The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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SHE - SHEN

 

 

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]

 

 

 


SHE DIDN’T DANCE AND DANCE. AKA and see “Pete Sullivan’s.” Irish, Slide (12/8 time). Ireland, Sliabh Luachra region of the Cork-Kerry border. E Dorian. Standard tuning. AA’B. See also the related slip jig “My Mind Will Never be Aisy.” Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Ceol, vol. 2, No. 4 (appears as “Pete Sullivan’s”). Moylan (Johnny O’Leary), 1994; No. 123, pgs. 71-72. Gael-Linn CEF132, Johnny O’Leary - “An Calmfhear/The Trooper” (1989).

 

SHE FAVORITE, THE.  English, Country Dance Tune (3/2 time). A Minor. Standard tuning. AABB. The melody was composed by dancing master Nathaniel Kynaston (1683-1757). Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and dances over several publications. The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry” married on August 25th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 117.

 

SHE GRIPPED AT THE GREATEST ON'T. AKA and see "East Neuk of Fife." Scottish, Air (cut time). G Major. Standard tuning. AABB. Composed by James Oswald (1711‑69), but, with slight alterations, better known and still popular today as "The East Neuk of Fife." Oswald was an expatriate Scotsman living in London who published several important collections of airs, this tune appearing in one of the fifteen volume c. 1747‑69 Caledonian Pocket Companion (vol. iii, no. 116). Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 26, pg. 47.

 

SHE HUNG HER PETTICOAT OUT TO DRY. Irish, Air (6/8 time). G Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 851, pg. 212. 

X:1

T:She hung her petticoat out to dry
M:6/8

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 851

Z:AK/Fiddler’s Companion

K:G

d | d2g BAG | A2A A2B | c2B AGA | G2G G2 B/c/ | d2g BAG | A2A A2B |

c2B AGA | G3 G2 || g/f/ | e2d ded | c2B BcB | A2G c2B | AFD D2 g/f/ | e2d ded |

c2B BcB | A2G c2B | B3 A2 ||

 

SHE IS A LOVELY GIRL. Irish, Air (3/4 time). G Minor. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 80, pg. 47.

X:1

T:She is a Lovely Girl

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:G Minor

G/F/ | D2G2 G/A/ | B2G2A2 | B2d2 cA | G2 GA BG | A2 G>A GF |

D4 FB | d2e2dc | B2d2f2 | g2G2 GA | B2G2 AB | d2 A>B AG | G4 ||

Bd | =f2d2e2 | d3e dc | B2G2 FG | B3c de | f2d2f2 | g4 fd |

d3e dc | B2c2d2 | G2F2 DF | B2G2AB | d2 A>B A>G | G4 ||

 

SHE IS FIT FOR A KISS.  See also the related tunes "The Old Dutch Churn," "Humours of Bottle Hill," "Gliogar an Mheadair" (Gurgling of the Churn), "Dublin Streets," "The Dublin Boys," "The Night of the Fun [2]," "A Fig for a Kiss [1]," "Two in a Gig," "Gáire na mBan."

 

SHE IS THE BLACKBERRY'S FAIR BLOSSOM (Si Blath Geal Na Smeur). Irish, Slow Air (3/4 time). C Minor. Standard tuning. One part. Joyce (Old Irish Folk Music and Song), 1909; No. 765, pg. 376.

 

SHE IS/SHE'S THE GIRL THAT CAN DO IT. AKA and see "O My Dear Father Pity Your Daughter," "Sonny Dan," "The Bottle of Brandy," "Bully for you," "The Western Jig," "Nelly's Jig," "Teddy/Thady You Gander," "The Bonny Highlander," "The Leg of (a) Duck," "Petticoat Loose [1]," "O My Dear Judy," "Girls of the West," "I Gave to My Nelly," "Daniel of the Sun," "'Tis Sweet to Think," "Bucky Highlander," "From the Court to the Cottage."

                       

SHE LIVED BESIDE THE ANNER. Irish, Slow Air. The title and melody of a still-popular song by Charles J. Kickham (1828-1882), a Fenian novelist from County Tipperary, about emigration, with political undertones. Tara CD4011, Frankie Gavin – “Fierce Traditional” (2001. A great favorite of his father’s).

           

SHE MOVED THROUGH THE FAIR. AKA – “Our Wedding Day,” “Out of the Window.” Irish, Air (3/4 time). D Mixolydian. Standard tuning. One part.  John Loesberg records that the song was collected in County Donegal by Herbert Hughes, and the words were rewritten by Padraic Colum. They begin:

***

My young love said to me, 'My mother won't mind

And my father won't slight you for your lack of kine

And she stepp'd away from me and this she did say:

'It will not be long love till our wedding day.

***

She walked away from me and she moved through the fair;

She won several goldfish and one teddy bear;

And then she went onward with one star awake;

It was too dark to see, and she fell in the lake.

***

John Moulden remarks that a song called “Out of the Window” is an antecedent version of the song Colum transformed into "She moved through the fair." He notes there are three sources for the song: one recorded from Robert Cinnamond, another from Eddie Butcher and a third printed in the Sam Henry collection. All modern performances seem to stem from those sources, including the late Paddy Tunney, who adapted Robert Cinnamond’s version. Colum (A Treasury of Irish Folklore). Loesberg (Folksongs and Ballads Popular in Ireland), 1979; pg. 19. GIFT 10006, Mary Black – “Collected.” MCA/BMG MCVD 30012, Margaret Barry – “Margaret Barry & Pecker Dunne: Travellin' People" (1996). Polygram 834496, The Chieftains & Van Morrison – “Irish Heartbeat.” RCA 5798-2-RC, "James Galway and the Chieftains" (1986). RCA 62702, Chieftains & Sinead O’Connor – “Long Black Veil.” Rounder CD, Margaret Barry – “I Sang Through the Fairs” (1998. A compilation of Alan Lomax field recordings). Varrik 026, Pentangle – "Pentagle in the Round.” McPeake Family – "The Rights of Man". Meg Davis – "The Claddagh Walk.” Alison Pearce & Susan Drakes – "My Lagan Love and Other Songs of Ireland.”

X:1

T:She Moved Through the Fair

Z:transcribed by Gregory Taylor

M:4/4

L:1/8

K:D Mix

(D4 DE)F2|G3 F3 G2|A3 ((AA4)|A6) (GE)| (C4 C)D E2|(D8|D6) AB|

c3 d3 A2|B3 (AA4|A6) F2|G3 F3 G2|(A8|A6) AB|

c3 d3 A2|B3 ((A A4)|A6) F2|G3 F3 G2|(A8|A8)|(D4 D)E F2|

G3 F3 G2|(A4 A)A (A2|A6) (GE)|(C4 C)C D2|((D8|D8)|D8) ||

X:2

T:She Moved Through the Fair

R:Air

Z:Paul Kinder

M:3/4

L:1/4

Q:55

K:Bb

"Bb"(3B,/2C/2D/2|"Ab"E "Gm"D "Ab"E|"Bb"F F2-|"Bb"F2 E/2C/2|!

"Ab"_A,3/2 B,/2 B,|"Bb"B,3-|"Bb"B,2 F/2G/2|"Bb"_A B3/2 F/2|!

"Gm"G F3/2 D/2|"Ab"E D E|"Bb"F3-|"Bb"F2 F/2G/2|!

"Bb"_A B3/2 F/2|"Gm"G F3/2 D/2|"Ab"{EF}E D E|"Bb"F3-|"Bb"F2 (3B,/2C/2D/2|!

"Ab"E "Gm"D "Ab"E|"Bb"F F2-|"Bb"F2 E/2C/2|"Ab"_A,2 B,|"Bb"B,3-|"Bb'B,2||!

                       

SHE OUGHTA BEEN A LADY. AKA and see “Hell on the Wabash [4]," “Pussy and the Baby,” “Silver Lake [4].” Old-Time, Breakdown. D Major. Standard tuning. AA’BB’. “She Oughta Been a Lady” is the title by which the tune is generally referred to in Missouri. Related to the Irish Hornpipe "Beaux of Oak Hill [1]"/"Boys of Bluehill," and probably a version of that tune (see note). Source Vesta Johnson’s mother played the tune, and claimed it had been in her family for generations. Vesta’s mother also remembered a neighbor playing the tune and singing words to it. A similar Ozarks tune, points out Drew Beisswenger (2008) is the Stonekings’ “Birdie in the Snowbank.” Source for notated version: Vesta Johnson (b. 1922, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 72. Missouri Friends of Folk Arts MFFA 1001, Vesta Johnson – “I’m Old But I’m Awful Tough” (1977).

                       

SHE PUT HER KNEE ON THE OLD MAN. See "Chuir/Cuir i Glun Air a Bhodach."

                       

SHE ROSE AND LET ME IN. Scottish, Air (4/4 time). E Minor. Standard tuning. AABBCCDD. The tune is in a corrupt form in Thomson’s Orpheus Caledonius (ii. 14, 1733), and in Ramsay’s Tea Table Miscellany (1734), where it is marked as being old. Ritson (Essay on Scottish Song) decided it was an “English song of great merit, which has be ‘Scotified’ by the Scots themselves.” Chappell cites the melody’s use by Thomas D’Urfey for his song “The Fair one let me in” (music credited to Thomas Farmer) in A New Collection of Songs and Poems (1683). Stenhouse strenuously argued for Scottish provenance. John Glen (Early Scottish Melodies) dismisses English claims with his finding of an fine set of the tune in the Scottish Margaret Skinkler’s Manuscript Musick Book 1710, under the title of “She roase and let ‘m In.” Glen says the Sinkler version “is natural and assuredly superior to the strained artificial set presented by Chappell from D’Urfey.” The tune appears as the theme for the third section of James Oswald's variation sonata from his Curious Collection of Scots Tunes (c. 1739), each section of which is based on a traditional Scottish air, and also appears in the Gillespie Manuscript of Perth, 1768, under the heading "Scots Tunes." Chappell (1859) takes exception to the national origin of both words and music to this song and categorically states they are English, not Scottish. He acknowledges the tune is popularly claimed as Scotch, and quotes a letter from Dr. Beattie (appearing in The Life of James Beattie, L.L.D.), who says of "the celebrated Mrs. Siddons”:

***

She loves music, and is fond of Scotch tunes, many of which I

played to her on the violin‑cello. One of these, 'She rose and let

me in,' which you know is a favourite of mine, made the tears

start from her eyes. 'Go on,' said she, 'and you will soon have

your revenge;' meaning that I should draw as many tears from

her as she had drawn from me (by her acting).

***

McGibbon (Scots Tunes, Book 1), c. 1746; pg. 9.

X:1

T:The Fair one let me in

M:C
L:1/8

S:Thomas D’Urfey (1683)

K:Emin

B2|G2 FE B2e2|d3c B2 AG|c3B A2 GF|^D6B2|G2 FE B2 e2|

^d3e f2g2|e2 d^c c3B|B6||Bc|d3d edcB|c2d2 e3d|c2 BA A3G|

G6 g2|e3B c2 BA|f2g2 ^d3B|cBAG A2B2|d6||

X:2

T:She roase and let ‘m in

M:C

L:1/8

S:Margaret Sinkler MS (1710)

K:Emin

GF|E2B2B2e2|d3c B2c2|A4G FGAB|F6 G>F|E2B2B2e2|

d3c B2B2|g2 fe e3^d|e6||ef|g3e d2cB|edef g2 Bc|A3G FG A2|

F4 E<F ef|g3e d2cB|edef g2 Bc|A4G A2B2|e6||

X:3

T:She rose & let me inn

M:C

L:1/8

R:Air

N:”Slow”

S:McGibbon – Scots Tunes, Book 1 (c. 1746)

Z:AK/Fiddler’s Companion

K:E Minor

G>F | E2 B>c B2e2 | “tr”^d3^c B2 =c2 | {c}B2 AG (F>G)AG | G2F2 z2 G>F |

E2 (B>c) B2e2 | “tr”^d3e f2 B>c | B2f2 (gf)”tr”(e^d) | e6 :: (e>f) | g2 “tr”(fe) {e}^d2 “tr”(^cB) | (e>^de)f g2 B2 |

A>cBA G>BAG | “tr”(G2F2) z2 (ef) | (gfg)e (^d^c)(dB) | “tr”(e^de)f g2B2 | “tr”A3G A2 (B^d) | e6:: (B>A) |

(GB)(FB) e2g2 | (f^d)(ec) B2c2 | (BA)(cB) (A/B/c/)B/ AG | “tr”(G2F2) z2 B>A | GBFB e2 e>f | (g/f/e/^d/) e>g f2 (Bc) |

Bbag (fe)(B^d) | e6 :: ef | g2 “tr”(fe) (^de/f/) (B^d) | “tr”e>d (e/g/f/a/) g2B2 | (cB)(AG) (FE) (A/G/F/G/) | “tr”(G2F2) z2b2 |

(ag)”tr”(fe) “tr”(^d^cd)B | (e/4f/4g/) (f/4g/4a/) (g/4a/4b/) (a/4b/4c’/) b2 B2 | (cB)”tr”(AG) A2 (B^d) | e6 :|

                       

SHE SAYS SHE’S CONFUSED. American, Jig. A Minor. Standard tuning. AABB’. Composed by Denver, Colorado, mandolin player and dance caller Larry Edelman. Songer (Portland Collection), 1997; pg. 181. D & R 128, Larry Edelman - “Timepieces” (1988).

                       

SHE WANTS A FELLOW. English, Jig. D Major. Standard tuning. AABB.

X: 1
T:She Wants A Fellow
M:6/8
L:1/8
R:Jig
Z:C.G.P
K:D
c|d2DF2D|ABA ABc|d2A GFE|FDD Dfe|d2DF2D|!ABA ABc|d2A GFE|FDDD2:|
|:A|dcd Bcd|efd cBA|!dcd efg|fdd def|gfg Bcd|efd cBA|d2A GFE|FDDD2:|]

                       

SHE WAS THE PROUD ONE. AKA and see “Swaggering Jig [1],” “Give Us a Drink of Water [2]." Irish, Slip Jig.

                       

SHEÁIN COUGHLAN’S [1]. Irish, Slide. G Major. Standard tuning. AABB. Source for notated version: set dance session music at Na Píobairí Uilleann, recorded in the 1980's [Taylor]. Taylor (Music for the Sets: Yellow Book), 1995; pg. 37.

 

SHEÁIN COUGHLAN’S [2]. Irish, Slide. A Major. Standard tuning. AABB. Source for notated version: set dance session music at Na Píobairí Uilleann, recorded in the 1980's [Taylor].Taylor (Music for the Sets: Yellow Book), 1995; pg. 38.

                       

SHEALA NI CHONALLAIN. AKA and see "Little Celia Connellan [1]."

                       

SHEALING IN THE BRAES OF RANNOCH, THE (Bothan airidh 'm braighe Raineach). Scottish, Slow Air (3/4 time). G Dorian. Standard tuning. AB. "The Shieling in the Braes of Rannoch is also given as acquired from the same gentlemen, and more recently sung by Colonel John Ross of the 86th Regiment" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 54, pg. 19.

X:1

T:Shealing in the Braes of Rannoch, The

T:Bothan airidh ‘m braighe Raineach

M:3/4

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G Minor

G>A|d2f2 =e>c | d2c zG>A | d2 f2 =e>d | c2F zc>A | c2d2 c>d | F2G zd>c |

A2F2G2| A2G z || d>^f | g2b2a>g | f2d zd>^f | g2b2a>g | f2d zf>=e | d2c zA>G |

F2G zd>c| A2F2G2 | A2G z ||

                       

SHEAMUIS BHIG A’ bhFUIL OCRAS ORT?, A (Little Seamus are you Hungry?). AKA and see “The Roving Bachelor.” Irish, Highland. Ireland, Donegal. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 92 (bottom. Appears as “Untitled Barndance” although it is a Highland).

                       

SHEAMUS O'BRIEN. AKA and see "Shamus O'Brien."

                       

SHEAN TREWS. See “Sean Trews.”

           

SHEAR ‘EM.  AKA and see “Share ‘Em.” “Cotton Baggin,” “Julianne Flanagan,” “Old Sharon,” “Sharon,” “Shear My Sheep, Stephen,” “Shear the Sheep, Bobbie.”

           


SHEAR MY SHEEP, STEPHEN. Old‑Time. The tune was recorded by the Troy Herald of July 6, 1926, as having been played at a fiddlers' convention at the Pike County (Alabama) Fairgrounds.

                       

SHEAR THE SHEEP, BOBBIE.  AKA and see “Cotton Baggin,” “Julianne Flanagan,” “Old Sharon,” “Share ‘Em,” “Sharon,” “Shear ‘Em.”

 

SHEARING THE SHEEP [1] ("Ag Bearrad na Caoire" or "Ag Lomairt na Gcaorac"). AKA and see "The Red-Haired Lass." AKA – “Dipping the Sheep.” Irish, Reel. A Major. Standard tuning. AABB. Very similar to the well-known “Red-Haired Lass.” Parts of the tune bear a striking resemblance to parts of "The Boys of Portaferry." AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen). Miller (Fiddler’s Throne), 2004; No. 245, pg. 149. O'Neill (Krassen), 1976; pg. 154. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 734, pg. 129. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1515, pg. 280. Atlantica Music 02 77657 50222 26, Kim Vincent - “Atlantic Fiddles” (1994). Islander Records, Kim Vincent - “Welcome Paddy Home” (1989).

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:Shearing the Sheep [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 734

Z:AK/Fiddler’s Companion

K:A

EAAB ABcB|ABcA BF F2|EAAB ABce|faec d2 cB|A3B ABcB|ABcA BF F2|

EA (3ABA ABce|faec A2 cd||e2 ae feaf|eaec d2 cd|e2 ae fefb|afec d2 cd|

e2 ae feaf|eaec d2 cB|c2 cB cefb|afec dBcA||

 

SHEARING THE SHEEP [2]. Irish, Air (3/4 time). D Minor/F Major. Standard tuning. One part. Source for notated version: "Mr. John Healy, Teacher of Smithstown National School near Castle comer, Co. Kilkenny (c. 1884). He was then over 70 years of age, and had learned these tunes early in life" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 339, pg. 156.

X:1

T:Shearing the Sheep [2]

M:3/4

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:F

AG|F2D2D2|F2G2A2|c2A2G2|F4F2|F4G2|A2c2c2|d2e2f2|e2d2c2|

d4c2|c4AG|A2c2c2|d2e2f2|e2d2c2|c2d2e2|f4d2|c2A2F2|F2G2A2|c2A2G2|F4F2|F4||

 

SHEBA’S JIG.  Canadian, Jig. Canada, Cape Breton. B Flat Major. Standard tuning. AABB’. Composed by the late Cape Breton fiddler and composer Jerry Holland (1955-2009). Cranford (Jerry Holland: The Second Collection), 2000; No. 245, pg. 89.

           

SHEE CALAUGH AWARA MEA. Irish, Jig. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 167, pg. 40.

           

SHEE LA NA QUIRA. See “Sheela O’Gara [2].”

                       

SHEEBEG, SHEEMORE ("Si B(h)eag, Si M(h)or"). AKA and see “Si Bheag, Si Mhor.”

                       

SHEEHAN’S (JIG).  AKA and see “Tom Billy Murphy’s.”

 


SHEEHAN'S REEL ("Seisd Uí Seadacain" or "Cor Uí Seadacain"). AKA – “Sheahan’s Reel.” AKA and see "Black-Eyed Sailor," “Broom Reel,” “Joe O’Connell’s,” "Lord Wellington [2]," “Wellington’s Reel [1].” Irish, Canadian, American; Reel. USA, New England. Canada; Cape Breton, Prince Edward Island. G Major. Standard tuning. AB (O'Neill/1850, 1001 & 1915, Silberberg): AAB (Taylor): AABB (most versions). Perlman (1996) notes this is one of the most widely played tunes on Prince Edward Island. The great Sligo/New York fiddler Michael Coleman called the tune “Wellington’s,” although that title also refers to other tunes. Philippe Varlet says the tune was popular in the 78 RPM era and recorded often. Fiddler Hugh Gillespie recorded it on a 78 under the title “Joe O’Connell’s,” while Sligo born James Morrison recorded it as “Lord Wellington’s.” Pipers Leo Rowsome and Liam Walsh recorded the tune separately in the same year, under the title “Broom Reel.” Sources for notated versions: Frank Ferrel (Seattle/Mass.) [Brody]; Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings County, Prince Edward Island) [Perlman]; set dance music recorded live at Na Píobairí Uilleann, in the 1980’s [Taylor]; Ruthie Dornfeld [Silberberg]. Breathnach (CRÉ II), 1976; No. 161 (appears as “Gan anim/Untilted Reel”). Breathnach (CRÉ III), 1986; No. 110. Brody (Fiddler’s Fakebook), 1983; pg. 254. Miller & Perron (Irish Traditional Fiddle Music), 1983; No. 131. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 242, pg. 127 (appears as “Sheahan’s Reel”). O'Neill (Krassen), 1976; pg. 98. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1213, pg. 229. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 490, pg. 94. Peoples (Fifty Irish Fiddle Tunes), 1986; 19. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 53. Sannella, Balance and Swing. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 142. Songer (Portland Collection), 1997; pg. 181. Taylor (Crossroads Dance), 1992; No. 19, pg. 15. Taylor (Music for the Sets: Yellow Book), 1995; pg. 16. Tolman (The Nelson Music Collection), 1969; pg. 12. Atlantica Music 02 77657 50222 26, Natalie MacMaster - “Atlantic Fiddles” (1994). Canadian Broadcasting Corp. NMAS 1972, Natalie MacMaster - "Fit as a Fiddle" (1993). Front Hall 08, Alister Anderson‑ "Traditional Tunes" (1976. Learned from piccolo player John Doonan). Kicking Mule 706, Tom Gilfellon‑ "Kicking Mule's Flat Picking Guitar Festival." Rounder 7004, Joe Cormier‑ "The Dances Down Home" (1977). Rounder 82161-7032-2, Bill Lamey – “From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977” (2000). Shanachie - "The Pure Genius of James Morrison." Shaskeen - "Atlantic Breeze" & "Shaskeen Live." Voyager 320‑S, Frank Ferrel & Graham Townsend ‑ "Fiddle Tunes" (1977). De Dannan – “Star Spangled Molly.” “Temple House Ceili Band” (1st album). Dubliners – “Dubliners’s Dublin.” Jerry Holland – “The Fiddlesticks Collection.”

X:1

T:Sheehan’s

M:4/4

L:1/8

S:learned from David Kidd

R:reel

Z:Lorna LaVerne

K:G

|: G2BG DGBG | AGAB cBAG | EAAG ABAG | FGAG FDEF |

G2BG DGBG | cBAB cdef | gedB c2Bc | dBcA BGG2 :|

(3ggg bg dgbg | gbag fdde | (3fff af dfaf | gbag fdef |

(3ggg bg dgbg | gbag fdef | gedB c2Bc | dBcA BG G2 |

(3ggg bg dgbg | gbag fdde | (3fff af dfaf | gbag fdef |

g3b a3f | gbag fdef | gedB c2Bc | dBcA BG G2 |

N:The first phrase is also played G2BG DGBG | ABcA BGGB | A3 B cABG | EAAG FDEF |...

X:2

T:Sheehan’s Reel

M:C|

L:1/8

K:G
G2BG DG BG|AB cA BG GB|AE AB cB cA|EA AG FD EF|

G2BG DG Bd|cB AB cd ef|ge dB c2Bc|dB cA BG G2:|

|:g2bg dg bg|gb ag fd de|=f2af df af|gb ag =fd d^f|

g2bg dg bg|gb ag fd de|(3gfe dB c2Bc|dB cA BG G2:|

X:3

T:Sheehan’s

S:Paul O'Shaughnessy

Z:Juergen.Gier@post.rwth-aachen.de

M:C|

L:1/8

K:G

G2BG DGBG|ABcd BGGF|EAAB cBcA|EcAG FDEF|\

G2BG DGBd|ceAB cdef|gedB c2Bc|1dBcA BGAF:|2dBcA BGBd|:\

g2bg dgbd|gbag fddg|f2af cfaf|gbag fdef|\

g2bg dgbd|gbag fdef|gedB c2Bc|1dBcA BGBd:|2dBcA BdAF|]

"Var. 2nd part"g2bg gabg|gfga fddg|fgaf dfaf|ge^ce fdef|\

gfgb agba|gbag fdef|gedB ~c2Bc|dBcA BdAF|]

X:4
T:Sheehan's Reel
T:Wellington's Reel
A:Irish (Cape Breton Setting)
S:David Greenberg/John Erdman
D:Natalie MacMaster - Fit as a Fiddle
M:C|

L:1/8
E:7
R:reel
K:G
"G"G2 BG DGBG | "D"ABcA "G"BGGB | "Am"A^GAB cAB=G | EAAG "D"FDEF|
"G"G2 BG DGBd | "C"cBAB "D"cdef | "G"gedB "C"c/c/c Bc | "D"dBcA "G"BG G2 :|
"G"g2 bg dgbg | gbag fdde | "D"f2 af dfaf | gbag fdef|
"G"g/g/g bg dgbg | gbag "D"fdef |"G"gedB "C"c/c/c Bc | "D"dBcA "G"BGG2 :|

                       

SHEEHAN’S (SLIDE).  See the related “Is Your Wallet Made of Silk?”

 

SHEELA BEG NI CHONALLAIN. AKA and see "Little Celia Connellan [1]."

                       

SHEELA NA GIGG. Irish, Air. Sheela na Gig is the name of a Celtic fertility goddess. Used in Kane O’Hara’s ballad opera Midas (1764).

                       

SHEELA NI KELLY. AKA and see "Susai Ni Chellaigh."

                       


SHEELA O'GARA ("Sighile/Síle Ní Ghadhra" or "Sigle Ní Gadra"). AKA ‑ “Sheila na Guira,” "Shee La Na Quira," "Sheela Nee Ghadra." AKA and see “Drunken Parson.” Irish, Air (3/4 time). G Mixolydian. Standard tuning. AAB. "Of this fine air there are two very distinct versions, of which one is represented in Moore's Melodies, with the words 'Oh, had we some bright little isle of our own;' with sixteen bars in each Part. The version generally known in Cork and Limerick has twenty bars in the second Part; and in other respects it is considerably different from Moore's setting. The songs composed to sing to this‑‑whether Irish or English‑‑have always five lines in the second part of each verse to correspond with the twenty bars of the air (instead of four lines as in Moore's song). I find among the Pigot MSS a setting of this version: but on the whole I prefer my own, which I give here, with one verse of the English song‑‑both from memory as I learned them in boyhood. 'Sheela Nee Guira' was one of the numerous allegorical names of Ireland; and this song was a patriotic one, though it could be sung with safety in the time of the Penal Laws, as it was in the guise of a love song. See 'The Blackbird'..." (P.W. Joyce). Darley & McCall also identify the song as symbolic of Ireland, and say the Irish lyric was written by Tadg O'Sullivan, to whom it is credited in O’Daly’s Poets and Poetry of Munster (1849). Kane O’Hara used the melody for his ballad opera Midas (1764). Other early sources in which the air appears are Burke Thumoth’s 12 Scottish and 12 Irish Airs collection of c. 1750 (or 1744, depending on the opinion--it appears as “Chiling O guiry”) and Walker’s Historical Memoirs of the Irish Bards (1786). O’Farrell printed it with six sets of variations in his National Irish Music for the Union Pipes (1804) under the title “Sheeling O Guira.” It is still very much a part of the living tradition (Ó Canainn, 1978).

***

Source for notated version: Rev. Father Gaynor, C.M. (Cork, Ireland), collected from his playing at one of the Feis Ceoil competitions of the early 20th century [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Traditional Irish Dance Music), 1914/1984; No. 57, pg. 25. Joyce (Old Irish Folk Music and Song), 1909; No. 742, pg. 367. O’Farrell (National Irish Music for the Union Pipes), 1804; pgs. 24-25 (appears as “Sheeling O Guira, with new Variations”). O’Farrell (Pocket Companion), c. 1805; pg. 13.

X:1

T:Sheela Nee Guira

T:Síghile Ni Ghadhra

M:3/4

L:1/8

N:”Moderate”

S:Joyce – Old Irish Folk Music and Song (1909)

Z:AK/Fiddler’s Companion

K:G

BA | G2B2B2 | B2d2d2 | c2d2B2 | B2d3c | B2G2G2 | B2d2 (3cAG | {B}A2G2G2 |                                         

G6 :| BA | B2=f2e2 | =f2g2g2 | =f2 d2 dc | B3c (3AGF | G2 =f2e2 | =f2g2g2 |

=f2 dcBc | d4G2 | G2 =f2e2 | =f2g2 ag | =f2 d2 (3de^f | g4 ag | f2d2B2 |

B2d2d2 | c2d2B2 | B2d3c | B2G2G2 | B2d2 (3cAG | A2G2G2 | G4 ||

X:2

T:Sheeling O Guira with new Variations

M:3/4

L:1/8

R:Air

S:O’Farrell – Pocket Companion (c. 1805)

Z:AK/Fiddler’s Companion

K:G

BA | G2B2B2 | A2c2c2 | G2B2B2 | c4 BA | G2B2d2 | c2A2d2 | B2G2G2 | G4 :|

|: D | GA(Bc)(de) | =f4 ag | f2d2B2 | c4 BA | G2B2d2 | g4 ag | f2d2f2 | g4 BA |

G2B2B2 | A2c2c2 | G2B2B2 | c2e2g2 | (ed)(cB)(AG) | (FG)(AB)(cA) | B2G2G2 |

G4 :: (GB)(dB)(AG) | (Ac)(ec)(BA) | (GB)(dB)(cB) | (Ac)(ec)(BA) | (GB)(dB)(AG) |

(FG)(AB)(cA) | B2G2G2 | G4 :: d | g3ag2 | g2b2g2 | e2c2c2 | c4 fg | a3b a2 | a2b2g2 |

f2d2d2 | d4 ef | g3ag2 | g2b2g2 | e2c2B2 | c2e2g2 | (ed)(cB)(AG) | (FG)(AB)(cA) |

B2G2G2 | G4 :: G | (DG)(BG)(BG) | DAcAcA | DGBGBG | c2e2g2 | (ed)(cB)(AG) |

(FG)(AB)(cA) | B2G2G2 | G4 :: d | gdgbag | fdfagf | gdgbag | fdfagf | g2d2B2 |

c2A2d2 | B2G2G2 | G4 :: D | GdBdGd | FdAdFd | GdBdGd | FdAdFd |

EcEcEc | DcDcDc | B2G2G2 | G4 :: GABcde | =f4 ag | f2d2B2 | c4 BA | G2B2d2 |

g4 g2 | e2c2c2 | f2d2d2 | g2 bgdB | c2e2g2 | edcBAG | FGABcA | B2G2G2 | G4 :|

 

SHEELA O’GARA [2].  AKA – “Shee La Na Quira,” "Sheela O'Gara," "Sheela Nee Guira," "Sighile Ní Ghadhra," “Sile Ní Ghuire.” Irish, Jig. G Major. Standard tuning. AABB. New York City researcher, writer and musician Don Meade identifies the title as a “corruption of Sile Ní Ghadhra or Sheela Nee Iyer, who symbolized Ireland in the song of that name.” Breathnach (CRÉ V), 10 (appears as untitled jig, source unknown). Cole (1000 Fiddle Tunes), 1940; pg. 62. Ryan’s Mammoth Collection, 1883; pg. 92.

X:1

T:Shee La Na Quira

T:Sheela O’Gara [2]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D|GBB Acc|GBB c2e|dcB Adc|BFA GDB,|GBB Acc|GBB c2e|

dcB Adc|BGG G2::B|GBd g2d|ecc c3|Ace a2g|

fdd d3|GBd g2d|ecc d2c|BGB cAd|BGG G2:|

 

SHEELA O’GARA [3]. AKA and see “Oh, Sheela My Love.”

                       

SHEELAH IN SORROW. AKA and see "Be Easy, You Rogue!"

                       

SHEELAH O'SHANNON. AKA and see "Denis Delaney."

                       

SHEELAH'S WEDDING. AKA and see "St. Patrick's Day (in the Morning)."

                       

SHEELA’S KISS. Irish, Slip Jig. D Major. Standard tuning. AABBCC. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 82, pg. 37.

X:1

T:Sheela’s Kiss

M:9/8

L:1/8

R:Slip Jig

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:D

(FGA) (ABc) d3 | (FGA) (AB=c) B3 | (FGA) (ABc) d3 | FGA AB=c B3 ||

d2d d2d cBA | B2B B2B AFD | d2d ded cBA | B2B Bcd AFD ||

G2A (BGE) (BGE) | G2A (BGE) (AFD) | G2A (BGE) (BGE) | (FGA) (Bcd) (AFD) ||

                       

SHEELINA GRA WILL YOU BE MINE. Irish, Air (6/8 time). A Minor. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 55.

X:1

T:Sheelina Gra Will You Be Mine

M:6/8

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:A Minor

EAA AGA | BGG GAB | cdc BAG | AGE E2 :| c/d/ | e>fe ded | BGG GBd |

efe dec | BGE c2d | efe de(d/c/) | BGG GAB | cdc BAG | AGE E2 ||

                       

SHEEP, THE. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AA’BB. Composed by teacher, musician, composer, dancing master and fiddler Robert Whinham (1814-1893), originally from Morpeth. Source for notated version: an unattributed late 19th century manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 21.

           

SHEEP ALL IN CLUSTERS.  English, Air (6/8 time). G Major. Standard tuning. AB. This unusual air (with 11 bars per strain) appears in the 1840 music manuscript collection of musician John Rook, Cumbria. Alexander Wilson (1766-1816), in his poetical works, directs his song “Matilda” be sung to the air of “Her Sheep all in Clusters.” Likewise, Robert Tannahill directs his song “Though Humble My Lot” to the air “Her Sheep had in Clusters.” The song “Her sheep had in clusters crept close to a grove” appears in a number of late 18th and early 19th century songsters on both sides of the Atlantic. American publications include Samuel Campbell’s American Songster (New York, 1788), William Spotswood’s Vocal Remembrance (Philadelphia, 1790), Livingston’s Vocal Muse (Philadelphia, 1792), The Medley (Philadelphia, 1795), Isaiah Thomas’s Skylark (Worcester, 1795 & 1797), The Columbian Songster (New York, 1797), Daniel Wright’s American Musical Miscellany (Northampton, 1798), and The Nightingale (Dedham, 1800). In addition, the air appears in several American musicians’ manuscript copybooks of the period, including Luther Kingsley (Mansfield, Conn., 1795), John Turner (Norwich, Conn., 1788), Jonathan Shipley Copp (1799), and Wilkes Allen (1790-1801). The song is a setting of Cunningham’s pastoral poem “Corydon and Phylis,” which begins:

***

Her sheep had in clusters crept close by the grove,

To hide from the rigours of day;

And Phillis herself, in a woodbine alcove

Among the fresh violets lay:

A youngling, it seems, had been stole from its dam

(Twixt Cupid and Hymen a plot)

That Corydon might, as he search’d for his lamb

Arrive at this critical spot.

***

X:1

T:Sheep all in Clusters

M:6/8

L:1/8

R:Air

S:John Rook manuscript (1840, Cumbria)

Z:AK/Fiddler’s Companion

K:G

D|GBA Bcd|dge d2e|dBd cBA|G2 z2 G/A/B|ABc dAA|GEG FGA|BAG FGE|

DFF FAA|Add d2B|{d}AGF {A}GFE|D3 z2||d/B/|GAB cde|FGA B2D|EcB cAG|

{A}F2 z2D|GBA Bcd|dge d2e|dBd cBA|GBB .B.d.d|.d.g.g g2e|dBd cBA|G3 z2||

                                   


SHEEP AND HOGS WALKING THROUGH THE PASTURE. Old‑Time, Breakdown. USA, Ky. See note for “Wolves a Howlin’.” Rounder 0032, Buddy Thomas (Northeast Ky.) ‑ "Kitty Puss: Old‑Time Fiddle Music From Ky." Voyager VRCD-354, Hart & Blech – “Build Me a Boat” (appears as “Sheep and Cows Walking Through the Pasture”).

                       

SHEEP IN THE BOAT, THE.  Irish, Jig. A reworking of the air “Anach Cuain” by Clare fiddler Junior Crehan.

 

SHEEP ON THE MOUNTAINS, THE ("Na Caoire Air/Ar na Sleibtib" or "Na Caoirigh ar na Sléibhte"). Irish, Double Jig. D Mixolydian (Breathnach): D Major (O'Neill). Standard tuning. AB. Breathnach (1976) notes this was the version played in Fingal, North County Dublin, and that O’Neill prints another version. See also the related “Oh! Hag You Have Killed Me [1].” P.W. Joyce (1909) printed a version of the tune as an untitled jig from the Pigot Collection. Source for notated version: piper Jack Wade, 1968 (Clones, County Monaghan, Ireland) [Breathnach]. Breathnach (CRE II), 1976; No. 41, pg. 24. Joyce (Old Irish Folk Music and Songs), 1909; No. 833, pgs. 403-404 (appears as untitled jig). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 831, pg. 155. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 95, pg. 31.

X:1

T:Sheep on the Mountains, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 95

Z:AK/Fiddler’s Companion

K:D

D||F3G3|A<dB cAG|A3 ~d3|A3 ~d3|F3G3|A2d cAF|~G3 AFD|G3 AFD|F3G3|

A<dB cAG|AB/A/G/A/ D3|AB/A/G/A/ d3|FFF GGG|A<dB cAF|~G3 AFD|GFE D2||

f|fed efg|afd cAG|A3 ~d3|A3 ~d3|fed efg|afd cAF|~G3 AFD|G3 AFD|

fed efg|afd cAG|A3 ~d3|A3 ~d3|f3 ~g3|afd cAF|~G3 AFD|~G3 AFD||

X:2

T:Untitled

M:6/8

L:1/8

R:Jig

N:”Softly and not too quick” (Miss G.).

B:P.W. Joyce – Old Irish Folk Music and Songs, No. 833  (1909)

Z:AK/Fiddler’s Companion

K:D Mixolydian

F3 G3|A3 cAG|A3 d3|A3 d3|F3 G3|A2d cAF|

G3 AFD|~G3 AFD|~F3 G3|A3 cAG|c B/A/G/A/ d3|

A B/A/G/A/ d3|FF/E/F/F/ GG/F/G/G/|A2d cAF|GGG G2A|GGG G3||

=fed e^fg|{a}afd cAG|A3 d3|~A3 d3|=fed e^fg|

afd cAF|G3 AFD|~G3 AFD|=fe3d e^fg|{f}afd cAG|

A3 d3|A3 d3|~f3 g3|{f}afd cAF|~G3 AFD|~G3 AFD||

                       

SHEEP SHANKS. AKA and see “Miss Maule’s Reel.” Scottish, Reel. A Major. Standard tuning. AAB (Athole, Hunter): AABB' (Gatherer, Kerr). An 18th century composition by Robert ‘Red Rob’ MacIntosh (1745-1807), a contemporary of Niel Gow, originally titled “Miss Maule’s Reel.” It is among MacIntosh’s more popular melodies among Cape Breton fiddlers. Gatherer (Gatherer’s Musical Museum), 1987; pg. 12. Hunter (Fiddle Music of Scotland), 1988; No. 252. Kerr (Merry Melodies), vol. 3; No. 98, pg. 12. Lowe, Lowe's Collection of Reels, Strathspeys and Jigs, Book 6. Stewart-Robertson (The Athole Collection), 1884; pg. 27.

X:1

T:Sheep Shanks

M:C|

L:1/8

R:Reel

B:Stewart-Robertson – The Athole Collection  (1884)

Z:AK/Fiddler’s Companion

K:A

g|a2ed cAec|Bcde fBbg|a2ed cAec|dfec A/A/A A:|

e|cAEA cAec|Bcde fBfd|cAEA cAec|dfec A/A/A Ae|cAEA cAec|

Bcde fBfd|deae dfba|gefg aAA||

                       


SHEEP-SHEARERS, THE. AKA and see "Next Oars." Irish, Slip Jig or Air (9/8 time). D Mixolydian. Standard tuning. AB. Joyce obtained the melody from the Pigot collection. Joyce (Old Irish Folk Music and Songs), 1909; No. 723, pg. 360.

X:1

T:Sheep-Shearers, The

T:Next Oars

M:9/8

L:1/8

R:

S:Joyce – Old Irish Folk Music and Songs, No. 723  (1909)

Z:AK/Fiddler’s Companion

K:Dmix

dAc BGB AFA|c3 c>dc B2A|dAc BGB AFA|d3 d>ec d2A||

dAG F2G A3|c3 c>dc B2A|dAG F2G A3|d3 d>ec d2A||

                       

SHEEP SHEERING.  English, Jig. G Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s third country dance collection (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 36.

X:1

T:Sheep Sheering, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)

Z:Transcribed and edited by Flynn Titford-Mock, 2007

Z:abc’s:AK/Fiddler’s Companion

K:G

d2g B2g|ABG FED|dgB ced|cBA G3:|

|:BGB cec|BGB cec|g2f g2d|cBA G3:||

 

SHEEP SHELL CORN BY THE RATTLING OF HIS HORN. AKA and see "Fuller's Reel." Old‑Time, Breakdown. USA; Virginia, Arkansas. A Major ('A' part) & D Major/A Major ('B' part). Standard tuning. AB (Silberberg): AABB (Kuntz, Phillips). The title (as "Sheepie Shell Corn") appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Brad Leftwich calls the melody "Fuller's Reel" after his source, who had no name for it.

***

Never seen the like since I was born,

Sheep shell corn by the rattlin' of his horn.

***

Corn's in the cupboard and the butter's in the churn,

Never seen the like since I was born.

***

Sheep shell corn by the rattle of his horn,

Never seen the like since I was born.

***

Sheep shell corn by the rattle of his horn,

Swing that gal with the red dress on.  (Highwoods)

***

African-American collector Thomas Talley (born c. 1870) printed a song called “Sheep Shell Corn” in his 1922 book Negro Folk Rhymes (set to a completely different tune), that contains the first line of the Highwood’s song, but introduces a supernatural element to the lyric:
***

De Ram blow de ho’n an’ de sheep shell co’n;

An’ he sen’ it to de mill by de buck-eyed Whoppoorwill.

Ole Joe’s dead an’ gone but his Hant blows de ho’n;

An’ his hound howls still from de top o’ dat hill.

***

De Fish-hawk said unto Mistah Crane;

I wishes to de Lawd dat you’d sen’ a liddle rain;

Fer de water’s all muddy, an de creek’s gone dry;

If it ‘twasn’t fer de tadpoles we’d all die.

***

When de sheep shell co’n wid de rattle of his ho’n,

I wishes to de Lawd I’d never been bo’n;

Caze when he Hant blows de ho’n, de sperits all dance,

An’ de hosses an’ de cattle, dey whirls ‘round an’ prance.

***

Yonder comes Skilled an’ dere goes Pot;

An here comes Jawbone ‘cross de lot.

Walk Jawbone! Beat de Skilled an’ de Pat!

You cut dat Pigeon’s Wing, Black Man!

***

Take keer, gemmuns, an’ let me through,

Caze I’se gwinter dance wid liddle Mollie Lou.

But I’se never seed de lak since I’se been born,

When de sheep shell co’on wid de rattle of his ho’n!
***

Sources for notated versions: Emmet Lundy (Grayson County, Virginia) and the Highwoods String Band (N.C.) [Kuntz]; Walt Koken & Bob Potts with the Highwoods String Band [Phillips]. Kuntz (Ragged but Right), 1987; pg. 357‑358 (two versions). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 217. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 142. Heritage 056, Highwoods String Band‑ "The Young Fogies" (various artists). In the repertoire of Luther Davis, Galax, Va. Marimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986).

X:1

T:Sheep Shell Corn by the Rattling of his Horn

L:1/8

M:2/4

B:Kuntz – Ragged but Right

K:A

(e|e/)f/e/d/ c/B/A/c/|B/A/B/c/ d(e|e/)f/e/d/ c/B/A/c/|B/A/B/c/ A:|

K:D

|:(3A/B/c/|df e/d/B/A/|d/e/f g(3A/B/c/|df e/d/B/A/|B/A/B/c/ A:|

K:A

(e|e/)c/c/c/ e/c/c/c/|B/A/B/c/ d(e|e/)c/c/c/ e/c/c/c/|B/A/B/c/ A(e|

e/)(A/c/)(e/ e/)(A/c/)(A/|B/)A/B/(c/ d)(e|e/)(A/c/)(e/ e/)(A/c/)(A/|

B/)A/B/c/ A(3A/B/c/||

K:D

d/d/f/d/ e/(d/B/A/)|d/e/f/(f/ g)(3A/B/c/|d/d/f/d/ e/(d/c/A/|B/A/B/(c/ A)(3A/B/c/|

d/d/f/d/ e/(d/B/A/)|d/[df][d/f/] [d>g>](e|f/)(g/a/f/) ec/A/|B/A/B/(c/ A||

                       

SHEEP SHUCKIN' CORN. See "Sheep Shell Corn by the Rattling of His Horn"

                       

SHEEP SKIN AND BEES WAX. Canadian, Reel. Canada, Québec. A Dorian/Mixolydian. Standard tuning. AB. The tune is from the playing of the Irish community of Valcartier, northwest of Québec City, particularly fiddler Eric Corrigan (b. 1931), and is traditional. Eric’s cousin Keith Corrigan (b. 1933), an accordion player also from Valcartier, learned the tune from his father, Patrick. This ditty was sung to the melody when they were children, according to Hart & Sandell:

***

Sheepskin and beeswax,
It made the mighty plaster
The more you tried to get it off
The more it stuck too faster.

***

The tune has been recorded by La Bottine Souriante and by Chicago fiddler Liz Carroll (who had it from fiddler Lisa Ornstein and Denis Pépin). Normally a 16 measure reel, La Bottine Souriante recorded it as a 32 bar reel, doubling the parts. The group has been so influential that Montréal fiddlers mostly play it in the 32 bar version, according to Pascal Gemme. Source for notated version: Keith Corrigan, via Lisa Ornstein [Hart & Sandell]. Hart & Sandell (Dance ce Soir), 2001; No. 43, pg. 77. La Bottine souriante – “a Mistrine” (1994). La Bottine souriante – “En spectacle” (1996). Lisa Ornstein & Denis Pepin – “Danseries de la belle provcince” (1984).

X:1

T:Sheepskin and Bee’s Wax

M:4/4

L:1/8

Z:David Clark x97xvp@stfx.ca

K:Ador

A2 AA BAGB | AGAa gfef | g2 fd efed | Beed BAAG |

EA (3AAA BAGB | AGAa gfef | gefd efed Beed BAAB |

a2 ab agga | bagf edef | gefd efed | Beed BAAB |

a2 ab agga | bagf edef | gefd efed | Beed BAAG :|

X:2

T:Bee’s Wax, Sheep Skins

M:2/4

L:1/8

R:Reel

S:Pacal Gemme

K:Amix

E/A/A/A/ B/A/G/B/|A/G/A/a/ g/f/e/f/|g/e/f/d/ e/f/e/d/|B/e/e/d/ B/A/A:| x4

|:aa/b/ a/g/g/a/|b/a/g/f/ e/d/e/f/|g/e/f/d/ e/f/e/d/|B/e/e/d/ B/A/ A:| x4

                       

SHEEP UNDER THE SNOW. Manx, Slow Air (3/2 time). G Dorian. Standard tuning. One part. A traditional Manx air from the 18th century. The song tells of a farmer who has lost his sheep in the snow, and, when he finds them frozen to death he dies of sorrow. Walker (1924) thinks it one of the best Manx airs (“beautiful”), and says that it has “a tinge of expression not exactly paralleled elsewhere in the British Isles. Walker (History of Music in England), 1924, No. 114, pg. 325. Flying Fish FF‑407, Robin Williamson ‑ "Winter's Turning" (1986). Charles Guard - “Avenging and Bright.”

X:1

T:Sheep under the snow, The

M:3/2

L:1/8

S:WalkerHistory of Music in England (1924)

K:Gdor

G3A|B4 D4 D3C|D4F4 G3F|D4d4c4|d4 d3c|f4e4 f3d|d2c2A4 F3A|

G3F D3C D3F|G4 G3A|B3c d4 B2d2|c3A F4 G3A|B4c4 d3e|

f4 G3A|B3c d4 B2d2|c2A2 F4 B3A|G3F D3C D3F|G4||

                       

SHEEPIE SHELL CORN. See "Sheep Shell Corn..."


                       

SHEEPS AND COWS A-WALKING THROUGH THE PASTURE. Old-Time, Breakdown. From Roscoe Parish.

                       

SHEEPS AND HOGS WALKING THROUGH THE PASTURE. Old-Time, Breakdown. USA, Ky. G Major. Standard tuning. AA'BB'A'BB'. Source for notated version: Buddy Thomas (northeast Kentucky) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 217.

                       

SHEEP’S IN THE MEADOW. Old-Time, Breakdown. G Major. Standard tuning. AABB. From the playing of fiddler Gaither Carlton of Deep Gap, North Carolina.

X:1

T:Sheep's In The Meadow

C:Traditional

S:Gaither Carlton, Deep Gap, NC

H:From tape of Mr. Carlton recorded by

H:Tom Carter, 3/18/72.

Z:Joel Shimberg

M:C|

L:1/8

K:G

A2d2 BAGB|A2d2 G3G|A2d2 BAGB|A2A2G4::d2g2eddg|

ega2a3g|egag edBB|AGG2G4:|

                       

SHEEPSKIN AND BEESWAX. See “Sheep Skin and Bees Wax.” Canadian, Reel.

 

SHEEPSKINS. See “Three Jolly Sheepskins.” 

                       

SHEFFIELD HORNPIPE [1], THE. English, Hornpipe. England, Northumberland. D Major. Standard tuning. AABB. The town of Sheffield, Yorkshire, has been an industrial center in northern England for centuries. It has historically been especially famous for its knives and edged tools; the miller in 'The Reeves Tale' by Chaucer wore a Sheffield dagger in his hose. There was a long-vanished castle at Sheffield, on the site of the Castle Market and a former shopping center. It was the primary prison of Mary, Queen of Scots, throughout the 1570’s. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 42. Miller (Fiddler’s Throne), 2004; No. 313, pg. 184. Raven (English Country Dance Tunes), 1984; pg. 185. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 27.

X:1

T:Sheffield Hornpipe [1]

M:C|

L:1/8

R:Hornpipe

K:D

FE|D2 FA d2 dc|BGBd A2 Ad|c2 ce d2 df|ecdB AFGE|

D2 FA d2 dc|BGBd A2 Ad|BGBd cAce|d2f2d2:|

|:cd|ecA/A/A A2 de|fdA/A/A A2 ef|gefd ecdf|ecdB AFGE|

D2 FA d2 dc|BGBd A2 Ad|BGBd cAce|d2f2d2:|

 

SHEFFIELD HORNPIPE [2]. English, Hornpipe. England, Yorkshire. C Major. Standard tuning. AABB. A different tune than "Sheffield Hornpipe" [1]—Barry Callaghan (2007) calls it “the other” “Sheffield Hornpipe.”. In addition to its appearance in the Leadley manuscripts, the “Sheffield Hornpipe [2]” also can be found in the early 19th century music manuscripts of Joshua Burnett (Worsborough, south Yorkshire) and John Hall (Northumberland). 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. 45, pg. 40.

                       

SHEGUIANDAH BAY. AKA and see “Perth Waltz.” Canadian, Waltz. Canada, Ontario. Composed by fiddler and Ontario Provincial Police Officer Don Pettigrew, who used to compete in the Perth, Ontario, fiddle contest (hence the alternated title). It is often locally paired with another of Pettrigrew’s waltzes, “Wilhemine’s Rose.”

                       

SHEILA COYLE’S. Irish, Reel. D Major. Standard tuning. AABB. Bill Black (1996) states that the tune is popular in Boston at this time. Fiddler Seamus Connoly (Lowell, Mass.) gives that the tune is entitled after a young fiddler from the Chicago area who played it for him. The liner notes to an obscure LP album released in 1981 by the Chicago Irish Musician’s Association (“Chicago Irish Musicians”), indicate that Sheila and her father Jimmy, a box player originally from Belmullet, were active at the time:

***

Sheila is eleven years old and lives in River Grove, Illinois. At the age of eight she started taking Suzuki

lessons from Mrs. Wurman in Oak Park, Illinois. Shortly after, she started taking lessons from Liz

Carroll, who won the Senior All-Ireland Fiddle Championship in 1975. Sheila won first place under

twelve in the Chicago Fleadh Cheoil in 1980 and 1981. Sheila has a love for Irish music from

listening to her father since she was born. 

***

The second part of “Sheila Coyles” is closely shared with the second strain of Jim Donaghue’s/Donoghue’s” (1910-1990), a whistle player from Drimacoo, Monasteraden, Co. Sligo, and both resemble the third part of “Jackson’s Reel [3].” Black (Music’s the Very Best Thing), 1996; No. 283, pg. 152. Four Men and a Dog – “Barking Mad.

X:1

T: Sheila Coyle's

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: D

AG |: FA A2 FADF | ADFA BAFA | GBBA B3 d | ABdf edBA |

FA A2 FADF | ADFA BAFA | GABd AF (3FEF | EFGE FD D2 :|

df (3fef fgfe | dcdB AFDA | ce e2 fcec | BcdB AFDA |

df (3fef fgfe | dcdB AFDA | GABd AF (3FEF | EFGE FD D2 :|

                       

SHEILA MULHAIRE’S. Irish, Jig. D Major. Standard tuning. AABB. Composed by Martin Mulhaire for one of his daughters. Black (Music’s the Very Best Thing), 1996; No. 357, pg. 190.

X:1

T: Sheila Mulhaire's

C: M. Mulhaire

Q: 325

R: jig

M: 6/8

L: 1/8

K: D

d/e/ | f2 a gfe | fed cAG | FAD FAD | dAF G2 d |

f2 a gfe | fed cAG | FED EFG | Adc d2 :|

A | d2 f afd | Adf afd | ecA AcA | AcA ecA |

d2 f afd | Adf afd | ecA ABc | d3 d2 :||

                       

SHEILA NI GOWNA. AKA and see "The Boyne Water [1]." The title is an Anglicized form of the original Gaelic.

           

SHEILA NÍ GUIRA.  See “Oh, Sheela My Love,” “Sheela O’Gara [3].”

           

SHEILA Ó GARA (Sile Ni Ghadhra). See “Sheela Ó Gara.”

 

SHEILA’S KISS.  Irish, Slip Jig. D Major. Standard tuning (fiddle). AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 73, p. 17.

                       

SHEILING SONG, THE. AKA and see "Maighdeannan Na H‑Airidh."

           

SHELAH O'NEAL. Scottish, Slow Air (6/8 time). F Major. Standard tuning. AAB. "Composed and communicated by Mr. Boswell of Auchinleck" (Gow).  Nathaniel Gow refers not to James Boswell (1740-1795), the 9th Laird of Auchinleck, Ayrshire, anemensis to Dr. Samuel Johnson’s in addition to being an author and diarist, and lawyer.  Rather the song is the work of his son Alexander, himself a lawyer and a poet. It may be that the father did compose the reel “Honorable Mrs. Leslie Cumming.” Carlin (The Gow Collection), 1986; No. 374. Gow (Fifth Collection of Strathspey Reels), 1809; p. 11.

X;1

T:Shelah O’Neal

M:6/8

L:1/8

R:Slow Air

C:Mr. Boswelll of Auchinleck

B:Gow – Fifth Collection of Niel Gow’s Reels (1809)

Z:AK/Fiddler’s Companion

K:F

C|~F>GA (cf)d|(cA)F (GE)C|~F>GA (cf)d|c>Ac F2:||(c/4d/4e/)|f>ed cBA|fe{de}f {d}cBA|

“tr”f>ed cBA|G>FG/A/ D2 (C/D/)|[A,F][A,F][A,F] (AF)A|(cA)c [A2f2] (f/g/)|a(b/a/)(g/f/) ~d>ef|c>Ac F2||

           

SHELBURNE REEL. American, Canadian; Reel. USA, New England. B Flat Major ('A', 'B' and 'C' part) & F Major ('D' part). Standard tuning (fiddle). AABBCCDD. Source for notated version: Ben Guillemette [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; p. 218. Alcazar Dance Series ALC‑201, Jerry Robichaud ‑ "Maritime Dance Party" (1978). John Edwards Memorial Foundation JEMF‑105, Ben Guillemette ‑ "New England Traditional Fiddling" (1978).

           

SHELBURNE ROTARY REEL. Canadian, Reel. Alcazar Dance Series ALC‑201, Jerry Robichaud ‑ "Maritime Dance Party" (1978).

           

SHELBY ROCK. Old-Time, Breakdown. G Major. Standard tuning (fiddle). ABB. Source for notated version: Kenny Baker [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; p. 218.

           

SHELBY’S MULES. AKA and see “Seneca Square Dance.”

                       


SHELDER/SHELDOR/SHALDER GEO. Shetland; Shetland Reel. Shetland, district of Nesting. D Mixolydian. Standard tuning (fiddle). ABB. "A 'shelder' is the local name for an oyster catcher, and 'geo' is the name for an inlet" (Boys of the Lough). "A traditional reel describing the sound of the Oyster Catcher called 'Shelders' in Shetland. Shelder Geo is a place in the North of Shetland where the Shelders nest" (Anderson). Anderson (Ringing Strings), 1983; pg. 85.  Boys of the Lough, 1977; pg. 17. Carlin (Master Collection), 1984; No. 118, pg. 76. Topic 12TS379, Tom Anderson & Aly Bain ‑ "Shetland Folk Fiddling, Vol. 2" (1978). Transatlantic TRA 311, Boys of the Lough ‑ "Lochaber No More."

                       

SHELDON MACNEIL’S REEL. Canadian, Reel. Canada, Cape Breton. The tune was composed by Raymond Ellis and has gathered some currency among modern Cape Breton fiddlers.

                       


SHELVIN ROCK [1]. Old‑Time, Breakdown. USA; Virginia, West Virginia. C Major. Standard tuning. AABB (Brody): AA'BB (Phillips). A ‘shelvin’ rock’ was the generic name for an outcropping of rock and usually a local landmark at which dances were at one time often held. Mark Wilson points out that the title has attached itself to several tunes, not all related. One Virginia/West Virginia tune called “Shelvin Rock” was collected from Henry Reed (Glen Lyn, Va., near the W.Va. border) which he called “Billy in the Lowland [5]”; Melvin Wine’s “Shelvin Rock” is similar to Reed’s.  This tune may or may not have been the same one recorded by Charlie Wilson and His Hayloft Boys for Gennett Records and which was in the repertoire of Alfred Bailey (Bath County, Ky.). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. See also related 'A' part of "Billy in the Lowground." Sources for notated versions: Henry Reed via Hollow Rock String Band (North Carolina) [Brody]; Armin Barnett (Seattle) [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 254. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 219. Rounder 0024, "Hollow Rock String Band" (1974. Learned from Henry Reed) Rounder 0089, Oscar and Eugene Wright‑ "Old Time Fiddle and Guitar Music from West Virginia" (learned from Henry Reed).

 

SHELVIN ROCK [2]. AKA - “Shelby Rock.” Old‑Time, Breakdown. USA; West Virginia, Virginia. A Mixolydian. Standard tuning. ABB'. The melody is known as a "West Virginia old‑time fiddle classic." Ernie Carpenter claimed the tune was composed by his great‑grandfather Matt Jeremiah Carpenter, who is supposed to have written the tune in the late 18th century to commemorate his son Solomon's birthplace, an overhanging or "shelving" rock near the site of what became the Carpenter home in Webster County, West Virginia.

***

Ernie Carpenter. Photo by  Michael Keller. Courtesy Goldenseal Magazine www.wvculture.org/goldenseal

***

Wilson Douglas, maintains that "old Saul Carpenter" (French Carpenter's grandfather) composed the tune, calling it "Shelvin' Rock" for an outcropping in Webster County, W.Va., that was used as a sheltering campsite "back in the Civil War days when the people were all on the move, (and) there weren't no houses in the country at that time..." There is a confusion of Sauls or Solomons, objects Gerry Milnes (1999), who clarifies that although French’s grandfather was named Solomon, he was a good forty to fifty years younger than his ancestor, also named Solomon.  French’s grandfather Solomon lived during the time of the Civil War (see note for “Camp Chase”) and was known as “Devil Sol.”  Milnes reports that Artley (1955) mentioned two tunes in local tradition, “Old Solly’s Favorite” about the older Soloman Carpenter, and “Little Solly’s Favorite” about the younger, Devil Sol. John Hartford (1996) also believes the title and tune may be much older than the mid-1800’s. Bluegrass fiddler Kenny Baker’s father, also a fiddler, played it around Pound, Virginia, while fiddler Charlie Acuff knew it as “Shelby Rock.” Source for notated version: Wilson Douglas (W.Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 219. Augusta Heritage Records AHR 0032, Ernie Carpener (W.Va.) ‑ "Elk River Blues: Traditional Tunes From Braxton County, W.Va." Rounder 0047, Wilson Douglas‑ "The Right Hand Fork of Rush's Creek" (1975).

 

SHELVIN ROCK [3]. Old‑Time, Breakdown. USA, southwestern Pa. D Major. Standard tuning. AA'BB'. No relation to version #2. Source for notated version: Adam Smitley (elderly fiddler from Fayette County, Pa., 1946) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 72, pg. 48.

 


SHELVIN ROCK [4]. Old-Time, Breakdown. AEae tuning. A different version that either #1 or #2.

                       

SHENANDOAH. AKA and see "The York Fusiliers." American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AABBCCDD. A fife march. Source for notated version: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1944; learned from Philadelphia, Pa., martial‑band instructor and fife major "Jim Will" Conwell) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 248, pg. 210.

                       

SHENANDOAH FALLS. Old-Time, Breakdown. A Major. Standard tuning. AABB (Johnson): AA'BB (Phillips). Clyde Curley and Susan Songer, in notes to The Portland Collection, traces the tune. Vermont fiddler Pete Sutherland learned it from West Coast musician Carol Robinson, originally from Sebastapol, who herself learned it as an untitled reel from a mandolin player named 'Cookie', once a fellow student with her at Sonoma State College. It is thought Sutherland titled it, perhaps thinking it reminiscent of Bill Monroe's bluegrass composition "Shenandoah Breakdown." Source for notated version: Pete Sutherland (Vermont) [Phillips]. Johnson (The Kitchen Musician No. 2: 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. 219. Songer (Portland Collection), 1997; pg. 182. Dancing String, Randy Zombola - "Snowflake Breakdown" (1986). Epact Music, Pete Sutherland - "Eight Miles From Town" (1982). Marimac 9031, Sutherland, Pete - "Eight Miles From Town" (1986). Marimac 9043, Boiled Buzzards - "Fine Dining" (1991).

X:1

T:Shenandoah Falls

M:C|

L:1/8

R:Reel

N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:A

cd |: “A”e2 ef edcB | AB c2 “D”d4 | “A”c2 cd cBAc | “E”BAGF E2 cd |

“A”e2 ef edcB | AB (3cBA “D”d4 | “A”cBAc “E”BA G2 |1 “A”A4 A2 cd :|2 “A”A6 G2 ||

|: “Bm”F4 B3B | A2 (B2B4) | “A”ABcA BcAB | cAB(c c)B A2 |

“Bm”F4 B3B | A2 (B2B2) Bd | “A”cBAc “E”BA G2 |1 “A”A4 A3G :|2 “A”A6 ||

 

SHENANDOAH VALLEY WALTZ. Bluegrass, Old-Time; Waltz. USA, Missouri. D Major. Standard tuning. AB. The melody was composed by Clyde Moody. Moody had a hit with his recording of the tune in the mid-1940’s and it was covered a few years later by Charlie Monroe and the Kentucky Pardners. Source for notated version: Vee Latty (Callaway County, Missouri`) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 157.

 

SHENANDOAH WALTZ. Old‑Time, Waltz. C Major. Standard tuning. One part. Does not appear to be "Shenandoah Valley Waltz". Ford (Traditional Music in America), 1940; pg. 132.

 

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