The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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SLA - SLE

 

 

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]

 

 

 

SLA ANDULKA DO ZELI. AKA and see "Annie in the Cabbage Patch." Czech. A popular folk melody among the ethnic Czech community of northern Wisconsin.

 

SLACAIR AN FAIRCILL. AKA and see "Wallop the Potlid."

 

SLAGGYFORD GALOP. English, Galop. England, Northumberland. D Major (‘A’ and ‘B’ parts) & G Major (‘C’ through ‘F’ parts). Standard tuning. AABBCCDD’EEFF. Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler, originally from Morpeth. Graham Dixon (1995) notes that Slaggyford is a hamlet near Town Green, Northumberland. Source for notated version: an un-attributed 19th century manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 37.

 

SLAGPOLSKA FROM SMALAND. Swedish, Dance Tune (3/4 time). D Major. Standard tuning. AABB. Thompson (Fiddler's Almanac), 198‑; pg. 56.

 

SLAINTE AN CHUPAN. See "Slainte on gCupan."

 

SLAINTE NA NGAODHAL. Irish, Air (4/4 time). G Major. Standard tuning. AB. The air is a famous Scots melody. Roche Collection, 1982, vol. 3; No. 40, pg. 11.

X:1

T:Slainte na nGaodhal

M:C

L:1/8

R:Air

S:Roche, vol. 3, No. 40  (1927)

Z:AK/Fiddler’s Companion

K:G

D2|G2 (G>A) B2 (AG)|A2 (A>G) E2 zD|G2 (G>G) G2 (Bd)|(e4 d2) zd|e2 (e>d)B3d|

(cBA)G E3D|(.G.G) (Bd) e2 (dB)|(A4G2||D2|G2 (G>A) B2 (BA)|G2 (G>E) D3D|

G2 (G>G) G2 (Bd)|(e4d2) zd|e2 (ed) B2 (Bd)|(cBA)G E3D|(G>G) (Bd)e2(dB)|(A4 G2||

                       


SLAINTE ON gCUPAN (Health from the cup). Irish, Air (2/4 time). B Flat Major. Standard tuning. One part. The Irish collector Edward Bunting printed this pentachordal air (the 6th and 7th tones are missing) in his 1809 and 1840 volumes. Source for notated version: the index to Bunting's 1840 collection gives that he received the melody from Richard Kirwan of Cregg in 1792 and notes "The quaintness and brevity of the air and the fact of its consisting of only one part, are strong arguments of a high degree of antiquity." O'Sullivan/Bunting, 1983; No. 84, pg. 128.

                       

SLAINTE RIGH PILIB [1] (Health to King Phillip). Irish, Air (3/4 time). C Major. Standard. AABB. O’Neill (1922) says the title refers to King Phillip IV of Spain, who died in 1665. “This setting and the two that follow illustrate the tendency to create variants of popular compositions.” Source for notated version: copied from Burk Thumoth’s Scotch and Irish Airs (1743) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Slainte Righ Pilib [1]

T:Health to King Phillip

M:3/4

L:1/8

S:Burk Thumoth's Scotch & Irish Airs 1743

Z:Paul Kinder

R:Air

K:Bb

"Moderato"G4 ^F2|G2 A2 c2|d4 c2|{B}A4 d2|c4 AG|^F2 A3 G|^F3 E F2|D6|!

G4 ^F2|G2 A2 c2|d4 A2|c4 de|f2 =e2 d2|c2 A2 G^F|G6-|G6:|!

g4 ^f2|g2 a2 b2|a4 gf|d4 d=e|f3 g fg|f2 d2 f2|c4 {B}A2|^F4 {E}D2|!

G3 A G^F|G2 A2 c2|d4 A2|c4 d=e|f2 =e2 d2|c2 A2 G^F|G6-|G6:||!

 

SLAINTE RIGH PILIB [2]. Irish, Air (3/4 time). A Minor. Standard. AABB. Source for notated version: copied from O’Farrell’s Pocket Companion (vol. II, c. 1806) [O’Neill]. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 150 (appears as “Slaunta Ree Philip”). O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Slainte Righ Pilib [2]

T:Health to King Phillip

M:3/4

L:1/8

S:O'Farrell's Pocket Companion, 1804-1810

Z:Paul Kinder

R:Air

K:A Minor

"Moderato"A2|G2 A2 A2|A2 B2 AG|A2 B2 d2|e2 ^f2 g2|d2 B2 BA|G4 ed|!

B2 A2 A2|A2 B2 AG|A2 B 2d2|e2 ^f2 g2|B4 A2|A4:|!

|:ed|e2 a2 a2|a2 b2 ag|a4 ba|g2 e2 g2|d2 B2 BA|G4 ed|!

B2 A2 A2|A2 B2 AG|A2 B2 d2|e2 ^f2 g2|B4 A2|A4:||!

 

SLAINTE RIGH PILIB [3]. Irish, Air (3/4 time). B Flat Major. Standard. One part. Source for notated version: O’Neill copied the air from Thomson’s Original Irish Airs (1814-1816). O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Slainte Righ Pilib [3]

T:Health to King Phillip

M:3/4

L:1/8

S:Thomson's Original Irish Airs, 1814-1816

Z:Paul Kinder

R:Air

K:Bb

"moderato"F4 =E2|F2 G2 B2|c4 B2|G4 c2|B4 GF|=E4 C2|C4 C2|C2 D2 =E2|!

F4 =E2|F2 G2 B2|c4 G2|B2 c2 d2|e2 d2 c2|B2 G2 =E2|F6-|F6|!

f4 =e2|f4 g2|f4 _e2|c4 d2|e4 e2|e2 c2 e2|B4 G2|=E4 C2|!

F4 =E2|F2 G2 B2|c4 G2|B2 c2 d2|e2 d2 c2|B2 G2 =E2|F6-|F6||!

                       

SLÁN AGUS BEANNACHT LE BUAIDHREAMH AN TSAOGHAIL. AKA and see "Farewell to the Troubles of the World," "Farewell to My Troubles." Irish, Jig (“gaily, but not so fast as jig time”). D Major/Mixolydian. Standard. AB. The title is a reccurent phrase of several songs to the air. Bayard believes "O'Connell's Welcome To Parliament" to be a major mode version or derivative of this tune. Sean O Boyle (1976) notes the words to the tune were composed with lines and half-lines alternating in English and Irish, and believes this reflects the bilingual period in the historical process of the supplanting of the Gaelic language in Ireland by English. Source for notated version: “taken down in 1853 fromt he whistling of Joseph Martin a native of the county Limerick” [Joyce]. Joyce (Ancient Irish Music), 1973/1890; No. 33, pg. 35. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 961. Stanford/Petrie (Complete Collection), 1905; Nos. 1462, 1463, and 1478.

X:1

T:Farewell to My Troubles

T:Slán Agus Beannacht le Buaidhreamh an tSaoghail

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 961

Z:AK/Fiddler’s Companion

K:D

A | dec dcA | GFG AFD | FEF GFD | FGA c2A | dec dcA |

GFG AFD | F3 G2 A/G/ | FDD D2 :: G | FED FGA | cdB =cAG |

A=fe dec | ABc d2c | BGB d=cA | GFG AFD | F3 G2 A/G/ | FDD D2 :|

 

SLÁN AN MHAIRNÉALAIGH. AKA and see "The Sailor's Farewell.”

 

SLÁN BEO FAREWELL. Irish, Slow Air (3/4 time). F Major. Standard. One part. Source for notated version: the 19th century Irish collector P.W. Joyce [Mulvihill]. Howe (1000 Jigs and Reels), c. 1867; pg. 27. Joyce (Ancient Irish Music), 1873/1890. Mulvihill (1st Collection), 1986; No. 58, pg. 132.

X:1

T:Slan Beo

T:Farewell

M:3/4

L:1/8

R:Air

N:”Slow and with expression”
S:Joyce – Ancient Irish Music (1873/1890)

Z:AK/Fiddler’s Companion

K:F

FG | A2D2E2 | F4 AB | c4 AF | G2F2F2 | F4 FG | A2F2G2 | {A}f4 ef |

d4 dc | A2F2G2 | A4 AG | A2F2G2 | {A}f4 ef | d4 dc | A2F2G2 | A4 AG |

A2D2E2 | F3G AB | c4 AF | G2F2F2 | F4 ||

 

SLÁN GUN TIG MO RUN A NALL. AKA and see "Well May My True Love Arrive."

 

SLÁN LE CEOL. AKA and see “Farewell to Music.”

 

SLÁN LE CONNACHTA. AKA and see "Farewell to Connacht.”

 

SLÁN LE h-ÉIREANN.  AKA and see "Farewell to Erin/Eireann [2]."

 

SLÁN LE MÁIGH (Farewell to the Maigue). AKA and see “The Bells of Shandon.” Irish, Air (4/4 time). D Major. Standard. One part (Ó Canainn): AAB (Miller & Peron). The collector George Petrie remarks that the author of this song is “the clever but deplorably licentious Irish poet Andrew Magrath” and “one of the most distinguished of a class of men--usually hedge schoolmasters--who, for nearly a century by their writings, teachings and, too generally, reckless lives, exercised an influence over the minds and, as may be feared, even the moral feelings of the fine-hearted but excitable peasantry of Munster.”

***

A set of lyrics was written to the tune by Francis Sylvester Mahony (Father Prout), honoring the famous bells of St. Anne’s in Shandon, Cork. The cleric wrote them while studying in the Jesuit College in Rome in 1804, no doubt remembering the eight bells, one of which bears the inscription We were all cast at Gloucester in England. Abel Rdhall, 1750. The church itself was built in 1726 on the site of an earlier church, destroyed during an attack on the city in 1690, and good views are to be found from the bell tower. Father Prout’s song begins:

***

With deep affection and recollection
I often think of those Shandon Bells
Whose sounds so wild would, in my days of childhood
Fling round my cradle their magic spells
On this I ponder where'er I wonder
And thus grow fonder sweet Cork of thee
With thy bells of Shandon that sound so grand on
The pleasant waters of the River Lee

 

St. Anne’s, Shandon, Cork.

***

Ceolta Gael. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 61. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 102, pg. 87. Tradition TLP 1024, Mary O'Hara.

 


SLÁN LE MO BUAIDREAD. AKA and see "Farewell to My Troubles."

 

SLÁN LEAT GO BRATH. AKA and see "Farewell For Ever{more}."

 

SLÁN LEIS AN bhFRAOCH. AKA and see “Farewell to the Heather.”

 

SLÁN UÍ CHONAILL LE BAILE ÁTHA CLIATH. AKA and see "O'Connell's Farewell to Dublin [1]."

 

SLANE (Farewell). Irish, Air (3/4 time). E Flat Major. Standard. One part. The tune has been used for many hymns over the years in Protestent churchs; “Be Thou My Vision” in the 1940 Episcopal Church Hymnal is one example. See also the Irish ballads “Banks of the Bann” and “With My Love on the Road.” Miller & Perron (Irish Traditional Fiddle Music), 1977; Addenda.

 

SLANEY BOG, THE. Irish, Reel. D Major. Standard tuning. AB. Composed by County Cavan/Philadelphia fiddler Ed Reavy (1898-1988). According to his son Joe, the tune gained currency with New York Irish musicians in the 1940's. Reavy (The Collected Compositions of Ed Reavy), No. 7, pg. 7.

X:1

T:The Slaney Bog

M:2/2

L:1/8

C:Ed Reavy

S:The Collected Compositions of Ed Reavy

R:Reel

N:The Slaney Bog. This tune became an instant favorite with "the

N:New York fellows" back in the forties.

Z:Joseph Reavy

K:D

||:[F3A3] G FGAB|=cAFA G2 FG|(3AB=c AG FGAg|fdec dfec|

AGAG FGAB|=cAFA G2 FG|(3AB=c AG FGAg|fdec Adde||

f2 gf gfed|cAAB cdeg | fdfa g2 fg | (3agf (3gfe fddf |(3agf (3gfe fdec |

dfed cAGE | Dddc defg |1 (3agf (3gfed fec:|2 (agf gfe d4||

 

SLÄNG POLSKA. Swedish, Polska. Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004).

 

SLANTHA. Irish, Jig. G Dorian. Standard tuning. AABB. The title is probably a corruption of the Irish word slainte, a health. Hardings All-Round Collection, 1905; No. 124, pg. 39.

X:1

T:Slantha

M:6/8

L:1/8

R:Jig

S:Harding’s All Round Collection (1905)

Z:AK/Fiddler’s Companion

K:Gdor

f | d2G GAG | dcd f2d | cAF FGF | AFA c2f | d2G GAG | dcd f2g | fdf cA^F | GAG G2 :|

|: d | gag gfd | gab a2g | fgf fcA | faf f2a | gag gfd | gab agf | dfd cA^F | GAG G2 :|

           

SLANTY GART. AKA and see "Lord MacDonald('s Reel) [4]" (Scottish title) and the "Leather Breeches/Britches" family of tunes. Shetland; Reel. G Major. Standard tuning. AABBC. Slanty Gart is a fanciful place name. Boys of the Lough, 1977; pg. 1. Shanachie 79002, "Boys of the Lough" (1973). Trailer LER 2086, "Boys of the Lough."

           

SLAP AND KISS.  English, “Old” Hornpipe (3/2 time). G Major. Standard tuning. ABCDEFGHIJK. An “old” or “triple-“ hornpipe from Thomas Marsden’s A Collection of Original Lancashire Hornpipes, Old and New. Containing Divisions upon each (London, 1705). The book was sold out of Henry Playford’s shop at the Temple Change, priced at one shilling. Offord (John of the Greeny Cheshire Way). 
X:1
T:Slap and Kiss
M:3/2
L:1/8
S:Marsden
Z:Transcribed by Pete Stewart and posted at www.goodbagpipes.co.uk/pipetunes/   
N:(reposted at Fiddler’s Companion by permission)
K:G
ef|gfedB2g2dB AG|A2e2e2A2cdef|gfedB2g2dB AG|BcdBg2B2cdef||
gfed BcdB dB AG|A2e2e2A2 cdef|gfed BcdB dB AG|B2g2g2B2cdec||
G2B2G2e2 BcdB|A2c2A2a2AB cA|G2B2G2g2BcdB|G2g2BcdB AB cA||
G2B2G2g2B2g2|A2a2A2a2A2g2|G2B2G2g2BcdB|G2g2BcdB AB cA||
GA Bc dB de dB AG|AB cd edcB AB cA|GA Bc dB de dB AG|BcdB efge fgaf||
gfed edcB cB AG|AB cd edcB AB cA|GA Bc dB de dB AG|BcdBg2B2d2g2||
B2G2D2g2dB AG|AB cd ec BA cdec|B2G2D2g2dB AG|BcdB g2B2cdec||
gd>z=f ec>ze dB>z G|A2e2e2A2cdef|gd>z=f ec>ze dB>z G|G2g4B2cdec||
B2g4ef gfed|cdef ec BA cdec|B2g4ef gfed |BcdB g2B2cdec||
G2B2G2g2G2B2|A2c2A2a2ABcA|G2B2G2g2G2B2|G2e2G2B2AB cA||
G2B2G2g2dB AG|AB cd ec BA cdef|gfed BcdB dB AG|BcdBg2B2d2g2||

 

SLASH AWAY THE PRESSING GANG. AKA and see "All the Way to Galway [1],” "The Galway Girls,” “High Way to Galloway,” “Kerry Cow,” "The March of the Tribes to Galway,” "The Road to Lisdoonvarna [2],” "Sarsfield March,” "Yankee Doodle Dandy.” Irish, March (4/4 time). D Mixolydian. Standard tuning. AA’BB’. Similar to “Yankee Doodle” in the second part. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 65. Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers” (1997).

X:1

T:Slash Away the Pressing Gang

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

K:Dmix

d>efd cAAc | BG ~G2 cA A2 |1 d>efd cAAc | BGAF D3 D :|2 defg abag |

fde^c d3 d ||: A>BAG AB c2 | G>AGF ECEG |1 A>BAG ABcd | cAGE D3 D :|

2A>BAG Adde | "tr"fde^c d3 d ||

           

SLASHERS. AKA and see “Bannocks' o' Barley Meal,” "Barley Meal,” “Kinnegad Slashers.” English, Irish; Jig. D Major (Kennedy, Raven): C Major (Hardings). Standard tuning. AABB. Harding’s All Round Collection, 1905; No. 23, pg. 7. Kennedy (Fiddlers Tune Book), vol. 1, 1951; pg. 43. Raven (English Country Dance Tunes), 1984; pg. 110.

X:1

T:Slashers

T:Kinnegad Slashers

M:6/8

L:1/8

R:Jig

K:D

(3A/B/c/|ded dAF|ABA ABc|ded dAF|Eee e2f|

ded dAF|ABA Agf|fef dBA|Bdd d2:|

|:A|dfa afd|cde ecA|dfa afd|faa a2A|

dfa afd|cde eag|fef dBA|Bdd d2:|

           

SLASHING REEL, THE. AKA and see "The Floggin',” "The Newry Lass,” "The Fife Reel,” "The Flag(g)on,” "The Humours of Bantry Bay.”

           

SLATE ROOF, THE. AKA and see “The Lansdowne Lass.” Irish, Reel. D Major. Standard tuning. AABB. The tune is very similar to (and perhaps a version of) Paddy Taylor’s “Katie Taylor” and Josie McDermott’s “Lansdowne Lass.”  Source for notated version: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 75, pg. 20.

           


SLATTERY'S FANCY (Roga Ui Slatteraig). Irish, Jig. A Major. Standard tuning. AABB. Source for notated version: M. Casey [O’Neill]. O'Neill (Krassen), 1976; pg. 25. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 803, pg. 149.

X:1

T:Slattery’s Fancy

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 803

Z:AK/Fiddler’s Companion

K:A

A/B/ | ~c3 c2B | cec dBA | GAB BcB | Bec dBA | cdc c2B |

Cec dBA| GAB Bec | dBG A2 :: z | a3 gfe | dBA GAB |

{d}cBc dcd | efg a2z | a2a gfe | dBA GAB | {d}cBc cde | dBG A2 :|

           

SLATON WALTZ. Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard tuning. AABB. Source for notated version: J.S. Price (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 153.

           

SLAUDEEN’S DELIGHT. Irish, Jig. G Major. Standard tuning. AABB. The tune is a variant of “Sweet Biddy Daly,” played as part of the Dingle Wren tradition by fife and drum band. The tune was transcribed by Steve MacDonogh in his book “Green and Gold,” that used the 1982 Wren event as an opportunity to explore historic and folklore background of the tradition.

X:1

T:Slaudeen's Delight
D:Forever by Dingle Shore, by Dingle band Slaudeen
B:Green and Gold, Steve MacDonogh, Brandon, 1983
N:a Dingle Wren tune, variant of Sweet Biddy Daly
N:transposed from Eb
Z:Transcribed by Paul de Grae

M:6/8
L:1/8
K:G

e|dBG AGA|B2 G GED|GFG GAB|BAG A2 e|

dBG AGA|B2 G GED|GFG GAB|AGF G2:|

|:GAB/c/ d2 d|d2 e dBG|GAB/c/ d2 e|dBG ABA|

GAB d2 d|d2 e dBD|~e3 dBA|AGF G3:|

           

SLAUGHTER HOUSE. AKA and see "Hey, Ho, My Honey." English, Country Dance Tune (6/8 time). B Flat Major/G Dorian/Minor. Standard tuning. AABC. The tune, which slips in and out between major and  modal tonality, dates to the year 1703. Barnes (English Country Dance Tunes), 1986. Sharp (Country Dance Tunes), 1909/1994; pg. 69.

X:1

T:Slaughter House

T:Hey Ho, My Honey

M:6/8

L:1/8

S:Sharp – Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:Bb

|: g | ^f2d d=ef | g3 b3 | fd2 c2B | (G3 G2) g | ^f2d d=ef | g3 b3 | fd2 c2B | (B3 B2) :|

F | BAB cBc | d (f2 f2) F | BAB cde | (d3 d2)F | B>cd ec2 |

f3 g3 | fd2 c2B | (G3 G2) || A | B3 A2G | ^F (D2 D2)D |

BAB cBc | (d3 d2)A | B>cd ec2 | f3 g3 | fd2 c2B | (G3 G2) ||

           

SLAVE, THE.  AKA and see “The Sloe.” English, Country Dance Tune (4/4 time). The tune appears under this title in some English musicians’ manuscripts, such as that of the Rev. Robert Harrison (Brampton, Cumbria, 1820). It survived into the 20th century in tradition, and was noted by collector Cecil Sharp from the playing of John Mason in Stow-on-the-Wold (see note for “The Sloe”). Barry Callaghan (2007) traces the title and tune to an opera by Sir Henry Bishop, The Slave, produced in 1816.

 

SLAYLEY BRIDGE HORNPIPE. AKA and see "Bristol Hornpipe." English, Hornpipe. England, Yorkshire. A Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 36, pg. 37.

           

SLEAMNAIN CUIL AODA. Irish, Slide (12/8 time). Ireland, West Kerry. G Major. Standard tuning. AABB. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 84, pg. 47.

           

SLEAMHNÁN DHINNÍ UI MHEISCILL. AKA and see "Dinny Mescal's Slide."

           

SLEAMHNÁN DHÓNAILL UÍ CHAOIMH. AKA and see "Dan O'Keeffe's Slide [1]."

           

SLEAMHNÁN DHONNCHA MHIC IONNRACHTAIGH. AKA and see "Denis Enright's Slide."

           

SLEAMHNÁN MHÁIRÉAD NIC SHEANLAOICH. AKA and see "Maggie Shanley's Slide."

           

SLEAMHNÁN PHÁDRAIG UÍ CHAOIMH. AKA and see "Padraig O'Keeffe's Slide [1]."

           

SLEAMHNÁN SHEÁIN UÍ CHEALLAIGH. AKA and see "John Kelly's Slide [1]."

           

SLEAMHNÁN SHEÁINÍN MHICÍ. AKA and see "Johnny Micky's Slide."

           

SLEAMHNÁN UÍ CHEALLACHAIN. AKA and see "Callaghan's Slide."

           

SLEAMHNÁIN CHROSAIRE AN CHAIRÉIL, NO. 2. AKA and see “The Hare in the Corn [4],” “The Cat in the Corner [2].”

           

SLEASCHÉIM AN PROMENADE. AKA and see “Promenade.”

           

SLEEP, DEARIE, SLEEP. Scottish, Air. The Gaelic title “Caidil mo Ghaoil” translates as ‘Sleep my love.’ The tune is still used as a ‘taps’ signal call in Highland regiments.

                       

SLEEP ON MY KATHLEEN DEAR (Codal Leat Mo Caitilin Dileas). Irish, Slow Air (4/4 time). G Major/Mixolydian. Standard tuning. AB (O’Farrell): AABB' (O’Neill). O’Farrell (Pocket Companion), c. 1805; pg. 18. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 97, pg. 18.

X:1

T:Sleep On My Kathleen Dear

M:C

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 97

Z:AK/Fiddler’s Companion

K:G

G2 | c3 d cBAG | G2 B/A/B/d/ e2 {a}g{f}e | d<B AG EDEG | G4 z2D2 |

c2 cd cBAG | G2 B/A/B/d/ e2 ge | d<B AG EDEG | G4 z2 :|

|: e | =f<efg fedB | d2 eg g3 =f | fege edge | dB c/B/A/G/ ED ze |

=f>efg e2g2 | G2 Bd e2 {a}g{f}e |1 d<B AG EDEG | G6 z :|2

d<B AG {F}Ec/B/ c/B/A/G/ | G6 z ||

           


SLEEP ON TILL DAY (Caidil gu la). Scottish, Slow Air (3/4 time). C Major (Gow, Martin): E Flat Major (Fraser). Standard tuning. AB (Gow/Fraser): AAB (Martin). "Very old" and “Supposed a Skye Air” (Gow). "The editor begs leave to call the attention of the public to the difference betwixt this air, as communicated in Albyn's Anthology, and the genuine set from the singing of Mr. Fraser of Culduthel and the editor's progenitor, here inserted. These airs must be correctly communicated, and form a standard before the poet should have anything to do with them. This also is the only other air which met the approbation of Mr. George Thomson, with 'The Sequestered Beauty'" (Fraser). Carlin (The Gow Collection), 1986; No. 560. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 179, pg. 73. Gow (Complete Repository), Part 3, 1806; pg. 8. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 8.

X:1

T:Sleep on till day

T:Caidil gu la

M:3/4

L:1/8

R:Slow Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Eb

G>A|B2G2E2|e3fg2|B2c2 [F2A2]|[E3G3] z G>A|B2G2E2|e3f g2|

B2G2[D2F2]|E3z||e>f|g2e2f2|e2G2A2|B2c2_d2|(c2B)ze>f|g2e2f2|

e2B2c2|[E2B2][D2A2][E2G2]|[D3F3] z||

X:2

T:Sleep on till day

M:3/4

L:1/8

R:Slow Air

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:Cmin

A2|(G2D2)E2|c3de2|G2E2 D>C|C4A2|G2(D2E2)|~c3d e2|E2A2~^G2|A4 c>A|

G2(D2E2)|c3~d e2|G2E2D2|C4||

c>d|{cd}e3dc2|(c2G2)GA|_B2A2 A>c|{=B}(c2G2)G2|{G}e3edc2|(c2G2)Ac|

G2E2D2|{D}E4 A2|G2(D2E2)|c3~de2|G>A E2 D>C|C4||

           

SLEEP SOOND I'DA MOARNIN'. AKA and see "Out and In the Harbour," "The Gutters o Skeld." Shetland, Shetland Reel. A Dorian or A Mixolydian. Standard, ADae or AEae tunings. AA’B (Martin, Martin & Hughes), AABB (Williamson): AABB' (Brody, Cooke {Ex. 49b}): AA'BB' (Cooke {Ex. 49a}). Known all over the Shetland isles (Cooke). "Much played on the islands...a fairly typical Shetland reel" (Boys of the Lough). Christine Martin (2002) says the tune is known as “Da Gutters o’ Skeld” on the west side of Shetland and the northern island of Yell. Some see a similarity between Appalachian fiddler Burl Hammonds’ high part of “Washington’s March [3]” and the ‘B’ part of “Sleep Soond.” Sources for notated versions: Tom Anderson and Aly Bain (Shetland Islands) [Brody]; W.B. Henderson & R Jamieson (Cullivoe, North Yell, Shetland) [Cooke]. Brody (Fiddler’s Fakebook), 1983; pg. 258. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 49, pg. 107 (two versions). Martin (Traditional Scottish Fiddling), 2002; pg. 99. Martin & Hughes (Ho-ro-gheallaidh), 1990; pg. 31. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 55 (includes two variations). Culburnie CUL110, Abby Newton – “Crossing to Scotland” (1997). Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Philo 2019, Tom Anderson and Aly Bain‑ "The Silver Bow." Shanachie 79002, "Boys of the Lough" (1973). Tartan Tapes CDTT1004, Chris Stout – “Heat the Hoose” (1998). Trailer 2086, "Boys of the Lough."

X:1

T:Sleep Soond Ida Moarnin'

M:4/4

L:1/8

Q:1/4=220

C:Trad Shetland

S:From the playing of Tony and Finbar Murphy

R:Reel

O:Shetland

K:Ador

"Am"e a2 ^g a2 ef|"G"gedB "Em"GABG|"Am"e a2 ^g a2 ef|[1 "G"gedB "Am"A2 B

G:|[2 "G"gedB "Am"A3 B||!

"Am"cAeA cAeA|"G"BcdB G3 B|"Am"cAeA cAeA|"G"BAGB "Am"A3 B||!

"Am"cAeA cAeA|"G"BcdB G3 B|"Am"ABcd efga|"G"gedB "Am"A2 z2|]!

                       

SLEEPING GIANT TWO-STEP. Canadian, Two-Step. D Major. Standard tuning. AB. Composed in 1961 by Manitoba fiddler Andy De Jarlis (1914-1975), a Métis fiddler who composed some 200 melodies. The melody appears in his Andy De Jarlis' Canadian Fiddle Tunes From the Red River Valley, Book 2 and is named after the Sleeping Giant peninsula, north of Thunder Bay, Ontario—which has the appearance of a sleeping giant. Source for notated version; Glenn Berry [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 146.

                       

SLEEPING LULU. AKA and see "L & N Rag." Old‑Time, Breakdown. USA, Georgia. C Major. Standard tuning. AABB (Phillips): AA'BB (Brody). See also "Lulu Loves them Young." Source for notated version: Bob Potts and Walt Koken with the Highwoods String Band (Ithica, N.Y.) {Phillips additionally credits Seattle fiddler Ruthie Dornfeld} [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 257. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 131. Columbia 15567‑D (78 RPM), Dick Burnett (Monticello, Ky.), (1930. Burnett learned the tune from one Elmer Stany [d. 1932]). Rounder 0074, Highwoods String Band‑ "No. 3 Special" (1976. Learned from Gid Tanner & the Skillet Lickers). Rounder 1005, Gid Tanner and the Skillet Lickers‑ "Hear These New Southern Fiddle and Guitar Records."

                       

SLEEPING MAGGIE. AKA and see "Sleepy Maggie," "Sleeping Moggy."

                       

SLEEPING MOGGY. AKA and see "Sleepy Maggy/Maggie".

                       

SLEEPING IN A CORNCOB BED. AKA and see "Sugar in the Gourd." Old‑Time, Breakdown. Milo Biggins (Southern Ky.) version of "Sugar in the Gourd."

                       

SLEEPING ON A DOORSTEP. American, Jig. G major. Standard tuning. AABB. Composed by Conn. Regan. Cole (1000 Fiddle Tunes), 1940; pg. 73. Ryan’s Mammoth Collection, 1883; pg. 105.

X:1

T:Sleeping on a Doorstep

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G

D|GAG GBd|gfe dBG|cde dfg|abg fed|GAG GBd|gfe dBG|

cde dgB|dcA G2::B|BcB Bef |gfe e^de|f(dcB) f(cB)|ge^d eBG|

BcB Bef|gfe e^de|fgf (Bgf)|1 eBG E2:|2 edc AFD||


                       

SLEEPING TIME WALTZ. Old-Time, Waltz. USA, Mississippi. Fiddler Gene Clardy was one of the older Mississippi fiddlers to record in the 78 RPM era. It is said he taught Mississippi fiddling great Willie Narmour to play. Document 8028, Gene Clardy & Stan Clements – “Mississippi String Bands, vol. 2” (reissue).

                       

SLEEPLESS NIGHTS. American, Waltz. Composed by Irish style button accordion player Billy McComiskey (Baltimore, MD.).  John Nolan CD.

                       

SLEEPY BODIE. Scottish, Slow Jig. F Major (Gow): A Major (McGibbon). Standard tuning. AABB (Gow): AABBCCDD  (McGibbon). Carlin (The Gow Collection), 1986; No. 377. Gow (Complete Repository), Part 3, 1806; pg. 6. McGibbon (Scots Tunes, book III), 1762; pg. 62.

X:1

T:Sleepy Bodie

M:6/8

L:1/8

R:Slow Jig

S:Gow – 3rd Repository  (1806)

Z:AK/Fiddler’s Companion

K:F

~F|A(c2 Af)d|{d}cBA G>AB |A>Bc (Af)d|c3 F2~F|A>Bc (Af)d|{d}c>BA G>AB|

A>Bc (Af)d|c3F2|:(d/e/)|f>ed {d}cBA|(Bc)A G2 (d/e/)|f>ed cAc|f3 {ef}c2 (d/e/)|

f>ed cBA|(BcA) G2B|A>Bc (Af)d|c3F2:|

X:2

T:Sleepy Body

M:6/8

L:1/8

R:Jig

S:McGibbon – Scots Tunes, book III, pg. 62   (1762)

Z:AK/Fiddler’s Companion

K:A

A | ce2 caf | “tr”e>dc Bcd | (c/d/)ef caf | ({f}”tr”e3)A2 :: (f/g/) | a>gf edc | d(e/d/c/d/) B2 f/g/ |

a>gf e<ce | a3 e2f/g/ | a>gf edc | d(e/d/c/d/) ({c}”tr”B2)A | (c/d/e)f caf | “tr”e3A2 :|

|: A | ce2 c/(e/f/g/a/)f/ | e/f/e/d/c/d/ (Bc)d | (c/d/e)f c/(e/f/g/a/)f/ | ({f}”tr”e3A2 :|

|: (f/g/) | a>gf ef/g/a/c/ | d/f/e/d/c/d/ B>ef/g/ | (a/b/a/g/)(a/f/) ec/d/e/c/ | “tr”a3 e2f/g/ |

(a/b/a/)g/a/f/ (e/d/e/)(c/d/e/) | d/(f/e/d/)c/d/ ({c}”tr”B2A | c/B/c/d/e/f/ caf | ({f}”tr”e3A2 :|

 

SLEEPY EYED JOE [1]. AKA - "Sleepy Joe." Old‑Time, Breakdown. USA; Ga., Missouri, Nebraska. A Major. Standard tuning. AABB. Several different tunes share this (or similar) title. “Sleepy Eyed Joe” is one of ‘100 essential Missouri tunes’ listed by Missouri fiddler Charlie Walden. Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Lyman Enloe (1906-1997, Mo.) [Beisswenger & McCann, Phillips]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 30. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 19. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 224. County CD-2707, Lyman Enloe – “Fiddle Tunes I Recall” (originally recorded 1973).

See also listing at:

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

 

SLEEPY EYED JOE [2]. Old-Time, Breakdown. E Major (Phillips): D Major (Hall/Addis). Standard tuning. AABC. Source for notated version: John Ashby (1915-1979, north Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 224. Columbia (78 RPM), Ellis Hall and Bill Addis. County 773, John Ashby and the Free State Ramblers - “Fiddling by the Hearth.”

See also listing at:

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

 

SLEEPY EYED JOHN. Old-Time, Breakdown and Song. ADad tuning. Bill Monroe recorded a version as “Get Up John.”

***

Way down yonder on Caney Creek
I whittled out a fiddle from a wagon seat
Tuned my fiddle and rosined my bow
Play a little tune whereever I go

***
(Chorus)
Sleepy eyed john, better get your britches on
Sleepy eyed john, better tie your shoes
Sleepy eyed john, better get your britches on
Try to get to heaven 'fore the devil gets you

***
Sleepy eyed john had a wooden leg
Leg wasn't nothing but a little wooden peg
One shoe off and one shoe on
He could play the double shuffle 'till the cows come home

***
Sleepy eyed john he stole a goose
Goose she hollered but she couldn't get loose
Said John to the goose if you don't be still
We'll miss our supper out on Caney Hill

***
Well I got twenty dollars for to build a fence
Took the money and I ain't worked since
Sold my mule and I sold my plow
And I wouldn't take nothing for my journey now

***

Over the hickory and down the pine,
The raccoon left with the coon dog behind.
John says, "Sic 'em," and the raccoon laughed.
He crossed Green River in a minute and a half.

 

SLEEPY JOE. AKA and see "Sleepy Eyed Joe."

 

SLEEPY LOU. Old‑Time, Breakdown. USA, Virginia. C Major. Standard tuning. One part. Recorded by Uncle Dave Macon. Source for notated version: John Ashby (Va.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 132. Front Hall FHR‑024, Fennig's All‑Star String Band ‑ "Fennigmania" (1981. Learned from Allan Block).

                          

SLEEPY MAGGY/MAGGIE (Mairgreadin Codluigteac/Codaltac). AKA and see “All the go,” "Drowsy/Drousy/Drowsie Maggie [1],” “Irishman’s Fancy,” “Jenny’s Chickens,” “Jolly Robin,” “Lovely Robbie,” “Malcolm’s Wedding,” "Sleeping Moggy." Scottish (originally), Irish, English; Reel. B Minor. Standard tuning. AB (O'Neill/1850 & 1001, Surenne): AAB (Gow, Hunter, Martin, Skye): AABB (Athole, Kerr/vol. 3): AABBCC (Kennedy, Kerr/vol. 4, Raven, Williamson): AABBAACC’ (Cranford/Fitzgerald): AABBCCDD (Cole). The earliest record of the tune is in David Young's Duke of Perth Manuscript (also known as the Drummond Castle MS), from 1734, predating John Glen’s (1891) earliest finding of the printing in Robert Bremner's 1757 collection (pg. 48). It also appears in Oswald’s Caledonian Pocket Companion, bk. 10, c. 1760, in Northumbrian musician William Vickers’ 1770-72 music manuscript (under the title “Sleeping maggee”), and in Cumbrian musician John Rook’s 1740 music manuscript. The tune is sometimes mistakenly called “Drowsy Maggie,” due to the similarity of titles, however, “Drowsy Maggie” is usually the name for a different tune, popular in Irish tradition. Further confusing the issue, "Sleepy Maggie" is found in Ireland under its original title, as well as in the variants "Lough Isle Castle," "Seán sa Cheo" and "Tullaghan Lassies." It is the precursor to “Jenny’s Chickens,” famously recorded in New York in the 78 RPM era by Sligo-born fiddler Michael Coleman. Paul Cranford (1997) remarks there is a strathspey setting of the tune in Capt. Simon Fraser’s unpublished works called “Malcolm’s Wedding.” Cape Breton fiddlers Johnny Wilmot, The Five MacDonalds and Ashley MacIsaac have recorded the melody. See Northumbrian versions in the key of A dorian under the title “Small Coals and Ready Money.” See also the song "O Are Ye Sleepin', Maggie” (words credited to poet Robert Tannahill).

***

Sources for notated versions: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; fiddler Peter Turbit [Feldman & O’Doherty]. Bremner (Scots Reels), c. 1757; pg. 48. Cole (1000 Fiddle Tunes), 1940; pg. 19. Cranford (Winston Fitzgerald), 1997; No. 113, pg. 46. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 240. Gow (Complete Repository), Part 1, 1799; pg. 38. Hunter (Fiddle Music of Scotland), 1988; No. 220 (arranged by James Hunter). Kennedy (Fiddler’s Tune Book), vol. 2, 1951; pg. 20 (appears as "Sleeping Moggy"). Kerr (Merry Melodies), vol. 3; No. 34, pg. 6. Kerr (Merry Melodies), vol. 4; No. 164, pg. 19. MacDonald (The Skye Collection), 1887; pg 62. Martin & Hughes (Ho-re-gheallaidh), 1990; pg. 11. O'Neill (Krassen), 1976; pg. 135. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1424, pg. 264. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 661, pg. 118. Raven (English Country Dance Tunes), 1984; pg. 161 (appears as "Sleeping Moggy"). Ryan’s Mammoth Collection, 1883; pg. 44. Stewart-Robertson (The Athole Colleciton), 1884; pg. 130. Surenne (Dance Music of Scotland), 1852; pg. 63. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 62. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 17). Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995). Celtic CXS 17, Winston “Scotty” Fitzgerald - “Canada’s Outstanding Scottish Fiddler.” Culburnie COL 113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999). Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1985). 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 Shan‑79017, John & Phil Cunningham ‑ "Against the Storm" (1980).

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:Sleepy Maggy  [1]

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Bmin

g|:f2Bb fBde|f2Ba eAce|f2Bb fBde|f^gaf eAce:|

|:fBdB fBde|fBdB eAce|fBdB fBde|f^gaf eAce:|

Conclusion:

fBbB aBgB|f^gaf eAce|

X:2

T:Sleepy Maggy [1]

M:C|

L:1/8

R:Reel

S:McGlashan – Reels (pg. 35)

Z:AK/Fiddler’s Companion

K:D

e|f2 de fBde|f2 df eAce|f2 de fBde|f^gaf eAce|f2 Bb fBde|f2 Bb eAce|

f2 Bb fBde|f/e/f/^g/ af eA c||e|fBdB fBde|fBdB eAce|fBdB fBde|

f^gaf eAce|fB d/B/A/B/ fBde|fB d/B/A/B/ eAce|fB d/B/A/B/ fBde|

f/e/f/^g/ af eA c||e|f2 Bb Bfde|f2 db aAce|f2 Bb Bfde|fbaf eAce|

f2 Bb bbde|f2 Bb bbde|f2 Bb bbde|f/e/f/^g/ f/g/a/f/ eA c||e|fBbB fBde|

fBbB aAce|fBbB fBde|fbaf eAce|fBbB fBde|fBbB aAce|gBbB aB^gB|fB^gB aAce||

X:3

T:Sleepy Meggie [1]

M:C|

L:1/8

R:Reel

S:John Rook’s music manuscript (Cumbria, 1840)

K:Bmin

f2 df fBde|f2 Bb eAce|f2 df fBde|f/e/f/g/ af eAce:|

|:fBdB fBde|fBdB eAce|fBdB fBde|f’e’f’g’ af eAce:|

 

SLEEPY MAGGIE [2].  AKA and see “Small Coals and Ready Money.” AKA – “Sleepy Meggy.” The “Sleepy Maggie [1]” tune transposed to the key of A dorian so that it will fit into the range of the Northumbrian pipes.

                       

SLEEPY REEL, THE. Irish, Reel. A Dorian. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black. Black (Music’s the Very Best Thing), 1996; No. 16, pg. 8.

X:1

T: Sleepy Reel

C: © B.Black

Q: 350

R: reel

M: 4/4

L: 1/8

K: Ador

cB | AEEG cBcd | eAAB AGEG | cdeg a2 bg | efge dBcB |

AEEG cBcd | eAAB AGEG | eAcA agfd | cABG A2 :|

cd | eaaf g2 fg | ebbg a2 ga | bage dBGB | cABG ABcd |

eaaf g2 fg | ebbg a2 ag | eAcA agfd | cABG A2 :|

                       

SLEEPY ROBIN WALTZ. American, Waltz. G Major. Standard tuning. ABB. Ford (Traditional Music in America), 1940; pg. 142.

X:1

T:Sleepy Robin Waltz

M:3/4

L:1/8

R:Waltz

B:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

(FE)|(D4 B2)|(G4 e2)|(d2 F3)F|F4e2|(d2 F3)F|F4 e2|(d2 G3)G|G4 (FE)|

(D4 B2)|(G4 e2)|(d2 F3)F|F4e2|d2c2d2|e2d2F2|G3 (DBA)|(G2 G2)||

(Bc)|(d2B3)B|(B4a2)|(g2A3)A|A4g2|(f2A3)B|(c4f2)|(e2d3)_B|=B4(Bc)|

(d2B3)B|(B4a2)|(a2g3).B|A4g2|(f2e3)B|(d2c2)A2|G3 (DBA)|(G2G2):|

                       

SLEEPY WALTZ. Old‑Time, Breakdown. USA, Nebraska. G Major. Standard tuning. ABB. Source for notated version: Fred Doxstadder (Lincoln, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 1), 1973; pg. 203.

 

SLEG’S HORNPIPE.  An alternate title for the curious “C t’s a Monkey.”

 

SLÉIBTE CHILL MHANTÁIN.  AKA and see “The Wicklow Mountains.” Irish, Jig.

 

SLÉIBTE CIARRAIGE. AKA and see "The Mountains of Kerry."

 

SLÉIBTE MUGDORNA. AKA and see "The Mourne Mountains [1]."

                          

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