K:G

B2d | c3 A2c | {c}B3 G2B | AcB AGF | G2D B2d | {d}c3 A2c | {c}B3 G2B |

AcB AGF | G3 :: G2F | E2D E2F | G2D G2F | E2D E2F | G3 G2F | E2D E2F |
G2D G2F | E2D E2F | G2g :: D2D | E2E F2F | G2G D2D | E2E F2F | G3 D2D |

E2E F2F | G2G D2D | E2E F2F | G2g :|

                       

SAW NE YE MY PEGGIE. See "Saw Ye Nae My Peggie."

                       

SAW YE A LASSIE OF FIFTEEN.  AKA and see “Would you have a young virgin (of fifteen years).

 

SAW YE JOHNNY COMING?  Scottish, Air. F Major (Gow): G Major (Aird, Howe). Standard tuning. AABA (Howe): AABB (Gow). The air, entitled “A New Scotch Song or Saw Ye John A’Coming,” appeared in Clio and Euterpe, or British Harmony (vol. 2, 1759), although Glen (1900) finds it first in print in John Walsh’s A Collection of Original Scotch Songs, with a Thorough Bass to each Song for the Harpsichord” (part iii), printed c. 1749. It was also Robert Bremner’s Thirty Scots Songs (1757, pg. 6), albeit under the title “Fee him, Father, Fee him.” The Scots national poet, Robert Burns, wrote a letter to George Thomson in which he described the playing of this air by the celebrated and much enamoured (to Burns) oboist Thomas Fraser (c. 1760‑1825) who, when playing it 'slow' made it 'the language of despair'. In Burns’ notes he wrote: “This song for genuine humjour in the verses, and lively originality in the air, is unparalleled. I take it to be very old.” The air was included in the late 18th century manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a musician and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

***

Saw ye Johnnie cummin, quo’ she,

Saw ye Johnnie cummin,

O saw ye Johnnie cummin, quo’ she;

Saw ye Johnnie cummin,

Wi’ his blue bonnet on his head,

And his doggie runnin’, quo’ she;

And his doggie runnin’?         [Scots Musical Museum]

***

Aird (Selections), vol. II, 1782; No. 148, pg. 54 (appears as “Saw You Johnny Coming to the…”). Carlin (The Gow Collection), 1986; No. 556. Gow (Complete Repository), Part 2, 1802; pg. 2. Howe (1000 Jigs and Reels), c. 1867; pg. 123. Johnson (Scots Musical Museum), 1787; pg. 10. Wilson (Companion to the Ballroom), 1816; pg. 40.

X:1

T:Saw Ye Johnny Coming?

M:C

L:1/8

R:Air

S:Gow – 2nd Repository

Z:AK/Fiddler’s Companion

K:F

z | ~F2 G>A cAAf | ~F2 G>A cA z :|

c | f>e dc dc A>c | ~f>e dc dA ze | fe dc de f>g/2a/2 | F2 G>A cAAf | F2 ~G>A cA z :|

X:2

T:Saw You Johnny Coming to the…

M:C

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

z | G2 A>B d>BB>g | G2 (AB) c<A z :: f | g>fed e>dBf | g>agf  e<B zf |

gfed ef g2 | zG A>B d>BBg | z G2 A>B cB z :|

X:3

T:Saw Ye John Acoming

M:4/4

L:1/8

R:Air

S:Henry Livingston’s manuscript copybook (late 18th century)

Z:AK/Fiddler’s Companion

K:Bmin

B3c B2B2 | f2d2d2b2 | B3cB2B2 | f2d4d2 | B3cB2B2 | f2d2d2b2 |

B3cB2B2 | f2d4d2 | f2b2b2a2 | g2f2e2d2 | g2b2b2a2 | g2f4e2 |

b3ag2f2 | g2f2e2d2 | B3cB2B2 | f2d4 z2 ||

                       


SAW YE MY FATHER. Scottish, Air and Country Dance Tune (2/4 time). B Flat Major (Ashman/Moore): D Major (Thompson). Standard tuning. AABB. A very popular tune that appears in numerous latter 18th century British Isles publications and manuscripts. There are seven bars in each part of the tune in the Thompson and Vickers collections. The melody is to a Scottish version of a song called “The Grey Cock” (which, in country dance versions, takes its name from the first line).  Published by Herd (1769), it begins:

***

Saw you my father, saw you my mother, 
Saw you my true love John?
He told his only dear that he would soon be here, 
But he to another is gone.

***

Published dance versions include Thompson and Son’s Compleat Tutor for the English Flute (London, 1768), Charles and Samuel Thompson’s third country dance collection (London, 1773), Samuel, Ann and Peter Thompson’s Compleat Instructions for the Fife (London, 1786), Straight and Skillern’s Two Hundred and Four Favourite Country Dances, vol. 1 (London, 1775), T. Skillern’s Compleat Collection of Two Hundred and Four Reels, Country Dances (London, 1780), and Longman, Lukey, and Broderip’s Pocket Book for the German Flute (London, 1778). The air can also be found on numerous song sheets issued by British and American printers. In America, “Saw You My Father” was entered into the music manuscript copybooks of Luther Kingsley (1795, Mansfield, Conn.), flute player John Hoff (1797, Lancaster County, Pa.), and New York flute player Micah Hawkins (1797). Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 55b, pg. 21. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 16.

X:1

T:Saw you my Father

M:2/4

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:D

D>EF>G|A2A2|B2 g>e|dc”tr”BA|d2 dc|”tr”cB”tr”BA|1 A2 z2:||2 A2 z|

|:G|F>EF>d|{G}F2 ED|E>DEF|G2 G>B|BAFA|AGFE|1 D3:||2 D4||

                       

SAW YE MY WEE THING. AKA and see "Adew Dundee," "Bonnie Dundee [1]," "The Laccaroo/Laccarue Boys."

                       

SAW YE NA EPPIE ME ENAB TH' DAY. Scottish. The melody appears in the Gillespie Manuscript of Perth (1768).

                       

SAW YE NAE MY (LOVE) PEGGIE. Scotland, Air and (Old) Hornpipe (3/2 time); Shetland, Flugga Dance and Air (3/2 time). Shetland, Delting. E Minor (Cooke, McGibbon): D Minor (Johnson). Standard tuning. One part (Cooke): AABBCC (McGibbon): ABCDEF (Johnson). The tune is a variant of a Scots song which was well known in the early 18th century. It appears in Johnson's Muscial Museum (1787‑1803) "in a rather ornate setting that contrasts with the simplicity and strength of the Shetland version" (Cooke). Johnson (1984) says that the original song to the tune had rude or bawdy words. The tune was also published in Oswald's Caledonian Pocket Companion (1747‑69) and the James Gillespie Manuscript of Perth (1768). Sources for notated versions: Tom Robertson (Delting, Shetlands, 1874) [Cooke]: Sinkler MS., 1710, pg. 21 [Johnson]. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 24, pg. 75. Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 7, pgs. 24‑25. McGibbon (Scots Tunes, book III), 1762; pgs. 78-79.

X:1

T:Saw ye nae my Peggy

M:3/2

L:1/8

R:Air

S:McGibbon – Scots Tunes, book III, pgs. 78-79  (1762)

Z:AK/Fiddler’s Companion

K:E Minor

e3d (e>fg)e (dB)(AG) | d3e dedB (cB)”tr”(AG) | “tr”e3d e2 (d/e/g) (dB)”tr”(AG) |

(A>G)AB (cB)”tr”(A>G) ({D}E4) :: D>EG>A G3A ({G/A/}B2) “tr”(AG) | E2A>B A3B (cB)”tr”(AG) |

D>EG>A “tr”G3A ({G/A/}B2) ”tr”AG | (AB)(ge) (dB)”tr”(A>G) E4 :: “tr”(e>de)g e>ged BdBG |

d>Bde (g/e/d) (e/d/B) (d/B/A) | “tr”e>def “tr”(g>fg)a ({g/a/}b2)G>B | A>BG>A B2 “tr”AG ({G}E4) :|

                       

SAW YE OUGHT OF MY LAD GAWN UP THE WAGON WAY?  Northumbrian. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

                       

SAW YOU CHARLIE COMING?  AKA and see "Fye father see him." Scottish, Country Dance Tune. The title sounds as if it may have been a Jacobite song at one time. Dance instructions, but not the music, appear in the Menzies Manuscript (1749), contained in the Atholl Collection of the Sandeman Library, Perth. See also the similarly title “Saw Ye Johnny Coming?”

 

SAW YOU MY FATHER?  See “Saw Ye My Father?”

           

SAWDL Y FUWCH. AKA and see “Offa’s Dyke.” Welsh, Jig. D Major. Standard tuning. One part.

X:1

T: Sawdl Y Fuwch
M: 6/8
L: 1/8
R: jig

S:”Cymdeithas Ddawns Werin Cymru" (The Welsh Folk Dance Society)

Z:Dafydd Monks
K: D
A |: d2 d A2 A |F A2 -A2 A |d2 d F2 G |A3 -A2 G |
d2 d Bcd |A2 d e2 e |d4 -d2 |cd z4 |
e2 e c2 d |e2 -e2 de |f2 f d2 e |f2 -f2 fe |
dcB A2 A |BAG F2 A |Bcd e2 c |d3 -d3 |
d d2 cde |fee c B2 |A d2 fec |B3 A2 A |
dcB A2 A |BAG F2 A |Bcd e2 c |d3 -d2 :|

                                   

SAWNEY. AKA and see "Sandy." Scottish, Air (4/4 time). C Major. Standard tuning. AAB. A prototype of the Scottish Measure "Corn Riggs (are Bonny)." The air appears in John Playford's Apollo's Banquet, 5th edition, 1687. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 23, pg. 127.

                       

SAXON WALTZ. English, Waltz. England, Yorkshire. C Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 94, pg. 53.

                       


SAXON'S HORNPIPE. AKA and see "The Bridge of Lodi," “Down Back o’ Shoddy,” “Hell on the Potomac [3]," “Hunter’s Hornpipe [1],” “Huntsman’s Hornpipe,” “Lochmaben Hornpipe,” “Lord Nelson’s Hornpipe,” "Nelson's (Hornpipe) [2]." AKA – “Saxonies,” “Saxona’s.” English, Hornpipe. England; Shropshire, North West. D Major. Standard tuning. AABB. A very popular tune under a variety of titles. It appears as “Saxon’s/Saxona/Saxonies Hornpipe” in a number of 19th century English musicians’ manuscripts, including John Moore, Joseph Kershaw, William Calvert (1812, Leyburn, north Yorkshire), John Clare (c. 1820, Helpstone, Northants), William Hall Lister (c. 1850’s, East Boldon, near Newcastle), William Thomas Green (1851, Northumberland), Rev. Robert Harrison (1820, Brampton, Cumbria), Thomas Lambert (c. 1860, Ferrybridge, Yorkshire) and Robert Dale Owen (1826, New Lanark, Scotland) [Callaghan, 2007]. In Scotland the tune is also known under the title “Lochmaben Hornpipe.” Jamie Knowles (1993) remarks there are some fine Scottish versions of this tune. See also fiddler Charles Baldwin’s (c. 1822-c. 1920) “Gloucester Hornpipe [2].” Sources for notated versions: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; the music manuscript of Joseph Kershaw, a musician from Slackcote, Saddleworth, North West England who began his entries around the year 1820 [Kershaw].. Ashman (The Ironbridge Hornpipe), 1991; No. 19a, pg. 4. Joseph Kershaw Manuscript, 1993; No. 69. Plain Brown Tune Book, 1997; pg. 38.

                       

SAY NO MORE. American, Polka. C Major. Standard tuning. AABB. Composed by Mark Simos. Source for notated version: Bill Christopherson and Tom Phillips with the Fish Family [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 355.

                       

SAY OLD MAN CAN YOU PLAY THE FIDDLE? [1]  See "Oh, Say Old Man Can You Play the Fiddle?" "Ladies Fancy [1]." Old‑Time, Breakdown. USA; Texas, North Carolina. E Minor ('A', 'B', 'E' and 'F' parts) & E Major ('C' and 'D' parts). Standard or EDae tunings. AABBCCDDEEFF. Often played in the very rare EDae tuning (may be the only tune traditionally in that tuning). Known as a Texas tune. Joe Burke tells the story that Slim Rutland went looking for interesting musicians in the Dallas area and was pointed to Luke Thomasson, Benny Thomasson’s father. He passes on that Gary Lee Moore remembers that “Say Old Man, Can You Play the Fiddle” is the phrase Rutland introduced himself to Thomasson with, and the two spent the weekend working out the tune. Benny Thomasson referred to the tune as “Lady’s Fancy.” There are other versions of the story around. Another (from Mark O'Connor via Stacy Phillips) version has Slim knocking on Benny Thomasson’s door and saying, "I heard you're the greatest fiddler in the world. Will you play for me?" According to the latter version, Benny taught him a lot of tunes, including “Say Old Man Can You Play the Fiddle” and credited Rutland with being "a great fiddler.” An interesting version from the playing of West Texan Peter Tumlinson Bell, made by Bill Owens in 1941 is in the Owens archive at Texas A&M. Bell’s ancestor and namesake, Peter Tumlinson, was the first captain of the Texas Rangers. Paul Wells notes a relationship between the ‘A’ part of “Say Old Man” and one of the strains of Kentucky fiddler Luther Strong’s version of “Glory at/in the Meetinghouse” (recorded for the Library of Congress in 1937). Sometimes the following is sung as a verse:

***

Say old man can you play the fiddle?
I don't know, I might play a little.
    (Gene Goforth)

***

Source for notated version: Howard Forrester [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 123. Black Rose Productions, The Mando Mafia – “Get Up in the Cool.” County 202, "Eck Robertson (Tx): Famous Cowboy Fiddler." June Appal 007, Tommy Hunter ‑ "Deep in Tradition" (1976. Learned from his grandfather, fiddler James W. Hunter, Madison County, N.C.). Marimac AHS #3, Glen Smith – “Say Old Man” (1990. Learned from Howdy Forrester). Philo 1023, Jay Ungar & Lyn Hardy ‑ "Songs, Ballads & Fiddle Tunes" (1975. Learned from a tape of Eck Robertson). Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997). Voyager CD 345, Benny Thomasson – “Say Old Man, Can You Play the Fiddle?”

 

SAY OLD MAN, CAN YOU PLAY THE FIDDLE? [2]. Old-Time, Breakdown. E Major/Mixolydian. Standard tuning. ABC (Siberberg): ABB'CC'DD (Phillips). Sources for notated versions: Joey McKenzie [Phillips]; Mel Durham [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 124. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 141.

 

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