The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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SIA - SIO

 

 

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]

 

 

 

SI BHEAG, SI MHOR. AKA - "Sidh Beag Agus Sidh Mor," "Sheebag, Sheemore," “Sheebeg and Sheemore,” “Shebeg, Shemore,” “Shi Bheag, She Mhor.” AKA and see "The Hills of Habersham," "The Bonny Cuckoo." Irish, Air (3/4 time). D Major. Standard tuning (fiddle). One part (Ó Canainn): AB (Cranitch, O’Sullivan): AABB (most versions). The air, according to O'Sullivan (1958) and tradition, was probably the first composed by blind Irish harper Turlough O'Carolan (1670-1738). The title of the air often appears as “Sheebag, Sheemore,” an Englished version of the original Gaelic "Si Bheag, Si Mhor" which means "little faerie, big faerie,” but it has been suggested that Si is derived from the medieval Irish siod, meaning "fairy hill" or "fairy mound;" thus the title may also refer to "big fairy hill, little fairy hill."

***

As a young man Carolan first found favor at the house of his first patron, Squire George Reynolds of Lough Scur at Letterfain, Co. Leitrim (himself a harper and poet). It is said that Carolan was at this time only moderately skilled at the harp and the Squire advised him to direct his talents to composing, as he “might make a better fist of his tongue than his fingers.” It is likely this was Carolan’s first attempt at composition. His inspiration was a story told to him by Reyonolds of Si Bheag and Si Mhor, two ranges of hills near Lough Scur, that according to local lore were the seats of two groups of fairies of opposing disposition. The these hosts engaged in a great battle, in which Finn McCool and his Fianna were defeated. Some versions of the legend relate that the mounds were topped by ancient ruins, with fairy castles underneath where heros were entombed after the battle between the two rivals. Squire Reynolds is supposed to have been much pleased by the composition. The ‘fairy mounds’ appear to have been ancient conical heaps of stones and earth called motes or raths, prehistoric remnants. See O’Sullivan (1958) notes to No. 202 (pgs. 295-296) for a more complete explanation. O'Sullivan believes the air to be an adaptation of an older piece called "An Chuaichín Mhaiseach" ("The Bonny Cuckoo" or "The Cuckoo"), which can be found in O'Neill, Bunting (1796) and Mulholland's Collection of Ancient Irish Airs (1810). Edward Bunting (1773-1843) included the ‘Cuckoo’ melody in his Ancient Music of Ireland (1840), with the note (Introduction, pg. 95): “From this ancient melody procured by the Editor in the poetical district of Ballinascreen [County Sligo], another tune, ‘The little and great mountain’ [‘Sheebeg and Sheemore’] seems to have been arranged with some slight variations.” A dance by Gail Tickner appeared in CDSS news #69, March/April 1986 by the title "The Bonny Cuckoo" to the melody. Under the title “The Irish Cuckow” the melody appears in the MacLean-Clephane MS., the work of either Echlin O’Cathain or Anna-Jane MacLean-Clephane, according to Bonnie Shaljean (Appendix to the 2001 edition of Donal O’Sullivan’s 1958 Carolan). Anna-Jane and her sisters were the wards of Sir Walter Scott after the death of their father, and Scott admired Anna-Jane’s accomplishments in music and poetry. The notation of the piece in the MS. includes a bottom line of music, not a bass, but rather a repeat of the opening line so that it forms a canon, and then a counter melody. Ms. Shaljean points out this would not have worked well on the sustained tones of Carolan’s wire-strung harp, but may have been added by Anna-Jane herself.

***

The following set of words for Si Bheag, Si Mhor was published by the Irish Text Society in The Poems of Carolan (Amhrain Chearbhallain):

***

Imreas mór tháinig eidir na ríoghna,

Mar fhíoch a d'fhás ón dá chnoc sí,

Mar dúirt an tSídh Mór go mb'fhearr í féin,

Faoi dhó go mór ná 'n tSídh Bheag.

***

"Ní raibh tú ariamh chomh uasal linn,

I gcéim dár ordaíoch i dtuath ná i gcill;

Beir uainn do chaint, níl suairceas ann,

Coinnigh do chos is do lámh uainn!"

***

An tráth chruinnigh na sluaite bhí an bualadh teann,

Ar feadh na machaireacha anonn 's anall;

'S níl aon ariamh dár ghluais ón mbinn

Nár chaill a cheann san ár sin.

***

"Parlaidh! Parlaidh! agus fáiltím daoibh,

Sin agaibh an námhaid  Charn Chlann Aoidh,

Ó bhinn Áth Chluain na sluaite díobh,

'S a cháirde grá dhach, bí páirteach!"

***

Source for notated version: Shetland fiddler Aly Bain via Fred Breunig (Putney, Vt.) [Miller]. Brody (Fiddler’s Fakebook), 1983; p. 253. Bunting, 1796; No. 63. Cranitch (Irish Fiddle Book), 1996; p. 98. S. Johnson (The Kitchen Musician No. 3: Carolan), 1983 (revised 1991, 2001); p.2. Matthiesen (Waltz Book I), 1992; pg. 42. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 58. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; p. 147. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 24, p. 27. O’Sullivan (Carolan: Life and Times of an Irish Harper), 1958; No. 202, p. 214. Phillips (Fiddle Case Tunebook: British Isles), 1989 {B}; p. 43. Reiner (Anthology of Fiddle Styles), 1979; p. 55. Tubridy (Irish Traditional Music, vol. 1), 1999; p. 41. Acorn Music, Tony Elman ‑ "Shakkin' Down the Acorns." CBS MK 42665, Pierre Bensusan – “Spices” (1988). Claddagh CC18, Derek Bell‑ "Carolan's Receipt" (appears as "Sidh Beag Agus Sidh Mor"). June Appal 014, John McCutcheon‑ "The Wind That Shakes The Barley" (1977. Appears as "Si Bheag, Si Mhor"). Kicking Mule 206, Tom Gilfellon‑ "Kicking Mule's Flat Picking Guitar Festival." Kicking Mule 301, Happy Traum ‑ "American Stranger" (1977. Learned from Boys of the Lough). North Star NS0031, "Dance Across the Sea: Dances and Airs from the Celtic Highlands" (1990). Rooster Records, "Swallowtail." Rounder 0113, Trapezoid ‑ "Three Forks of Cheat" (1979). Rounder 3038, Pierre Bensusan ‑ "Musiques" (1979). Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977). Shanachie 79002, "Boys of the Lough" (1973). Shanachie 79009, "Planxty" (appears as "Si Bheag, Si Mhor"). Shanachie 79013, Derek Bell - "Carolan's Receipt" (1987). Shanachie 97011, Dave Evans - "Irish Reels, Jigs, Airs and Hornpipes" (1990). Trailer 2086, "Boys of the Lough" (1973). Transatlantic 341, Dave Swarbrick‑ "Swarbrick 2." Warner Brothers, Dave Bromberg‑ "My Own House" (appears as "Si Bheag, Si Mhor").

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

Alan Ng’s Irishtune.info

X:1

T:Si Bheag, Si Mhor

M:3/4

L:1/8

Q:225

K:D Major

de|f3ed2|d3ed2|B4 A2|F4 A2|BA Bc d2|e4 de|f4 e2|d4 f2|\

B4 e2|A4 d2|F4 E2|D4 f2|B4 e2|A4 dc|d6‑|d4:|*

de|f3 e d2|ed ef a2|b4a2|f4 ed|e4 a2|f4 e2|d4 B2|B4 BA|\

F4 E2|D4 f2|B4 e2|A4 a2|ba gf ed|e4 dc|d6‑|d4:|**

                       

SI BLATH GEAL NA SMEUR. AKA and see "She is the Blackberry's Fair Blossom."

                       

SI CASGAIRE AR LOCH (The Fisherman). Irish. The melody appears in the Irish collector Edward Bunting's 1809 volume (p. 48), and is a variant of "Is Iascaire Ar Loch Ceara Me."

                       

SI HANKS WALTZ. American, Waltz. C Major. Standard tuning (fiddle). AABB. Ford (Traditional Music in America), 1940; p. 145.

X:1

T:Si Hanks Waltz

M:3/4

L:1/8

R:Waltz

S:Ford – Traditional Music in America  (1940)

Z:AK/Fiddler’s Companion

K:C

(EF)|G2(e2d2)|(c2E2)F2|(G6|G2)(E2F2)|(G2c2)A2|(G2D2)E2|(F6|F2)E2F2|

G2e2d2|c2B2A2|(A6|A4)A2|B3a a2|(a2g2)B2|[E3c3][Ec][E2c2]|[E2c2][E2c2]:|

(EF)|G2ee e2|(e2d2)c2|F2 dd d2|(d2c2)B2|F2 BB B2|(B2A2)G2|(F6|F2)(E2F2)|

G2ee e2|(e2d2)c2|A3A A2|a6|g3g g2|(g2A2)B2|[E3c3][Ec][E2c2]|[E2c2][E2c2]:|

                       

SÍ MO GHAOL A LAR DHONN. Irish, Slow Air (6/8 time). E Minor/G Major. Standard tuning. AB. "From Mr. Jeffries" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 778, pg. 380.

X:1

T: Mo Ghaol a Lar Dhonn

M:6/8

L:1/8

R:Air

N:”Slow”

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

Z:AK/Fiddler’s Companion

K:Emin

A/B/ | e2 d/B/ A2 {A}B/A/ | GED E2D/E/ | G<e d/4e/4B/ (A2 A/)G/ | G3G2 || B/c/ | d>ed d2 e/4f/4g/ |

a2 {c’}b/>a/ ged | (e3 e2)f/g/ | e2 d/4B/4A/ A2B/A/ | GED E2 D/E/ | G<e d/4e/4B/ A2 A/G/ | (G3G2) ||

                       

SIAMSA JIG, THE.  AKA and see “The Knockawhinna.”

                                   


SIAMSA MHUILTE FARANNÁIN. AKA and see “Barr na Feirste,” “Behind the Haystack [1],” "Christmas Day in the Morning [3],” “(An) Bhláthach Mhuimhneach,” “Munster Buttermilk [4],” "The Sports of Multyfarnham," “Squeeze Your Thighs,” “Take Her or Leave Her.” Irish, Double Jig. D Mixolydian. Standard tuning. AABB. Source for notated version: piper Seosamh Breathnach (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 43, pg. 18.

                          

SIAMSAÍOCHT AN RIANAIGH. AKA and see “Ryan’s Rant.”

                       

SIAR AN CNOC. AKA and see "West the Hill.”

           

SIAR COIS CHUAIN DOM. AKA and see "As I Was By the Bay Westwards.”

           

SIBÉIL NÍ BHRIAIN (Elizabeth O’Brien). Irish, Air (cut time, “Slow & distinct”). D Major. Standard tuning. AB. Source for notated version: a manuscript collection dated 1861 compiled by James Goodman, a Church of Ireland cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 25, pg. 13.

                       

SIC A WIFE AS I HAE GOTTEN. AKA and see “Lads of Leith [2],” “Lads of Laois{e},” “Sir Adam Ferguson.” Scottish, Reel. The tune appears under this title in Lowe’s Collection (1844).

                       

SIC A WIFE AS WILLIE HAD.  Scottish, Air (whole time). F Major. Standard tuning. AABB. “Old” says Gow. Poet Robert Burns wrote words for his song “Sic a Wife as Willie had”, with the burden:

***

Sic a wife as Willie had,
I wadna gie a button for her!

***

Burns composed the cutting verses in the kitchen of Crook Inn in the Scottish Borders in 1792. They lampooned the ugly wife of his close friend, weaver Willie Wastle, pointing out rather crudely all her blemishes, and referring to her rotten teeth and how her chin and nose threatened each other. Gow (Sixth Collection of Strathspey Reels), 1822; pg. 31. Culburnie Records CUL , Aladair Fraser, Muriel Johnstone & Natalie Haas – “Legacy of the Scottish Fiddle, vol. 2” ().

X:1

T:Sic a Wife as Willie had

M:C
L:1/8

R:Air

N:”Old”

B:Gow – Sixth Collection of Strathspey Reels (1822)

Z:AK/Fiddler’s Companion

K:F

F2 FG (BA) GF|G2G2 _e2 dc|B2~B2 _e2 dc|B2 (_E2G2B2)|F2 FG (BA) (GF)|

G2A2 f2 ed|~c2 dc “tr”B2 cB|A2(F2A2c2)::f2fe f2c2|(fe) (fg) f2 cd|_e2 e2 {f}e2 dc|

B2 (_E2G2B2)|F2 FG BA GF|G2A2 f2 ed|~c2 dc “tr”B2 cB|A2 (F2A2c2):||

 

SICILIAN CIRCLE. American, Jig. D Major. Standard tuning. AABB. A 6/8 time setting of “Rickett’s Hornpipe.” The Sicilian Circle is a dance form. Ford (Traditional Music in America), 1940; pg. 92.

X:1

T:Sicilian Circle

M:6/8

L:1/8

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | dcd Adf | e^de Ace | fba gfe | dcB A2 (3A/B/c | dcd Adf |

e^de Beg | fba gfe | dAf d2 :: d/f/ | a^ga dfa | b^ab dgb | bag fed |

cBA gfe | dcd Adf | e^de Beg | fba gfe | dAf d2 :|

                       

SICILIAN DANCE.  AKA and see “Royal Albert.” English, Jig. F Major. Standard tuning. AABC. There was a vogue for period in the early 19th century for Sicilian melodies, or faux-Sicilian melodies, and “Sicilian Air,” “Siciliano Dance,” “The Sicilian Peasant,” “Sicialian Mariner’s Hymn,” “Sicilian Waltz,” etc. appear in various publications and musicians’ manuscripts of the last decade of the 18th century and the beginning decades of the next. Interest in Sicily intensified during the Napoleonic Era due to its strategic location. At the beginning of the 19th century the Kingdom of Sicily and Naples encompassed the entire southern part of the Italian peninsula, under the rule of Ferdinand IV, of the House of Bourbon, an opponent of the French. He made an alliance with the Third Coalition against Napoleon in 1805, but lost the Neapolitan portion of his Kingdom after the battle of Austerlitz. Ferdinand fled to the island of Sicily and managed to stem attacks from the French throughout the Napoleonic wars, until Napoleon’s defeat. However, this did not bring about an immediate return of his former empire, which Napoleon had entrusted to his capable commander Joachim Murat. It took an alliance of Tuscany, Austria and the United Kingdom to finally restore the Kingdom of Naples to Ferdinand, who, in 1816 united the two in the Kingdom of the Two Sicilies, which lasted until 1860 and Garibaldi’s Italian unification. The post-Napoleonic re-arranging of European territories under the leadership of an emergent Britain, is likely responsible for the vogue in popular music for ‘Sicilian’ (i.e. Italian) sounding airs and the inclusion of “Sicilian Dance” in Burk’s manuscript.

***

The melody by this title is also contained in a few other English musician’s manuscripts, including those of Joseph Kershaw and George Spencer. 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 same melody and title appears in the George Spencer (Leeds, Yorkshire), dated 1831. Burk and Spencer’s versions are nearly identical and have extended melodic material: Burk as an extension of the third part, Spencer with an added fourth part. The melody (as “Sicialian Dance”) was printed in Riley’s Flute Melodies, vol. 2, published by E. Riley in New York around 1817 (pg. 126), and in Thomas Wilson’s Companion to the Ballroom, published in London in 1816. The latter volume gives the alternate title “La Mignionette” (The Sweet Flower). The melody has been associated with the Scottish country dance Royal Albert, and is printed with that title in Kohler’s Violin Repository (1881-1885).

***

The music manuscript of John Burk (1821) ascribes the tune to a “Mr. Fisher,” the only attribution ever found with the melody. Unfortunately, nothing is known of Burk although he may have been from the north of England. It is possible it was a composition of German composer Johann Christian Fischer (1733‑1800), a friend of Mozart's, or one James A. Fishar, a musical director and ballet master at Covent Garden during the 1770's who published Sixteen Cotillons, Sixteen Minuets, Twelve Allemands, and Twelve Hornpipes (John Rutherford, London, 1778). There was also an 18th century English fiddle player named J.W. Fisher. However, all of these individuals seem to predate Burk’s era, although the tune may be older.

 The Joseph Kershaw Manuscript, 1993; No. 17.

X:1

T:Sicilian Dance, The

M:6/8

L:1/8

S:John Burk’s music manuscript book (1821)                             

N:”By Mr. Fisher”

Z:AK/Fiddler’s Companion

K:F

C|FGF AGF|c2c c2B|ABa c2B|A2G2 F2C|FGF AGF|

c2c c2f|efe dc=B|c3 c2::f|g2c b2a|gfe f2 d/f/|

g2c b2a|afe f3|dbb caa|Bgg f2 A\BGG c2F|F3 F2:|

|:A3 GAG|F2F FAc|c2 BdB|A2A Ace|f2e e2d|

d2c c2B|ABc cBA|B3 G2c|f2 fd=B|Ad=B c3|

b3 bge|fge f3|f2f d2c|d2c B2A|GAG c2E|F3 F2:|

X:2

T:Sicilian Dance, The

M:6/8

L:1/8

Q:110

S:George Spencer m/s, Leeds, 1831

R:Jig

O:England

A:Leeds

N:The date 1831 is written on the stave after the double bar line.

H:1831

Z:vmp.Cherri Graebe

K:F

F>GF AGF|c2c c2B|ABa c2B|A2G F2C|FGF AGF|c2c c2f|

e>fe dc=B|c3 c3:|!|

g2c b2a|gfe fef|g2c b2a|gfe f2c|dbb caa|Bgg f2A|BAG c2E|F3 F3|!|

A3 GFG|F2F FAc|c3 BAB|A2A A2f|(f2e) (e2d)|(d2c) (c2B)|ABc cBA|(A3G2) z||!

(f3f) d=B|c2c c3|(b3b)ge|f2f f2c|dbb caa|Bgg f2A|BAG c2E|F3 F2||

 

SICILIAN DANCE [2]. English, Jig. D Major. Standard tuning. AABB. A different melody than “Sicilian Dance [1]” appears in poet and musician John Clare (1793-1864, Helpston, Northants) manuscript, and the same tune is an untitled jig in the Sussex Tunebook.

           

SICILIAN (WALTZ) [1].  English, Waltz. D Major. Standard tuning. AABB. The melody begins on the dominant chord. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 174, pg. 45.

 

SICILIAN (WALTZ) [2].  English, Waltz. D Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 175, pg. 46.

           

SICILIANO.  German, Air (3/4 time). A Major. Standard tuning. AAB. The melody is from German baroque composer Georg Philipp Telemann (1681-1767) from his Concerto for Oboe d’amore and Strings in A (TWV 51). Although not originally composed as a waltz, it is employed as such at contra dances. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 3 (appears as “Alice”, the name of a dance set to the tune by Philippe Callens).

X:1

T:Siciliano [G]

C:G.Ph. Telemann (TWV 51)

N:Chords by Graham Christian

N:from Concerto for oboe d’amore and strings in A

M:3/4

L:1/8

F:http://trillion.mit.edu/~jc/music/abc/waltz/Alice_G.abc

K:G

|:GA|”G”B3 c d2|”C”c2B “D”A2|”G”B4 G2|G4:|

“C”e2|”G”d6-|d2 “C”ef ge|”G”d6- |d2 “C”ef gG|”Am”c3d c2|c4c2|

“D”a4f2|d4 “Ddim7”c2|”G”B3A “C”c2|”G”B3c “D”A2|”G”G6-|G4|]

 

SICK AND VERY BAD. English, Country Dance Tune (9/8 time). England, Northumberland. G Major. Standard tuning. AAB. Seattle (William Vickers), 1987, Part 2; No. 283.

                       

SICK BOY, THE (An Bouchail Breoighte). AKA and see “Buachaill Dreoite [1].” Irish, Hornpipe and Air. G Major. Standard tuning. AABBCC. Sick, as "sick in love". "From my own memory‑‑as I learned it in childhood" (Joyce). See note for “Buachaill Dreoite [1].” Joyce (Old Irish Folk Music and Song), 1909; No. 8, pg. 7.

X:1

T:Sick Boy, The [1]

T:An Bouchail Breoighte

L:1/8

M:C

R:Hornpipe & Air

S:Joyce – Old Irish Folk Music

Z:AK/Fiddler’s Companion

K:G

GABG A2G2|A2G2G2D2|GABG A2G2|cBAG F2A2|

GABG A2G2|A2G2G2=f2|e2g2=f2d2|cBAG F2A2:|

|:BABG c2A2|dcBA G2A2|BABG DGBG|cBAG F2A2|

BABG cBcA|dcBA G2g2|gbag fefd|dcAG F2A2:|

|:gbag abag|abag g2d2|gbag abag|abag f2a2|

gbag abag|agfa g2de|=fefd defd|cBAG F2A2:|

 

SICK BOY [2], THE.  Scottish, Air. C Major. Standard tuning. AAB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 157.

X:1

T:Sick Boy, The [2]

M:C

L:1/8

C:J. Scott Skinner (1843-1927)

S:Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:C

E | A>BcG A2e2 | dcBA G2 (=F2 | E2) z2 z/(C/E/A/) z/(c/e/a/) | a2 z (^g a2 a) :|

e | a>Ae>A f2 ed | c>Ae>A B2 ze | a>Ae>A c2 AA | (DE/F/ E^G) (A2A) e |

a>Ae>A f2 ed | c>Ae>A B2 zE | (A>BcB) AECA, | (DE/F/ E ^G) (A,2 A,) ||

                       

SICK, SICK. AKA and see "The Sick Tune.” English, Ballad Air (4/4 time). Chappell (1859) prints two versions of this air, in F Major and G Dorian, from two different lute MSS of the late sixteenth century. The second tune, from Dorothy Welde's Lute Book, is similar to Raven's (1984) "Sick Tune.” The original ballad was based on an historical event that occurred in 1571; a massacre of a lady and her children and household, 37 people in all, by the Captain Care or Ker, who is named in the first stanza of the song. Shakespeare mentions the ballad in Much Ado About Nothing when Hero says:

***

Why, how now! Do you speak in the sick tune?

(Beatrice responds) I am out of all other tune, methinks.

***

Chappell (Popular Music of the Olden Time), Vol. 1, 1859; pgs. 73‑74.

X:1

T:Sick, Sick

L:1/8

M:C

B:Chappell – Popular Music of the Olden Times
S:Anthony Holborne’s Cittharn Schoole (1597)

Z:AK/Fiddler’s Companion

K:F

C4 F2F2|E3F G2E2|A2c2A2B2|A4 d4|c3B A2 GA|B2G2E2C2|F2C2A,2D2|C4 D4:|

X:2

T:Sick, Sick

L:1/8

M:C

B:Chappell – Popular Music of the Olden Times

S:Dorothy Welde’s Lute Book

Z:AK/Fiddler’s Companion

K:G Dorian

G4B4|D4F4|G2G2 B2c2|A4G4||F2D2F2_E2|D2C2B,2D2|_E2G2G2^F2|G4:|

                                               

SICK TUNE, THE. AKA and see "Sick, Sick" "Captain Car." English, Country Dance Tune (4/4 time). F Major/D Minor. Standard tuning. AABB. The melody is from the Cittharn School (1597), while the lyrics are to be found in Ritson's Ancient Songs. Francis Child gives several versions of the poem under the title "Captain Care." The song tells of the massacre of a Lady and her household of 37 persons at the hands of that Captain Care, who set fire to her manor:

***

It befell at Martinmass when weather waxed cold,

Captain Care said to his men, "We must go take a holde."

Sick, sick and too, too sick, and sick and like to die,

The sickest night that ever I abode, God Lord have mercy on me!

***

Shakespeare makes reference to the tune in Much Ado About Nothing (act III, scene 5) when Hero says, "Why, how now! do you speak in the sick tune?" to which Beatrice answers, "I am out af all other tune, methinks." Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pgs. 42‑43. Raven (English Country Dance Tunes), 1984; pg. 16.

X:1

T:Sick Tune, The

T:Captain Car

M:C

L:1/8

K:D Minor

d2d2f4 | A2A2c4 | d2d2f2 gf | ed e2 d4 :: c3A c2B2 | A2G2F2A2 | Bc d2d2^c2 | d8 :|


                       

SID MAR CHAIDH N’ CAL A GHOLAIGH (That is How the Cabbage Was Boiled).

 

SIDE OF THE ROAD, THE. Irish, Reel. E Dorian. Standard tuning. AABB. Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988). The title refers to the travelling people of Ireland, who pulled their caravans to the side of the road to overnight. Reavy (The Collected Compositions of Ed Reavy), No. 72, pg. 79.

X:1

T:The Side Of The Road

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:The talented, wayward traveling people made it their home.

N:We weep to tell the sad loss of talent among those wild

N:wanderers of the road. Some of the best fiddle players in

N:Ireland came from their ranks.

K:G

ef | gfed BEEF | (3GFE B,E G,EB,E | GFGA BABd | (3efg fd e^def |

gfeg fedf | edBG FDB,D | EDEF GFGA | (3B^cd AF E2 :||

ef | gfga bgeg | fd (3d^cd Adfa | geBA ^GABg | fe^df e2 g2 |

bagf agfg | ed^cd BGEF | GFGA BABd | (3efg fd e2 :||

                       

SIDH BEAG AGUS SIDH MOR. See "Sheebeg and Sheemore."

                       

SIDH-CHAILLIONN. Scottish, Strathspey. A Dorian. Standard tuning. AABB'. Stewart-Robertson (The Athole Collection), 1884; pg. 46.

X:1

T:Sidh-Chaillionn

L:1/8

M:C|

R:Strathspey

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:Aminor

G|E<A A>B c>A B2|B<G G<c B/c/d/B/ G>B|c>AB>G A/A/A c2|

g>e e/d/c/B/ c>A A:|

B|c/c/c ~c>d c/d/e/^f/ g2|GGd>c B/c/d/B/ G>B|1 c/c/c ~c>e c/d/e/^f/ g>a|

g>e e/d/c/B/ c<AA:|2 c>AB>G A/A/A c2|g>e e/d/c/B/ cAA||

                       

SIDLAW HILLS. Scottish, Strathspey. A Major. Standard tuning. One part. Composed by J. Watson. Martin (Ceol na Fidhle, Vol. 3), 1988; pg. 12.

                       

SIDNEY BAGLOLE’S REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning. AA’BB’. A hybrid tune, finds Ken Perlman; the ‘A’ part is that of “Grand Valley Reel,” while the ‘B’ part is from “Western Gem.” Source for notated version: Sidney Baglole (b. 1912, Freetown, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 57. Rounder CD7014, Sidney Baglole – “Fiddlers of Western Prince Edward Island” (1997).

                       

SIDNEY BAGLOLE’S TUNE.  Canadian, March (cut time). Canada, Prince Edward Island. G Major. Standard tuning. G Major. Standard tuning. AABB. Ken Perlman suggests this tune may be an amalgamation of “Grand Valley Reel” and “Western Gem Reel.” Source for notated version: Sidney Baglole (b. 1912, Freetown, West Prince County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg.

           

SIECLE NOUVEAU REEL. AKA and see "Up Jumps Johnny."

                       

SIEGE... See “Seige...”

                       

SIESTA, LA. Scottish (3/4 time). A Flat Major. From J. Scott Skinner’s Logie Collection (1888).

                       

SIFTING SAND. AKA and see "Hog Eye [1]." Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

SIGEL'S RETREAT. Old‑Time. USA, Arkansas. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. There was a Civil War general on the Union side named Franz Sigel who began his career early in the war in Missouri.

                       

SIGH, THE. Irish, Country Dance Tune (2/4 time). G Dorian. Standard tuning. ABC. Stanford/Petrie (Complete Collection), 1905; No. 619, pg. 155.

X:1

T:Sigh, The

M:2/4

L:1/8

S:Stanford/Petire (1905), No. 619

Z:AK/Fiddler’s Companion

K:G Dorian

dd dc/B/ | {d}cB/A/ BG | dd d/g/^f/g/ | d/c/B/A/ G2 :|

|| G/A/B/c/ d/B/A/G/ | F/G/A/B/ c/A/G/^F/ | G/A/B/c/ d/g/^f/g/ | d/c/B/A/ G2 ||

B2z2 | c2z2 | dd d/g/^f/g/ | c/A/B/A/ G2 ||

                       

SIGHELE BHEAG NI CHONNALLAIN. AKA and see "Little Celia Connellan [1]."

                       

SIGHILE NI GHADHRA. AKA and see "Sheela Nee Guira" and "Celia/Sheela O'Gara."

                       

SIGLE NO GADRA. See "Sheela O'Gara."

                       


SIGN POST, THE. Irish, Double Jig. A Mixolydian. Standardn tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 226, pg. 25.

X:1

T:Sign Post, The

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 4, No. 226  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

Aee ef=g|B=GB dcB|Aee efg|aee fee|aee ef=g|B=GB dcB|Aee dBe|cAA A2:|

aec Ace|aga e2f|=gdB =GBd|=gfg e2^g|aec Ace|aga efd|cee dBe|cAA A2:|

                       

SIGNO PISSQUALIE'S MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth, 1768.

                       

SILAM NA GAPALL. Irish, Polka. G Major. Standard tuning. AA'BB'. Carlin (Master Collection), 1984; No. 271, pg. 153.

                       

SILE BHEAG NI CHONNALLAIN. AKA and see "Little Celia Connellan [1]."

                       

SILE NI GHADHRE. AKA and see “Sheila O Gara.”

                       

SILENT THE LONELY GLEN. Irish, Air (2/4 time). E Minor. Standard tuning. One part. Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988). “The tune laments the passing of the old ways and the tradition as Ed remembers it: the old Ireland he once knew.” Reavy (The Collected Compositions of Ed Reavy), No. 125, pg. 139.

X:1

T:Silent The Lonely Glen

R:Air

C:Ed Reavy

M:2/4

L:1/8

Z:Joe Reavy

K:G

g/f/ | ed/B/ AG/A/ | B/d^c/ dg/f/ | ed/B/ AG/A/ | B/>A/G/F/ Eg/f/ |

ed/B/ ba/g/ | g/f/e/^d/ eg/f/ | ed/B/ AG/A/| BG/E/ Ee/f/ |

ge/g/ ba/g/ | fd/f/ ag/f/ | ge/g/ ba/g/ | f/e^d/ ee/f/ |

ge/g/ fd/f/ | ed/B/ Bg/f/ | ed/B/ AG/A/ | BG/E/ E ||

 

SILESIAN, THE.  English, Waltz. D Major (‘A’ and ‘B’ parts) & G Major (‘C’ and ‘D’ parts). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 176, pg. 46.

                       

SILK AND SATIN. Old‑Time. in the repertoire of Sam Avery and Sam Green, Eastern Ky.

                       

SILK HANDKERCHIEF, THE (An Laimfoillead Sioda). Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: Chicago fiddler Edward Cronin, a weaver, machinest and sometimes journelist originally from County Tipperary. Cronin was a storehouse of tunes and one of O’Neill’s primary informants; a man who boasted he never forgave nor forgot an injury [O’Neill]. O'Neill (Krassen), 1976; pg. 189. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1665, pg. 309.

X:1

T:Silk Handerchief, The

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1665

Z:AK/Fiddler’s Companion

K:G

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

g/a/b/g/ e/f/g/e/ | d/B/g/e/ d/B/G/B/ | (3A/A/A/ (A/B/) A/G/A/B/ | c/d/e/f/ g :|

|: d | d/g/g/f/ g(g/f/) | g/a/b/a/ g/f/e/d/ | e/a/a/b/ a(a/g/) | a/g/b/a/ g/f/e/d/ |

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

                       

SILK IN THE BAG. AKA and see "Cheer Up, Old Hag," “Is it Silk that’s in your bag(, my boy)?” “The Silken Wallet,” "The Wallet of Silk."

 

SILKEN CRAVAT, THE (An Carabat Sioda). Irish, Slow Air (3/4 time). D Minor. Standard tuning. AAB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 561, pg. 98.

X:1

T:Silken Cravat, The

M:3/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 561

Z:AK/Fiddler’s Companion

K:D Minor

A/G/ FE|D2 d>e fd|cA GF GA|B2 AG FE|D3:|

A {=B/^c/}dd|(d2 e)f ec|{e}g2 fe dA|G>F DE FG|

A3 A/G/ FE|D2 de fd|CA GF GA|B2 AG F{F}E|D3||

                       

SILKEN WALLET, THE (An Tiac Sioda). AKA and  see "The Brown Wallet," "An Sioda Ata id' Bhalluit, a Bhuachaill?" (Is It Silk That's In Your Bag, My Boy), "Cheer Up, Old Hag," “Silk in the Bag,” "The Wallet of Silk." Irish, Double Jig. E Minor ('A' part) & G Major ('B' part). Standard tuning. AABB'. Bayard (1981) identifies this as a variant of "Over the River to Charlie" (Bayard's No. 555). The title is the English rendering of "An Sioda Ata id' Bhalluit, a Bhuachaill" (Is It Silk That's in Your Bag, My Boy). See also the slide “Is your wallet made of silk?” Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 169, pg. 40 (appears as “Silk in the Bag”). O'Neill (Krassen), 1976; pg. 39. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 891, pg. 165. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 140, pg. 38.

X:1

T:Silken Wallet, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 140

Z:AK/Fiddler’s Companion

K:E Minor

c|BGE EFE|AFD DED|BGE GAB|c3 B2A|BGE EFE|AFD DED|E2c BcA|G3 G2:|

|:D|G>AG G<Bd|e<ge dBG|G>AG GBd|e2f g3|1 G>AG GBd|ege dBG|

AGE EDE|c2B A2:|2 agf gfe|fed edB|cBA BAG|E2F G2||

                       

SILLOCKS AND TATTIES. Shetland, Shetland Reel. D Mixolydian ('A' part) & D Major ('B' part). Standard tuning. AAB. A Shetland reel "well known over the most of the country districts of Shetland" (Anderson); though Cooke credits it to the district of Nesting. Anderson (Ringing Strings), 1983; pg. 92.

X:1

T:Sillocks and Tatties

M:4/4

L:1/8

Q:1/4=220

C:Trad Shetland

Z:Chris Hoseaso

K:D

B|A2 B=c BGGB|A2 Ag fded|A2 A=c BGGe|faef d3:||!

g|fdad ecce|fdad bdad|fdad edde|faef d2 de|!

fdad edde|fdad bdad|gefd eaae|faef d3||!

 

SILLY BILL. Old‑Time, Breakdown and Song. USA, southwestern Va. G Major. Standard tuning. AA'BB'. A popular comic stage song appearing under the title “Altogether Green (or ‘I Rather Think I Will’)” from the year 1856. The tune appears to be a Galax, Va., regional favorite.

***

Old Bill, poor Bill, poor old Silly Bill.

He wishes me to marry him, but I hardly think I will.

***

Silliest fellow, fellow I've ever seen;

He's neither black or yellow, but he's altogether green.

His name is not prince charming, he's only simple Bill;

He wishes me to marry him, but I hardly think I will.

***

He thinks it would be very nice to go strolling down the hill;

Hand in hand together, but I hardly think I will.

Last night he came to see me, he made to longer stay;

And I thought to myself the blockhead will never go away.

***

He told me of his cottage, his cottage among the trees;

And don't you know that fellow got down upon his knees

The tears that fellow wasted would probably turn a mill;

He wishes me to marry him, but I hardly think I will. 

***

“Silly Bill” (backed with “Old Time Cinda”) was recorded in New York for Okeh Records on January 15, 1925 by an un-named string band of musicians from the upper South led by fiddler Al Hopkins. According to Mark Green, when Ralph Peer (OKeh’s man running the recording session) asked for the groups’ name, Hopkins is said to have replied something like, ‘We’re nothing but a bunch of hillbillies from North Carolina and Virginia. Call us anything.” The record was issued as “Vocal chorus by Al Hopkins/The Hill Billies,” the first use of the term in association with old-time music [see Wayne Daniel, Pickin’ on Peachtree, 1990, pg. 56). Source for notated version: Charlie Higgins and Wade Ward (Galax, Va.) [Krassen]. Johnson (Kitchen Musician No. 2: Old Timey Fiddle Tunes), 1982 (revised 1988 & 2003); pg. 13. Krassen (Appalachian Fiddle), 1973; pg. 59. Kuntz, Private Collection. Recorded by Galax area musicians Al Hopkins and the Bucklebusters. Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, vol. 1” (reissue). Folkways FTS 31062, "Ship in the Clouds: Old Time Instrumental Music" (1978. Learned from the Mountain Ramblers, Galax, Va.). OKeh 40294 (78 RPM), The Hill Billies (1925).

See also listing at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

                       

SILLY BIT CHICKEN. Scottish. The name of one of the first historically recorded reels from Scotland, though the music does not survive. The title appears in a 1591 account of a witchcraft trial in which the accused danced this reel on Halloween, to the music of a piper (See also "Cummer, go ye before"). They were burned (Alburger, 1983).

                       

SILLY OLD MAN [1]. AKA and see "Girls take care how you marry," “Give Us a Drink of Water [2],” "An Seanduine Coileáilte," "Just at/in the height of her bloom," "The Swaggering Jig [1]," "The Noggin of Cream," "The old woman's consort," "Welcome the Piper," "The Drunken Gauger [1]," "The Munster Rake," "Taim in Arreir dTigh an Oil," "Tiggit along the Room."

 

SILLY OLD MAN [2]. AKA and see “An the Kirk Would Let Me Be,” “Bremner and the kirk would let me be,” Blithesome Bridal,” Come fy, let's a' to the bridal,” “Come Let's A’ to the Bridal.” “Come to the Bridal,” “I’m the Boy for Bewitching Them,” “Let us waa to the wedding.” “The Jolly Pedler’s [4].” English, Jig. England, Northumberland. F Major. Standard tuning. AABB. Frequently noted in 9/8 time. The song “The Blithsome Bridal” in the Scots Musical Museum (No. 58) is set to this tune. Seattle (William Vickers), 1987, Part 2; No. 394.

X:1

T:Silly Old Man [2]

M:6/8

L:1/8

S:William Vickers’ music manuscript collection (Northumberland, 1770)

K:F

C/D/|F2F Ffd|cAF G2F|GAB d2g|FAF fed|cAF GAc|AGF D2:|

|:f|fcf fgf|edc dcd|f>ga/b/ g2f|fga aga|e>dc def|cAF G2:|

 

SILLY OLD MAN [3]. Irish, Air or Jig. D Major. Standard tuning. AABBCCDD. O’Farrell (Pocket Companion, vol. IV), 1810; pg. 76.

X:1

T:Silly Old Man

T:Slian Dinna, The

M:6/8

L:1/8

R:Air

S:O’Farrell – Pocket Companion, vol. IV (1810) 

Z:AK/Fiddler’s Companion

K:D

F/E/ | D>E(F/G/) AG/F/E/D/ | DFF F2A | D>EF/G/ AG/F/E/D/ | EFE E2F |

DFd BA/G/F/E/ | DFA d2f | e>fd cdB | A>BA/G/ F2A :: d>ed def | FAA A2F |

dfa f/e/d/c/B/A/ | B>cB B2A | ABc dA/G/F/E/ | DFA dfa | e>fd cdB | A>BA/G/ F2A :|

|: DFA AFA | DFA dB/c/d | DFA AGF | E>FE E2F | D>EF/G/ AG/F/E/D/ |

DFA dfa | efd cdB | A>BA/G/ F2A :: fdd edd | FAA A2F | dfd f/e/d/c/B/A/ |

BcB B2A | ABc dA/G/F/E/ | DFA d2f | e>fd c>dB | A>BG F2A :|

                       


SILVER AND GOLD TWO-STEP. AKA – “Silver and Gold.” Old‑Time, Canadian; Two‑Step or Polka. USA; Nebraska, New England. D Major. Standard tuning. AB (Christeson): ABB (Messer): AABB (Welling). Tony Parkes and Steve Woodruff (1980) suspect the tune may be of French‑Canadian origin. It is sometimes played for contradances in the northern New England states. Source for notated verison: Bob Walters (Burt County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 196, pg. 145. Messer (Way Down East), 1948; No. 96. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 183, pg. 125. Sannella, Balance and Swing (CDSS). Welling, 1976; pg. 6. Alcazar Dance Series FR 203, Rodney Miller ‑ "New England Chestnuts" (1980. Learned from caller Duke Miller). F&W Records 1, "F&W String Band." Smithsonian Folkways SFW CD 40126, Rodney Miller – “Choose Your Partners: Contra Dance & Square Dance Music of New Hampshire” (1999. This version learned from caller Ralph Page, who “probably learned it from a recording made by the Canadian fiddler Don Messer”).

X: 1

T:Silver And Gold Two-Step

M:4/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

fg|a4 f2d2|A4 d2f2|a2g4f2|g4 e2f2|

g4 e2c2|A4 c2e2|b2a4^g2|a4 f2g2|

a4 f2d2|A4 d2f2|a2g4f2|g4 e2f2|

g4 e2c2|A4 c2e2|d4-dedc|d6:|

|:FG|A2f2 A2f2|A2f2 f2g2|f2e4-e^d|e4 E3F|

G2e2 G2e2|G2e2 e2f2|e2d4-dc|d4 F2G2|

A2f2 A2f2|A2f2 f2g2|a4 g2e2|B4 c2d2|

f2e4c2|A4 c2e2|d4-dedc|d6:|

X: 2
T:Silver and Gold
% Nottingham Music Database
S:Ken McDouall, via EF
M:2/4
L:1/4
K:D
fg |:"D"a2 fd|"D"A2 df|"Em"ag2f|"Em"g2 ef|
"A7"g2 ec|"A7"A2 ce|"D"ba -"A7"a^g|"D"a2 "A7"fg|
"D"a2 fd|"D"A2 df|"G"ag2f|"Em"g2 ef|
"A7"g2 ec|"A7"A2 ce|"D"d3/2e/2 "A7"dc|1"D"d2 fg:|2"D"d2 "G"cB|
|:"D"Af Af|"D"A/2ff/2 ff|"Em"fe2^d|"Em"e2 EF|
"A7"Ge Ge|"A7"G/2ee/2 ee|"D"ed -"A7"dc|"D"d2 "A7"FG|
"D"Af Af|"D7"A/2ff/2 ff|"G"ag2e|"Em"B2 cd|
"A7"fe2c|"A7"A2 ce|"D"d3/2e/2 "A7"dc|1"D"d2 c B:|2"D" d2 z2|]

                       

SILVER ANNIVERSARY REEL, THE. Canadian, Reel. Canada, Nova Scotia. A Major/Mixolydian. Standard tuning. AA'BB'. Composed by Antigonish, Nova Scotia, fiddler Jackie Dunn. Cook (Night in the Kitchen Collection), 1996; pg. 37.

                       

SILVER BELL(S). American, Song Tune (cut time). D Major ('A' part) & G Major ('B' part). Standard tuning. ABB'. This tune, originally a 1910 Tin-Pan-Alley song with words by Edward Madden and music by Percy Wenrich (the latter born in Missouri but moved to New York City two years before the song was published, the beginning of an important career on Tin-Pan-Alley). “Silver Bell” was absorbed into old-time repertoire in the 1920’s and its popularity among fiddlers cemented a decade later by Texas bandleader Bob Wills. However, old-time versions were earlier recorded by Clayton McMichen (Ga.), Ernest Stoneman and Jess Young (Tenn.). The earliest recording of the song, however, was by Ada Jones and Billy Murray, for Edison in 1911 (Ed 10492). Stacy Phillips notes that the tune has been recorded in the keys of G, C and B Flat as well, and that sometimes there is no key change in the second part. Source for notated version: Johnny Gimble and Cliff Bruner [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 127. Columbia 15400-D, Jess Young’s Tennessee Band (1929). OKeh 4055, McMichen’s Home Town Band (1925). OKeh 45060, Ernest Stoneman & Joseph Samuels (1926). OKeh 45379, Scottdale String Band (1929). Vocalion 04934 {78 RPM}, Bob Wills and the Texas Playboys (1939).

                       

SILVER BOW, THE. Shetland, Slow Air. Known to Peter Fraser, Finnigirth, Walls, Shetland.

                       

SILVER BOX, THE. AKA and see "Vinton's Hornpipe," "Vinton," "Vincent's Hornpipe,” “St.Vincent’s Hornpipe." English, Hornpipe. The tune, which Bayard (1981) calls "a simple, perhaps comparatively early version," is dated c. 1770 in Moffat‑Kidson. Alfred Moffat and Frank Kidson (Dances of the Olden Time), 1912; pg. 31.

                       

SILVER CLUSTER REEL. AKA – “Silver Cluster Cacti.” American, Reel. B Flat Major. Standard tuning. AABB. One of the "Going/Off to California [1]"/”Whiskey You’re the Devil  tune family (though with a different second strain)‑‑ see Bayard's (1944, 1981) note for "Buttermilk and Cider." Viola “Mom” Ruth, a champion fiddler from Arizona who published a tune collection in the late 1940’s, gives the name as “Silver Cluster Cacti,” a nice south-western casting of the Ryan’s/Cole’s title. Perhaps the earliest recording is from 1913 by violinist Charles D’Alamaine, born in 1871 in England, who died in 1943. D’Alamaine immigrated to the United States in 1888, and by 1890 had established himself as “instructor on violin” in Evanston, Illinois; by 1910 he had removed to Yonkers, and in 1920 was a chiropractor in New York City (info. from Paul Gifford). Cole (1000 Fiddle Tunes), 1940; pg. 8. Ruth (Pioneer Western Folk Tunes), 1948; No. 87, pg. 31. Ryan’s Mammoth Collection, 1883; pg. 27. RC2000, George Wilson – “Royal Circus” (2000).

X:1

T:Silver Cluster Cacti

M:2/4

L:1/8

S: Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)

Z:AK/Fiddler’s Companion

K:B_

(3F/G/A/ | B>d c/B/c/d/ | B/d/f/b/ gf | b/a/g/f/ g/f/d/B/ | c/d/c/B/ GF |

B>d c/B/c/d/ | B/d/f/b/ gf | b/a/g/f/ g/f/d/B/ | c/B/G/A/ B3 || f |

g>a b(a/g/) | f/b/d/f/ B/d/F | c/=B/c/d/ eA | B/A/B/c/ df | g>a b(a/g/) |

f/b/d/f/ B/d/F | c/=B/c/d/ eA | B/A/B/c/ B3 ||

                       

SILVER CROWN, THE (An Coroin Airgeadeac). Irish, Air (6/8 time, "with spirit"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 280, pg. 49.

X:1

T:Silver Crown, The

M:6/8

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 280

Z:AK/Fiddler’s Companion

K:G

G/A/ | B2A GBd | g2e d2 B/d/ | g2 e dBG | A2E F2 G/A/ | B2A GBd |

g2e d2e | dBG A2d | G3 G2 || (3d/e/f/ | g2f efg | a>gf/e/ d2d | edc/B/ cde/f/ |

g2a b2a | bfe/d/ c/d/ef | egB A2D | G2A BcA | G3 G2 || 

                       

SILVER DAGGER. Old-Time, Breakdown. Rounder 1133, Ed Haley, vol 2 – "Grey Eagle".

                       

SILVER DOLLAR WALTZ. American, Waltz. D Major ('A' part) & G Major ('B' part). Standard tuning. AB. Source for notated version: Donald Woodcock [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 309.

                       

SILVER HEELS CLOG. American, Clog. A Major. Standard tuning. AABB. White’s Unique Collection, 1896; No. 154, pg. 28.

X:1

T:Silver Heels Clog

M:C|

L:1/8

R:Clog

S:White’s Unique Collection (1896), No. 154

Z:AK/Fiddler’s Companion

K:A

e2 | a2 (e>d) c>ed>B | A>cE>A C>EA>c | B,>DF>B d>Bg>f | ^e>fd>B G>=ef>g |

a2 (e>d) c>ed>B | A>cE>A C>EA>c | B,>DF>B d>Bf>e | (^de) (3gfe [c2a2] :|

|: C2 | [A,2F2] (c>A) (f>c) (3agf | ^e>fd>B G>BG>^E | F>CA>F c>Af>e |

(^d/2b/2)z (^a/2b/2)z [G3e3]=d | c>eA>c E>Ac>e | d>fA>d F>Ad>f |

e>cA>E C>EA>c | (3BAG (d>G) A2 :| 

                       

SILVER HEELS POLKA. American, Polka. C Major ('A' part) & G Major ('B' part). Standard tuning. AB. Ford (Traditional Music in America), 1940; pg. 171.

                       

SILVER HILL. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

SILVER LAKE [1], THE. English, Waltz. G Major. Standard tuning. AABB. "From Varsoviana." Raven (English Country Dance Tunes), 1984; pg. 137.

 

SILVER LAKE [2], THE. AKA and see "Varsoviana," "Kick a Dutchman." English, Varsovienne (3/4 time). G Major ('A', 'B', & 'C' parts) & D Major ('D' part) {Trim}: G Major {Bayard}. Standard tuning. AB (Bayard): AABBCCDD (Trim). Composition credited to W.H. Montgomery in Trim, though to Bayard "everything about" the air suggests it is German in origin and uses international strains. In 1866 during the Canadian gold-rush Robert Burrell grumbled in a letter that the music from Bakerville’s Hurdie house across the street was disturbing his sleep. He mentioned four of the songs that were ringing in his ears: "Silver Lakes Varsovianna,” "King of the Cannibal Islands,” "Sultan Polka" & "Edinburgh Quadrille.” Bayard (Dance to the Fiddle), 1981; No. 650, pgs. 568‑569 (appears as "Old Mazurka"). Trim (Thomas Hardy), 1990; No. 79.

 

SILVER LAKE WALTZ [3]. Old‑Time, Waltz. Decca 5019 (78 RPM), Stripling Brothers (Ala.) {1934}. May be related to version #1.

 

SILVER LAKE [4]. AKA and see "The Beaux of Oak Hill [1](Oak Hall)," "Boys of Bluehill," "Lonesome Katy,” “Two Sisters [1]." American, Reel. USA, southwestern Pa. D Major. Standard tuning. AB. Source for notated version: Irvin Yaugher (fiddler from Fayette County, Pa., 1944), James Smalley (fiddler from Westmoreland Couty, Pa., 1944), George Strosnider (elderly fiddler from Greene County, Pa., 1930's), Issac Morris (fiddler from Greene County, Pa., 1930's), Edward King (fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 168A‑E, pgs. 117‑118.

 

SILVER LAKE [5]. AKA and see "The Carroltown Breakdown [2]" (Pa.). American, Reel. USA, southwestern Pa. G Major. Standard tuning. AB. Source for notated version: James Taylor (fiddler from W.Va. & Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 336H, pg. 320.

 

SILVER LAKE [6]. Old‑Time. Fiddle tuned AEad (one of few in this tuning ‑‑ see also "Old Sledge [2]," "Old Solly's Favorite"). From the playing of Mose Coffman.

                       

SILVER LAKE QUADRILLE. American, Jig or Quadrille. A Major. Standard tuning. AABBCC. Source for notated version: Bob Walters (Burt County, Nebraska) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 379.

 

SILVER LINING. Irish, Jig. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 28.

 

SILVER MINER’S WALTZ.  American, Waltz. A Major. Standard tuning. AABB. The melody appears in a tutor called New and Scientific Self-Instructing School for the Violin (Providence, R.I., 1847), by George Saunders, “Professor of Music and Dancing.”

X:1

T:Silver Miner’s Waltz

M:3/8

L:1/8

R:Waltz

B:George Saunders - New and Scientific Self-Instructing School for the Violin (Providence, R.I., 1847, No. 41)

Z:AK/Fiddler’s Companion

K:A

E|A/G/A/B/c/d/|ecc|dBB|(cA).E|A/G/A/B/c/d/|ecc|ed (B/c/)|A2:|
|:(A/c/)|e2 (c/e/)|…

                       

SILVER MINES, THE. See “Silvermines.”

                       

SILVER MOUNTAIN, THE. AKA and see “Sliabh Bána.”

                       

SILVER NAIL. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: Bob Larkin [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 223.  

                                      

SILVER PIN, THE. English, Waltz. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tunebook), vol. 2, 1954; pg. 31. Raven (English Country Dance Tunes), 1984; pg. 136.

                       

SILVER SLIPPER HORNPIPE. New England, Hornpipe. D Major. Standard tuning. AABB. Sannella, Balance and Swing (CDSS).


                       

SILVER SLIPPER (SLIP JIG). Irish, Slip Jig. D Major. Standard tuning. AAB. The tune is occasionally called “The Golden Slipper.” Andrew Pickering suggests the odd a part may be six bars of 6/8 rather that four of 9/8. Matt Molloy – “Heathery Breeze.” John Doherty – “The Floating Bow.” Tommy Keane – “The Piper’s Apron.” Tommy Peoples – “High Part of the Road.” Paul O’Shaughnessy – “Stay Another While.”

X:1

T:Silver Slipper
M:9/8
L:1/8
Q:300
C:traditional
S:Matt Molloy – Heathery Breeze
R:hop jig
K:D
||:F2D DDD F2D | DDD A2F d3 | F2D DDD F2D | F2A B2G E2G :||
F2A d2c d3 | F2A d2A Bcd | F2A d2c d2A | B2G E2G F2E | F2A d2c d3 |

F2A d2A Bcd | e2 c d2A F2A | B2G E2G F2E ||

 

SILVER SLIPPER REEL (Ríl an tSlipéir Airgid). Irish, Reel. D Major. Standard tuning. AB. Source for notated version: Kerry fiddler Denis Murphy, 1970 [Breathnach]. Breathnach (CRÉ V), 1999; No. 159, pg. 78.

                       

SILVER SPEAR. AKA and see “Anderson’s (Reel) [2],” “Lark in the Morning,” "Miss Lane's Fancy,” “My Love is on the Ocean [1],” "The New Mown Meadows," “Old Silver Spear,” "The Silver Tip [1]," "Sliabh Bana," "The Top of the Cliff." Irish, Reel. D Major. Standard tuning. AABB. A popular session tune, more so at one time, but part of the core session repertoire. Brendan Breathnach’s translation of the title into Irish suggests the title refers to a mountain. “New Mown Meadows” is a related melody. Sources for notated versions: Sligo stylist Lad O'Beirne (DeMarco & Krassen); “from my mother” [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Bulmer & Sharpley (Music from Ireland), vol. 1, No. 2. DeMarco & Krassen (Trip to Sligo), 1978; pgs. 35, 49, 63. Giblin (Collection of Traditional Irish Dance Music), 1928; 1. Harker (300 Tunes from Mike Rafferty), 2005; No. 21, pg. 7. Mallinson (Essential), 1995; No. 39, pg. 18. Mulvihill (1st Collection), 1986; No. 43, pg. 11. Songer (Portland Collection), 1997; pg. 185. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 19. Claddagh Records CC17, Seán Keane ‑ "Gusty's Frolics" (1975). Green Linnet SIF 1135, Martin Mulhaire, Seamus Connolly & Jack Coen - "Warming Up" (1993).  Green Linnett 3010, Kevin Burke - “Promenade” (1981). Wild Asparagus - “In Season” (1985). Grainnan - "Maid of Erin" (set in the key of C major). Seamus Ennis - “Return from Fingal.” Smithsonian Folkways SFW CD 40126, Lamprey River Band – “Choose Your Partners!: Contra Dance & Square Dance Music of New Hampshire” (1999).

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:The Silver Spear

M:C|

L:1/8

R:Reel

K:D

"D"FA (3AAA "D"BAFA | "D"dfed "Bm"BcdA | "D"FA (3AAA "D"BAFA | "D"dfed "G"B2 A G |

"D"FA (3AAA "D"BAFA | "D"dfed "Bm"(3Bcd ef | "Em"g2 ge "D"f2 fe | "D"dfed "G" B2 AG :|

|: "D"faaf "D"a2 af|"Em"gfed "Bm"Bcde| "D"faaf "D"a2 af | "Em"gfed "Bm"B2 A2 |

"D"faaf "D"a2 af | "Em"gfed "Bm"(3Bcd ef | "Em"g2 ge "D"f2 fe | "D"dfed "G"B2 AG :|

                       

SILVER SPIRE, THE (An Spiora Airgid). AKA and see “Bennett’s Favorite,” "Great Eastern Reel," "La Grondeuse [1]," "John Brennan's Reel." Irish, Reel. D Major. Standard tuning. AABB (most versions): AA'BB' (Taylor/Crack). Donegal fiddler Tommy Peoples’ and Sligo fiddler Paddy Kiloran (1904-1965, who recorded it in a duet with Paddy Sweeney in the early 1930's) versions are much regarded, as is that of the Ballinakill Ceili Band (recorded on a 78 RPM) in which it is played as a hornpipe. Since no earlier record of the name “Silver Spire” occurs earlier than 1931 Killoran recording, it may be speculated that it was a tune that had become detached from its name, and the Killoran, Sweeney or the record company decided to call it after the then-current New York City engineering marvel, The Empire State Building, completed that same year or its rival skyscraper the Chrysler Building, completed in 1930 (the Chrysler even has a silver spire adorning its top). Other suggestions are that the title is a corruption of the similar title of another Irish reel, “The Silver Spear,” which migrated to the “Great Eastern” tune.

***

Paddy Killoran.

***

Sources for notated versions: fiddler Jean Carignan (Montreal, Canada) [Brody]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; fiddler Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 31. Breathnach (CRÉ I), 1963; No. 164, pg. 65. Brody (Fiddler’s Fakebook), 1983; pg. 256. Mallinson (Essential), 1995; No. 17, pg. 16. Mulvihill (1st Collection), 1986; No. 140, pg. 38. Ryan’s Mammoth Collection, 1883; pgs. 35 & 73. Taylor (Where’s the Crack), 1989; pg. 16. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 29. DMP Records, Karen Tweed – “The Silver Spire” (1994). Front Hall 020, Alister Anderson‑ "Dookin' for Apples" (appears as "Great Eastern Reel"). F&W Records 5, Canterbury Country Orchestra‑‑"Mistwold." Fretless 122, Donna Hinds‑ "Old Time Fiddling 1976" (appears as "La Grondeuse"). Green Linnet 1022, Tara Ceili Band‑ "Irish Music: The Living Tradition, Vol. 2" (appears as "John Brennan's Reel"). Green Linnet GLCD 1149, Joe Derrane – “Give Us Another” (1995). Mulligan 017, "Molloy, Peoples, and Brady" (appears as "John Brennan's Reel"). Nimbus NI 5320, Tommy Peoples - “Fiddles Sticks: Irish Traditional Music from Donegal” (1991). Philo 1153, “Sharon Shannon” (appears in the medley “Glentown”). Philo 2001, "Jean Carignan" (appears as 2nd tune of "Pat Sweeney's Medley," learned from a recording of fiddlers Patrick Sweeney and Paddy Killoran). Rounder 1123, Paddy Killoran & Patrick Sweeney - “Milestone in the Garden” (a reissue of the 78 RPM recording. “Silver Spire” is contained in the medley beginning with “Farrell O’Gara”). Shanachie 79017, John & Phil Cunningham - “Against the Storm” (1980). Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999). Smithsonian Folkways SFW 4081, Brian Conway – “First Through the Gate” (2002. Learned from New York fiddler Andy McGann). Paddy Killoran - “Paddy Killoran’s Back in Town.” Tartan Tapes CDTT1004, Connaillaigh – “Heat the Hoose” (1998). Yazoo Records, Paddy Killoran & Paddy Sweeney – “The Wheels of the World, vol. 2.”

X:1

T:Silver Spire

M:4/4

L:1/8

R:Reel

K:D

:A,C|D2 FE DFAc|dcde fdAF|GABG FADF|(3GFE FD EGFE|!

D2 FE DFAc|dcde fdAF|GABG FADF|EDCE D2:|!

|:z2|A,B,=CD EFGE|FDEF GABc|dcdA Bcde|fdgf ecAc|!

defd ceAc|dcdB AFDF|GABG FADF|EDCE D2:||

                                               

SILVER SPOON, THE. Irish, Reel. D Dorian. Standard tuning. AABB’. Source for notated version: Kerry musician Dennis Galvin [Black]. Black (Music’s the Very Best Thing), 1996; No. 154, pg. 81.

X:1

T: Silver Spoon

C: D. Galvin

Q: 350

R: reel

M: 4/4

L: 1/8

K: Ddor

Ac | d3 e dcAG | ADFA c2 Bc | dcAG FEFA | G2 FG ECCE |

Dd (3d^cd ed=ce | dcAB cdec | dcAG ADFA | cAGc AD :|

FG | Aded ADFG | Adfa gfdc | Ac (3cBc GCEG | Acea agec |

Add^c d=cec | dBAc cdec | dcAG ADFA |1 cAGc AD :|2 CAGE D4 ||

                       

SILVER SPOONS. American, Reel. B Flat Major. Standard tuning. AABBCCDD. White’s Unique Collection, 1896; No. 87, pg. 16.

X:1

T:Silver Spoons

M:2/4

L:1/8

R:Reel

S:White’s Unique Collection (1896), No. 87

Z:AK/Fiddler’s Companion

K:B_

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

|: d | c/B/A/G/ F/A/c/e/ | d/B/f/d/ b/f/e/d/ | c/B/A/G/ F/A/c/e/ | d/e/c/A/ B :|

|: f/f/ | =e/g/B/g/ e/g/B/g/ | f/c/a/f/ b/a/g/f/ | =c/g/B/g/ e/g/B/g/ | f/a/g/=e/ f :|

|: f | f/e/c/A/ F/E/C/E/ | D/F/B/d/ f/d/b/f/ | f/e/c/A/ F/E/C/E/ | D/B/A/c/ B :|

                       

SILVER STAR BREAKDOWN. Canadian, Breakdown. D Major. Standard tuning. AABB. Composed by Canadian radio and TV fiddler Don Messer. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 22, pg. 24.

                       

SILVER STAR HORNPIPE. AKA and see “The Star Hornpipe [4],” "The Twilight Star." Old‑Time, Scottish, Irish; Breakdown, Hornpipe. USA; Michigan, southwestern Pa., Nebraska. G Major. Standard tuning. AABB. The second strain is international, observes Bayard (1981), and "resounds endlessly through our present‑day instrumental folk music" (pg. 37). Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]: Irvin Yaugher (Fayette County, Pa., 1944; learned from Michigan fiddler John O. Miller in the 1880's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 109, pgs. 62‑63. Christeson (Old Time Fiddlers Repertory), 1984; pg. 68. Cole (1000 Fiddle Tunes), 1940; pg. 100. Jarman, pg. 72. Kerr (Merry Melodies), vol. 2, No. 375. Lerwick (Kilted Fiddler), 1985; pg. 49. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1641. Ryan’s Mammoth Collection, 1883; pg. 136. Sweet (Fifer’s Delight), 1965; pg. 70.

X:1

T:Silver Star Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D | G/B/A/F/ G/D/B,/D/ | G/B/e/c/ de/f/ | g/f/e/d/ c/B/A/G/ | F/G/A/B/ A/D/E/F/ | G/B/A/F/ G/D/B,/D/ |

G/B/e/c/ .de/f/ | g/f/g/d/ e/c/A/F/ | GGG :: (B/c/) | dd/B/ gg/d/ | ee/c/ aa/g/ | ff/e/ d/c/B/A/ |

B/e/d/^c/ dB/=c/ | dd/B/ gg/d/ | ee/c// aa/g/ | f/g/f/e/ d/c/B/A/ | GGG :|

                                   

SILVER STRAND. Old-Time. USA, Kentucky. G Major. From the repertoire of Magoffin County, Kentucky, fiddler William H. Stepp, who recorded for the Library of Congress in 1937. Stepp played the tune in G, however, because he tuned down a bit it sometimes sounds like he’s playing in F. Yazoo 2013, William Stepp – “The Music of Kentucky, vol. 1.”

                       

SILVER STREET LASSES. AKA and see “Biddy Mickey’s,” "Loch Laven Castle," “Humours of Tuamgraey,” “Loch Gamhna,” "Tomgraney Castle [1],” “Tuamgraney Castle." English, Reel. England, Northumberland. A Dorian. Standard tuning. AAB. The tune is better known in Scotland and Ireland as “Loch Laven Castle” or “Tuamgraney Castle.” It appears under the “Silver Street Lasses” title in the 1841 music manuscript of Tyneside musician James Moore. There are several Silver Streets in northern England, notably in Durham and Newcastle. The title probably refers to Silver Street (now defunct) in Newcastle, Northumberland, once known as “Jew Gate” in the 13th century as it was home to a Jewish community there. The street, which led down a hill too steep for horse-drawn carriages, seems to have had several names, according to “The present state of Newcastle Streets within the walls” from Historical Account of Newcastle-upon-Tyne: Including the Borough of Gateshead (1827, pp. 160-82): “it was anciently called All-Hallow-gate, and also Temple-gate, it should seem from the circumstance of its communicating with All Saints church. It occurs too in old writings with the name of Jew-gate, which, as well as its present name, probably originated in the same cause, that is, from the placed being principally inhabited by Jews who dealt in silver plate. There is at present a Presbyterian meeting-house in this street.” Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 58. Raven (English Country Dance Tunes), 1984; pg. 186.

X:1

T:Silver Street Lasses

M:C|

L:1/8

R:Reel

K:A Minor

cB|A^GAB AGEG|A^GAB cBcd|e^fge dedc|B2G2G2 cB|

A^GAB AGEG|AGFG cBcd|e^fge dedB|c2A2A2:|

||eg|agab ageg|agab age^f|gage dedc|B2G2G2 eg|agab ageg|

agab aged|cBcd edcB|c2A2A2 eg|agab ageg|agab age^f|gage dedc|

B2G2G2 cB|A^GAB cBcd|dgdB cBAG|AcBd cedB|C2A2A2||

                       

SILVER TANKARD, THE. Irish, Hornpipe. C Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 75.

                       

SILVER THREADS AMONG THE GOLD. Bluegrass, Air. USA, Mo. D Major (Brody): G Major (McMahan). Standard tuning. AA'B. The tune was also featured by Curly Fox on his WSM radio broadcasts. Brody (Fiddler’s Fakebook), 1983; pg. 257. County 770, Kenny Baker‑ "Frost on the Pumpkin." Missouri State Old Time Fiddlers Association 001, Pete McMahan (Mo.) ‑ "Ozark Mountain Waltz."

                       

SILVER TIP [1], THE (An Barr Airgiodeac/Airgiodga). AKA and see “Anderson’s (Reel) [2],” "Sliabh Bana," "The Top of the Cliff," "The New Mown Meadows," "The Silver Spear," "Miss Lane's Fancy," “My Love is on the Ocean [1].” Irish, Reel. A Mixolydian/D Major (Roche): D Mixolydian (O'Neill). Standard tuning. AB (Roche): AAB (O'Neill). Source for notated version: Chicago fiddler James Kennedy who had the tune from his father, a celebrated local fiddler from Ballinamore, County Leitrim [O’Neill]. O'Neill (Krassen), 1976; pg. 93. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1185, pg. 223. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 464, pg. 90. Roche Collection, 1982, vol. 1; No. 170, pg. 66.

X:1

T:Silver Tip, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 464

Z:AK/Fiddler’s Companion

K:D

DEFG ABAF|(3GFE cE dEcE|DEFG ABAF|GEcE EDDz:|

d2 fd efge|(3fga fd ecAG|FAAB cBcG|EFGE FDDz|d2 fd efge|

(3fga fd ecAF|GBGB FAFA|EFGE FDDz||

 

SILVER TIP [2], THE. AKA and see "Arthur McBride [1]," “The Blackthorn Stick [5]," “The Christmas Jig,” “The Maid at the Well,” "The Maids of Glenroe,” “The Milkmaid [2]." Irish, Double Jig. G Major. Standard tuning. AA'B. "The Silver Tip" was the title for the melody on a 1929 Columbia 78 RPM by Francis Cashin and Tom Cawley, although the Ballinakill Ceili Band called it “The Maids of Glenroe” on their 1931 recording. Source for notated version: fiddler Johnny Henry (b. 1922, Cloonlairn, Doocastle, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 142.

X:1

T:The Silver Tip

M:6/8

L:1/8

R:Jig

D:Rose Murphy, "Milltown Lass", Ossian OSS-21, track 3(a)

K:G

D2 E/F/|:GFE DB,D|GAB c2 d|edc BAG|AGE EDE|

GFE DB,D|GAB c2 d|edc BAG|1AEF G2 D:|2AEF G2 B/d/|

|gdd edd|gdB c2 d|edc BAG|AGF E2 D|

1gdd edd|gdB c2 d|edc BAG|AEF G2 e/f/:|

2GFE DB,D|GAB c2 d|edc BAG|AEF G3||

 

SILVER TIPS [3], THE. AKA and see “The Holly Bush,” “The Meadow,” “My Love is on the Ocean,” “The New Mown Meadows,” “The Silver Spear.” AKA – “The Silver Top.” Irish, Reel. D Major (Kennedy): G Major (Shields/Goodman). Standard tuning. AABB. The melody appears twice in Church of Ireland cleric James Goodman’s mid-19th century music manuscripts, under the titles “The Top of the Cliff” and “The Silver Top.” Goodman (1828-1896) was an uilleann piper, and an Irish speaker who collected locally in County Cork and elsewhere in Munster. He also obtained tunes from manuscripts and printed collections. Goodman and Kennedy have their parts reversed from each other. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 181, pg. 42. Shields/Goodman (Tunes of the Munster Pipers), 1998; No. 118, pg. 49.

X:1

T:Silver Top, The [3]

M:2/4

L:1/8

R:Reel

S:James Goodman manuscripts (mid-19th century)

B:Hugh Shields – Tunes of the Munster Pipers, No. 118  (1998)

K:G

Bd/d/ e/d/d/B/|AB/G/ A/G/E/D/|Bd/d/ e/d/d/G/|GA/G/ E/G/G|Bd/d/ e/d/d/B/|

AB/A/ A/G/E/D/|cc/A/ BB/A/|GA/G/ EG/G/::A/D/D/D/ E/D/E/G/|AB/G/ A/G/E/D/|

A/D/D/D/ E/D/E/F/|GA/G/ EG/G/|A/D/D/D/ E/D/E/G/|AB/G/ A/G/E/D/|cc/A/ BB/A/|GA/G/ E/G/G:|

           

SILVER TOP, THE.  AKA and see “The Silver Tip [3].”

 


SILVER VALE, THE. AKA and see “Baby Gavin,” “Burke’s [1],” “Charlie Mulvihill’s (Jig) [1],” “Connie O’Connell’s Jig [2],” “Coughlan’s,” “Gallagher’s [2],” “Lad O’Beirne’s,” “Matt Molloy’s (Jig),” “The Short Road.” Irish, Jig. From David McNevin.

           

SILVER WEDDING ANNIVERSARY. Canadian, Waltz. Canada, Manitoba. C Major. Standard tuning. AB. Composed by the late Manitoba fiddler Andy DeJarlis in honor of his sister Dolly’s celebration. DeJarlis wrote several fine waltzes and is credited with the North American standard “Whiskey Before Breakfast.” Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 220, pg. 88. London Records EB 40, Andy DeJarlis - “Square Dance with Andy DeJarlis.” London Records EB 101, Andy DeJarlis - “Old Time Waltzes with Andy DeJarlis.”

           

SILVER WEDDING BELLS. American, Waltz. G Major. Standard tuning. One part. Composed in 1985 by Bob Pasquarello (Newtown, Pa.) for the 25th wedding aniversary of Marge and Eric Scott, of the Princeton, N.J. dance community. Matthiesen (Waltz Book I), 1992; pg. 44.

           

SILVER WEDDING REEL. AKA and see “Charlie’s Reel,” “The Princess Reel.”

           

SILVER WEDDING WALTZ. Old-Time, Waltz. G Major ('A' part) & C Major ('B' part). Standard tuning. AB. Source for notated version: Vivian Williams (Mo.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 312.

           

SILVER WINGS. English, Polka. F Major. Standard tuning. Composed by Adam Rennie. Old Hat Music OH!02, "The Old Hat Dance Band" (1992. Learned from mouth-organ player Will Atkinson).

X:1

T:Silver Wings Polka

M:4/4

Z:Transcribed by Nigel Gatherer

L:1/8

C:Adam Rennie?

P:AABBCCAA

S:78rpm record

K:F

c|a/>a/a/>a/ fA ed c2|F/>F/E/>F/ Ac ed B2|\

 e/>e/e/>e/ dd ee f2|g/>f/e/>f/ g/>a/g/>f/ ecde|

 a/>a/a/>a/ fA ed c2|F/>F/E/>F/ Ac d3 f|\

 e/>g/d/>f/ ee  e/>g/d/>f/ ee|e/>c/=B/>c/ de [1fc f:|[2fc f2:|]

 c2- c/>d/=B/>d/ c2- c/>d/=B/>d/|cdef fe e2|\

 B2- B/>A/G/>A/ B2- B/>A/G/>A/|Bcde eA A2|

 c2- c/>d/=B/>d/ c2- c/>d/=B/>d/|cdef ag d2|\

 g/>f/d/>f/ ee G/>F/D/>F/ EE|e/>c/=B/>c/ de fc f2:|]

 a/>f/e/>g/ ff a/>f/e/>g/ ff|a/>f/e/>f/ bg d2|\

 g/>f/e/>f/ ee g/>f/e/>f/ ee|e/>c/=B/>c/ dc Fcde|

 a/>f/e/>g/ ff a/>f/e/>g/ ff|a/>f/e/>f/ bg d2|\

 g/>f/e/>f/ ee g/>f/e/>f/ ee|e/>c/=B/>c/ cd fc f2:|]

           

SILVERMINES [1], THE. AKA and see "The Bundle of Straw," "Cois an Ghiorria," "The Corry Boys," "Follow me to Carlow," "The Hare's Foot," "The Hare's Paw [1]," "Jim Kennedy's Favorite," "Low Park," "The Lowlands of Scotland," "The Tralee Lasses." Irish, Reel. E Minor. Standard tuning. AB. "Written from memory. In Standord‑Petrie there is a different reel (or very different setting) with this name, which was given to Petrie by me. Silvermines in Tipperary near Nenagh" (Joyce). Joyce (Old Irish Folk Music and Dance), 1909; No. 27, pg. 16.

X:1

T:Silvermines, The [1]

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

G3A BE E2|BcBA BEEF|GFGA BcBA|Beef edBA|G3A BE E2|

BcBA BEEF|GFGA BcBA|Beed e3f||g3e f2d2|BddB d2 ef|g3e f2d2|

Beed e3f|g3e f2d2|BddB d2ef|gfge f>dBA|Beef edBA||

 

SILVER MINES [2], THE. AKA and see “Connacht Heifers.” See also “Silvermines [1].” Irish, Reel. D Minor. Standard tuning. AB. Breathnach (1963) calls this a faulty version of “Connacht Heifers.” Source for notated version: “From (the Irish collector) Mr. Joyce” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 913, pg. 231.

 

SILVER MINES [3], THE. Irish, Jig. D Major. Standard tuning. AABBCCDDEE. O’Farrell (National Irish Music for the Union Pipes), 1804; pg. 46.

X:1

T:Silver Mines, The [3]

M:6/8

L:1/8

R:Jig

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:D

F/G/ | A3 AGF | ABA AGF | G2E EFE | g2E EFG | A2A AGF | ABc dAG |

F2D DED | FEF D2 :: d | cBc dAF | ABc dAF | G2E EFE | GFG E2d |

CBc dAF | ABc dAG | F2D DED | F2D D2 :: F | AF/G/A/F/ DFF | DFF AGF |

G2E EFE | G2E E2F | AF/G/A/F/ DFF | DFF AGE | F2D DED | F2D D2 :: g |

fed faf | gbg faf | g2e ece | gfg e2g | fed faf | gbg age | fed dAd | f2d d2 :: g |

faf gec fdB | AGF | G2E EGE | G2E E2g | fdB ecA | dBG AGE | F2D DED | F2D D2 :|

           

SILVERMORE (Airgead-Mor). Irish, Slip Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 82. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1141, pg. 215.

           

SILVERTON POLKA, THE. English, Polka. G Major. Standard tuning. AA’BBCC’DD’. The melody was originally recorded by Scottish melodeon player Peter Wyper in July, 1915, for Regal Records. Callaghan (Hardcore English), 2007; pg. 93. EFDSS CD13, Flowers and Frolics – “Hardcore English” (2007. Various artists). HEBE CD 02, Flowers and Frolics – “Reformed Characters.”

 


SILVERWELLS. Scottish (originally), Canadian; Slow Air (4/4 time). Canada, Cape Breton. F Major. Standard tuning. AAB. Composed by the great Scottish fiddler and composer J. Scott Skinner (1843-1927). Popular with older Cape Breton fiddlers such as Winston Fitzgerald, Angus Chisholm and Alex F. MacKay. It is one of the favourite airs of Cape Breton fiddler Buddy MacMaster. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 227, pg. 91. Skinner (Miller O’ Hirn Collection), 1880. Rounder RO7023, Natalie MacMaster - “No Boundaries” (1996. Learned from her uncle, Buddy MacMaster). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

           

SILVERY VOE, THE. Shetland, Air. F Major. Standard tuning. AAB. The tune was composed in 1966 by the late Shetland fiddler, collector, teacher and composer Tom Anderson, inspired by the moon shining down on Weisdale Voe (a voe is an inlet or fjord). In a winter sea the water appeared to be shining silver. Anderson said the key of F major seemed to him to sound like a silver color. Anderson (Ringing Strings), 1983; pg. 37. Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2" (1978).

           

SIMON BRODIE. AKA and see “Old Simon Brodie.” AKA – “Symon Brodie.” Scottish, Strathspey or Country Dance Tune (4/4 time). E Minor. Standard tuning. AB (McGlashan): AABB (Aird): ABCD (Stewart-Robertson). The piece can be found in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740,” and in the McFarlan manuscript of c. 1743. The melody was included in the still earlier (c. 1705) Skene manuscript, but under the title “Kette (Katie) Bairdie.”  Glen (1891) also finds it in Campbell's collection (pg. 76). There is a rhyme from Herd’s 1776 collection (Ancient and Modern Scottish Songs, II, 230-31), entitled “Simon Brodie,” albeit the protagonist is ‘auld’ and not young, that goes:

***

Symon Brodie had a cow:

The cow was lost, and he cou’d na find her;

When he had done what man cou’d do,

The cow came hame, and the tail behind her.

***

Hones, auld Symon Brodie,

Stupid, auld, doited bodie;

I’ll awa’ to the North Countrie,

And see my ain dear Symon Brodie.

***

Symon Brodie had a wife,

And wow but she was braw and bonnie;

She took the dish-clout aff the bink,

And prin’d it to her cockernonie.

***

 Aird (Selections), vol. II, 1785; No. 150, pg. 55. McGlashan (A Collection of Reels), c. 1786; pg. 23. Stewart-Robertson (The Athole Collection), 1884; pg 256.

X:1

T:Symon Brodie

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:E Minor

E>GB>E FD F/G/A/F/|G>EB>E e>EB>E|G>BA>d FD F/G/A/F/|

G>EB>E e>EG>B|E>GB>E FD F/G/A/F/|G>EB>E e>EB>E|

Dd e/d/c/B/ A<DF>A|EEF>E B>EG>B||E>GB>G F>DF>A|

G>EB>E d>Ee>B|d/e/f B>d F>DA>F|G>EB>E e>Be>f|E>GB>G F>DF>A|

G>EB>E d>Ee>B|d/e/f B>d F>DA>F|G>EB>E e>Be>f||

g>ag>e f>d f/g/a/f/|g>eb>e g>e b/a/g/f/|e>bg>b f>d f/g/a/f/|

g>eb>e a/g/f/e/ d>f|g>ag>e f>d f/g/a/f/|g>eb>e g>e b/a/g/f/|

A/B/^c d>B A>D B/A/G/F/|E>FB>E e>EG>B||

E>GB>G F>DF>A|G>EB>E d>Ee>B|d/e/f B>d F>DA>F|

G>EB>E e>Be>f|E>GB>G F>DF>A|G>EB>E d>Ee>B|

d/e/f B>d F>DA>F|G>EB>E e>Be>f||

X:2
T:Simon Brodie
R:reel 60=6*2+8*2+6*2+10*2
S:Robert Riddell, 1794, Collection of Scotch, Galwegian and Border Tunes
M:4/4
L:1/16
Q:2/4=70
K:Eaeolian
|:E2G2B2E2 F2D2 FGAF|G2E2B2E2 e2E2B2E2|\
E2G2B2E2 F2D2 FGAF|G2E2B2E2 e2E2G2B2|\
d2d2 edcB A2D2F2A2|E2E2G2E2 B2E2G2B2:|]
|:(E2G2B2)(G2 F2)A2D2A2|G2E2B2E2 ^d2E2e2B2|\
(def2) B2d2 F2D2A2F2|G2E2B2E2 e2B2e2f2|\
g2a2g2e2 f2d2 fgaf|g2e2b2e2 g2e2 bagf|
e2b2g2b2 f2d2 fgaf|g2e2b2e2 agfe d2f2|\
(AB^c2)d2B2 A2D2 BAGF|E2G2B2E2 e2E2G2B2:|]

           

SIMON THE KING. AKA and see "Old Sir Simon/Symon the King."

           

SIMON’S GREAT SMILE.  Canadian, Reel. Canada, Cape Breton. D 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. 136, pg. 51.

 

SIMPHONY, THE (sic.). AKA and see “Ay(e) Me.”

           

SIMPLE GIFTS. AKA – “Lord of the Dance.” American, Hymn Tune. A hymn under this title credited to Shaker Elder Joseph Brackett of Alfred (today Sabbathday Lake), Maine, in 1848, however, the tune itself has origins in Europe. In Scandanavia the ‘A’ part is a traditional schottish and in Sweden it's called “Johan paa Snippen.”  There are also Finnish, Danish, Dutch and French variants. Brackett wanted a simple hymn with an easy to learn tune for religious worship that would extol the virtues of the simple life, and he claimed the tune came to him as a ‘divine inspiration’.

***

With new words written in 1963 and tune adapted by the English songwriter and poet Sydney Carter, "Lord of the Dance” became a popular modern religious song using the metaphor of dance for the ministry of Jesus.

           

SIMPLE GEORGE.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB. The melody first appears in print in John Johnson’s 200 Favourite Country Dances, vol. 7 (London, 1756). However, dance instructions for “Simple George” appear in Peter Thompson’s Twenty Four Country Dances for the Year 1754 (London). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 86.

X:1

T:Simple George

M:2/4

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)

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

Z:abc’s:AK/Fiddler’s Companion

K:G

(GA) (Bc)|d2 b2|(ag) (fg)|a2 A2|(cB) (AB)|c2 e2|dg fa|g2 G2:|

|:ba (3gab|(af) ed|ef ge|a2 A2|dB AG|c2 e2|af df|g2 G2:||

           

SIN SIOS AGUS SUAS LIOM. AKA and see "Down Beside Me." Irish, Air (cut time). E Major. Standard tuning. AB. The air appears earliest under the title “An Irish Song. Sung by Mr. Abel at his Consort at Stationers-Hall” in a volume entitled The Merry Musician, or a Cure for the Spleen (London, 1716, pgs. 327-328). Lyrics (presumably a phonetic form of Gaelic) are given as:

***

Shein sheis shuus lum

Drudenal as fask me;

Core la boe funareen,

A Homon crin a Party;

Tamagra sa souga

Ta she Loof her Layder;

Hey ho, rirko,

Sereish on bash me.

***

A later variant appears as “Down Beside Me” in Daniel Wright’s Aria di Camera (c. 1730) and other volumes. Later Thomas Moore penned his verse “Oh, where is the slave” to Wright’s version. Another variant appears as “The Banks of the Banna” (as published by Alfred Moffat, Minstrelsy of Ireland (London, 1897), to which Moore wrote another verse, called “When thro’ life unblest we rove.” Moffat noted the melody’s popularity in the 18th century (due, wrote Samuel Bayard in his article “A Miscellany of Tune Notes,” from Studies in Folklore) to George Ogle’s song “Shepherds, I have lost my love”), and cited it as a version of “Sin sios agus suas liom”, or “Down Beside Me.”

X:1

T:(Sin Sios Agus Suas Liom)

T:Irish Song, Sung by Mr. Abel at his Consort at Stationers-Hall, An

M:C|

L:1/8

R:Air

B:Merry Musician, The (London, 1716)

Z:AK/Fiddler’s Companion

K:E

e4 g4|e4 B4|=d3 d d2e2|c4 B4|e2 e2 ef g2|B3c B2G2|c3B c2 AG|F4 E4||

G3F G2A2|B4 B4|c3B cd e2|d4 B4|e4 G4|c4 F4|B3c B2G2|F4 E4||

           

SINCE COELIAS MY FOE. AKA and see "Fortune My Foe." Irish. The song is by Thomas Duffet, printed in 1676, utilized by Luke Wadding, the Bishop of Ferns, for carols. It appears in Wadding's A Pious Garland of Godly Songs for the Solace of his Friends and Neighbours in their Afflictions, 1680.

           

SINCE FIRST I SAW YOUR FACE. AKA and see "Love's Constancy". English, Ballad Air (4/4 time). C Major. Standard tuning. One part (Kines): AABB (Barnes): AABC (Chappell). The air appears in Thomas Ford's Musicke of Sundrie Kindes (1607) and The Golden Garland of Princely Delight (1620). Kines (1964) remarks almost nothing is known of the life of Thomas Ford, but "the beauty of this superb love song sets him in the highest rank of Elizabethan composers." Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 119. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 129. Kines (Songs From Shakespeare's Plays and Popular Songs of Shakespeare's Time), 1964; pgs. 60‑61.

           

SINCE LOVE IS THE PLAN. AKA and see “Whistle and I’ll Wait for You.” English, Irish; Air (6/8 time). D Major. Standard tuning. AB. The tune takes its name from a song in William Shield’s (1748-1829) ballad opera The Poor Soldier (lyrics by J. O’Keeffe), first performed in 1783, the year after Shield was appointed ‘house’ composer to Covent Garden. According to Bruce Olson, the tune is first found as “The Irish Lover’s Morning Walk”, issued on a single song-sheet around 1780, a few years before Shield adapted it for his work. The melody also appears in the music manuscript copybook of Henry Livingston, Jr., along with other favourite ballad opera tunes, hymns and dance tunes.  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 poet and 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.O'Neill (O’Neill’s Irish Music), 1915/1987; No. 65, pg. 40.

X:1

T:Since Love is the Plan

M:6/8

L:1/8

R:Air

N:”Moderate”

S:O’Neill’s Irish Music (1915), No. 65

Z:AK/Fiddler’s Companion

K:D

d/e/ | fdB AGF | Eee e2 d/e/ | fdB AFA | Ddd d2 d/e/ | fdB AB/A/G/F/ | Eee e2 d/e/ |

fdB AFA | Ddd d2 || d | dfa dfa | dfa a2 d | dfa dfa | bee e2 d | dfa dfa dd’b a2 a/g/ |

fdB AGF | Eee e2 a/g/ | fdB AFA | Ddd d2 ||

           

SINCE THEN I'M DOOMED. English, Air (2/4 time). D Major. Standard tuning. One part. Presumably once a song. Huntington (William Litten's), 1977; pg. 39.

           

SINCLAIR'S FANCY. Shetland. Shetland, Islands of Yell and Unst. May have a Scottish name.


           

SINE BHAN. Scottish, Slow Air (3/4 time). D Major. Standard tuning. One part. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 13.

                       

SINÉAD AG BAILIÚ RUACAN.  AKA and see “Jenny Picking Cockles [2].”

                       

SINÉAD AGUS AN EASÓG.  AKA and see “Jenny and the Weazel.”

 


SINEID DATAMAIL M DUIBNAIG. AKA and see "Comely Jane Downing."

 

SINEIDIN PIPPIN. AKA and see "Jenny/Jennie Pippin."

 

SING A SONG OF SIXPENCE. AKA and see "Calder Fair."

 

SING TANTARAH RARAGH ROUGES ALL. Scottish. The melody appears in the Gillespie Manuscript of Perth, 1768.

 


SINGED ELECTRICIAN, THE. Scottish, Jig. D Major. Standard tuning. AABB. Composed by Ian Crane, a piper born in Scotland who now resides in West Valley City, Utah. The title refers to a former pipe sergeant in his local band who occasionally would come to practice with no trace of the mustache he had been sporting the week before and with a shorter hair style. His answer to queries was invariable "some idiot turned on the power while I was working." Cook (Night in the Kitchen Collection), 1996; pg. 30.

           

SINGING KETTLE, THE.  Irish, Reel. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 33.

 

SINGING SISTERS, THE. Irish, Jig. G Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, dedicated to musicians, teachers and nuns Rosalie and Rosamund Deck. Black (Music’s the Very Best Thing), 1996; No. 213, pg. 115.

X:1

T: The Singing Sisters

C: © B. Black

Q: 325

R: jig

M: 6/8

L: 1/8

K: G

A | BdB AGA | Bee gfe | BdB AGA | BGD E2 A |

BdB AGA | Bde gfg | afd cAd | BGF G2 :|

A | Bee gfg | bag fed | Bee gag | ged e2 A |

Bee gfg | bag efg | dcB Adc | BGF G2 :|

                       

SINGING THE TRAVELS. English, Morris Dance Tune (2/4 time). G Major. Standard tuning. AB. From the Symmondsbury (England) mummers. Raven (English Country Dance Tunes), 1984; pg. 83.

                       

SINGLE AND FREE. Irish, Air (3/4 time). G Minor. Standard tuning. AB.

***

One evening last week I walked down by yon bush,

I heard two birds singing‑‑a blackbird and a thrush;

I asked them the reason they sany in such glee,

And the answer they gave, they were single and free.

***

Joyce (Old Irish Folk Music and Songs), 1909; No. 213, pgs. 104‑105.

                       

SINGLE FOOTING HORSE. Old‑Time, Breakdown. USA, Tennesse. D Major. Standard tuning. AABB. From influential Tennessee musician Fiddlin' Arthur Smith. The Single-Footing Horse is a light breed of good conformation, attractive in appearance and smooth riding. The term ‘single-footing’ stems from the fact that at the fastest speeds the horse travels with one foot on the ground at a time.

***

 

Single Footing Horse

I always did love a black horse and I had a beauty, a single-footer named Peacock. He could travel like the wind and had the best endurance I ever saw in a horse. Everybody was trying to make a deal to get hold of him. They even tried to win him as a stake in a gambling game. I couldn't part with him, for we had been pals to long.

 

 From "From the Pecos to the Powder. A Cowboy's Autobiography"

 

***

Source for notated version: Tim O'Brien [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 223. Welling (Welling’s Hartford Tunebook), 1976; pg. 6. Bay 209, "The Gypsy Gyppo String Band" (1977).

                       

SINKING OF THE TITANIC, THE. AKA – “The Titanic Highland.” Irish, Highland. Ireland, County Donegal. The Donegal highland derivation of the Scottish strathspey “Miss Drummond of Perth [1].”

                       

SINNERS' LAMENT. AKA and see "Fare You Well," "End of the Mission," "Rough Little Heathy Hill."

           

SIOBHÁN HURL’S. AKA and see “Colm Danagher’s,” “Jim Keeffe’s [2]," “Michael Murphy’s Slide,” “Rachael Finch’s Fancy.” Irish, Slide (12/8 time). A Major. Standard tuning. AABB. Mallinson (Enduring), 1995; No. 59, pg. 26.

           

SIOBHÁN O’DONNELL’S NO. 1. Irish, Jig. D Major. Standard tuning. AABB. Siobhán O’Donnell is a flute player and singer from London, born to parents from County Mayo. Karen Tweed learned this and “Siobhán O’Donnell’s No. 2” as part of a set of four, while playing with O’Donnell in sessions in a pub called “The Good Mixer,” in Camden Town, London. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 1.

X:1

T:Siobha/n O'Donnell's No.1

C:Siobha/n O'Donnell?

B:Karen Tweed's Irish Choice (plus accompanying tape)

R:jig

M:6/8

Z:Gordon Turnbull

L:1/8

K:D

c | def A2 G | EFD =c2 A | dcd f/g/af | gec Aec |

def A2 G | EFD =c2 A | dcd f/g/af | gec d2 :||

|: e | ~f3 dfa | gec Ace | fef gfg | edB ABd |

~B3 gBg | ~A3 fAf | ~G3 f/g/af | gec d2 :||

           


SIOBHÁN O’DONNELL’S NO. 2. AKA and see “Custy’s,” “Karen Tweed’s.” Irish, Jig. A Minor. Standard tuning. AA’BB. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 1.

X:1

T:Siobhan O'Donnell's No.2

C:Siobhan O'Donnell

D:Mary Custy & Eoin O'Neill, With a lot of help from their friends

D:Michael McGoldrick, Morning Rory

D:Flook!, Live!

B:Karen Tweed's Irish Choice (plus accompanying tape)

Z:Gordon Turnbull

R:jig

M:6/8

L:1/8

K:Am

a2 A AGE | GAB A3 | eag edc | eAB AGE |

cde dcA | ~G3 G/B/cd | eAa ged | [1 cA^G A3 :|[2 cA^G A2 ^g|]

|: a^ga ged | edg edc | ~A3 GAc| dec deg |

aeg dec | ~A3 GEG | cde ged | cA^G A2 ^g :|

           

SIOBHÁN O’DONNELL’S NO. 3. AKA and see “The Maids of Tullyknockbrine,” “The Rat in the Thatch.” Irish, Reel. G Major. Standard tuning. AA’B. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 25.

           

SIOBHÁN O’DONNELL’S (REEL). AKA and see “The Reel of Sceach.” Irish, Reel. The melody was composed as “The Reel of Sceach” by County Offaly flute player John Brady in the 1980’s. Kells Music 9502, Dervish – “Harmony Hill.” Lunasa.

X:1

T:Siobhan O'Donnell's

M:C|

L:1/8

Q:240

Z:transcribed by Philippe Varlet

R:reel

K:A

ABce ~a3 e|~f3 a fece| ~f3 e cBAF|EFAB cBAF|

ECEF ABce|~f3 a fece| ~f2 ec dBcA|~B2 AB cAAG:||

ABce {a}fece|fA A/A/A fAeA|fA A/A/A fAef|aefa eAce|

~f3 e cBAF| ~E3 F ABce|~f2 ec dBcA|~B2 AB cAAG:||

           

SIOBHAN’S REEL. Canadian, Reel or Strathspey. Canada, Cape Breton. A Major. Standard tuning. AB. Composed by Cape Breton piper Barry W. Shears in honor of his youngest daughter. Shears (Gathering of the Clans Collection, vol. 1), 1986; pg. 46 (pipe setting).

                       

SIOBHÁN’S REQUEST. Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AABB’. Composed by editor Paul Steward Cranford. Cranford (Brenda Stubbert’s), 1994; No. 27, pg. 10.

 

SIODA ATA ID' BHALLUIT A BHUACHAILL, AN (Is It Silk That's In Your Bag, My Boy). See "Over the River To Charlie [1]," "Miss/Mrs./Mistress/Madam Casey (Cassey)."

 

SÍODA ATÁ ID VALLAIT?, AN.  AKA and see “Is Your Wallet Made of Silk?”

 

SION HOUSE. English, Country Dance Tune (3/2 time). F Major. Standard tuning. ABB (Sharp): AABB (Barnes). The melody dates to the year 1686 when it appeared in the 7th edition of Playford’s Dancing Master. Syon House, Ilseworth, Middlesex, was a manor house built on the site of Bridgettine Syon Abbey, one of the last of the great monastic centers of England. It perished, along with its Father Confessor, for refusing to accede to Henry VIII’s insistence that the Church be subservient to secular power in the form of the monarch. The manor was one of the favorite residences of Queen Elizabeth, and was also the place where Jane Grey accepted the crown of England, which she bore but nine days (she was the daughter-in-law of the then-owner of the manor). Syon House eventually passed into the hands of the Earls of Northumberland, who hold it still. Graham Christian (writing in CDSS News, issue #184, May/June 2005) links the title with the Earl of Northumberland who was known for his neutrality during the English Civil War, and who acted as governor to the Duke of York. The Duke eventually became King James II (famous for sponsoring his edition of the Bible) who reigned briefly from 1685-1688. Christian suggests the appearance of the melody in Playford’s 1686 volume, published at the beginning of James’s reign, is meant in part to honor their relationship. Barlow (Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 257, pg. 65. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909; pg. 74.

X:1

T:Sion House

M:3/2

L:1/8

S:Sharp – Country Dance Tunes

Z:AK/Fiddler’s Companion

K:F

F2c2A2 GF c4 | f3e d2g2 e2 dc | f2c2d2 cB A2d2 | B2e d4 c4 |

F2c2A2 GF c4 | f3e d2g2 e2dc | r2c2d2cB A2d2 | B2e2 d4 c4 ||

|: g3a g2fe d2e2 | f2e4d2 B2A2 | B3A B2c2 d2A2 | A6 G2 G4 |

c2 A4 d2c2f2 | d2g4d2 e2 dc | f2 c4 b2a2g2 | g6 f2 f4 :|

 

SIOR BHUAIN CULAIG. Scottish. This tune was used to accompany the Flaughter Spade Dance in which a solo dancer assumed the character of a rustic or day laborer with a flaughter spade.  Emmerson (1972) believes it is the 'Speyde' referred to in the Complaynt of Scotland.

 


SIOS AGUS SIOS LIOM. AKA and see "Down Beside Me."

 

SIOS AIR AN URLAR. AKA and see "Down on the Floor."

                       

SIOS AN ABAINN. AKA and see "Down the River [2]."

                       

SIOS AN CNOC. AKA and see "Down the Hill."

                       

SIOTADOIR, AN. AKA and see "The Peacemaker('s Hornpipe)."

                       

SIOTMAOR NUAD, AN. AKA and see "The New Policeman [3]."

           

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