The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

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SPA - SPL

 

 

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]

 

 

 

SPA, THE. See “Spa Dance.”

 

SPA DANCE, THE. AKA – “The Spa.” Scottish, Country Dance Tune (2/4 time). C Major (‘A’ part) & F Major (‘B’ part) {McGlashan}: D Major {Aird, Thompson}. Standard tuning. AB. The melody also appears in the 1788 music commonplace book of fiddlers John and William Pitt Turner (Norwich, Conn.), as do several tunes from Charles and Samuel Thompson’s third country dance collection (London, 1773). Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 62, pg. 23 (appears as “The Spa”). McGlashan (Collection of Scots Measures), c. 1780; pg. 42. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 23.

X:1

T:Spa Dance, The

M:2/4

L:1/8

S:McGlashan – Collection of Scots Measures (c. 1780)

Z:AK/Fiddler’s Companion

K:C

Cc/B/ cc|ec e2|ge g/f/e/d/|c/B/c/d/ cc|Cc/B/ cc|ec e2|ge g/f/e/d/|c2 c2|ffee|ff e2|

Cc/B/ cc|ec e2|ge g/f/e/d/|c2 C2||

K:F

F>GAA|Ac c2|Ac e/d/B/A/|G/F/G/A/ GG|F>GAA|Ac c2|cA d/c/B/A/|A2 G2||
G>GAB|Acfc|G>ABB|Ac/d/ c/B/A/G/|F>GAA|Acfc|cA c/B/A/G/|F4||

X:2

T:Spa Dance, The

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:D

Dd/c/ dd|fd f2|af a/g/f/e/|d/c/d/e/ dd|Dd/c/ dd|fd f2|agfe|d2d2|

[eg][eg][df][df]|[eg][eg] [d2f2]|[eg][eg][df][df]|[eg][eg] [d2f2]|Dd/c/ dd|fd f2|af a/g/f/e/|d2D2|

G>ABB|Bd d2|Bd e/d/=/B/|A/G/A/B/ AA|G>ABB|Bd d2|dB e/d/=/B/|B2 A2|

AB=cc|BdgB|A>B=cc|Bd/e/ d/=c/B/A/|G>ABB|Bdgd|dB d/=c/B/A/|G4||

                          

SPACE AND COMPASS. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Robert Ross's 1780 collection (pg. 4).

           

SPACE AVAILABLE MARCH. Cape Breton, March. Composed by Marcel Doucet. Rounder 7011, "The Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).

 

SPADILL .  English, Jig. B Flat Major. Standard tuning. AABB. Originally published in Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). “Spadill” later appeared int Longman and Broderip’s Compleat Collection of 200 Favourite Country Dances (London, 1781), as “The Spadill.” The Spadill was the name for the ace of spades in the card game called Quadrille or Ombre. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 78.

X:1

T:Spadill

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

B2 d>f|e>g c>e|d>f B>d|(3cec (3AFA|B2 d>f|e>g c>b|(3agf (3cd=e|f2 F2:|
|:(3f_af (3dfd|(3=BdB (3GBd|(3ege (3cec|(3AcA (3FAc|(3BFB (3dBd|(3fdf (3bfe|(3dcB (3FGA|B2 B,2:||

           

SPAGHETTI PANIC. English. Composed by Andy Cutting.

X:1

T:Spaghetti Panic

M:7/8

L:1/8

Q:1/8=180

C:Andy Cutting

P:AB AB CD CE AB

B:Alexandra Browne : Diatonic Liasons (Dragonfly 2000)

D:Blowzabella : Vanilla

Z:Steve Mansfield July 2000

K:Em

P:A

BeB fB gB | gfe f^d B=d | ~edc BA GA | AFD BA GA | BeB fB gB |

gfe f^d B=d | ~edc BA GA | AGF (E2E2):

P:B

|:

M:8/8

EFG G2B dB |

M:7/8

ABc BF Ed | ~edc BA GA |

M:8/8

{G}AGF F2G FD | EFG G2B dB |

M:7/8

ABc BF Ed | ~edc BA GA |

1AGF[E2e2]-[Ee] :|2AGF[E2e2]z2 |

P:C

: GAd _ed cA | B((3GBG) _FG AF | GAd _ed cA | B((3GBG) _F([Ac][Ac])F::

P:D

g=fg ^ag f^(f | g)^ag _fd ^Ad | g=fg ^ag f^(f |1g)^ag=f2 ^f2:|

2g^ag =fd ^A=A |

P:E

M:7/8

BeB fB gB |

M:8/8

aBgB fBeB |

M:7/8

cec fc gc |

M:8/8

acgc fcec |

M:7/8

AeA =fA gA |

M:8/8

aAgA =fAeA |

M:7/8

FAF BF cF |

M:8/8

dAeA =fA^fA ||

 

SPAGNOLETTE REFORMEERT.  Dutch, Air (2/2 time). D Major. Standard tuning. AABB. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 52  (appears as “Gold for the Mahieus”, the title of a country dance by Philippe Callens set to a traditional Dutch tune).

                       

SPAILPÍN A RUN/RÚIN. See "Spailpin Ruin."

           

SPAILPÍN FÁNAC(H) [1], AN. AKA and see "As Slow Our Ship," "Brighton Camp," "The Girl I Left Behind Me [1]," "The Rambling Laborer," “The Wandering Labourer.” Irish, Slow Air (4/4 time). G Major. Standard tuning. One part. Gearóid Ó hAllmhuráin discusses the ordeal of the spailpín, or wandering laborer, in his book A Pocket History of Irish Traditional Music (1998).  The spailpín was a landless individual—holding nothing save the cabin he occupied—and by necessity hired himself out to whomever would employ him. He survived on a system of conacre in which he had to meet the uncertain prospect of growing enough crops to pay his rent with enough left to feed his family; when times were hard, as they often were, the spailpín took himself to a hiring fair in hopes of temporary migrant employment to stave off eviction and starvation. According to the Devon Commission of 1843, he belonged to the most ‘wretched of the many wretched classes in Ireland.’ The first verse of the 18th century song describes the contempt the men of the western part of the island faced when they had to apply to the landholding farmers of the richer lands of Munster and Leinster for work. Ó hAllmhuráin points out it was the spailpín and his family who were the chief victims of the Great Famine in the mid 19th century.

***

AN SPAILPÍN FÁNACH

***

Go deo do arís ní raghad go Caiseal

ag díol ná ag reic mo shláinte,

Ar mhargadh na saoire im shuí cois balla

nó im scaoinse ar leataoibh sráide;

Bodairí na tíre ag tíocht ar a gcapaill

á fhiafraí an bhfuilim híreáilte;

‘Téanam chun siúil, tá an cúrsa fada!’

—seo ar siúl an spailpín fánach.

***

Im spailpín fánach a fágadh mise

ag seasamh ar mo shláinte,

Ag siúl an drúchta go moch ar maidin

ag bailiú galair ráithe;

Ní fheicfear corrán im láimh chun bainte,

súist ná feac beag rámhainne,

Ach colours na bhFrancach os cionn mo leapa

is pike agam chun sáite.

***

Go Callainn nuair théim ’s mo hook im ghlac is

mé ansúd i dtosach gearrtha,

Is nuair théim go Dúilinn ’s é clú bhíonn acu

‘Seo chúibh an spailpín fánach!’;

Cruinneoidh mé ciall ’s triallfad abhaile

is cloífead seal lem mháithrín,

’s go bráth arís ní ghlaofar m’ainm

sa tír seo ‘an spailpín fánach’.

***

Mo chúig chéad slán chun dúthaigh m’athar

’gus chun an Oileáin ghrámhair,

’s chun buachaillí na Cúlach ós dóibh nár mheasa

in aimsir chasta an gharda ann;

Ach anois ó táimse im thráill bhocht dhealamh

i measc na ndúthaí fáin seo,

Is é mo chumha croí mar fuair mé an ghairm

bheith riamh im spailpín fánach.

***

I gCiarraí an ghrinn do gheofaí an ainnir

 go mb’fhonn le fear suí láimh léi,

’na mbeadh lasadh trí lítis ’na gnaoi mar eala,

 is a cúl fionn fada fáinneach;

A cruinne-chíocha riamh nár scaipeadh,

’s a mala chaol mar shnáthaid,

’s mór go mb'fhearr í ná sraoill ó Challainn

’na mbeadh na céadta púnt le fáil léi.

***

’S ró-bhreá is cuimhin liom mo dhaoin’ bheith sealad

 thiar ag Droichead Gáile,

Faoi bhuaibh, faoi chaoirigh, faoi laoigh beag’ geala

agus capaill ann le háireamh;

Ach b’é toil Chríost gur cuireadh sin astu

’s go ndeaghamar i leith ár sláinte,

Is gurbh é bhris mo chroí i ngach tír dá rachaim—

‘Call here you, spailpín fánach!’

***

Dá dtigeadh an Francach anall thar caladh

is a champa daingean láidir,

’gus Bóic Ó Gráda chúinn abhaile

is Tadhg bocht fial Ó Dálaigh,

Do bheadh barracks an rí go léir á leagadh

agus yeomen ’gainn á gcarnadh,

Clanna Gall gach am á dtreascairt—

sin cabhair ag an spailpín fánach!

***

The above is taken from Nua-Dhuanaire, Cuid III. A Connaught version is also

cited, and the following verse quoted:

***

Tá na Franncaigh anois istigh i gCill Eala

agus béidhmuid go leathan láidir;

Tá Bonaparte i gCaisleán an Bharraigh

ag iarraidh an dlighe a cheap Sáirséal;

Béidh beairicí an ríogh is gach éan-oidhche thrí lasadh

agus yeomen againn á gcarnadh;

Puiceanna an Bhéarla go síorruidh d’á leagan—

sin cabhair ag an Spailpín Fánach.

***

THE ROVER (George Sigerson)

***

No more, no more in Cashel town

I’ll sell my health a-raking,

Nor on days of fairs rove up and down

Nor join the merry making.

There, mounted farmers come in throngs

To seek and hire me over,

But now I’m hired, and my journey’s long,

The journey of the Rover.

***

I’ve found, what rovers often do,

I trod my health down fairly;

And that wand’ring out on morning dew

Will gather fevers early.

No more shall flail swing o’er my head,

Nor my hand a spade-shaft cover,

But the banner of France will float instead,

And the Pike stand by the Rover!

***

When to Callan once, with hook in hand,

I’d go for early shearing,

Or to Dublin town—the news was grand

That the "Rover gay" was nearing.

And soon with good gold home I’d go,

And my mother’s field dig over,

But no more—no more this land shall know

My name as the "Merry Rover!"

***

Five hundred farewells to Fatherland!

To my loved and lovely Island!

And to Culach boys—they’d better stand

Her guards by glen and highland.

But now that I am poor and lone,

A wand’rer—not in clover—

My heart it sinks with bitter moan

To have ever lived a Rover.

***

In pleasant Kerry lives a girl,

A girl whom I love dearly;

Her cheek’s a rose, her brow’s a pearl,

And her blue eyes shine so clearly!

Her long fair locks fall curling down

O’er a breast untouched by lover—

More dear than dames with a hundred poun’

Is she unto the Rover!

***

Ah, well I mind, my own men drove

My cattle in no small way;

With cows, with sheep, with calves, they’d move

With steeds, too, west to Galway.

Heaven willed I’d lose each horse and cow,

And my health but half recover—

It breaks my heart, for her sake, now

That I’m only a sorry Rover.

***

But when once the French come o’er the main,

With stout camps in each valley,

With Buck O’Grady back again,

And poor brave Tadhg Ó Dálaigh—

Oh, The Royal Barracks in dust shall lie,

The yeomen we’ll chase over;

And the English clan be forced to fly—

’Tis the sole hope of the Rover!

***

Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 94, pg. 81. O’Neill (1001 Gems), 1907/1986; No. 972, pg. 167. Dervish – “At the End of the Day.”

X:1

T:Spalpeen Fanach, The [1]

T:Spailpín Fánach, An

L:1/8

M:C

R:Set Dance

S:O’Neill – 1001 Gems (972)

Z:AK/Fiddler’s Companion

K:G

gf|efed B2A2|GABG E2 EF|G2 GF GABc|dedc B2 gf|

efed B2A2|GABG E2G2|FGAF DEFA|G3 G2:|

|:GA|Bdef g2 fg|agfe d2 Bd|edef gfed|e2f2g2 fg|efed BcBA|

GABG EDEG|FGAF DEFA|G3G2:|

 

SPAILPÍN FÁNAC(H) [2], AN. AKA and see “West Cork Reel.” Irish, Reel or Polka. D Major. Standard tuning. AA’B. See note for “West Cork Reel.” Shanachie 79018, De Dannan – “Star Spangled Molly.” Topic Records, Julia Clifford – “The Humours of Lisheen.”

X:1

T:Spailpin Fanach, The

R:polka

Z:id:hn-polka-109

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:2/4

L:1/8

K:D

D/E/F/G/ AB|=cA AG|Ad d^c|d2 d>e|fd ed|cA AB|cA GE|1 D2 D2:|2 D2 D>e||

fd ed|cA A>e|fd ec|d2 d>e|fd ed|cA AB|cA GE|D2 D>e|

fd ed|cA A>e|fd ef|g2 a>g|fd ed|cA AB|cA GE|D2 D2||

% The c in the second bar can also be sharp

           

SPAILPÍN RÚIN (Migrant Farmworker, My Love). AKA – “A Spailpín, A Rúin.” AKA and see "Tumbling Down Teady's Acre," "The Stranger," "Along the Mourne Shore," "The Reading Made Easy." Irish, Air (3/4 time). D Mixolydian. Standard tuning. AAB. The melody, which appears in the Stanford-Petrie collection (No. 1379), is a variant (or, as Cowdery {1990} says, an "outlining correspondent") of "The Blackbird," notwithstanding sean nos singer Joe Heaney's emphatic assertion that this was the older of the the two tunes. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 59, pg. 53. Claddagh CC 9, Sean MacDonagh - "An Aill Bhain" (1971).

           

SPALPEEN'S COMPLAINT OF THE CRANBALLY FARMER, THE (Fagamoid Sud Mar A Ta Se). Irish, Air (6/8 time). D Major. Standard tuning. AB. "I have endeavoured to give representations of all classes of Irish Folk Songs in this collection; and the two following ballads (see also 'Ye Sons of Old Ireland') represent‑‑well and vigorously‑‑the satirical class. Both have remained in my memory since my boyhood; and I have a copy of 'The Cranbally Farmer' on a roughly‑printed sheet. This same 'Cranbally Farmer'‑‑the man himself‑‑was well known in the district sixty years ago as a great old skinflint; and the song drew down on him universal ridicule. The air is 'Fagamaoid sud mar ata se,' which was published by me for the first time in my Ancient Irish Music, p. 14. Spalpeens were labouring men‑‑reapers, mowers, potato‑diggers, etc.‑‑who travelled about in the autumn seeking employment fron the farmers, each with his spade, or his scythe, or his reaping‑hook. They congregated in the towns on market and fair days, where the farmers of the surrounding districts came to hire them. Each farmer brought home his own men, fed them on good potatoes and milk, and put them to sleep in the barn on dry straw‑‑a bed‑‑as one of them said to me‑‑'a  bed fit for a lord, let alone a spalpeen.'" The word spalpeen is now used in the sense of a low rascal. Irish spailpin, same sound and meaning (P.W. Joyce). The Ulster term for such laborers was ‘Rabble’.

***

Joyce (Old Irish Folk Music and Song), 1909; No. 406, pgs. 216‑217.

           

SPALPEEN FANACH, THE. See "Spailpin Fanac(h), An."

           


SPALPEEN’S LAMENT, THE. AKA and see “Caoinead an Spailpín.”

           

SPANDY, LE. French-Canadian, Reel. D Major. Standard tuning. AABBCC’DD’.

X:1

T:Spandy, Le

M:2/4

L:1/8

R:Reel

K:D

fe/d/ f/d/e/f/|g/A/B/c/ B/{c}B/A|fe/d/ f/d/e/f/|g/A/B/c/ d2:|

|:af/d/ A/d/f/d/|c/A/B/c/ B/{c}B/A|af/d/ A/d/f/d/|c/A/B/c/ d2:|

|:c>c BA/B/|c/A/c/A/ E/A/A/B/|c/A/c/A/ BA/c/|1 c/A/e/c/ AA/B/:|2 c/A/e/c/ A/B/A/G/||

|:F/A/d/f/ af/d/|c/A/B/c/ BA/G/|F/A/d/f/ a/f/d/g/|b/g/e/c/ d A/G/:|2 b/g/e/c/ d2||

 

SPANIARD, THE. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB.The melody was published by Playford, The English Dancing Master (1651), though Barnes dates it to 1777 for some reason. The title refers perhaps to the Spaniards, a fashionable garden resort in 18th century England located on the northern boundary of Hempstead Heath. An engraving dated 1745 shows it to have been laid out with a formal arrangement of trees and turf introduced to England by the Dutch William of Orange. It was said to have been built on the site of a lodge at the entrance to the Bishop of London’s domain, and that the lodge was once tenanted by a family connected with the Spanish embassy; another version attributes to a Spaniard the conversion of the lodge into a house of entertainment.

***

The establishment’s greatest hour came during the anti-Catholic Gordon Riots in London (1780) in which the famous lawyer Lord Mansfield’s house in Bloomsbury Square was sacked and burned, the rioters then crying “To Ken Wood!” Ken Wood was another of Mansfield’s residences, right next to the Spaniard, and directly along the route of the mob. The Spaniard’s publican, thinking quickly and with cool nerves, invited the rioters to refresh themselves and threw open his house and cellars for their entertainment. Secretly, however, he dispatched a rider to summon the Horse Guards from their barracks. Ken Wood helped by setting up tubs of stong ale outside their premises, and by the time the small detachment of troops arrived the rioters were so disorganized they were compelled to flee. 

***

The melody was known in the Netherlands as “Bockxvoetge” (Goat-foot), a reference to the pipe-playing god Pan. The title is from a text by Dutch poet Stribee, who published it in his book Chaos, set to the tune called “Mooren-dans,” or, in England, “The Spaniard” (Spanyard). The melody (as “Bockxvoetge”) was published in the Netherlands in 1649 in a volume called Der Fluyten Lust-Hof (The Flute’s Garden of Delights) by Jacob van Eyck (c. 1590-1657), a recorder player, carillonneur of the Utrecht Dom Cathedral, and director of all the bells and clock-chimes of the city. A minor-mode version of the tune, “The Minor Spaniard”) was adapted by Jenny Beer (2000) for her dance of the same name (Barnes, vol. 2). Barnes (English Country Dance Tunes), 1986. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 85 (“Minor Spaniard”). Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 25. Raven (English Country Dance Tunes), 1984; pg. 31 & 40.

X:1

T:Spaniard, The

M:6/8

L:1/8

K:G

G3D3 | B3 G3 | BAB c2A | B3G3 | d3c3 | B3 A3 | GGG A2F | G3 G3 :|

|: b3 bag | a2f g2e | d3 dcB | c2A B2G | b3 bag | a2f g2e | d3 dcB | c2A G3 :|

           

SPANISH CLOAK, THE. A jig version of the Irish waltz “Munster Cloak.”

                       

SPANISH DANCE. AKA and see "Spanish Waltz [1]."

           

SPANISH FANDANGO. AKA and see "Dango," "Logan County." English, Waltz. D Major (‘A’, ‘B’, ‘C’ and ‘F’ parts) & D Minor (‘D’ and ‘E’ parts). Standard tuning. AABCDDEEFFAA. There are several different “Spanish Fandangos” in traditional usage in American and the British Isles, presumably stemming from the English alliance with Spain in the Peninsular War of the early 19th century against Napoleon. A mood piece commonly found in 19th century instructors for the parlour guitar (Mark Wilson). Bill Boyd's Cowboy Ramblers' 1939 version of the tune (backed by "New Spanish Two Step") became the second best-selling country music recording for the year 1939. It was one of two sides (with “Cotton Patch Rag”) recorded in March,1929, by Atlanta, Georgia, guitarist John “Seven foot Dilly” Dilleshaw, and released on OKeh records (two other pressings from the session were not released). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 177, pg. 46. Marimac 9008, The Lazy Aces String Band ‑ "Still Lazy After All These Years" (1986). Recorded Anthology of American Folk Music, 1978, Pete Steele (Ky.) ‑ "Traditional Southern Instrumental Styles."

           

SPANISH GIPSY, THE. AKA and see "Fairy Queen," "Come Follow (Follow Me)." English, Country Dance Air (6/4 time). D Major (Barnes, Raven): C Major (Chappell). Standard tuning. One part (Chappell): AB (Barnes). The “Spanish Gypsie” appears in John Playford's Dancing Master, 1st edition (1651, as “Spanish Jeepsie”) and in all subsequent editions of the long-running series through the end, with the 18th (1728), Playford’s Musick's Delight on the Cithren (1666), The Musical Miscellany (1729), Walsh's Dancing Master (as "Fairy Queen"), and several ballad operas, such as The Bay's Opera (1727), and The Fashionable Lady (1730) {where is appears as the tune for the song "Come, follow, follow me"}. Chappell (1859) states the title is from a ballad appearing in a play by Middleton and Rowley, called The Spanish Gipsie (1623) sung by the gipsies before giving an exhibition of the various arts. It became better known as "Fairy Queen" and "Come, follow, follow me" from other ballads written to the air. Gary Taylor and John Lavagnino, in their 2007 book Thomas Middleton and Early Modern Textual Culture (pgs. 174-178) convincingly argue that Playford’s air did not originally accompanied the “Come follow your leader” song, and that it in fact did not accompany any song in the play. Rather it was a melody that accompanied a dance without singing that occurs in scene 5.3 when four heterosexual couples are on stage, the last dance of the work. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 122. Barlow (The Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 96, pg. 35. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 186. Raven (English Country Dance Tunes), 1984; pg. 16.

X:1

T:Spanish Gipsy, The

M:6/8

L:1/8

K:D

A|d>ef d>ef|(d3 d2)A|d>ef d>ef|(d3 d2)d|e>fe e2d|

c3 B3|A>BA A2G|(F3 F2)D|F>GA F>GA|(d3 d2)A|

F>GA F>GA|(E3 E2)A|f>ga f>ga|(d3 d2)e|f>ga gaf|e3d2||

                                   

SPANISH JIG. English, Country Dance Tune (6/8 time). C Major. Standard tuning. AABB. The tune dates to 1721. Barnes (English Country Dance Tunes), 1986.

                                   


SPANISH LADIES LOVE (FOR AN ENGLISH GENTLEMAN), THE. AKA ‑ "The Spanish Lady." English, Air (3/4 time). C Major (Merryweather): A Major (Chappell, Kines). Standard tuning. One part (Chappell, Kines): AA'BB' (Merryweather). The tune dates from the late 16th century, state Chappell (1859) and Merryweather (1989), apparently on the strength that it metrically matches the first line of a ballad of that time published by "the prolific" Thomas Deloney, which goes: "Will you heare a Spanish Lady, how she wooed an Englishman?"  They also cites the 18th century Bishop Thomas Percy who alleged the the ballad "took its rise from one of those descants made on the Spanish coast in the time of Queen Elizabeth and, in all likelihood, from the taking of Cadiz" (which occurred in June, 1596). The ballad was entered at Stationers' Hall to William White in 1603 and the song appears in the Skene Manuscript (c. 1615 or 1620), Percy's Reliques, and The Quaker's Opera (1728). Kines (1964) reports the Englishman in the song has variously been identified as being Sir Richard Levison, Sir John Bolle, and a gentleman of the Popham family. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 84‑85. Kines, 1964; pg. 77 (appears as "The Spanish Lady"). Merryweather (Merryweather’s Tunes for the English Bagpipe), 1989; pg. 30.

X:1

T:Spanish Lady, The

L:1/8

M:3/4

S:Chappell – Popular Music of the Olden Times

Z:AK/Fiddler’s Companion

K:A

EA|G3 A BB|c/B/ A3 AG|F3E FG|A4 EA|G3A BB|c/B/ A3 AG|

F3E FG|A3 A/B/ ce|Dc BA cd|e3 A/B/ ce|dc BA cB|A4||

                                   

SPANISH LADY, THE. See "The Spanish Ladies Love (for an English Gentleman)."

                                   

SPANISH LADY POLKA. Irish, Polka. D Major. Standard tuning. AABB. The title comes from a song set to the tune. Source for notated version: Mary O’Hara [Miller & Perron]. Black (Music’s the Very Best Thing), 1996; No. 233, pg. 125. Mallinson (100 Polkas), 1997; No. 97, pg. 38. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol.3, No. 62. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 135. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 9. Tradition TLP 1024, Mary O'Hara – “Songs of Ireland” (1958).

X:1

T:Spanish Lady

L:1/8

M:2/4

K:D

FA AB/c/ | dd de/f/ | ~ge ~fd | ~BA A/B/A/G/ | FA AB/c/ |

dd de/f/ |~ge ~fd |1 ~BA A>G :|2 BA A2 ||

|:fa a/b/a/f/|ed d>e|fa a/b/a/f/|be ed/e/|fa a/b/a/f/|ed de/f/|~ge ~fd|~BA A2||

X:2

T: Spanish Lady

Q: 300

R: polka

Z:Transcribed by Bill Black

M: 2/4

L: 1/8

K: D

FA AB/c/ | dd ef | gf/e/ fd | BA A2 |

FA AB/c/ | dd ef | gf/e/ fd | BA A2 :|

fa af | ed de | fa af | ed e2 |

fa af | ed de/f/ | ge fd | BA A2 :|

           

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

           

SPANISH PATRIOTS [1], THE. English, Hornpipe. England, Yorkshire. D 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. 17, pg. 32.

 

SPANISH PATRIOTS [2], THE. English, Country Dance Tune (2/4 time). C Major. Standard tuning. AABBAA. No relation to “Spanish Patriots [1].” Cahusac’s title may refer to the Spanish irregulars who maintained a guerrilla war against the French forces of Napoleon Bonaparte on the Iberian Peninsula. There is a tune dedicated to Sir Arthur Wellesley, commander of the British forces in the Peninsular Campaign in the same volume. Cahusac (Annual Collection of Twenty Four Favorite Country Dances for 1809). 1809; No. 18.

X:1

T:Spanish Patriots, The

M:2/4

L:1/8

B:Cahusac – Annual Collection of Twenty Four Favorite Country Dances for 1809, No. 18 (London)

N:”With proper Directions to each Dance as they are performed at

N:Court, Bath, and all Public Assemblies.”

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

Z:abc’s:AK/Fiddler’s Companion

K:C

(c/B/c/d/) c/e/G/B/|c/B/c/d/ c/e/g/e/|(c/B/c/d/) c/e/G/c/|A/c/B/d/ cc’:|

|:(d/^c/d/e/) dg|dadb|(d/^c/d/e/) dg|b/a/g/^f/ g2:||

 

SPANISH PAVAN, THE. English, Country Dance Tune (4/4 time). G Dorian. Standard tuning. AB. The air, which Chappell (1859) states was very popular in the reigns of Elizabeth and James, appears in the Fitzwilliam Virginal Book, Willaim Ballet's Lute Book (1590), Dorothy Welde's Lute Book, a lute MS in the Cambridge University Library, and Sir John Hawkins' transcripts of virginal music. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 251.

X:1

T:Spanish Pavan, The

M:C

L:1/8

S:Chappell – Popular Music of the Olden Times  (1859)

Z:AK/Fiddler’s Companion

K:G Dorian

D2 | G2B2A2G2 | ^F2D2D2E2 | ^F2G2A2^F2 | G3A B2A2 |

G2E2F2G2 | A2F2F2c2 | c3d c2B2 | A3G F2 || c2 |

d2c2B2A2 | B3c d2 cB | c2B2A2G2 | ^F2D2D2E2 |

^F2G2A2^F2 | G2A2B2c2 | d2 cB AG A2 | G8 ||

 

SPANISH POLKA. AKA and see “Black Jack [2],” “Cherokee Polka,” “Texas Galop,” “Texas Quickstep [1].”

 

SPANISH TWO-STEP. Old‑Time, Two‑Step. USA; Texas, Arkansas. A Major ('A' and 'B' parts) & D Major ('C' part). Standard tuning. AA'BB'CC. Written by Texas fiddler Bob Wills, who developed the melody while playing in a New Mexican band that included some Mexican‑American musicians. Wills' version become the fourth best-selling country music record for the year 1936. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Source for notated version: Bob Will (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 134. Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker (Mich.) (1966).

 


SPANISH WALTZ [1]. AKA and see "Cinderella Waltz," "Spanish Dance." American, Waltz. G Major. Standard tuning. ABCD. The tune dates to the 1820's as "Spanish Waltz" or "Spanish Dance," though there have been other tunes and dances by the same name. The 'B' and 'C' parts in Matthiesen’s version are also known as "Cinderella Waltz." Boston publisher Elias Howe (Drawing Room Dances, 1858) printed a waltz circle mixer called “Spanish Dance” which still has currency at New England dances today (the same two parts as the first two parts of the four part tune appearing in Lovett’s publication, referenced below). The ‘C’ and ‘D’ parts of the “Spanish Waltz [1]” form the melody “Green Hills of Tyrol,” points out Liz Stell. A Scottish dance called Spanish Waltz was also called the Waltz Country Dance and the Guaracha Waltz. Source for notated version: Benjamin B. Lovett’s Good Morning: Music, Calls and Directions for Old-Time Dancing as revived by Mr. and Mrs. Henry Ford (1943) [Matthiesen]. Matthiesen (Waltz Book I), 1992; pg. 46. 

X:1

T:Spanish Waltz

L:1/8

M:3/4

N:AABBCAABB.

S:Elias Howe – Diamond School for the Violin  (c. 1861)

Z:AK/Fiddler’s Companion

K:G

B/c/|dedcBA|G2 GFGB|A2 d2d2|B2 GABc|dedcBA|G2 GFGB|A2d2d2|G2 z2:|

|:G2|F2d2d2|B2d2d2|f2d2d2|B2 cBAG|F2d2d2|B2d2d2|dedcBA|G3 z:|

K:C

c2|e4 d2|c4 Bc|d2g2g2|e2c2G2|e4 d2|c4 Bc|d2g2g2|c3z||

 

SPANISH WALTZ [2]. English, Waltz. England, Shropshire. C Major. Standard tuning. AABB. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 95, pg. 38.

X:1

T:Spanish Waltz [2]

M:3/4

L:1/8

R:Waltz

S:John Moore (Shropshire, 1837)

K:C

G2|(Gc).e2.e2|(FA).d2.d2|(DF).B2.B2|a2 g^f g2|….

 

SPANISH WALTZ [3].  English, Waltz. G Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 178a, pg. 47 (appears as “The Spanish No. 1”).

X:1

T:Spanish Waltz [3]

M:3/4

L:1/8

K:G

(3gfg|bg dB ce|ed BG Bd|dc AFAF|…

 

SPANISH WALTZ [4].  English, Waltz. D Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 178b, pg. 47 (appears as “The Spanish No. 2”).

X:1

T:Spanish Waltz [4]

M:3/4

L:1/8

K:D

de|f2B2d2|A4 FA|Ad f2d2|ce a2 de|…

 

SPANISH WALTZ [5].  English, Waltz. G Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 178c, pg. 47 (appears as “The Spanish No. 3”).

X:1

T:Spanish Waltz [5]

M:3/4

L:1/8

K:G

Bc|dB gf ag|bg d2 Bd|dc a2 cd|dB B2 Bc|…

 

SPANISH WALTZ [6].  English, Waltz. G Major. Standard tuning. AA’BBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 178d, pg. 47 (appears as “The Spanish No. 4”).

X:1

T:Spanish Waltz [6]

M:3/4

L:1/8

K:G

Bd|ed ^cd gd|B2B2B2|cB _B=B dB|G2G2G2|…

           

SPANKING JACK.  English, Air (whole time). G Major. Standard tuning. AB. The title is from a song by Charles Dibdin (1745-1814), one of England’s most popular songwriters, composers, actors and dramatists of the late 18th and early 19th centuries. It is called “Grieving’s a Folly,” and begins:

***

Spanking Jack was so comely, so pleasant, so jolly,

Though winds blew great guns, still he’d whistle and sing,

For Jack loved his friend, and was true to his Molly,

And, if honour give greatness, was great as a king:

One night as we drove with two reefs in the main-sail,

And the scud came on low’ring upon a lee shore,

Jack went up aloft for to hand the top-ga’nt sail,

A spray wash’d him off, and we ne’er saw him more:

But grieving’s a folly,

Come let us be jolly;

If we’ve troubles on sea, boys, we’ve pleasure on shore.

***

The melody appears in the large 1840-1841 music manuscript collection of John Rook, of Warerton, England. It also appears in Ishmael Spicer’s (Chatham, Conn.) commonplace book of 1797-1814. Print versions appear in Daniel Wright’s American Musical Miscellany (Northampton, Mass., 1798), and Carr’s Elegant Extracts for the German Flute or Violin (Philadelphia, 1794). Country dance directions for the melody are in A Collection of Contradances, printed in Walpole, New Hampshire, 1799.

X:1

T:Spanking Jack

M:C

L:1/8

R:Air

S:John Rook manuscript collection (Warerton, 1840)

K:G

D2|G2 B>G c2 A>d|B2 G>E A2 F>D|G2 B>G c2 A>d|BG AF G2z2|

G2 B>G c2 A>d|B2 GE A2 FD|G2 BG c2 Ad|BG AF G2z||G|

G2 GG G2 EG|c2 GE FEDF|A2 AB cede|A2 AA GF zD|

D2 BG GFED|d2 BG G/F/E/D/ DD|G2 GG G2 Bd|AGAB G3 GA/B/|

c4E4|A4D4|G2 BG c2 A>d|B2 GE A2 FD|G2 BG c2 Ad|BGAF G2||

           

SPARÁN AIRGID NA CAILLÍ (‘The Hag’s Purse’ or ‘The Old Woman’s Purse of Money’). AKA and see “The Hag’s Purse.”

                       

SPARAN DO BI GIODTE, AN. AKA and see "The Stolen Purse [1]."

                       

SPARKLETS WALTZ. Old‑Time, Waltz. USA, North Ga. D Major ('A' part) & G Major ('B' part). Standard tuning. ABB. Frank Malloy, The Devil's Box, #26, Sept. 1, 1974; pgs. 28‑30. Brunswick 502 (78 RPM), Bert Layne's Melody Boys (North Ga.) {c. 1929}.

                       

SPARKLING BLUE EYES (Gorm-Rosg N-Dritlead). Irish, Air (4/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 617, pg. 109.

X:1

T:Sparkling Blue Eyes

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 617

Z:AK/Fiddler’s Companion

K:G

dc|B2 B>G A2 {B}A>F|G2G2 A>G  F>G|B2 A>G A2 (3GFE|D2^C2C2 d=c|

B2 B>G {B}A2 A>F|G2G2 A>G F>G|B2 A>G A2 (3Adc|A2G2G2||D>C|

D2 Dc B2c2|d2 dc B A3|B2c2d2 cA|GF D^C D2 dc|B2 B>G {B}A2 A>F|

G2G2 A>G F>G|B2 A>G A2 (3Adc|A2G2G2||

                       

SPARKLING SEA.  Irish, Jig. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). Ryan (The Hidden Ireland), 8.

 

SPARK'S RANT. Scottish, Pipe Reel. D Major. Standard tuning. AAB. John Glen (1891) finds the melody first in print in Edinburgh publisher Neil Stewart's 1761 collection (pg. 22). Source for notated version: piper Hamish Moore [Cranford/Holland]. Cranford (Jerry Holland: The Second Collection), 2000; No. 140; pg. 53. Hamish Moore – “Stepping from the Bridge” (1994).

X:1

T:Spark’s Rant

M:C|
L:1/8

R:reel

K:D

B|Abde f2 df|gefd B2 dB|Abde f2 ed|egfe d/d/d d:||

A|d/d/d af adde|fded B2 dB|d/d/d af addf|egfe d2 dA|

d/d/d g2 afdf|”tr”gefd B2 dB|d/d/d ad fdad|faef dedB||

                       

SPARROW IN THE TREETOP. AKA and see "Birdy in the Treetop," "Rochester Schottische [2]," "The Cat Clumb Up the Plum Tree Schottische"," "Jack Clumb Up the Plum Tree," "What the Devil Ails You [2]."

                       

SPATTER THE DEW [1]. Irish, Reel. A Dorian. Standard tuning. AB. Roche Collection, 1927, vol. 1; No. 193, pg. 74.

X:1

T:Spatter the Dew [1]

M:2/4

L:1/8

R:Reel

S:Roche Collection, vol. 1, No. 193  (1927)

Z:AK/Fiddler’s Companion

K:A Dorian

AA/B/ cc/d/ | e(e/d/) (e/a/)a | AA/B/ cc/d/ | e/=f/e/d/ (e/A/)A | AA/B/ cc/d/ | e(e/d/) (e/a/)a |

a/b/a/g/ e(e/f/) |g/e/d/B/ (B/A/)A || a/b/a/g/ e(e/f/) | g/f/g/a/ b/e/e/>g/ | a/b/a/g/ e(e/f/) |

g/e/d/B/ (B/A/)A | a/b/a/g/ e(e/f/) | g/f/g/a/ b/e/e/>f/ | g/f/e/f/ ({a}g/)e/d/B/ | B/c/B/A/ (G/E/)E/ z/ ||

 

SPATTER THE DEW [2] (Sciap an Druct). Irish, Slip Jig. E Minor. Standard tuning. AABCD. Melodically, this tune seems to cover much the same ground as the more frequently played slip jig "Kid on the Mountain," albeit a distinctive tune. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 59 (appears as “Heydaze”, the name of a 2003 dance by Brooke Friendly and Chris Sackett written to the tune). Carlin, 1977; pg. 52. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 223, pg. 119. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 446, pg. 87.

X:1

T:Spatter the Dew

M:9/8

L:1/8

R:Slip Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 446

Z:AK/Fiddler’s Companion

K:E Minor

EFE E2F G2F|DED D2B AFD|EFE E2F G2B|AFA dAG FED:|

E2(B B2F G2F|E2(B B2)G AFD|E2(B B2F G2B|AFA dAG FED|

E2(B B2F G2F|E2(B B2)G AFD|E2B AB^c dcB|AFA dAG FED||

B2e (e/f/ed) e2d|B2(e e2)a fdB|A2(d d2)^c d2B|A2e d2B AFD|

B2e (e/f/ed) e2d|B2(e e2)a fdB|fga efg d2A|B2^c A2G FED||

BdB AGA G2F|EFE E2B AFD|BdB ABA G2B|AFA dAG FED|

BdB ABA G2F|EFE E2B AFD|B^cd ABc dcB|AFA dAG FED||

 

SPATTER THE DEW [3].  Irish, Slip Jig. D Major. Standard tuning. AABCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 78, pg. 19.

                       

SPATTER THE MUD. AKA and see “Boring with a/the gim(b)let,” "I Have a Wife of My Own," “(A) Wife of my own.”

                       

SPEAC MAG-UIDIR. AKA and see "Maguire's Kick."

                       


SPEAK A LITTLE LOUDER, FOR I AM DULL OF HEARING. English. England, Northumberland. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

                       

SPEAKING WALTZ. AKA and see “Exhibition (Waltz),” “Victoria Waltz.” See note for “Kelso Hiring Fair.”

           

SPEALADÓIR, AN ("The Mower" or "The Reaper"). AKA and see "The Cuckoo's Nest [14]," "Forty Pounds of Feathers in a Hornet's Nest" (Pa.), "Come Ashore," "Jolly Tar," "Come Ashore, Jolly Tar, with Your Trousers/Trowsers On," "Jacky Tar." Irish, Air. The title comes from the poem by 18th century Munster poet Eoghan Rua Ó Súilleabháin (1748-1784) set (and still sung) to the tune of "The Cuckoo's Nest." Eoghan was a great talent, though something of a womanizer and earned the nickname Eoghan a' Bhéill Bhinn (Eoghan of the Sweet Mouth).

                       

SPEED OF THE PLOW. Old-Time, Breakdown. USA, Kentucky. A Major. AEae tuning. ABB. No relation to the British Isles “Speed the Plow.” Jeff Titon (2001) says the tune bears some resemblance to Salyer’s own “Gilda Roy.” Source for notated version: John M. Salyer (Salyersville, Magoffin County, Ky., 1941-42) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 156, pg. 181. Berea College Appalachian Center 003, “John M. Salyer: Home Recordings 1941-42” (1993). Leatherwood (cassette), Bruce Greene – “Vintage Fiddle Tunes” (1987).  

                       

SPEED THE PLOW/PLOUGH [1] (Bí ag Treabhadh leat). AKA and see “Croghan Hill [1],” “The Doon Reel,” "God Speed the Plow," "The Naval Pillar,” “Off in the Morning." English (originally), Irish, Scottish, Old Time, American; Reel, Breakdown or Hornpipe. England; Yorkshire, Northumberland. USA; New England, New York, southwestern Pennsylvania, Maine, Michigan, Arkansas, Missouri. Ireland; Sliabh Luachra region of the Cork-Kerry border. A Major (most versions): G Major (Breathnach, Dixon, Hall & Stafford, O'Neill {1915}): D Major (Johnson, Moylan). Standard tuning. One part (Burchenal): AB (Athole, Bayard, Hardie, Kerr, Skinner, Skye): AA'B (Bacon): AABB (most versions): AABB’ (Moylan): AA'BB' (Phillips/1994): AABBCCDDEEFFGGHH (Dixon). The phrase ‘God speed the plough’ is derived from a wish for success and prosperity in some undertaking, and is many centuries old. It occurs as early as the 15th century in the song sung by the ploughmen on Plough Monday (the first Monday after the twelve days of Christmas). Linscott (1939) concludes the name of this dance and tune indicates association with or derivation from the ancient rituals connected with 'Plough Monday' in Great Britain. This festival, he says, was part of the worship of agriculture which the early villagers practiced and occurred in mid‑winter (January): "The prayers for a good harvest were presented to the house gods with great ceremony; bread and cheese were set into the plough, and a like offering scattered to the fields for the crows. The first offering was to seek the blessing for the harvest; the second, to appease the adverse elements" (Linscott, 1939). An association with any ritual vestiges has not been proven and is, at this point, highly speculative. It smacks of the strong urge by some writers to assign great antiquity to fiddle music. “Speed the Plough” appears in various versions in many British fiddlers’ manuscripts from the 19th century, including those of John Clare (Helpston, Northants, c. 1820), William Calvert (Leyburn, north Yorkshire, 1820), Rev. Robert Harrision (Brampton, Cumbria, 1820), George Spencer (Leeds, west Yorkshire, 1831) and William Hall Lister (East Boldon, near Newcastle, mid-19th century) [see Barry Callaghan’s Hardcore English, pgs. 49-50, for noted music from the ms’s]. The melody is still popular in English sessions in modern times, although considered somewhat of a ‘beginner’s tune’.

***

A Regency view of Plough Monday, c. 1825.

***

A note in O'Neill {1913} (based on the authority of the British Musical Biography) states the air was composed in 1799 by John Moorehead of Armagh, Ireland, a famous violinist who came from a musical family and who acquired some renown in the latter 18th century. O’Neill’s information was that he was born in Edinburgh, emigrating to Armagh in 1782, however, this is generally disputed. Groves Dictionary of Music (3rd edition, 1927), for example, gives his place of birth as Ireland, around 1760. He was violinist of Covent Garden Theatre in 1798, though his life ended tragically some six years later when he committed suicide by hanging in 1804. O’Neill implies that the tune was first called "The Naval Pillar" (J.S. Skinner, 1904, gives it as an alternate title) A year after Moorehead was supposed to have composed it the melody was used for a play called Speed the Plough (1800) written by Thomas Morton, and was published in New York as an instrumental piano piece about the same time. “Speed the Plough” has been attributed to others as well, including English conductor, arranger and composer Sir Henry Bishop (for more on whom see “Dashing White Sergeant”) [Murray, 1994]. Aloys Fleischmann, in his massive compendium Sources of Irish Traditional Music c1600-1855, ii (New York and London, Garland, 1998) gives three entries for the melody that clearly predate its use by Moorehead in The Naval Pillar (1800):

***

1)         Edward Light: Introduction to the art of playing on the harp, lute, guitar (London, 1785) - here described as a reel.

2)         E. Rhames: 3 Admired Country Dances - National Library of Ireland MS 7040 (Dublin, c1790).

3)         Maurice Hime: Collection of Favorite Country Dances for the Present Year, vol. 1 - National Library of Ireland, Joly Music 5298 (Dublin, c1797)

***

Whomever composed it, the melody was hugely popular and quickly entered tradition on both sides of the Atlantic--apparently about the same time--where it has appeared regularly in fiddle-tune collections in America and the British Isles ever since.

***

In America the tune was known in the tradition as early as 1839 when it was printed in George P. Knauff's Virginia Reels, volume I. "Speed the Plow" is cited as having often been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly) and it also appears in the repertoire list of Maine fiddler Mellie Dunham (the elderly Dunham was Henry Ford's champion fiddler in the late 1920's).  The title appears in a list of traditional Ozark Mountain fiddle tumes compiled by musicologist/folklorist Vance Randolph, published in 1954. To entertainer John Hartford it appears a cousin of "Greenfields of America," and he likens it to "Devil's Hornpipe" as played by Roy Wooliver. Howe (c. 1867) and Burchenal (1918) print New England contra dances of the same name with the tune, and Linscott (1939) supports that the same dance has always been linked with this tune in that region. Kerry Blech finds Kentucky fiddler Owen “Snake” Chapman’s “McMinnville’s Breakdown” to be a variant of “Speed the Plow.”  

***

Flett & Flett report the tune a Scottish country dance and that it is the first half of the Perth Medley, peculiar to the Perth Hunt Balls. The tune was included by J. Scott Skinner in his 1921 concert set romantically entitled "Spey's Fury's.” In Scotland the country dance Speed the Plow is sometimes known by an alternate title, the Inverness Country Dance. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800, soon after the tune was written. The tune does not generally appear in Cotswold morris tradition, a type of rural ritual dance in southern England, though it was introduced to the village of Bampton, Oxfordshire, dances in 1975 (Bacon, 1974). One of the earliest recordings of the melody was in 1909 when Cecil Sharp waxed it on a cylinder from the playing of John Locke, described as a “gipsy fiddler.” Dixon (1995) prints the melody with variation sets by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler originally from Morpeth, Northumberland. One of the oddest appearances of the tune is on the barrel organ from the polar expedition of Admiral Parry of 1810. In place of a ship’s fiddler (common in those days), Parry introduced a mechanical barrel organ on board ship to provide entertainment and a vehicle to which the men could exercise (i.e. by dancing). “Speed the Plough” was one of eight tunes on barrel no. 5. The reel was adapted as a rondo by the most famous Irish pianist-composer of the early part of the nineteenth-century, John Field. “Speed the Plough” is the ‘march-past’ melody of the former British army unit The Suffolk Regiment, 12th of Foot, absorbed into the Royal Anglian Regiment in 1959. David Murray (Music of the Scottish Regiments, Edinburgh, 1994, pg. 209) records that the senior partner in the amalgamated regiment was the Royal Norfolk Regiment, whose march past was “Rule Britannia. Therefore, states Murray, “Each battalion of the Royal Anglian Regiment played its former march past after ‘Rule Britannia,’ so the 1st battalion, formed from the Royal Norfolk and Suffolk regiments, follows it with ‘Speed the Plough’.” A very influential version for the modern English dance music revival was recorded in 1933 by the Morris Motors Band and released on 78 RPM by Columbia records for the English Country Dance and Song Society.

***

O’Neill (1913) believes the tune to be Irish in character, and states it was regarded as English due to its being first heard in English theatres, though he regretfully determined it too associated with England to include in his Dance Music of Ireland. Irish variants are routinely played, however: see “Croghan Hill,” “Off in the Morning” and the related hornpipe “Ebb Tide [1].”

***

Sources for notated versions: J. Scott Skinner (Scotland) [Phillips]; Willie Woodward (Bristol, N.H.) [Linscott]; Albert Quigley, c. 1950's (New England) [Miller & Perron]; Bradley Grimshaw (northern N.Y., 1958) and Hogg (Pa., 1948) [Bayard]; piper Seamas Ennis, 1959 (Dublin, Ireland) [Breathnach]; Paul Goelz [Johnson]; Kelly Jones (Mo.) [Phillips/1994]; an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]; George Edwards (Woodland Valley, Catskill Mtns., New York) [Cazden]; Charlie Mulvihill via accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]; a c. 1847 music manuscript collection by Ellis Knowles, a musician from Radcliffe, Lancashire, England [Plain Brown Tune Book]; an unattributed 19th century manuscript in the collection of Tommy Breckon [Dixon]. Adam, 1928; No. 58. Bacon (The Morris Ring), 1974; pg. 53a. Barnes (English Country Dance Tunes), 1986. Bayard (Dance to the Fiddle), 1981; No. 275A‑B, pgs. 230‑231. Breathnach (CRÉ II), 1976; No. 160, pgs. 84‑85. Brody (Fiddler’s Fakebook), 1983; pg. 264. Burchenal (American Country Dances, vol. 1), 1918; pg. 37. Callaghan (Hardcore English), 2007; pg. 49. Carlin (English Concertina), 1977; pg. 37. Cazden (Dances from Woodland), 1945; pg. 17. Cazden, 1955; pg. 344. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 7. Cole (1000 Fiddle Tunes), 1940; pg. 21. DeVille, 1905; No. 68. Dixon (Remember Me), 1995; pg. 59. Fiddler Magazine, vol. 3, No. 1, Spring 1996; pg. 32. Ford (Traditional Music in America), 1940; pg. 78. Hall & Stafford (Charlton Memorial Tunebook), 1974; pg. 34. Hardie (Caledonian Companion), 1992; pg. 37. Harding Collection (1915) and Harding's Original Collection (1928), No. 15. Howe (Musicain's Omnibus), pg. 41. Howe (1000 Jigs and Reels), c. 1867; pg. 74. Huntington (William Litten's), 1977; pg. 23. Jarman (Old Time Fiddlin' Tunes); No. or pg. 12. Johnson, vol. 7, 1986‑87; pg. 9. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 16, pg. 8. Jordan (Whistle and Sing), 1975; 80. Kerr (Merry Melodies), vol. 1; No. 6, pg. 24. Linscott (Folk Songs of Old New England), 1939; pg. 112. MacDonald (The Skye Collection), 1887; pg. 5. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 5, pg. 29. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 94. O'Malley, 1919; pg. 24. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 371, pg. 179 (listed as a hornpipe). Phillips (Fiddle Case Tunebook: British Isles), 1989; pg. 44. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 229. Plain Brown Tune Book, 1997; pg. 50. Raven (English Country Dance Tunes), 1984; pg. 189. Robbins, 1933; No. 78, pg. 25. Ryan’s Mammoth Collection, 1883; pg. 46. Saar, 1932; No. 13. Sharp (Country Dance Tunes), 1994; pg. 4. Skinner (Harp and Claymore), 1904; pgs. 96-97 (includes several variation sets). Stewart-Robertson (The Athole Collection), 1884; pg. 15. Sym, 1930; pg. 7. White's Unique Collection, 1896; No. 79, pg. 14. Beltona BL2096 (78 RPM), Edinburgh Highland Reel and Strathspey Society (1936). EFDSS CD13, Parry’s Barrel Organ – “Hardcore English” (2007. Various artists). F&W Records 4, "The Canterbury Country Orchestra Meets the F&W String Band." Fretless 136, Arm and Hammer String Band‑ "Stay on the Farm." Green Linnet 1023, Joe Shannon and Johnny McGreevy‑ "The Noonday Feast." Kicking Mule 209, Hank Sapoznik‑ "Melodic Clawhammer Banjo." Saydisc SDL 234, Parry’s Barrel Organ (vol. 11 in the Golden Age of Mechanical Music). Topic 12T280, J. Scott Skinner‑ "The Strathspey King." Topic TSCD752, Morris Motors Band – “Stepping Up” (2004. Compilation CD). Voyager 320‑S, Frank Ferrel‑ "Fiddle Tunes." “The Fiddler’s Companion” (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:Speed the Plough [1]

M:C|

L:1/8

S:Reel

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

Z:AK/Fiddler’s Companion

K:A

E|A2(Ac efec|eaec efec|dfdB cecA|FBBA GABc|ABcd efec|eaga ecAc|

decd BcAB|FAGB A2A||g|a2 (ag aece|aAgA fAec|dfdB cecA|FBBA GABd|

cAce aece|fgaf ecAc|decd BcAB|FAGB A2A||

X:2

T:Speed the Plough

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:A

(A/B/c/)d/ (e/a/).e/.c/|(e/f/).e/.c/ (e/a/).e/.c/|(d/f/).d/.B/ (c/e/).c/.A/|B/c/B/A/ G/B/E|

(A/B/c/)d/ (e/a/).e/.c/|(e/f/).e/.c/ (e/a/).e/.c/|(d/f/).d/.B/ (c/e/).c/.A/|F/B/A/G/ A z:|
|:a/A/c/e/ a/e/c/e/|a/A/g/A/ f/A/e/A/|d/f/d/B/ c/e/c/A/|B/c/B/A/ G/B/B|

A/A/c/e/ (a/e/c/e/)|(f/d/A/d/) (e/c/A/c/)|(d/f/d/B/) (c/e/c/A/)|F/B/A/G/ A z:||

 

SPEED THE PLOW [2] (Deifrigh leis an gCéachta). AKA and see “Charlie Mulvihill’s (Reel) [2],” “Cronin’s Fancy Hornpipe,” “Johnny Cronin’s Fancy,” “The Kilfenora Reel [3],” “O’Keeffe’s Reel [2],” “O’Keeffe’s Speed the Plough,” “Tom Billy’s (Reel) [3]." Irish, Reel. D Major. Standard tuning. AABB (Alewine, Harker/Rafferty): AA'BB (Breathnach). The tune is associated with Co. Kerry, Ireland, where it is known as one of the “Doon Reels” (from the playing of Sliabh Luachra fiddle master Pádraig O’Keeffe {1887-1963}, who played six reels—‘from Doon’—one after the other) and where it sometimes goes by the title “Doon Reel.” Sliabh Luachra (Co. Kerry) fiddlers Denis Murphy (1910-1974) and Julia Clifford (1914-1963) recorded it as “Mulvihill’s Reel” on their album “Kerry Fiddles,” referring to Bronx, New York, accordion player Charlie Mulvihill. Paddy Cronin recorded the tune on a 78 RPM disc about 1952, and the melody sometimes bears his name (“Paddy Cronin’s Reel”). Similarly, flute player Mike Rafferty played the tune with Paddy’s brother, fiddler Johnny Cronin, and sometimes called the tune “Johnny Cronin’s Fancy.” There is a related, untitled, reel in Breathnach’s CRÉ V (1999, No. 201, pg. 96). Sources for notated versions: flute player Matt Molloy & fiddler Tommy Peoples (Donegal, Ireland) [Breathnach]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 31. Breathnach (CRÉ III), 1985; No. 92, pg. 45. Harker (300 Tunes from Mike Rafferty), 2005; No. 100, pg. 31. Moylan (Johnny O’Leary), 1994; No. 93, pg. 53. Vallely (Play Tin Whistle with the Armagh Pipers Club), vol. 3; 14. Claddagh CC5, Denis Murphy and Julia Clifford- “The Star Above the Garter.” Mulligan Records LUN 017, "Matt Molloy, Paul Brady & Tommy Peoples" (1978). Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002). Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry Fiddles” (appears as “The Doon”). Topic 12T357, Johnny O’Leary - “Music for the Set” (1977. Appears as “Charlie Mulvihill’s”).

See also listing at

Alan Ng’s Irishtune.info

X:1

T:Speed the Plow [2]

T:Tom Billy’s

T:O’Keeffe’s Plough

L:1/8

M:C|

K:D

A2 FA df~f2| efef dB~B2 | A2FA dfed | dBAF AD~D2 :|

fa~a2 afdf | gefd edBA | fa~a2 afdB | ABde fee2|

fa~a2 afdf | gefd edBA | ~F2AF G2BG | ABde fd~d2 :||

X:2

T:Speed the Plough [2]

R:reel

D:Molloy, Peoples, Brady

D:Paul McGrattan: The Frost Is All Over

Z:id:hn-reel-212

Z:transcribed by henrik.norbeck@mailbox.swipnet.se

M:C|

L:1/8

K:D

d3A BAFB|AF~F2 EFDE|F2AF G2BG|ABde fgfe| d2dA BAFB|AF~F2 EFDE|

F2AF G2BG|1 ABde fddc:|2 ABde fdde||:fa~a2 afdf|gefd edBd|faab afdB|

ABde feeg| faaf afdf|gefd edBA|F2AF G2BG|1 ABde fdde:|2 ABde fgfe||

"Variations:"

dedA BAFB|AF~F2 EFDE|F2AF ~G3B|ABde fdef|dA~A2 BAFB|AF~F2 EFDE|

F2AF GABG|1 ABde fgfe:|2 ABde fdde||:faaf afdf|gefd edBd|faaf ~a3f|

ABde fe~e2| faab afdf|gefd edBA|F2AF G2BG|1 ABde fdde:|2 ABde fdef||

 


SPEED THE PLOW [3]. Old-Time, Breakdown. A Major. Standard or AEae tunings. AABB. No resemblance to either “Speed the Plow” [1] or [2]. Kerry Blech traces the introduction of this tune to the Seattle area through several fiddlers, starting with fiddler Armin Barnet of the Hurricane Ridgerunners and working backward. He finally tracks it down to a recorded performance in 1970 at the Union Grove Fiddler’s Convention of Antrim, New Hampshire, fiddler Rodney Miller. Miller told Blech he had learned it from New York fiddler Robert ‘Fiddler’ Beers at the Fox Hollow festival in the 1960’s. The tune was recorded by the Beers Family on a long out-of-print LP entitled “Introducing the Beers Family.” The liner notes (by Robert Sherman) read indicated that Beers learned his "Speed the Plow” from his maternal grandfather, George Sullivan. Sullivan was born in Ireland, but raised in America, and was the champion old-time fiddler of North Freedom, Wisconsin, “a fellow, so his daughter says, who could play and sing the whole night through without ever repeating the same tune. . ." Apparently  Beers spent many an evening as a kid listening to Sullivan, whose music continued to fill the house long after the kids went up to bed. Sources for notated versions: The Hurricane Ridgerunners (Seattle, Washington) [Songer]; Miche Baker-Harvey [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 41. Songer (Portland Collection), 1997; pg. 188.

 

SPEED THE PLOW [4]. AKA and see “Father Kelly’s (Reel) [1].” Irish, Reel.

 

SPEEDWELL.  English, Country Dance Tune (2/4 time). G Major. Standard tuning. AAB. A modern composition by John Stapledon (1992). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 122.

 

SPEEDY ROASTED FADGE, THE. AKA and see “The Lady on the Lake.”

 

SPEIC SEOIGHEACH, AN (The Joycean Greeting). Irish, Air (3/8 time). G Major. Standard tuning. One part. The melody appears in Thompson’s Hiberian Muse of 1786. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 65, pg. 58. Columbia Legacy CK 48693, "The Best of the Chieftains" (1992).

 

SPÉIRBHEAN AN LOCHA. AKA and see “The Lady on the Lake.”

 

SPEIR-MNA UA LIOS-CEARBAILL, NA. AKA and see "The Belles of Liscarroll."

 

SPEIS INGINE BLAIR. AKA and see "Miss Blair's Fancy."

 

SPELL, THE. AKA and see “Love in a Village [1].” Scottish, English; Reel. England, Northumberland. C Major. Standard tuning. AAB (Gow, Martin): AABB (Bremner). John Glen (1891) finds the earliest appearance of tune in Robert Bremner's 1757 collection. It is one of the "missing tunes" from William Vickers 1770 Northumbrian dance tune manuscript. Bremner (Scots Reels), 1757; pg. 73. Carlin (The Gow Collection), 1986; No. 398. Gow (Complete Repository), Part 3, 1806; pg. 20. Martin (Taigh na Teud), 1990; pg. 7.

X:1

T:Spell, The

M:C|

L:1/8

R:Reel

S:Gow – 3rd Repository (1806)

Z:AK/Fiddler’s Companion

K:C

~C2 EG cGEC|~C2 EG FDB,G,|~C2 EG cGEC|ecGF E2C2:|

g>age f>gfd|efec (B/c/d) G2|G2 GA Bcde|(f/g/a) gf e2 ce|g>age f>gfd|

efec (B/c/d) G2|G2 GA Bcde|(f/g/a) gf {f}e2 dc||

                                   

SPELLAN THE FIDDLER (Ua Spealain an Fidileir/Beidleadoir). Irish, Hornpipe. G Major. Standard tuning. AABB. This and the other ‘Spellan’ tunes (“Spellan’s Delight,” “Spellan’s Fancy,” “Spellan’s Fiddle,” “Spellan’s Inspiration”) were obtained from a MS in the possession of Sergeant James O’Neill, the musically literate fiddler who was Captain Francis O’Neill’s collaborator on “Music of Ireland.” Spellan, according to Brendan Breathnach (Ennis, 1977), was a leader of an orchestra in Dublin who later moved to Belfast, though Breathnach suggests Spellan may not indeed have composed “Spellan the Fiddler.” Caoimhin Mac Aoidh states that O’Neill’s source was one Spillan, a fiddler from Kerry, who had a penchant for composing. See also the related “Tailor’s Twist.” Source for notated version: B/C button accordion player Billy McComiskey (Baltimore) [Taylor/Tweed]. O'Neill (Krassen), 1976; pg. 204. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1731, pg. 322. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 911, pg. 156. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 42.

X:1

T:Spellan the Fiddler

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 911

Z:AK/Fiddler’s Companion

K:G

(3DEF|G>DB>G d>Bg>d|b>g (3ded c>BA>G|Fd^cd Adcd|d>ce>d c>AF>D|

G>DB>G d>Bg>d|b>g (3ded c>BA>G|f>ec>A e>dB>G|FA (3DEF G2:|

|:g2|b>gd>B G>Bd>g|a>fc>A F>Ac>f|a>gb>a c’>ba>g|f.ed>c B>AG>F|

F>DB>G d>Bg>d|b>g (3ded c>BA>G|f>ec>A e>dB>G|F2A2 (3DEF G2:|

                       

SPELLAN'S DELIGHT (Taitneam Ui Spealain). Irish, Hornpipe. A Major. Standard tuning. AABB. See note for “Spellan the Fiddler.” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1614, pg. 300.

X:1

T:Spellan’s Delight

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1614

Z:AK/Fiddler’s Companion

K:A

E2 | (3AcA E>c d>BG>B | A>c (3efg a>ec>e | d>bc>a B>ge>g |

a>ec>e f>dB>G | (3AcA E>c d>BG>B | a>gb>g a>ec>e | d>ce>d f>ea>g |

b>ge>g a2 :: e2 | a>be>g a>ec>e | (3def (3edc d>BG>B | c>ea>c’ d’>c’b>a |

g>ba>f e2 f>g | a>gb>g a>ec>e | d>bB>g a>ec>e | d>ce>d f>ea>g | b>ge>g a2 :|

                       

SPELLAN'S FANCY (Roga Ui Spealain). Irish, Hornpipe. A Major. Standard tuning. AABB. See note for “Spellan the Fiddler.” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1615, pg. 300.

X:1

T:Spellan’s Fancy

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1615

Z:AK/Fiddler’s Companion

K:A

e>d | c>ae>c (3AcA Eg | a>ec>a e>cA>e | f>dB>G e>cA>E |

(3CEA (3ceg (3agf (3fed | c>ae>c (3dfd B>d | c>aA>a e>cA>c’ |

d’>be>e’ c’>ae>c’ | d’>be>b a2 :: B>A | G>BE>B A>cE>d |

c>eA>g a>ec>a | f>dB>g a>ec>a | [A2g2][A2f2][A2e2] (3efg |

(3aed (3cBA G>BE>d | c>ea>g b>ge>d | c>ea>c’ d’>bg>e | d>BG>E A2 :|

                       


SPELLAN'S FIDDLE (Fidil Ui Spealain). AKA and see “An Cora Donn,” “Gahan’s Hornpipe,” “Jim Mullin’s Hornpipe.” Irish, Hornpipe. G Major (O'Neill/Krassen): A Major (O’Malley, O'Neill/1850): B Flat Major (Begin). Standard tuning. AABB (O’Neill): AA’BB’ (Begin, O’Malley). See note for “Spellan the Fiddler.” Paul de Grae identifies Ryan/Cole’s hornpipe “Amazon” as a version of “Spellan’s Fiddle.” Martin Mulvihill (1986) printed the tune under the title “An Cora Donn.” Sources for notated versions: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontarion) [Begin]. Jordan (Whistle and Sing), 1975; 35. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 128, pg. 64. O'Neill (Krassen), 1976; pg. 177. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1616, pg. 300. Coleman Center CD CC004, P.J. Hernon, Donal Hernon, Maria Lynn McHugh – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”).

X:1

T:Spellan’s Fiddle

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1616

Z:AK/Fiddler’s Companion

K:A

c>d | e>ag>b a>fe>c | A>GA>B c>AE>D | C>EA>c d>cB>A | G>Be>g f>cd>B |

A>ag>b a>fe>c | A>GA>B c>AE>D | C>EA>c (3Bgf (3edB | A2c2A2 :|

|: G>A | B>cB>A G>Be>f | g>ag>e B>eg>b | a>gf>a g>fe>g | f>b^d>b c>bB>b |

B>cB>A G>Be>f | g>bg>e d>eg>b | a>f^d>B (3dcB (3AGF | (3EGB (3egb e’2 :|

                       

SPELLAN'S INSPIRATION (Beodact Ui Spealain). Irish, Hornpipe. B Flat Major. Standard tuning. AABBCC. See note for “Spellan the Fiddler.” Begin (Fiddle Music in the Ottawa Valley: Dawson Girdwood), 1985; No. 21, pg. 34. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1612, pg. 299. Viva W103, Sean McGuire – “Irish Jigs and Reels” (c. 1960’s, a reissue of “Sean Maguire Plays,” the first recording of McGuire that Josephine Keegan accompanied on piano).

                       

SPELLMAN’S CLOGS. Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - “The Down East Star.”

                       

SPENCE COURT HORNPIPE. Shetland, Hornpipe. D Major. Standard tuning. AABB. Composed by Shetland fiddler Magnus Sutherland in 1919. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 28.

                       

SPENCER WADE'S TUNE. AKA and see "The Old Town Band [1]." The name of a Greene County, Pennsylvania, man (reportedly a fifer, fiddler and singer) was attached to this tune, probably because he either liked the tune, played it commonly, or both.

                                   

SPENCE'S REEL [1]. AKA and see "The Gossan that beat his father," "The Laurel Bush," "The Yeoman's Reel," "The West Gale," "The Reel of Bogie," "The Showman's Reel," "The Castlebar Traveller," "Tuehey's Reel," "The Humours of Loughrea," "Lough Aisles Return."

 

SPENCE'S REEL [2]. English (?), Reel. D Major. Standard tuning. AA’BB.

X:1

T:Spence's Reel [2]

M:4/4

L:1/8

R:Reel

K:D

defe d2A2|ABAG F2D2|d2ef gfed|e2e2e2A2|defe d2A2|

ABAG F2D2|d2ef gfed|1e2 d2d4:|2 e2d2d2e2|

|:f2df afdf|afdf g2f2|e3fe3f |edcB A4|f2df afdf|

afdf g2f2|efgf edcB|A2d2d 2e2:|A2d2d4||

                       

SPENCE’S TENT.  English, Reel. G Major. Standard tuning. AAB. Composed by Tyneside publican, fiddler and composer James Hill (c. 1811-1853). The title refers to a Newcastle publican named Spence, who had an establishment on the Newcastle Quayside, and who would also do business from a tent set up at the track on racing days. Northumbrian Pipers’ Society (The Fiddle Music of James Hill), 2005; No. 30, pg. 11.

X:1

T:Spence’s Tent

M:C|

L:1/8

R:Reel

C:James Hill

K:G

DF|G2 FA GABc|d2 ^ced=cAF|GgdB GecA|FcAF D2 EF|G2FA GABc|

d2^ce d=cAF|GgdB GecA|FcAF G2:||dC|B,D D2 GABc|dGeG fGgG|

Aced cBAG|F2A2A2 DC|B,DD2 GABc|dGeG fGgG|Acec BAGF|

A2G2G2DC|B,DD2 GABc|dGeG fGgG|Aced cBAG|F2A2A2GF|

GgdB GecA|FcAF D2EF|Gcec BAGF|A2G2G2||

 

SPENCIE'S REEL. Shetland, Reel. Composed, says Tom Anderson (1978), by John Anderson of Voe at a dance in the House of Windows, Mid Yell, in 1759. It was remembered there were so many girls by the name of Spence that he named the tune "Miss Spencie's Reel." Topic 12TS379, Aly Bain & Tom Anderson ‑ "Shetland Folk Fiddling, vol. 2" (1978).

                       

SPEY IN SPATE (An Tuile sa Spé). AKA and see “John Stewart’s [1].” Scottish, Reel. D Major. Standard tuning. One part (Hunter, Martin & Hughes): AABB (Hinds): AA’BB (Cranford): AA’BB’ (Breathnach). A 19th century composition that is sometimes attributed to the great Scottish concert fiddler and composer James Scott Skinner (1843-1927), however, it does not appear in any of his own publications of compositions. He did play it however, and included the tune in his 1921 concert set romantically entitled "Warblings From the Hills.” The Spey is the swiftest-flowing river in Scotland, and a vigorous and impressive sight when in spate. During the “Muckle Spate” of 1829 two of the four arches of the stone bridge over the Spey at Fochabers were carried away by the torrent. It was recorded on 78 RPMs by both Cape Breton fiddler Bill Lamey and Irish fiddler Seán Maguire. There is a County Donegal version, played by John Doherty and others, and the tune is well known among fiddlers from that northern region. Source for notated version: Donegal fiddler John Doherty [Breathnach]. Breathnach (CRÉ V), 1999; No. 210, pg. 99. Cranford (Jerry Holland’s), 1995; No. 121, pg. 35. Hinds/Hebert (Grumbling Old Woman), 1981; pg. 10. Hunter (Fiddle Music of Scotland), 1988; pg. 222. Martin & Hughes (Ho-re-gheallaidh), 1990; pg. 8. Avoca AV139, Seán Maguire ‑ "Music of Ireland." Beltona 78 RPM 2313, Jimmy Shand. Compass Records 7 4446 2,Oisíin McAuley – “From the Hills of Donegal” (2007). Green Linnet GLCD 3105, Aly Bain - “Lonely Bird” (1996). Lochshore CDLDL 1215, Craob Rua - “The More that’s Said the Less the Better” (1992). Rounder 7002, Graham Townsend ‑ "Le Violon/The Fiddle." Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Danny O’Donnell – “Ón tSean-Am Anall.”

X:1

T:Spey In Spate, The

Z:Nigel Gatherer

M:4/4

L:1/8

K:D

D2 FD A,DFA|dcBA ^GAFD|E2 GE B,EGB|gecA GECA,|

D2 FD A,DFA|dDcD BDAf|gefd ecdB|AFGE DABc||

d/d/d fd AdFA|DFAd fagf|e/e/e ge BeGB|CEAc egfe|

d/d/d fd AdFA|DFAd fagf|gefd ecdB|AFGE D4|]

                       

SPIDDAL REEL, THE. Irish, Reel. G Major. Standard tuning. AABB.

X:1

T:Spiddal Reel, The

M:C

L:1/8

K:G Major

dB ~B2 dB ~B2 | dA ~A2 dA ~A2 | DE FG AB cA | de fg af ge |

dB ~B2 dB ~B2 | dA ~A2 dA ~A2 | DE FG AB cA | dB cA BG G2 :|

|: f2 fe de fg | ad ~d2 dc AB | c3d cB AB | cA dc AG EG |

f2 fe de fg | ad ~d2 dc AB | c3d cB AB | cA GE FD D2 :||                   

                       

SPIDDLE SPADDLE.  English, Jig. D Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 172, pg. 41.

 

SPIDER AND THE FLY, THE. Scottish, Country Dance Tune (2/4 time). A Major. Standard tuning. ABB'. Kerr (Merry Melodies), vol. 3; No. 376, pg. 41.

X:1

T:Spider and the Fly, The

M:2/4

L:1/8

R:Country Dance Tune

S:Kerr – Merry Melodies, vol. 3, No. 376  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(c/d/)|eeee|eeee|fagf|e3e|eddd|dcce|fdBG|A/E/F/G/ A/B/c/d/|e/e/e/e/ ee|e/e/e/e/ ee|

f/f/a/a/ g/g/f/f/|e/e/e/e/ ee|e/d/d/d/ dd|d/c/c/c/ ce|fdBG|A3|:E|Acce|Acce|eddd|d2c2|

A/A/c/c/ ce|A/A/c/c/ ce|fdBG|1 A3:|2 A/E/F/G/ A/B/c/d/||

                       

SPIDER BIT THE BABY. Old-Time, Breakdown. C Major. From fiddler Kenny Baker.

                       

SPIDER ISLAND JIG. Canadian, Jig. D Major. Standard tuning. AA'BB'. Source for notated version: learned by fiddler Vic Kibler (Hamilton County, N.Y.) from the recording "Ed Gyurki, Canada's Champion Fiddler 1958‑1959" [Bohrer]. Bohrer (Vic Kibler), 1992; No. 23, pg. 23. Alcazar Dance Series ALC‑201, Jerry Robichaud ‑ "Maritime Dance Party" (1978).

                       

SPIDER’S WEB, THE. Composed by flute player Vincent Broderick, originally from Bullaun, near Loughrea, County Galway, hard by the Turoe Stone, a famous Iron Age monument. Broderick (The Turoe Stone).

                       

SPIKE ISLAND LASSES [1] (Gearrchaile Oileán Píce). AKA – “Cloichíní Beaga na Farraige.” AKA and see “The Small Stones of the Sea.” Irish, Reel. D Mixolydian. Standard tuning. ABCD (Breathnach, Vallely): AA’BCD (Taylor). Spike Island, in Cork Harbour, is the site of a former military installation, and is presently used as an incarceration facility for adolescent offenders. “One of the great tunes in piping repertoire,” opines Leitrim uilleann piper Brian McNamara (2004), who believes the melody started out as a two part reel and developed into the four-part tune that is more common today. He points out that the two-part version is associated with concertina repertoire, particularly with the playing of Mrs. Crotty. Breathnach (1963) notes that O’Neill’s “Reidy’s Reel” (in O’Neill’s Waifs and Strays of Gaelic Melody) is a version of this tune, although the second half-phrase of the ‘B’ part that he prints belongs with “The Bank of Ireland.” Sometimes this tune is played in a medley followed by “Dogs Among(st) the Bushes.” Sources for notated versions: piper Willie Clancy/Liam Mac Flannchadha (Miltown Malbay, County Clare, Ireland) [Breathnach]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRÉ I), 1963; No. 143, pg. 57. Taylor (Music for the Sets: Blue Book), 1995; pg. 29. Vallely (Play 50 Reels with Armagh Pipers Club), 1982; No. 16, pg. 10. Columbia CAL504-1, Paddy O’Brien (195?). Green Linnet, The Irish Tradition – “The Corner House” (1978). Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004). Hot Conya HCR03, Paddy Keenan & Tommy O’Sullivan – “The Long Grazing Acre.” Rounder 6005, James Keane – “Irish Traditional Instrumental Music, vol. 1: East Coast of America” (1987). RTE 225CD, Elizabeth Crotty – “Concertina Music from West Clare.” Shanachie 79035, Planxty – “Words and Music” (1982). Ronan Browne & Peter O’Loughlin – “The South West Wind” (1988). Micho Russell – “Ireland’s Roving Ambassador” (1993). Billy McComiskey (et al) – “The Big Squeeze.” Dan Ar Braz & L’Heritage Des Celtes – “Live.”

X:1

T:Spike Island Lasses [1]

M:C|

L:1/8

R:Reel

K:D

d | =cAGB A~D3 | FDAD FGAd |=cAGB AG (3EFG|Adde fded|

=cAGB A~D3 | FDAD FGAd |=cAGB AG (3EFG|Addc d3||e|

f2 df efge | fded c~A3 | f~d3 edcA | Addc d2 cd|eaag efge |dfed c~A3|

A~d3 fded | Addc d2 || ed |=cAGB ~A3d|~B3G AG (3EFG|Adde fded|

=cAGB ~A3d | BGGB ~A3d |=cAGB AG (3EFG | Addc d3||e|(3fed ad fdad|

(3fed ad g~e3 | fdad bdad | eage dcAc|defg ~a3b |agfa ~g3e|fedf edcA|dcde fded||

 

SPIKE ISLAND LASSES [2] (Gearrchaile Oileán Píce). AKA and see "The Boat Street Lasses," "Coming through the Field(s)," "The Creeping Mouse," "Down the Street," “Frank Roche’s Favorite,” “John Roche’s Favorite,” "Lady Ann Hope [1],” "The Maid of the Forest," "Miss Thornton's {Reel}," "O'Loughlin's Reel," "Salamanca [2]," “Signora Ferze’s Hornpipe,” "Thro the Fields [2]," “Tiger Hornpipe.” Irish, Reel.

                       

SPILLING OF THE KALE, THE. AKA and see “The Haughs of Cromdale.”

                       

SPIN AND GLOW. American (originally), Canadian; Jig. G Major. Standard tuning. AA’BB’. Composed by fiddler Frank Ferrell (Boston, Mass.). The tune was named for a neon-colored fishing lure, which the composer thought “spins and glows just like the dancers do.” Ferrell caught his first Steelhead trout fishing in the Pacific northwest with the lure. Perlman (1996) notes the tune was introduced to Cape Breton fiddlers by Buddy MacMaster. Sources for notated versions: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton, Nova Scotia) [Cranford]; Stephen Toole (1927-1995, Green Road, Queen’s County, Prince Edward Island) [Perlman]. Cranford (Brenda Stubbert’s), 1994; No. 113, pg. 40. Ferrell (Music for the Feet). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 126. Brenda Stubbert - “Tamerack ‘er Down” (1985). Rounder Records 7052, Buddy MacMaster – “The Cape Breton Tradition” (2003). 

                       

SPINDLESHANKS. See “Spinkle Shanks [1]."

                       

SPINKLE SHANKS [1]. AKA – “Spindleshanks.” AKA and see “Free and Easy [2]," “The Kerry Lasses [4],” “Mulqueen’s,” “The Tinker’s Reel [1].” Irish, Reel. G Major (Chieftains): D Major (De Danann, Miller). Standard tuning. AABB. Breathnach (CRÉ II), 1976; No. 187 (appears as “Gan ainm”/Untitled). Miller (Fiddler’s Throne), 2004; No. 249, pg. 151 (appears as “Spindle Shanks”). Green Linnet SIF 1122, Kevin Burke - “Open House” (appears as untitled reel). Ossian OSS 79, Boys of the Lough – “Regrouped” (appears as “Mulqueen’s”). Sugar Hill SU 1130 De Dannan - “Song for Ireland” (appears in the set “Mulqueen’s Reels”). Conal O’Grada - “Top of Coom.” Chieftains – “Water from the Well” (appears as part of Kilfenora set).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Spindleshanks [1]

M:4/4

L:1/8

K:D

|F2 EG FD DE|EG AG FD DE|F2 EG FD DE|FA Bc dF EG|

F2 EG FD DE|FG AG FE DE|F2 EG FD DE|FABc d2 cd ||

|:e4 ef ed|cd ef g2 fg|e4 ef ed|cA Bc d2 cd|

e4 ef ed| cd ef g2 fg|af f2 ge e2|1 df ec d2 cd:|2 df ec e4||

X:2

T:Spindle Shanks [1]
T:Mulqueen's
R:reel
H:Also played in G, #352
D:Open House: first album
D:Cran: The Crooked Stair

Z:transcribed by henrik.norbeck@mailbox.swipnet.se
Z:id:hn-reel-613
M:C|
K:D
F2EG FDDE|FDAG FDDE|F2EG FDDE|1 (3FGA Bc dBAG:|2 (3FGA Bc d2cd||
~e3d efed|cdef g2fg|1 ~e3d efed|cABc d2cd:|2 af~f2 ge~e2|dfec dBAG||

 

SPINDLESHANKS [2]. AKA and see “McGettrick’s,”  “The Small Hills of Offaly.” Irish, Reel. G Major. Standard tuning. AB. A different tune than “Spinkle Shanks [1].” Sligo whistle player Jimmy McGettrick was apparently the source for the tune. Connolly & Martin (Forget Me Not), 2002; pgs. 106-107. Shanachie 79019, Chieftains - “Chieftains 10” (last in set of reels on track 3). Comhaltas Ceoltóirí Éireann, Charlie Lennon – “Lucky in Love” (1981. Learned from flute and whistle player Jimmy McGettrick, from Lissinanny, near Ballymote in County Sligo). 

X:1

T:Spindleshanks [2]

M:C|

L:1/8

R:Reel

K:G

d2 ge dBAG|FDAD BDAF|G3E DGBG|FAdc BGGB|

d2 ge dBAG|(3FED AD BDAF|GFGE DGBG|FAdc BG G2||

gedB cAAg|fdad bdad|gedB cAAc|dega bg{a}gf|gedB cAAg|

fd (3ddd bdaf|gedB cAAc|dega bg{a}ge||

                       

SPINNER'S DELIGHT, THE (Taitneam An Sniomaide). Irish, Reel. A Major. Standard tuning. AB (O'Neill/1850): AA'B (O'Neill/Krassen). See also the related “Fairy Reel.” Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 128. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1380, pg. 257.

X:1

T:Spinner’s Delight, The

M:C|

L:1/8

R:Reel

S:O’Neill – Music of Ireland (1903), No. 1380

Z:AK/Fiddler’s Companion

K:A

ed | c2 cB Acec|dcBA GABd | cAce fdfa | (3gab eg afed | c2 cB Acec |

dcBA GABd | (3cBA (3cde dBGB | AcBG A2 || cd | e2 ag aecA | B2 Bc dcBc |

Aced ceba | ge^de fe=dB | e2 ag aecA | d2 fg fgaf | E2 gf edcB | AcBG A2 ||

                       

SPINNER'S LILT, THE (Abran Sniomaide). Irish, Jig. D Major. Standard tuning. AABB. Source for notated version: Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 62. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1058, pg. 199.

X:1

T:Spinner’s Lilt, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1058

Z:AK/Fiddler’s Companion

K:D

D2F FGA | ABA AGF | D2 F FGA | BAB gec |

d2F FGA | ABA AGF | GBG FAF | EFA B2 A :|

|: d2f faf | d2f ecA | d2f faf | ede f2g |

agf bag | fed cBA | dcB AGF | EFA B2A :|

                       

a spinney is a small wood with undergrowth, a copse or thicket

X: 1
T:The Spinney
M:4/4
L:1/8
Q:180
C:Joe Liddy
S:"The Leitrim Fiddler" (Dublin 1981)
R:reel
Z:BB
K:Ador
dB | "Am" A2 GA "G/B"EA"C"BA | "Em" eABA "D/F#" ge"G"dB | "Am" A2 GA "G/
B"eA"C"BA | "Em"GEDB, "G" DEGB |!
"Am" A2 eA "G/B"BA"C"eA | "Em" BAGF "D/F#"GA"G"Bd | "Am"eged "G/
B" BA"C"GE | "Em"GBdB A2 :|!
Bd |"Am" ea a2 "C" agab | "D add4" gaba bedB | "Am" A2 BA "C" eABd |"
Em" g2 fg "G" edBd |!
"Am" ea a2 "C" agab | "D add4" eged BAGB | "Am" A2 eA "C" BAGE |
"G"DEGB "Em" A2 Bd ||!
"Am" ea a2 "C" agab | "D add4" gafg edBd | "Am" eABA "C" gefd
| "Em" edBA "G" GFGB |!
"Am" A2 eA "C" BAeA | "D add4" gedc BAG[EB] | "Am"A2 Bd "C"gaba
| "Em" gedB "Am" A2 ||

 

SPINNIN' WHEEL [1], THE. Scottish, Reel. D Major. Standard tuning. AAB. Composed by J. Scott Skinner (1843-1927) and published in his Logie Collection. Skinner (The Scottish Violinist), pg. 3. Altan - “Runaway Sunday” (from Donegal fiddler John Doherty who played it in a medley he called “Flood on the Holm” which included the tunes “The Brides Reel” and “The Auld Wheel”). Capelhouse Records, James Kelly – “Traditional Irish Music” (1996).

X:1

T:Spinnin’ Wheel [1]

M:C|

L:1/8

C:J. Scott Skinner

Z:AK/Fiddler’s Companion

K:D

A | F>D D/D/D (FG).A.B | cdAd BEEA | F>D D/D/D (FG).A.B | cdAd fd[A,D] :|

|| g | .f(dcd) ABcd | efgf eEEg | .f(dcd) ABcd | egfe {c}dD[A,D]g |

.f(dcd) ABcd | efgf eEEG | F>D D/D/D (FG).A.B | cdAd FD[A,D] ||

 

SPINNING WHEEL [2], THE (An Turna). AKA and see “Miss McDonald{’s} [3].” Irish, Reel. A Major. Standard tuning. AA'BBCDD. An ‘A’ Major setting of “Miss McDonald.” O'Neill (Krassen), 1976; pg. 96. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1203, pg. 227. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 479, pg. 92.

X:1

T:Spinning Wheel, The [2]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 479

Z:AK/Fiddler’s Companion

K:A

cAAc BAAd|cefg a2 ga|bBBc dcBA|1 cefg afed:|2 cefg afec||

|:(3AAA AF FEEF|A2 Bc dcBc|(3AAA AF FEEe|(3fga ec dcBc:|

||Aceg agfe|fefg afec|Aceg agfe|(3fga (3gab afec|Aceg agfe|

fefg agaf|(3bag (3agf (3gfe (3fed|(3fga (3gab afec||
|:(3fga ec dcBc|AEAB cAce|(3fga ec dcBc|AFFD FA A2:|

 

SPINNING WHEEEL [3], THE. Scottish, Jig. G Major. Standard tuning. AABB. The ‘A’ part is similar to that of “Spinning Wheel [4]." Kerr (Merry Melodies), Vol. 3; No. 270, pg. 30.

 

SPINNING WHEEL [4], THE. AKA and see "Garrett Barry{‘s Jig}," "Gearoid de Barra," "Kiss Me Darling," "The Ladies' Fancy [3]", "The Maid at/of the Spinning Wheel," "Norah, with the Purse," “Noran Kista,” “Nora’s Purse,” "Norickystie,” "The Road to Lurgan," “Sergeant Early's Jig," “Tune the Fiddle,” “The Wild Irishman [4].” Irish, Jig. D Major.

 

SPINNING WHEEL [5], THE. Scottish (?), Jig. E Minor. Standard tuning. AABB. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 194, pg. 72.

X:1

T:Spinning Wheel

M:6/8

L:1/8

S:Aird, vol. II (1782)      

Z:AK/Fiddler’s Companion

K:Emin

G/F/ | E2e edc | BAG FED | E2e (e/f/gf) | e2E E2F | E2e edc | BAG FED |

E2e egf | e2E E2 :: F | GAG (Bcd/G/) | FEF DEF | GFE D2f | efg B2f |

gfe dcB | ABG FED | E2e (efg/)f/ | e2E E2 :|

                       

SPINNING WHEEL SONG, THE. AKA and see "Luibin [1]."

                       

SPINSTER’S WALTZ. Waltz. D Major. Standard tuning. AA’BB. Composed by Evan Lurie, sometimes member of the Lounge Lizards who is also known for his film scores. Shanachie 79077, Arcady – “After the Ball.” 

X:1

T:Spinster's Waltz

R:waltz

C:Evan Lurie

Z:Gerry Strong

M:3/4

L:1/8

Q:1/4=120

K:D

FA|:d3 c Bd|F4 DF|d3 c Bd|F4 DF|d3 c BA|c3 B A2|A2 c4-|c4 EG|d3 c Bd|G4

EG|d3 c Bd|G4 EG|c3 B A2|c3 B A2|A2 d4-|1d4 FA:|2d6||

|:dg bd gb|dg bd gb|a6|f6|Bd gB dg|Bd gB dg|f6-|f3 z3|Bd gB dg|Bd gB

dg|f6|d4 c2|B4 c2|A4 D2|D6-|D3 z3:|

"Variation"

|dg bd gb|dg bd gb|a6|f6|Bd gB dg|Bd gB dg|f6-|f3 z3|

Bd gB dg|Bd gB dg|f6|d4c2|B4 c2|A4 D2|D6-|D3 z3|

|dg bd gb|dg bd gb|a6|f4 a2|a4 g2|g6|g4 f2|f6|Bd gB dg|

Bd gB dg|f6|d4 c2|B4c2|A4 D2|D6-|D3 z3||

                       

SPIORA AIRGID, AN (The Silver Spire). AKA and see “The Silver Spire.”

                       


SPIRIT OF 1880. AKA and see “The Dawn [1],” “Miller’s Reel [1].” Irish, Reel. Ryan’s Mammoth Collection, 1883; pg. 48.

                       

SPIRIT OF 1881. American, Hornpipe. A Major. Standard tuning. AABB. Cole (1000 Fiddle Tunes), 1940; pg. 98. Ryan’s Mammoth Collection, 1883; pg. 134.

X:1

T:Spirit of 1881

M:2/4

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

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

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

d/B/G/B/ d/f/e/d/ | c/A/E/A/ c/e/c/A/ | B/A/G/F/ EA/B/ | c/A/E/A/ c/e/c/A/ |

d/B/G/B/ d/f/e/d/ | c/e/A/c/ B/d/G/B/ | AcA :|

                       

SPIRIT OF GAMBO. From Tobias Hume’s Poeticall Musick (1607). Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

                       

SPIRIT OF IRELAND, THE. AKA and see "Spirit of New Orleans," "The Spirits of France." Irish, March. D Major. Standard tuning. AA'BB'. Roche Collection, 1982, Vol. 2; No. 329, pg. 57.

                       

SPIRIT OF NEW ORLEANS. "The Spirit of Ireland," "The Spirits of France." Old‑Time, Breakdown. C Major. Standard tuning. AABBCCDDEE. The title predates Arlo Guthrie's 1970's ballad and does not reference the famous railroad train. Ford (Traditional Music in America), 1940; pg. 68.

                       

SPIRIT OF THE DANCE. English, Jig. England, Dorset. G Major. Standard tuning. AABB. From the Thomas Hardy family music manuscripts, Dorset, 19th century. Callaghan (Hardcore English), 2007; pg. 65. Old Hat Music OH!02, "The Old Hat Dance Band" (1992).

X:1

T:Spirit of the dance

M:6/8

L:1/8

R:Jig

K:G

G2D E2D|G2D E2D|GAB cBc|ABG FED|G2D E2D|G2D E2D|GAB cde|cAF G3:|

|:DGB c3|B 3 A3|ABc d2e|c2d B3|GAB c3|B3 A3|ABc B2c|B2A G3:|

                                               

SPIRITS OF FRANCE, THE. AKA and see "The Spirit of New Orleans," "The Spirit of Ireland." American, March (4/4 time). USA, southwestern Pa. C Major. Standard tuning. AB (Bayard): AABB (Howe). Howe (c. 1867) prints directions for a contra-dance to the tune. However, the dance seems much older than his publication, for directions to Spirits of France appear in several publications and commonplace books, as it was, for example, in the copybook of Mrs. George Webb (probably from Vermont), dating from the 1798. It appears to have been particularly popular from the late 1790’s through the first decade of the 19th century. The tune perhaps appears earliest in The Ladies and Gentleman’s Companion, published in Massachusetts in 1803. These dates suggest that the title refers not to (or perhaps both too) French wine or liquor, but rather to the French Revolution of the late 18th century, which resonated considerably in America. Source for notated version: William Shape (fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 104, pg. 60. Howe (Diamond School for the Violin), 1861; pg. 46. Howe (1000 Jigs and Reels), c. 1867; pg. 81.

X:1

T:Spirits of France

M:2/4

L:1/8

R:Reel

S:Howe – Diamond School for the Violin (1861)

Z:AK/Fiddler’s Companion

K:C

g/e/ | cc B/c/d/B/ | c/B/c/d/ c(a/f/) | dd d/e/d/c/ | B/c/d/B/ G(F/E/) | Fddc |

EccA | Bc (d/c/)(e/d/) | (c/B/)(c/A/) G :: E/F/ | G/F/E/F/ GG/D/ | F/E/D/E/ FF/D/ |

E/C/E/G/ c/G/E/C/ | D/C/D/E/ DE/D/ | .C.c.G.e. | .c.g .g(f/e/) | de/d/ (c/B/)(A/B/) | (c/B/)(c/d/) c :|

                                   

SPIRITS OF THE MORNING, THE. AKA and see "Whiskey Before Breakfast."

                                               

SPIRIT O' WHISKY [1]. Shetland, Shetland Reel. From the island of Unst, Shetland.

 

SPIRITS OF WHISKY [2]. AKA and see "Three Little Drummers [1]," "Cock in the Heath [1]," “Connie O’Connell’s (Jig) [1],” "Humors of Duagh," "Humors of Listivain," "Quinn's Jig," "Two and Sixpenny Girl," "The Money I Want," "Ryan's Travels," "The Aherlow Jig." Irish, Jig. A Dorian. Standard tuning. AABB. This belongs to the "Hillside [2]" family of tunes; see Bayard's (1944) note for "The Red Brick House in Georgia Town." According to Breathnach (1985) this was a County Limerick title. Bayard (Hill Country Tunes), 1944; No. 46 (appears as an untitled quadrille). Cole (1000 Fiddle Tunes), 1940; pg. 62. Ryan’s Mammoth Collection, 1883; pg. 92.

X:1

T:Spirits of Whisky [2]

M:6/8

L:1/8

R:Jig

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Ador

(B/d/) | eAA eAA | BGG BGG | eAA eAA | def gdB | eAA eAA |

BGG BGG | def gdB | B(.G.G) G2 :: g | eaa eaa | egg egg | eaa eaa |

def gdB | eaa eaa | egg egg | def gdB | B(.A.A) A2 :|

 

SPIRIT OF WHISKEY [3], THE.  Irish, Slip Jig. A Dorian. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 79, pg. 19.

 

SPIRITS OF WINE. Irish. The title refers to a stage in the distilling of malt whisky, which is usually matured in sherry casks. Altan – “Runaway Sunday” (learned from a recording by Donegal fiddler John Doherty). John Doherty – “The Floating Bow.”

                       

SPIRVIN'S FANCY. AKA and see "Thompson's Reel." Irish, Reel. G Minor (Cole, Ryan, Tolman): E Minor (Miller). Standard tuning. AB (Cole, Ryan, Tolman): AABB (Miller). See also the related “Girl that broke my heart [1].” Cole (1000 Fiddle Tunes), 1940; pg. 12. Miller (Fiddler’s Throne), 2004; No. 250, pg. 151. Ryan’s Mammoth Collection, 1883; pg. 34. Tolman (Nelson Music Collection), 1969; pg. 9.

X:1

T:Spirvin’s Fancy

M:2/4
L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:G Minor

(d/c/)||B/G/F/D/ DC/C/|D/G/G/^F/ G/A/B/c/|d/B/c/A/ B/G/F/A/|C/G/G/^F/ G/A/d/c/|

B/G/F/D/ DC/C/|D/G/G/^F/ G/A/B/c/|d/B/c/A/ B/G/F/A/|D/G/G/^F/ G||

Bd/f/ b/d/f/d/|Bd/f/ g/d/f/d/|Bd/f/ b/d/f/d/|c/=B/c/d/ _B/G/G|

Bd/f/ b/d/f/d/|Bd/f/ f/d/f/d/|b/d/b/d/ f/d/f/d/|c/=B/c/d/ _B/G/G/B/||

                       


SPIT FIRE (REEL). AKA and see "Acrobat's Reel," “Baker’s Reel,” “The Whistler and His Dog.” American, Reel. USA; New York, New England. B Flat Major: G Major (Cazden). Standard. AB (Burchenal): AABB (Cazden, Cole, Miller & Perron). Although the term “spit-fire” was used as a general superlative in the 19th century, it may just be possible that the tune was named for the Spitfire, an extreme clipper ship built in 1853 in Frankfort, Maine, for Messrs. Manning & Stanwood, and Thomas Gray & Co., of Boston. The ship was 224 feet long and her figurehead was a gilded eagle. The Spitfire was damaged in 1863 and sold to a London owner, but references to her drop from sight after 1874. Paul de Grae finds a cognate tune in Breathnach’s Ceol Rince na hÉirreann, vol. IV (137), from Breathnach’s own manuscripts, and says it was recorded under the title “The Whistler and His Dog” by east Galway fiddler and melodeon player Rose Murphy on her 1977 Topic recording.  Burchenal associates the tune with the dances Beaus of Albany and The Lady of the Lake. 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. Burchenal (American Country Dances), 1918; pg. 32 and 34 (appears as "The Lady of the Lake" [1] and "Beaus of Albany [2]"). Cazden (Dances from Woodland), 1945; pg. 26. Cole (1000 Fiddle Tunes), 1940; pg. 23. Kerr (Merry Melodies), vol. 3; pg. 38. Miller & Perron (New England Fiddler’s Repertoire), 1983; No. 85. Ryan’s Mammoth Collection, 1883.

X:1

T:Spitfire Reel

M:C|

L:1/8

K:Bb

|:f2|b2 fe dc Bd|cB Ac B2 BG|FG AB cd ec|dc Bd c2f2|

b2 fe dc Bd|cB Ac B2 BG|FG AB cd ec|dB cA B2:|

|:fg|fd Bd fd gd|fd Bd fd bd|fd Bd fd gd|ed cd e2 fg|

fd Bd fd gd|fd Bd fd bd|ba gf ed cB|AB cd e2:|

                       

SPITHEAD FLEET. English, Country Dance Tune (6/8 time). G Minor. Standard tuning. AABB. Spithead was a main staging area for the British fleet in the days of sail, from its convenient location as the sheltered eastern part of the channel between Hampshire, England, and the Isle of Wight. In 1797 a celebrated wartime Royal Navy mutiny occurred in the fleet stationed at Spithead: the crews sent the officers ashore, ran the ships by committee, and soon won their demands for better wages and working conditions. Kidson remarks “Spithead Fleet” is “an air of considerable merit, greatly reminding one of certain Scottish tunes, with a termination more Irish in character." Kidson’s version of the tune is from Samuel, Ann and Peter Thompson's Collection of 200 Country Dances (vol. 1, c. 1780-90, a reprint of the c. 1758 collection, according to Bruce Olson), but it also appeared in John Johnson’s Choice Collection of 200 Favourite Country Dances (vol. 8, 1758). The jig does not seem to have had widespread currency. Somewhat curiously, however (for, after all, it honors the British Navy), it appears in the music manuscript copybook of an American Revolutionary War fifer named Nathaniel Brown, of Verplancks Point, New York (on the Hudson River) and Durham, Connecticut (the ms. is in the possession of the New Haven Colony Historical Society). Brown was a fife major of the “Fourth Connt. Regt.” according to his inscription, brown-uniformed men under Colonel John Durkee. The regiment had a fife and drum corps. Interestingly, the Fourth had a high proportion of black soldiers, and, in June, 1780, they were “so numerous…that the officers segregated fifty-two former slaves and freemen into the Second Company under the command of Capt. David Humphreys” [Lanning, African Americans in the Revolutionary War, 2005).  Kidson (Old English Country Dances), 1890; pg. 11. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 135.

X:1

T:Spithead Fleet

M:6/8

L:1/8

R:Jig

S:Frank Kidson – Old English Country Dances  (1890)

Z:AK/Fiddler’s Companion

K:Gmin

G/F/|DGA Bcd|cAF F2A|BGA Bdg|fdB B2a|bag fdd|

fdd ecc|d g2 fdc|BGG G2::d|gfg def|Bcd f2d|

gfe dcB|gfe d2a|bag fdd|fdd dcc|d g2 fdc|BGG G2:|

X:2

T:Spithead Fleet

M:6/8

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:Gmin

G/F/|DGA Bcd|cAF “tr”F2A|BGA Bdg|fdB “tr”B2a|bag fdd|fdd ecc|d g2 fdc|BGG G2:|
|:d|gfg def|Bcd “tr”f2d|gfe dcB|gfe d2a|bag fdd|fdd ecc|d g2 fdc|BGG G2:||

                       

SPLA-FOOT NANCE. Irish, Air (6/8 time, "with spirit"). G Major. Standard tuning. AB. "There was a holf‑comic song to this air, composed in my own time by a local bard, ridiculing a neighbour, a big bony ungainly girl, universally known as 'Spla‑foot Nance'" (Joyce). Joyce remembered but one verse:

***

There was Spla-foot Nance to try her chance,

She took a notion of a man;

She stood on her toes and says she—“here goes,

I’ll cock my cap at Shaun MacCann.”

So Slpa foot Nance began to dance

And off to Shaun’s little house she ran;

But his mother rushed out with a terrible shout;--

“How daar you come coortin to Shaun MacCann!”
***

Joyce (Old Irish Folk Music and Song), 1909; No. 132, pg. 67.

X:1

T:Spla-Foot Nance

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

B/A/|G2A B2d|e2d g2f|efg d2B|c2A A2B/A/|G2A B2d|e2d g2e|

=f2d c2A|A2G G2||d|g2d e2d|e2f gfe|d2B c2d|e2A A2B/A/|

GAG BAB|def g2e|=fef dcA|A2G G2||

                       

SPLASHING OF THE CHURN [1], THE (Gluigir A Mhaidir). Irish, Jig or Air (6/8 time). D Major. Standard tuning. AABB. "A different tune with this name is in Petrie; reprinted in Stanford‑Petrie" (Joyce). Not musically related to the tune listed as "Gliogar an mheadair” (Gurgling of the Churn). Joyce (Old Irish Folk Music and Song), 1909; No. 699, pg. 350.

 

SPLALSHING OF THE CHURN [2], THE (Gliogar an Mheadair). AKA and see "Milk the Churn," "The Night of Fun," "Two in a Gig," "Humours of Bottle Hill," "The Old Dutch Churn," "The Dublin Boys," "Dublin Streets," "A Fig for a Kiss [1]," "She is fit for a kiss," "Gáire na mBan." Irish, Slip Jig. E Minor. Standard tuning. AABB. O’Neill (1922) remarks: “This spirited Slip Jig is a variant of ‘Dublin Streets’, obtained from Mr. Ennis of the Irish Music Club of Chicago, and published in former O'Neill Collections. ‘The Splashing of the Churn’, or in Irish Glugur an Meadair is the original name of the tune. Following is another version of it [“Humors of Bottle Hill”], obtained thru the courtesy of Sergt. James P. Walsh of Chicago whose manuscript collection has been a prolific source of many desirable melodies hitherto unpublished.” A version of the tune (under the “Splashing” title) appears earlier than O’Neill (who also published it as “Fig for a Kiss) in P.M. Haverty’s One Hundred Irish Airs Arranged for the Pianoforte (New York, 1885). Sources for notated versions: concertina player Mrs. Dalton (Co. Limerick, Ireland) [Breathnach]; Ennis (Chicago) [O’Neill]. Breathnach (CRÉ II), 1976; No. 101, pg. 53. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 181.

X:1

T:Splashing of the Churn, The

M:9/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

K:G

G2 B E2 B BAG|F2 A D2 A AGF|G2 B E2 B BAG|BdB AGF E3:||

g2 e g2 e edB|f2 d ded fga|g2 e g2 e edB|dBA ABd e3|

g2 e g2 e edB|f2 d ded fga|g2 e f2 d edB|BdB AGF E3||

                       

SPLENDID HORNPIPE, A. Irish, Hornpipe. See also the related “Honeysuckle [2]” and “Stacks’s Hornpipe.” Breathnach (CRÉ IV), 1986; No. 222 (appears as untitled hornpipe).

 

SPLENDID ISOLATION. AKA and see “McGlinchey’s [2]," “Brendan McGlinchey’s.” Irish, Reel. Composed by fiddler Brendan McGlinchey in 1972 as a reel, the result of an “outpouring of emotion” following the end of a tour and the parting of friends. McGlinchey reworked the tune twenty years later as an air, after he resumed playing after a long hiatus.

X:1

T:Splendid Isolation

M:4/4

L:1/8

C:Brendan McGlinchey

R:Reel

Z:N. Ishii

K:Gdor

FGAF GdcA|G2AG FGAc|dAcA GABc|dggf g2ga|

bgag fd (3ddd|fgeg fdcA|G2AG FGAc|dAcA G4:|

|:g2ag fd (3ddd|gfdc Acdc|AG (3GGG Acdc|AG (3GGG F4|

FGAF GdcA|GdAG FGAc|dg (3ggg fgag|fdcA G4:||

X:2

T:Splendid Isolation

S:Silly Wizard

D:So Many Partings

N:as "McGlinchey's Reels", together with \#3

C:Brendan McGlinchey

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

L:1/8

M:C|

K:Ador

A,2(3B,A,G, A,EDB,|A,2B,A, G,A,B,D|EB,DB, A,B,CD|EFB^G A3 B|\

(3BAG BA GE ~E2|G2GA GEDB,|A,2B,A, G,A,B,D|EB,DB, A,4::\

a2ba ge ~e2|aged (3Bcd ed|BA ~A2Bded|BAAB G2~G2|\

G2BG AedB|~A2BA GABd|ea ~a2gaba|gedB A4|]

                       


SPLENDID SHILLING, THE. English, Country Dance Tune (6/8 time). G Major. Standard tuning. AA'BC. The tune dates to c. 1790. Barnes (English Country Dance Tunes), 1986.

                       

SPLIT LEVEL, THE. Canadian, Reel. Canada, Cape Breton. F Major. Standard tuning. AABB. Composed by Dougie MacDonald. Cranford (Jerry Holland’s), 1995; No. 159, pg. 45.

                       

SPLITTIN' RAILS. Old‑Time, Breakdown. C Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 54.

X:1

T:Splittin’ Rails

M:2/4

L:1/8

R:Reel

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:C

C/E/G/z/ c>d|c>B c2|D/F/A/z/ d>e|d>c d2|G/B/d/z/ b2|G/B/d/z2 a2|

G/B/d/z/ g>a|g>f g2|C/E/G/z/ c>d|c>B c2|D/F/A/z/ d>e|d>c d2|

G/B/d/z/ b>f|a2g2|G/c/c/z/ cd|(c2c2)::(e2e2)|f3f|e2d2|

d>c d2|(b2b2)|(a2a2)|a>b a>f|(g2g2)|(e2e2)|(f2f2)|

e2d2|d>c d2|G/B/d/z/ b>f|a2g2|G/c/c/z/ c>d|(c2c2):|

                       

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