The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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SLI – SLY

 

 

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, 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]

 

 

 

SLIAB FEIDLIM. Irish, Air (3/4 time). C Dorian. Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 27, pg. 8.

                       

SLIAB GLAS, AN. AKA and see "The Green Mountain [2]."

                       

SLIAB NA IN BAN. AKA and see "Sliab na mBan.

                       

SLIAB NA mBAN. AKA and see "Sliabh-na-mBan."

                       

SLIABAIRE OG, AN. AKA and see "The Mountain Boy."

                       

SLIABH AUGHTY MARCH, THE. Irish, March (4/4 time). F Major. Standard. AA’BB’. The tune was composed by Father P.J. Kelly, a Columban priest from Woodford, County Galway, notes Gearóid Ó hAllmhuráin. The Sliabh Aughty mountains stretch from east Clare to East Galway. Celtic Crossings CD0299-02, Gearóid Ó hAllmhuráin & Patrick Ourceau – “Tracin” (1999. Learned from east Galway/London fiddler Lucy Farr).

X:1

T:The Sliabh Aughty March

D:Gearoid O hAllmhurain and Patrick Orceau, "Tracin'"

M:4/4

L:1/8

R:March

Z:Michael Reid

K:G

GA|:B2A>B AG EG|D2 G>F GA BG|E2 c2 BA GB|A2 d>e d2 DG|

B2A>B AG EG|D2 G>F GA BG|E2 c2 BA GF|[1G2 G>F G2 DG:|[2 G2 G>F G2:|

GB|:d2 Bd gd Bd|g2 g>f gd Bd|c2 a>b ag fe|d2 d2 d2 ef|

g2 g>f gd Bd|c2 a>b ag fe|d2 d>e fd fa|[1g2 g>f g2 Bc:|[2g2 g>f g2 :|

                       

SLIABH BÁNA (“The White Mountain” or “The Silver Mountain”). AKA and see "The Silver Tip [1]," "The Top of the Cliff," "The New Mown Meadows," "The Silver Spear," "Miss Lane's Fancy." Irish, Reel. D Mixolydian. Standard. ABCC. Source for notated version: piper Willie Clancy/Liam Mac Flannchadha (Miltown Malbay, County Clare, Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 141, pg. 56.

                       

SLIABH BLOOM. Irish, Double Jig. D Major. Standard tuning. ABB. Source for notated verison: Brendan Mulvihill (Baltimore, Md.) [Mulvihill]. Mulvihill (1st Collection), 1986; No. 2, pg. 65.

                       

SLIABH BLOOM REEL, THE.  AKA and see “Seán Ryan’s Reel [1].” Irish, Reel. Composed by Nenagh, County Tipperary, fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), pg. 42.

                                               


SLIABH GALLEN/GAILLEAN [1]. AKA and see "Slieve Gallen," "Sliab Na n-Gallen." Irish, Air (3/4 time). Ireland, County Derry. G Minor (O'Neill, Roche): B Minor (O'Sullivan/Bunting). Standard. AB (O'Neill, Roche): ABB (O'Sullivan/Bunting). Edward Bunting (1840) states that the melody is "a Ballinascreen air, arranged by (the Irish harper Cornelius) Lyons in 1700," and O'Sullivan (1983) adds that Ballinascreen is in County Derry as is the mountain Slieve Gallen. The index to the Irish collector Edward Bunting's 1840 collection records the tune was noted in 1792 "from Hugh Higgins (Co. Roscommon), died in 1796. Very ancient." Higgins (1737-c, 1809) was originally from County Mayo and like many harpers was blind from childhood, although fortunately and differently that most, his family was wealthy and could afford to sponsor his aptitude for music. Arthur O’Neill (1734-1818), a blind harper who played at the Belfast Harp Festival and who was one of the last of the old itinerant harpers, mentions Higgins in his memoirs. As a young man he toured Ireland several times and related meeting other famous harpers:

***

I knew and often met a Hugh Higgins, and in all his peregrinations he

supported the character of an Irish gentleman-harper. I will not set him

down with the tol-lols (i.e. mediocre players) by any means. He was

uncommonly genteel in his manners, and as to his dress I am informed

that he spared no expense in purchasing clothes. But as a blind man is

no judge of colours he was obligated to take his guide’s word for his

fancy. He travelled in such a manner as does and will do credit to an

Irish harper. Hugh was born in a place called Tirawley in the County

of Mayo of very decent parents. His mother’s name was Burk, but losing

the sight at an early period they had the good sense to put him to music,

and they preferred the harp to the bagpipes, on which my dear deceased

friend made such a proficiency as to rank him much, and very much,

above the description of performers called in the last of my observations,

that is, tol-lol.

***

Heymann (1992) repeats the story of Higgin’s efforts to rescue a friend from an Omagh jail. It seems his friend Owen Keenan, like Higgins, was a blind harper who fell in love with the French governess of a family with whom he often stayed for lengths of time. Smitten, the harper managed to raise a ladder outside her window with the intent of eloping with her. He climbed the nineteen feet, climbed through the window and made his way to the bed, only to find that he had entered the chamber not of his beloved, but of an old woman. She raised the alarm and Keenan was packed off to jail.  Higgins went to visit Keenan in jail and, perhaps due to his fine clothes and gentrified airs, was admitted by the jailer’s wife since the jailer himself was away. She was a woman who apparently liked a good time, and in no time the two harpers were entertaining wildly, and drink had been procured and liberally consumed.  When the wife became grandly inebriated the musical pair managed to extricate the key from her pocket and Keenan was away with the help of Higgins’ guide-boy. Rather than make good his escape, however, Keenan returned to the residence of his love for another attempt at elopement—with similar results. He was again apprehended and remanded to jail. When he was brought before the judge, however, Keenan was acquitted, for the magistrate could not fathom how a blind man could manage the ladder in the first place!  Keenan eventually did marry his governess and the pair emigrated to America, where she regrettably proved unfaithful.

***

Bunting (Ancient Music of Ireland), 1840. Heymann (Legacy of the 1792 Belfast Harp Festival), 1992; pgs. 22-23. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 180, pg. 32. O'Sullivan/Bunting, 1983; No. 24, pgs. 39-40. Roche Collection, 1982, vol. 3; No. 57, pg. 16.

X:1

T:Sliabh Gallen [1]

R:Air

M:3/4

L:1/8

N:”Slow with feeling”

S:O’Neill – Music of Ireland (1903), No. 180

Z:AK/Fiddler’s Companion

K:G Minor

D>^F|G2 G/4A/2<B A>B|G4 G/4A/2<B|F<D C>B, G,2|B,2 D/C/B,/C/ Dz|Bcde c>B|

ABcd B>A|GABc G2 G>A Gz||Bcde dc/B/|ABcd cB/A/|GABc A>G|G>^F D2 GG/A/|

BAGF {=E}FD|CB,/A,/ B,/C/D G,/A,/B,/C/|DG/z/ ^FA/z/ GB/z/|A>G G2 GA|

Bz z2 e/c/d/B/|~Az z2 d/B/c/A/|Gz z2 c/A/B/G/|A>^F (D2 D) (3=F/G/A/|BAGFDC|

CB,/A,/ B,/C/D/G,/ A,B,/C/|DG ^F/G/A/z/ G/A/B/z/|A>G (G2G)||

 

SLIABH GALLEN [2]. AKA and see "Sliav Gallen." Irish, Air (3/4 time). G Minor. Standard. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 16, pg. 18.

X:1

T:Sliav Gallen [2]

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G Minor

D/>^F/ | G2 G/A/B A>B | G4 G/A/B | F<D C>B, G,2 | B,2 D/C/B,/C/ Dz | Bcde “tr”c>B |

A/B/c/d/ “tr”B>A | GABc A>B | G2 G>A Gz || Bcde dc/B/ | ABcd cB/A/ | GABc A>G |

G>^F D2 GG/A/ | BAG=F {E}FD | CB,/A,/ B,/C/D G,/A,/B,/C/ | DG/z/ FA/z/ GB/z/ |

A>G (G2 G)A | B2z2 e/c/d/B/ | ~A2z2 d/B/c/A/ | ~G2z2 c/A/B/G/ | A>F (D2 D)(3^F/G/A/ |

BAGF DC | CB,/A,/ B,/C/D/G,/ A,B,/C/ | DG/z/ ^F/G/A/z/ G/A/B/z/ | A>G (G2G) ||

 

SLIEVE GULLAN [3]. AKA and see “The enchantment of Fin MacCool.” Irish, Air (3/4 time). E Minor. Standard tuning. AAB. “An Ossianic air” (Petrie). No apparent relation to versions #1 or 2. Stanford/Petrie (Complete Collection), 1905; No. 835, pg. 208.

X:1

T:Slieve Gullan

T:Enchantment of Fin Mac Cool, The

M:3/4

L:1/8

R:Air

S:Standford/Petrie (1905), No. 835

Z:AK/Fiddler’s Companion

K:E Minor

DGF | E3 DGG | G3 [FA][GB][FA] | [G3B3] [FA][GB][Ac] | [B3d3] ded |

c2 BA Bc | d3 ABA | B3 AGG | G3 :|| DGF | EEEDGG | G2 GFG[FA] |

[GB][GB][GB][FA][GB][Ac] | dddded | ccBABc | dddDGF | EEEDGG | G3 ||

 

SLIABH GEAL gCUA NA FEILE. AKA and see “Fare You Well.” Irish, Slow Air (4/4 time). D Major/Mixolydian. Standard tuning. AA’B. The air of a song written in 1890 by Pádraig Ó Maillé, an Irish exile working in the Welsh coal mines. The set dance “The Garden of Daisies” is derived from this melody. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 46, pg. 42 (appears as “Sliabh Geal gCua”). Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001). RCA 09026-60916-2, The Chieftains - "An Irish Evening" (1991).

 

SLIABH LUACHRA [1], THE (The Rushy Mountain). Irish, Polka. D Major. Standard tuning. AABB. Sliabh Luachra is a region along the Cork/Kerry border, famous for its slides and polkas. Mallinson (100 Polkas), 1997; No. 71, pg. 27.

 

SLIABH LUACHRA [2], THE. AKA and see “Art O’Keeffe’s Polka[2]," “The Newmarket (Polka) [3]." Irish, Polka.

 

SLIABH MHACHAIRE [1].  AKA and see “Back of the Haggard (2)” “Dan O’Leary’s [2],” “Johnny O’Leary’s,” “Let’s Have a Ceilidh,” “Maids of Ardagh,” “The Tournmore,” “The Toormore Polka [2],” “Tuar Mór Polka [2],” “Wallace’s Cross.” Irish, Polka.

X:1

T:Sliabh Mhachaire [1]

T:Maid of Ardagh

M:2/4

L:1/8

K:D

FA/A/ BA|de f2|fe/f/ gc|ed BA|FA/A/ BA|de f2|fe/f/ gc|ed d2:|

|:ef/e/ ce|fe a2|ef/e/ ce|fe c/B/A|ef/e/ ce|fe a2|ef/e/ dB|BA A2:|

 

SLIABH MHACHAIRE [2]. Irish, Reel. D Dorian. Composed by Clare fiddler Martin Hayes.

X:1

T:Sliabh Mhachaire [2]

L:1/8

C:Martin Hayes

M:C|

K:Ddor

e2 dB cAAG|EAAG EAA2|e2 dB cAAc|BGdG eGdG|

                       

SLIABH NA mBAN [1] (The Mountain of the Women). Irish, Air (4/4 time). G Major. Standard tuning. AABCCD. This Munster song is from 1798, and words can be found in Ar gCeol Feinig (1927), by Fr. Padraig Breathnach, noted from Nioclas Toibin's singing by Aine Ni Raghallaigh. The name “Mountain of the Women” comes from a legend about the famous Irish hero Fion MacCumhaill, who, having advanced in years, determined it was time to marry.  To help him select a suitable bride he decided that he would call for a race to be run to the peak and down again of a local mountain in County Tipperary, with declared his betrothed. A beautiful maiden named Deirdre won, but apparently found the hero a bit too advanced in years and so ran off with his younger colleague Diarmuid.  The mountain’s name commemorates the event. Accordion player Brendan Begley, a native of Baile na mBoc, Ballyferriter, County Kerry, remembered hearing this song sung at summer house parties when he was young, the sounds drifting into his bedroom. For his family “singing was the main thing…even milking the cows we might be singing” (Blooming Meadows, 1998). Roche Collection, 1982, vol. 3; No. 54, pg. 15.

 

SLIEVENAMON [2] {Sliab-na-mBan} (The Mountain of the Women). Irish, Hornpipe. G Major. Standard tuning. AABB. The title is Anglicised Gaelic. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 67 (appears as Gan Ainm). O’Neill (O’Neill’s Irish Music), 1915; No. 312, pg. 155. O'Neill (Krassen), 1976; pg. 217. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 812, pg. 141. Green Linnet SIF‑1110, Seamus Connolly ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). North Star NS0031, "Dances Across the Sea: Dances and Airs from the Celtic Highland" (1990).

X:1

T:Slievenamon

T:Sliab na mBan

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 812

Z:AK/Fiddler’s Companion

K:G

B2 {c/B/A/}|G>DB,>D G,>DB,>D|G>BA>G (3EFE D>F|G>Bd>f g>dB>d|

cBAG Fedc|B>GF>G E>DB,>D|G>AB>G (3EFG D>F|G>Bd>g (3efg d>c|

B2G2G2:|

|:B>c|d>g {a}(3gfg b>g {a}(3gfg|d>gb>g a>gf>g|a>ga>b c’>ba>g|

f>gf>e d>gB>^c| d>g {a}(3gfg b>g {a}(3gfg|d2 b>g (3efg d>c|

(3Bcd g>d A>dc>A|B2 G2G2:|

 

SLIAB NA mBAN [3] (The Mountain of the Women). AKA ‑ "My Love Nell." AKA and see “Star of the County Down.” Irish, Air (4/4 time). B Minor. Standard tuning. AB. A version of the tune usually known as “Star of the County Down.” Roche Collection, 1982, vol. 1; No. 38, pg. 20.

 

SLIABH NA mBAN [4] (The Mountain of the Women). Irish, Slow Air (3/4 or 6/8 time). G Major. Standard tuning. One part (Cranitch, Ó Canainn): AA’B (Mulvihill). Crantich (Irish Fiddle Book), 1996; pg. 105. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 148. Mulvihill (1st Collection), 1986; No. 61, pg. 132. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 29, pg. 30. MKM7590, Mike McHale – “The Schoolmaster’s House” (2000).

X:1

T:Sliabh na mBan [4]
M:3/4
L:1/8
S:Tom Barrett
R:slow air
N:transposed from song setting in D

Z:Transcribed by Paul de Grae
K:G
(3DEF|G4 cA|B2{cB} A (3GBd|g4 ag|(3fdB c2{dc} Bc|
d3 e dc|B{cB}G Bd cB|A4  (3DEF|
G4 cA|B2{cB} A (3GBd|g4 ag|(3fdB c2{dc} Bc|d3 e dc|
B{cB}G c>A GF|G3 B/c/ (3def|
gB cd fe|d{ed}A B3 A (3GBd|g{ag}B cd fe{fe}|d4 (3DEF|
G4 cA|B3 {cB}A (3GBd|g4 ag|(3f{gf}dB c2{dc} Bc|
d3 e dc|B{cB}G c>A GF|G4||

                       

SLIABH RUSSELL. AKA – “Slieve Russell.” Irish, Double Jig. A Dorian. Standard tuning. AABB. Sliabh Russell, Mt. Russell, is in County Cavan. The tune appears as an untitled piece in Treoir (IV, 1 (pg. 10) and X, 5. Sources for notated versions: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]; from the playing of piper Séamus Ennis (Dublin), who learned them from his father, a piper taught by Nicholas Markey who in turn had been taught by the renowned piper and pipemaker Billy Taylor of Drogheda and later Philadelphia [Breathnach]. Breathnach (Ceol V, No. 2), 1982. Breathnach (The Man and His Music), 1997; No. 6, pg. 73. Breathnach (CRÉ III), 1985; No. 28, pg. 13. Bulmer & Sharpley (Music from Ireland), 1974, vol. 3, No. 45. Taylor (Music for the Sets: Blue Book), 1995; pg. 17. Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999). Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996. Learned from Séamus Ennis). Shanachie 79064, Matt Molloy – “Heathery Breeze” (1999). Tara Records TA 1002, Séamus Ennis ‑ "The Pure Drop" (1973). Tara 1002/9, Séamus Ennis – “The Pure Drop” (reissue).

X:1

T:Slieve Russell

M:6/8

L:1/8

R:Jig

Z:Barney

K:A Dorian

e2 A Bcd |eaf ged | edB c2 A | BAG Bcd | e2 A Bcd | eaf ged |

edB cBA | BAG A3 :: eaa efg | agf ged | eaa efg | fed g3 | eaa efg |

agf ged | edB cBA | BAG A3 :||

                       

SLIAV GALLEN. AKA and see "Sliabh Gallen" [2].

                       

SLIAMH AN t’SHIRREADH. AKA and see “Sheriff Muir.”

                       

SLIDE. A Irish dance form in 12/8 time, originating from southwest Ireland, particularly in the counties of Cork and Kerry where the majority of slide tunes originated. A slide is played for the fourth figure of the polka set. The slide is a variant of the single jig rhythm and is so named because of the particular sliding movement in the dance which these tunes accompany. This being said, it is important to realise that, while every slide is a type of single jig, not all single jigs can be rendered as slides.  The meter is a very brisk 12/8 time and it is sometimes hard to differentiate between that of a 6/8 jig, however, the slide tunes in general are played at a faster tempo than jigs. Breandan Breathnach’s guideline for differentiating the two was to observe the ending of the tune: a three-quaver group followed by a crochet or dotted crochet denoted a jig, while an ending of two dotted crochets marked a slide.

                       

SLIDE HORNPIPE, THE. Scottish, Hornpipe. B Flat Major ('A' part) & F Major ('B' part). Standard tuning. AABB. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 54.

X:1

T:Slide Hornpipe

M:C

L:1/8

R:Hornpipe

S:Honeyman – Strathspey, Reel and Hornpipe Tutor  (1898)

Z:AK/Fiddler’s Companion

K:B_

B>ba>b g>ec>B|A>f=e>f d>BA>F|_E>ed>e d>BA>B|(3cdc (3BAG (3FGF (3EDC|

B,>ba>b g>ec>B|A>f=e>f d>BA>F|_E>ed>e d>cG>A|c2 ([D2B2] [D2B2]):|

K:F

|:Ec=B=c ecBc|fc=Bc gcBc|_bc=Bc acBc|ec=Bc gcBc|Ec=Bc ecBc|fc=Bc gcBc|

_bc=Bc acBc|[A2f2] [A2f2] [A2f2] z2:|

                       

SLIDE NEILI NI MHATHUNA. AKA and see "Nellie Mahoney's Slide [1]."

                       

SLIEVE BLOOM MARCH. Irish, March. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 36.

 

SLIEVE ELVA. Irish, Slow Air (4/4 time). G Minor. Standard tuning. AAB. "Taken down in 1876 from the singing of James Keane of Kilkee, who was then 83 years of age; whose memory was richly stored with Irish music, and with songs both in Irish and English. He told me at the time, with the greatest confidence and cheerfulness, that he had two years more to live, as his father, grandfather and great‑grandfather all died at 85. Slieve Elva is a mountain in Clare" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 59, pg. 32.

X:1

T:Slieve Elva

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs  (1909)
Z:AK/Fiddler’s Companion

K:Gmin

d=e|f2f2 g2 f/2>d/2c/4=B/4|c2 _BG F2G2|d2 cB G2G2|G4:|

GA|B2 BG f2f2|g2 (3gf=e f4|g2d2 dcBc|{d}e2d2 {c/=B/}c2 d>g|

G2d2 d>c B/G/F/=E/|F2 G2 {A}B2c2|d2 cB G2G2|G6||

                       

SLIEVE GALLEN/GULLAN. AKA and see "Sliabh Gallen/Gaillean." The title is an Englished version of the Gaelic "Sliabh Gaillean" (AKA and see).

           

SLIEVE LUACHRA. Irish, Hornpipe. G Major. Standard tuning. AABB. Slieve Luachra—‘rushy mountain’—is a region along the Kerry/Cork border where Keegan’s daughter currently resides. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 66.

                                   

SLIEVE RUSSELL. See “Sliabh Russell.”

                       

SLIEVMAN’S HORNPIPE. Canadian, Hornpipe. G Major. Standard tuning. AABB. Probably a corruption of the Gaelic title “Sliab na mBan.” Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford, (Winston Fitzgerald), 1997; No. 48, pg. 19. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 44).

                       

SLIEVENAMON. AKA and see "Sliabh-na-mBan" [2].

                       

SLIGHTED JENNY. American, Reel. G Major. Standard tuning. AABB. The tune appears in George P. Knauff's Virginia Reels, volume I (1839), but does not appear in later collections.

X:1

T:Slighted Jenny

M:2/4

L:1/8

R:Reel

B:George P. Knauff – Virginia Reels

N:Published in Baltimore by Geo. Willig n.d. (1839?)

Z:AK/Fiddler’s Companion

K:G

D(F/A/) dd|{f}e/d/e/f/ g/a/b|D(F/A/) dd|{e}d/B/A/F/ E/F/G|

D(F/A/) dd|{f}e/d/e/g/ a2|b/g/a/f/ g/e/d/c/|B/A/G/F/ Gz:|

|:G/d/B/d/ G/d/B/d/|{f}e/d/e/f/ gg|A/e/^c/e/ A/e/c/e/|{g}f/e/f/g/ a2|

z/(g/b/d’/) z/(d/f/a/)|z/(c/e/g/) z/(G/B/d/)|AF/A/ DA/c/|B/A/G/F/ Gz:||

                       

SLIGO AIR (Fonn Sligaig). Irish, Air (3/4 time, "slow and expressive"). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 318, pg. 55.

X:1

T:Sligo Air

M:3/4

L:1/8

R:Air

N:”Slow with expression”
S:O’Neill – Music of Ireland (1903), No. 318

K:G

dA|B>A GABG|E2D2 (3D>EG|A2 AB/c/ BG| B2A2 dA|B>A GAB>G|

E2D2 (3D>EG|A2 AcB{d}c|{B}A2G2||GE|D2E2 G/A/B/c/|d3 edc|B2A2 (3G>AB|

A4 dA|B>A GA {c}B{A}G|E2D2 A/B/c/d/|A3 cB{d}c|{B}A2G2||

                       

SLIGO BAY. AKA and see “Pay the Reckoning.” Irish, Jig. G Major. Standard tuning. AABB. The tune under this title was recorded in May, 1922, in New York, by South Sligo fiddler James “The Professor” Morrison (1894-1947), with Chicago piper Tome Ennis (1889-1931) and pianist John Muller. Treoir, vol. 36, No. 1, 2004; pg. 28. Antoin MacGabhann – “Ar Aon Bhuille” (1994).

X:1

T:Sligo Bay

M:6/8

L:1/8

R:Jig

S:Treoir, vol. 36, No. 1, 2004

Z:AK/Fiddler’s Companion

K:G

G2e dBG | BAB dBA | G2e dBG | AGA BGE | G2e dBG |

BAB deg | age dBG | AGA BGE :: gbg faf | ege def | gfg efg |

aga bge | gbg faf | ege deg | age dBG | AGA BGE :|

 

SLIGO CHORUS, THE ("Claisceadal Sligaig" or "Luinneog Sligig"). Irish, Reel. D Major. Standard tuning. AB. See also the related “O’Rourkes.” Source for notated version: Chicago police patrolman, piper and flute player John Ennis, originally from County Kildare [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1273, pg. 239. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 541, pg. 101.

X:1

T:Sligo Chorus, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 541

Z:AK/Fiddler’s Companion

K:D

AG|(3FED AD BDAD|(3FED (3ABc d2 AG|(3FED AD BG (3GFG|BdcA GBAG|

(3FED AD BDAD|(3FED (3ABc d2 (3ABc|dfec dc (3ABc|dcAF G2||AB|

cABG (3ABA AB|cABG A2 ed|cBcd eaaf|gedc dfed|cABG (3ABA AB|

cABG A2 (3ABc|dfec dc (3ABc|dcAF G2||

                       

SLIGO CREEK. American, Reel. B Minor. Standard tuning. AABB. Composed by banjo, mandolin, fiddle and guitar player Danny Noveck, originally with the title “Ballad of Fred a Wilma” (i.e. The Flintstones). Fortuitously, before it was recorded he changed the name. There is a Sligo Creek in the suburbs of Washington, D.C., near where Noveck was living at the time he composed the melody (originally from New York, he has since moved on to Chicago and Bloomington, Indiana). Source for notated version: Seattle fiddler Steve Trampe via Sue Songer and Lanny Martin (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 186. Oenoke Records 0001, John Whelan - “From the Heart” (1990). Wild Asparagus 004, Wild Asparagus - “Call of the Wild” (1993).

X:1

T:Sligo Creek

R:Reel

C:Danny Noveck

M:2/2

L:1/8

K:Bmin

~f2ef dB~B2|~f2ef def^g|ae~e2 cBAF|EFAB c2de|

~f2ef dB~B2|~f2ef defd|ea~a2 edce|1 dBBA B2de:|2 dBBA B3A|

||:GBBA Bcde|~f2ef defd|eA~A2 cBAF|EFAB c2BA|

GBBA Bcde|~f2ef defd|ea~a2 edce|1 dBBA B3A:|2 dBBA B2de||

X:2

T:Sligo Creek

M:C|

L:1/8

C:Danny Noveck

Z:Transcribed by Philippe Varlet

R:reel

K:D

f2ef dB~B2 | ef{a}fe df~f2 | faed cAAF | EFAB cAce |

f2ef dB~B2 | ef{a}fe df~f2 | faed cAec |1 AB{d}BA Bcde :|2 AB{d}BA B3 A ||

GB{d}BA Bcde | f2ef defd | eA A/A/A cAFA | EFAB cABA |

GB{d}BA Bcde | f2ef defd | a2fa eAce |1 dB{d}BA B3 A :|2 dB{d}BA Bcde ||


                       

SLIGO DANDY, THE. AKA and see “Bag of Potatoes [2],” "An Mala Fatai." Irish, Reel.

                       

SLIGO FANCY, THE. AKA and see “Dunn’s Hornpipe,” “The Flowers of Antrim [1],” “Marquis of Lorne [1],” “McDermott’s Hornpipe [3].” Irish, Hornpipe. G Major. Standard tuning. AABB. Allan's Irish Fiddler, No. 106, pg. 27. Breathnach (Folk Music and Dances of Ireland), 1971; 24.

                       

SLIGO GOLD RING. AKA and see “Gold Ring [3].” Irish, Jig. So named to differentiate the melody from the “Fermanagh Gold Ring” (“Gold Ring [1]).

           

SLIGO JIG (Port Shligigh). AKA and see “The Killavil Jig [1],” “The Trip to Killavil.” Irish, Double Jig. E Minor. Standard tuning. AABB. Source for notated version: accordionist Sonny Brogan (County Sligo/Dublin, Ireland), who had the tune from fiddler Fred Finn (Coillte Críona, Sligo) [Breathnach]. Breathnach (CRÉ I), 1963; No. 51, pg. 21.

                       

SLIGO LASSES, THE ("Na Cailinide Sligaig" or "Cailini Sligig"). Irish, Reel. G Major. Standard tuning. AA'B. O'Neill (Krassen), 1976; pg. 130. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1392, pg. 259. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 636, pg. 114.

X:1

T:Sligo Lasses, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 636

Z:AK/Fiddler’s Companion

K:G

G2 BG DGBG|D2 (3FED dAFA|G2 BG DGef|1 (3gfe dc BGAF:|2 (3gfe dc BG G2||

g2 bg dgbg|fgag fdef|g2 bg dgbg|dega bg g2|dgbg dgbg|fgag fdef|gaba gedc| (3Bcd AG FDEF||

                                               

SLIGO LASSIES. AKA and see “Up Sligo [1].” Irish, Jig. E Dorian. Standard tuning. AA’BB’. Source for notated version: given to O’Malley by students of New York fiddler and accordion player John McGrath (d. 1955) [O’Malley]. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 92, pg. 46.

X: 1

T: Sligo Lassies

M: 6/8

L: 1/8

Q: 325

S: Luke O'Malley vol 1

Z: Transcribed by Bill Black

R: Jig

K: Edor

D | EBB {c}BAG | FAA {B}AFD | EBB B/c/dB | AFD E2 D |

EBB {c}BAG | FAA ABc | dcd B/c/dB | AFD E2 :|

|: D | Eee efg | fef dBA | Bee efg | fef d2 A |

Bee efg | fef dBA | BAB GAB | AFD E2 :|

                       

SLIGO MAID (Gearrchaile Shlighigh). AKA and see “The Glendoan Fancy,” “The Glendowan Fancy,” “The Glendowan Reel,” “Old Peter’s Reel,” “The Sligo Maid’s Lament." Irish, Reel. A Dorian (Flaherty, Mallinson, Mulvihill, O’Malley, Tubridy): A Dorian/A Minor (Brody): A Mixolydian/A Dorian (Breathnach). Standard tuning. AABB (Brody, Mallinson, Mulvihill, O’Malley): AA'BB (Breathnach, Mitchell): AA'BB' (Flaherty, Harker, Tubridy). “Sligo Maid” is a very popular session reel. A Prince Edward Island version goes by the title “Old Peter’s Reel.” It has been said that ‘a Scottish variant’ is “Down the Broom,” however, although the title sounds Scottish, “Down the Broom” is an Irish reel. There are some melodic similarities between “Sligo Maid” and “Down the Broom” in both parts, however, whether they are cognate is debatable. Influential recordings of the “Sligo Maid” were made by Paddy Killoran (1904-1965, whose version has been much imitated) and Michael Coleman (1891-1945), both émigrés from south County Sligo. Sources for notated versions: fiddler Tommy Potts (Ireland) [Breathnach]; fiddler Kathleen Morris (Corlisheen, Ballyrush, Co. Sligo) [Flaherty]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Barney Enright (Moyvane, Co. Kerry) [Mulvihill]; New York fiddler John McGrath (1900-1955, originally from County Mayo) [O’Malley]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 124, pg. 51. Brody (Fiddler’s Fakebook), 1983; pg. 259. Bulmer & Sharpley (Music from Ireland), 1974, vol. 1, No. 3. Cranitch (Irish Fiddle Book), 1996; No. 53, pg. 146. Flaherty (Trip to Sligo), 1990; pgs. 56-57. Harker (300 Tunes from Mike Rafferty), 2005; No. 6, pg. 2. Jordan (Whistle and Sing), 1975; 51. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 63. Mallinson (Essential), 1995; No. 48, pg. 21. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 3. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 105. Mitchell (Dance Music of Willie Clancy), 1993; No. 121, pg. 99. Mulvihill (1st Collection), 1986; No. 3, pg. 1. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 25, pg. 13. Sullivan (Session Tunes), vol. 2; No. 8, pg. 4. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 25. Folkways FG 3575, Barry, Gorman, Ennis, and Heaney‑ "Irish Music in London Pubs." Folkways FW 8876, Kevin Burke‑ "Sweeney's Dream." Green Linnet 1009, Eire Og Ceili Band‑ "Irish Music: The Living Tradition." Green Linnet SIF 1162, Kevin Crawford - "The D Flute Album." LOCH 1237, Craobh Rua - "No Matter how Cold and Wet You Are as Long as You're Warm and Dry." Outlet 1031, Sean McGuire‑ "Ireland's Champion Traditional Fiddler." The Lahawns - "Live at Winkles." Paddy Killoran - “Paddy Killoran’s Back in Town.”

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:Sligo Maid

M:C|

L:1/8

R:Reel

K:Ador

dB|:A2 BA (3Bcdef|gedB AGEF|G2 BG dGBG|DEGA BAdB|A2 BA Bdef|

gedB AGEG|B2 BG ABGE|1 DEGA BAGB:|2 DEGA BA A2||

|:eaag a2 ga|bgaf ge d2|eggf gage|dega bgag|eaag a2 ga|bgaf ge d2|

eg g2 edBd|1 edgd BA A2:|2 edgd BAGB||

                       

SLIGO MAID’S LAMENT. AKA and see “The Glendowan Fancy,” “The Glendowan Reel,” “The Sligo Maid.”

                       

SLIGO RAMBLER [1]. AKA and see “The Galway Rambler.” Irish, Reel. Ireland, County Sligo. G Major. Standard. AABB. Source for notated version: fiddler Fred Finn, 1919-1986 (Kiltycreen, Kilavil, County Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 76.

 

SLIGO RAMBLER [2]. AKA and see “The Cullen Jig,” “Humors of Glynn/Glin [1],” “Padraig O’Keeffe’s (Jig) [1].” Irish, Jig. The famous piper Patsy Tuohey recorded the tune under this title on a cylinder c. 1901-04.

                       

SLIGO REEL [1], THE. AKA and see "Tommy McMahon's Reel." Irish, Reel. G Major. Standard. AABB. Taylor (Through the Half-door), 1992; No. 8, pg. 7. Shaskeen - "Joys of Life."

 


SLIGO REEL [2]. Irish, Reel. D Major. Standard. AA’BB’. Kerr (Merry Melodies), vol. 4; No. 168, pg. 20.

X:1

T:Sligo Reel [2]

M:2/4

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 4, No. 168  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(f/g/) |a/d’/c’/d’/ b/d’/c’/d’/|add (e/d/)|c/d/e/f/ g/a/b/c’/|1 d’aa:|2 d’d’d’||

|:(c’/d’/)|e’aa (b/c’/)|d’dd (e/d/)|c/d/e/f/ g/a/b/c’/|1 d’aa:|2 d’d’d’||

                       

SLIGO THEN AND NOW. Irish, Reel. G Major. Standard tuning. AABB. Composed by Bronx, New York, fiddler Martin Wynne, who had no name for the tune; Bill Black supplied the one above. Black (Music’s the Very Best Thing), 1996; No. 191, pg. 101.

X:1

T: Sligo Then and Now

C: Martin Wynne

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

A | BGEG Bcdg | edBd eg g2 | agba gedB | eBdB A2 GA |

BGEG Bcdg | edBd eg g2 | agba gedB | AGBA G3 :|

d | g3 e a3 f | gabg aged | Bd d2 ed d2 | gedB A2 Bd |

g3 e a3 f | gabg aged | Bdef gedB | AGBA G3 :|

                       


SLIGO TUNE (Abhran Shligigh). Irish, Air (2/4 time). A Minor. Standard tuning. AB. Bunting (1840) thought the first bar of this tune was similar to the Scotch song "Will you go to the Ewe boughts Marion." Source for notated version: the Irish collector Edward Bunting noted the tune from one Mrs. Best of County Sligo in 1802. O'Sullivan/Bunting, 1983; No. 115, pgs. 165-166.

                       

SLIM GAL. Old‑Time, Breakdown. D Major. Standard tuning. AABBCD. Ford (Traditional Music in America), 1940; pg. 120.

X:1

T:Slim Gal

M:2/4

L:1/8

R:Breakdown

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:D

[Ae]|:d/f/d/f/ d/f/[A/f/][A/f/]|[A/e/][A/f/][A/f/][A/f/] [Af][Ae]|d/f/d/f/ d/f/d/f/|[A/e/][c/e/][A/e/][c/e/] [ce][ce]|

d/f/d/f/ d/f/d/A/|G/A/B/A/ B/c/d/B/|[A/e/][c/e/][A/e/][c/e/] [B/e/][B/e/][c/e/][c/e/]|1 [Af][Af] [Af][Af]:|2

[df][df] [d2f2]|:D2D2|D D2D|DDDD|A,3A,|DD D>D|B,G,2 G,|

A,A,B,C|D[Af] [Af][Ae]|[d/f/][d/f/][d/f/][d/f/] [d/f/][d/f/][d/f/][d/f/]|[A/e/][A/f/][A/f/][A/f/] [Af][Ae]|[d/f/][d/f/][d/f/][d/f/] [d/f/][d/f/][d/f/][d/f/]|

[A/e/][c/e/][A/e/][c/e/] [Ae][Ae]|[d/f/][d/f/][d/f/][d/f/] [d/f/][d/f/][d/f/][d/f/]|G/A/B/A/ B/c/d/B/|[A/e/][c/e/][A/e/][c/e/] [B/e/][B/e/][c/e/][c/e/]|

[df][df] [d2f2]:||D2D2|D D2D|DDDD|A,3A,|DD D>D|B,G,2G,|A,A,B,C|D[Ae] [Af][Ae]||

f/e/f/g/a/g/f/e/|[df][df] [df][Ae]|f/e/f/g/ a/g/f/e/|[ce][c2] [c2e]|

e/f/g/a/ b/a/g/f/|ee/e/ ee/e/|[A/e/][c/e/][A/e/][c/e/] [A/a/]g/f/e/|[df][df] [d2f2]||

                       

SLIM PINE REEL, THE. Canadian, Reel. D Major. Standard tuning. AABB. Composed by Cecil McEachern. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 66, pg. 40‑41.

                       

SLINGSBIE’S PROVINCE. Scottish, Scots Measure. G Major. Standard tuning. AABB. McGlashan (Collection of Scots Measures), c. 1780; pg. 17.

X:1

T:Slingsbie’s Province

M:2/4

L:1/8

R:Scots Measure

B:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion

K:G

B/c/|dgdg|d>cBc|dBcA|G/F/G/A/ G2 B/c/|dgdg|d>cBc|dBcA|G3:|

|:B|A>BcB|A>d D>A|A>BcB|Ad D>c|B>cdc|B>cdc|B/d/B/G/ A/c/A/F/|GG G2:|

           

SLINGSBY’S REEL.  English, Country Dance Tune (cut time). A Major. Standard tuning. AABB. The melody is unique to London publishers Charles and Samuel Thompson’s 1773 country dance collection. Simon Slingsby was a dancer and choreographer for the London stage in the 18th century, a pupil of Aldridge well versed in Continental styles. Only through bits and pieces can his career be assembled. He was one of producer, actor and playwright David Garrick’s top dancers, among the top earners in his profession in the 1770’s. He danced with Giovanna Baccelli and A. Vestri at King’s Theatre, London, in the 1780’s and with the Paris Opera in the 1790’s.  Playwright John O’Keefe, writing in his Recollections (1826), told this tale:

***

Aldridge, the dancer, composed a national ballet, which he called ‘The Irish Lilt’; it was made up of

original Irish airs. One night, whilst dancing at the Limerick theatre, he met with an accident that likely

shortened his life: springing up, and coming down, the boards gave way, and he went suddenly through

the stage, a depth of about ten feet; but such was the ardour of his dancing spirit, that he ran up stairs,

darted on the stage and gave a few steps, when, overcome with pain, he reeled and fell; yet I heard he

afterwards taught dancing in Edinburgh: he also composed in Dublin a Scotch dance, with Scotch airs:

Slingsby, when a boy, was his pupil, and indefatigable in his labours to excel. Aldridge had a ballet,

called ‘The Tambourine Dance’, which Carmichael, the prompter, took for his benefit. In a part of the

dance, Slingsby made one of the figures, a tall man, stand upon a pedestal, and hold the tambourine up

as high as he could; Slingsby, dressed in character, dancing on, sprang up and kicked the tambourine

out of the man’s hand, to the delight of the audience and the astonishment of his master, Aldridge. Barry,

the manager, being a spectator of this wonderful feat, asked Carmichael who he was: the promoter

answered, “Why Sir, it is little Simon Slingsby, the boy you have seen here every night, and thought

very little about.” “Engage him; article him for any money,” said Barry.

***

Slingsby afterwards excelled all the dancers, even in Paris, where he performed before the Royal

Family, and was the first dancer at Drury-lane Theatre. The rapidity of his motions was such, that the

human figure was scarcely distinguishable: his forte was agility, that of Gallini, grace and attitude. They

were both at Drury-lane in 1777, where I saw them.   [pgs. 50-51]

***

Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 2. OCK 003, The Geckoes – “Art Geckoe” (1995).

X:1

T:Slingsby’s Reel

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

ABcd efec|efec B/B/B B2|ABcd efec|afec A/A/A A2:|

|:B>AB>c B>AB>c|B>AB>c F/F/F F2|B>AB>c dfec|B>AB>c A/A/A A2:||

           

SLIP, THE. English, Country Dance Tune (2/2 time). C Major. Standard tuning. ABB. Published by Playford, The English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 47 (a facsimile copy of the Playford original). Sharp (Country Dance Tunes), 1909/1994; pg. 67.

X:1

T:Slip, The

M:2/2

L:1/8

S:Sharp – Country Dance Tunes  (1909)

Z:AK/Fiddler’s Companion

K:C

c2G2c2d2 | e3f g2e2 | a2g2 fg e2 | d4 c4 |

d2G2c2d2 | e3f g2e2 | a2g2 fg e2 | d4 c4 ||

|: d2Bc d2G2 | d2 Bc d2G2 | d2e2d2a2 | e3d d4 |

e3f t2e2 | f2g2a2A2 | G2c2B2c2 | d3c c4 :|

                       

SLIP JIG. A type of Irish jig in 9/8 time. Also sometimes used synonymously with the term ‘hop jig’, another 9/8 form, although there is a difference between the two. The slip jig has been described as having a “pineapple, pineapple, pineapple” rhythm (i.e. three groups of eight notes), while the hop jig sounds like “humpty, humpty, humpty,” similar to a single jig (i.e. a quarter note followed by and eighth note). Matin Fay of the Chieftains, for one, believes this to be the oldest rhythm in Irish traditional music. A slip jig dance was considered a women’s dance, and, according to accordion player Jim Coogan, was danced in soft shoes or (when he was younger) no shoes at all.

                       

SLIPÉIR INÍON MHIC PHÁIDÍN. AKA and see "Miss Patterson's Slipper."

                       

SLIPPER HORNPIPE, THE (Crannciuil na/an Troigin). AKA - “The Silver Slipper.” Irish, Hornpipe. D Major (O’Neill/1001): D Dorian (O’Neill/Krassen). Standard tuning. AABB. The tune was recorded in 1929 by Dan Sullivan’s Shamrock Band under the title “The Silver Slipper.” Source for notated version: Francis O’Neill credited his version of the melody to patrolman and fiddler Timothy Dillon, originally from County Kerry (Philippe Varlet points out that several of the members of Dan Sullivan’s Shamrock Band were also from Kerry). O'Neill (Krassen), 1976; pg. 174. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1596, pg. 296. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 841, pg. 145.

X:1

T:Slipper Hornpipe, The

M:C

L:1/8

R:Hornpipe

K:D

(3ABc | df (3edc dABG | FdEd D2 d2 | ceAd cdef | (3gfe fd (3cBA Bc |

df (3edc dABG | FdEd D2 d2 | (3cBA Bc dfec | d2 {e}dc d2 ::

ec | Acec Ac (3edc | Adfd Ad (3fed | Bged cdef | (3gfe (3fed cABc |

df (3edc dABG | FdEd D2 d2 | (3cBA Bc dfec | d2 (3edc d2 :|]

                       


SLOAN'S LAMENTATION ("Caoine Sloin" or "Abhran Shloin"). AKA and see "The Foggy Dew [2]." Irish, Slow Air (2/4 time). G Minor (O'Neill's): A Flat Major (O'Sullivan/Bunting). Standard. AAB. The melody is best known as "The Foggy Dew." Bunting printed the tune in his 1840 collection in the aeolian mode (which was reprinted by O'Neill), though editor O'Sullivan (1983) chooses to print his MS version, in the Ionian mode. Source for notated version: the Irish collector Edward Bunting noted the melody from "W. Sloane Esq. Armagh, 1800." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 141, pg. 25. O'Sullivan/Bunting, 1983; No. 117, pg. 167.

X:1

T:Sloan’s Lamentation

M:2/4

L:1/8

R:Air

N:”Slow”

S:O’Neill – Music of Ireland (1903), No. 141

Z:AK/Fiddler’s Companion

K:Gmin

d/e/ | f>g d{a}g/^f/ | gG B>c | {B/c/}dc/B/ GB/A/ :|

|| d | g>a {g/a/}ba/g/ | af d>d | g>a {g/a/}bg/f/ | b3 ||

                       

SLOCKIT LIGHT, DA. Shetland, Air (4/4 time). D Major. Standard. AAB. One of the best-known tunes composed by the late Shetland fiddler, collector and teacher Tom Anderson. "I was coming out of Eshaness in late January, 1969, the time was after 11 pm and as I looked back at the top of the hill leading out of the district I saw so few lights compared to what I remembered when I was young. As I watched, the lights started going out one by one. That, coupled with the recent death of my late wife, made me think of the old word 'Slockit', meaning, a light that has gone out, and I think that was what inspired the tune" (Anderson, 1983). The Shetlands have been much influenced by Scandinavia, and retains many traces of that culture. In Swedish, the word "släcka" means to quench or turn off, and is related to the English word "slacken.”  Fiddler Ellen Gawler was a student of Anderson’s and (in a posting to Fiddle-L 11/06/05) wrote:

***

The tune was written by Tom Anderson shortly after his wife died. To slokit da light means to snuff out the light.

Tommie took me to the spot where he composed the tune. The inspiration for the tune came from one night

when he visited the part of Shetland where he grew up called Easha Ness, which is to the north and west of

Lerwick on the main island of Shetland. In Sheltand there are no trees, so aw he was looking out over the

valley he noticed that many of the homes that had been all illuminated when he was young were now dark. So

many people had moved to Lerwick to work for BP. He was lamenting all the losses in the changes in his

life, with his wife passing and with the changes in Shetland. He was a man who was very tuned into the culture

through the music and all that goes with it. The oil company had brought about many difficulties for the Shetlanders.

As he saw it, they had lost their traditional way of life an had forgotten how to survive in the way that they had

for thousands of years. Sure, BP had brought employment, but there were more social problems as people

lost their sense of community and their meaningfulness and place in their society.

***

As he looked out over Easha Ness that night, he felt like the lights were going out. The part of the tune where

there is a descending scale are the lights going out. On that night, he told me that the tune came to him and he

wrote it down in so fa on the only thing that he had to write on; an empty match book case that had all the

matches torn out of it. I’ll never forget that part of it because that is how his life was. Things had multiple

meaning for him. 

***

Anderson (Ringing Strings), 1983; pp. 20‑21 (includes harmony part). Culburnie CUL121D, Alasdair Frase & Natalie Haas – “Fire and Grace” (2004). Green Linnet SIF‑1084, Eugene O'Donnell ‑ "The Foggy Dew" (1988. Learned from Aly Bain). Rounder Records, Norman Blake – “The Rising Fawn String Ensemble” (1979).

                       

SLOE, THE.  AKA – “The Slave.” English, Country Dance Tune (4/4 time). D Major. Standard tuning (fiddle). AABB. Barry Callaghan (2007) traces the tune to an opera called The Slave, composed by Sir Henry Rowley Bishop (1786-1855) in 1816. Bishop composed several operas in the first quarter of the 19th century, most of them forgotten and of incidental value. However, he was appointed musical director at Vauxhall in 1830, appointed to the Reid chair of music in the university of Edinburgh, and finally to the chair of music at Oxford in 1848. He was knighted in 1842, the first musician to be so honoured. The tune was noted (as “The Sloe”) in tradition in the early 20th century by collector Cecil Sharp from the playing of John Mason (Stow-on-the-Wold, Glocestershire). It has also been suggested that the tune was named after the fruit of the Blackthorn. Callaghan (Hardcore English), 2007; p. 48. EFDSS CD13, Katie Howson and Jeannie Harris – “Hardcore English” (2007. Various artists). Old Hat Music OH4 CD, Katie Howson & Jeannie Harris – “Unbuttoned.”

 

SLOF GALLIARD, THE. English, Country Dance Tune (cut time). F Major. Standard tuning (fiddle). AA'BB'. Barnes (English Country Dance Tunes), 1986.

                       

SLOPE ROAD JIG. Canadian, Jig. B Flat Major. Standard tuning (fiddle). AA'BB'. Source for notated version: Tommy Doucet (Nova Scotia/Boston) via Gerry Robichaud (Saint Paul, New Brunswick/Boston) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989; p. 68. Voyager VRLP 310‑S, Gerry Robichaud ‑ "Down East Fiddling."

 

SLOPES OF SLIABH LUACHRA, THE. AKA and see “The Ball of Ballynafeidh,” “Banks of Lough Gowna [1],” “Lough Gowna [2],” “The Shores of Lough Gowna.”

                       

SLOPES OF SLIEVE GULLION, THE. Irish, Slip Jig. G Major. Standard tuning. AABB. A modern composition by Paul Murphy. Slieve Gullion is a near-2,000 foot high mountain in south Armagh. It is sometimes referred to as Slieve Fuad, after a Druid king, and has a crater lake, Loch Liath, and a cairn at the summit. The cairn is the burial place of the mythical chieftain Cuailnge. Source for notated version: fiddler Paul Murphy (Beesbrook, County Armagh) [McGuire & Keegan]. Keegan (The Keegan Tunes), 2002; pg. 101. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 95, pg. 26.

                       

SLOW HORNPIPE. Scottish, Hornpipe. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 1; No. 10, pg. 43.

X:1

T:Slow Hornpipe

M:C

L:1/8

R:Hornpipe

B:Kerr – Merry Melodies, vol. 1, pg. 43  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

D2 G>A (3BBB B>e|d>BG>A (3BBB B>e|d>AF>G (3AAA A>B|A>GF>E (3DFA d2|

D2 G>A (3BBB B>e|d>BG>A (3BBB B>^c|d>cd>e (3fgf (3edc|B2d2 B4:|

|:e>^de>=f e>fe>=d|c>dc>B A>Bc>^c|d>^cd>e d>ed>=c\B>cB>A G>AG>F|

E>^GA>B c>d e2|D>FG>A B>c d2|^c>df>e d>=cB>A|G2B2G4:|

                       

SLOW MARCH FROM THE 2nd YORK REGT. MILITIA.  English, Slow March (4/4 time). D Major. Standard tuning. AABB. Gibbons originally set the tune in the key of ‘F’ major in his manuscript. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 56.

 

SLOW MARCH 42nd. English (?), March (4/4 time). D Major. Standard tuning. AABB. The ‘A’ part is 12 measures long, the ‘B’ part 8. The loose page containing this printed melody from Riley’s Easy Flute Duets was among the music manuscripts of Setauket, Long Island, painter and fiddler William Sidney Mount, who was taught to play both flute and fiddle in New York City at the home of his uncle, an excellent amateur musician and composer. The title may refer to the British 42nd Regiment, the Black Watch.

X:1

T:Slow March 42nd

M:C

L:1/8

R:March

S:Riley’s Easy Flute Duetts (sic), c. 18??

Z:AK/Fiddler’s Companion

K:D

a>g | f2 f>f f2 a>f | e2 e>e e2 a>g | .f2 (f>g) .e2 (e>f) | d2 zd cdef | .g2 (g>a) f2 (f>g) |

e2 ze (^de).f.g | a2 (a>b) .g2 (g>a) | f2 za (^ga)(ba) | a3 A3A | d2 za (^ga)(ba) |

a4 A3A | d2f2d2 :: d>e | f2 f>f (fa)(gf) | g2 e>e e2g2 | fad’c’ (ba).g.f  | e>dc>d e2 a>a |

b2 g>g g2 d’>b | a2 f>f f2a2 | a>g f>e d2c2 | d2 d>d d2 :|

                       

SLOW TIME WALTZ. Document 8028, Mumford Bean & His Itawambians – “Mississippi String Bands, vol. 2” (reissue).

                       

SLUMBERING MINSTREL, THE.  Scottish, Air. A Major. Standard tuning. AB. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 156.

X:1

T:Slumbering Minstrel, The

M:C

L:1/8

R:Air

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

c2e2d2B2 | A2c2B2G2 | F2 GA E2A2 | G2A2 B4 | c2e2d2B2 | A2c2B2G2 | F2 GA E2A2 | A2G2 A4 ||

F2 GA E2A2 | d2 cB c2A2 | F2 GA E2A2 | G2A2 Be^d=d | c2e2d2B2 | A2c2B2G2 | F2 GA E2A2 | A2G2 A4 ||

 

SLY PATRICK (Padraic Glic). AKA and see "Has Sorrow Thy Young Days Shaded? [1]." Irish, Air (6/8 time, "tenderly"). G Major. Standard tuning. AB. Thomas Moore used the melody for his “Has Sorrow Thy Young Days Shaded.” O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 85, pg. 15.

X:1

T:Sly Patrick

M:6/8

L:1/8

R:Air

N:”Tenderly”

S:O’Neill – Music of Ireland (1903), No. 85

Z:AK/Fiddler’s Companion

K:G

G/A/|B>AG AGE|D3 E2G|GAB c2B|A3 A2G/A/|

B>AG AGE|D3 E2G|G>AB BA>G|G3G2||G|B>cd def|g3 f2e|

edB {Bc}BAG|A3 A2G/A/|B>AG AGE|D3 E2G|G>AB {B}AGG|G3G2||

                       

SMOLAC LIAT-DROMA. AKA and see "The Leitrim Thrush [1]."

                       

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