The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called “abc notation.” They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting” the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

http://www.concertina.net/tunes_convert.html 

 

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth it.   [AK]

 

 

 

STÁCA AN mHARGAIDH (The Market Lounger).  AKA – “Stáca ‘n Mhargaidh.” Irish, Air (3/4 time, “Moderately slow”). A Major. Standard tuning. AB. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Source for notated version: a manuscript collection dated 1861 compiled by James Goodman, a Church of Ireland cleric who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 26, pg. 14.

                       

STACCATO POLKA, THE. English, Polka. D Major (‘A’, ‘B’, ‘C’ parts) & G Major (‘D’ part). Standard tuning. AABBCCDD. Composed by Robert Whinham (1814-1893), a musician, teacher, composer, dancing master and fiddler originally from Morpeth, Northumberland. Source for notated version: an unattributed 19th century manuscript in the Beamish Museum [Dixon]. Dixon (Remember Me), 1995; pg. 49.

 

STACKED ‘EM UP IN PILES. Old-time, Song & Breakdown. From the playing of West Virginia fiddler Melvin Wine (b. 1909), who supposedly fashioned the tune from a Revolutionary War song. West Virginia musician and academic Gerry Milnes believes that it is connected with the Civil War and not an earlier conflict. Wine sings only this chorus:

***

We run 'em nine miles and we stacked 'em up in piles,

Besides what got drownded in the river.

***

One verse only for the song, collected in West Virginia, appears in Cox’s Folk Songs of the South where it is listed as "The War Song". Laws, in Native American Balladry, only mentions Cox's collected version, from which Milnes deduces it is a rare piece, given the thoroughness with which Laws investigated. Augusta Heritage Records AHR 014, Melvin Wine – “Folk Music and Lore of the Civil War.” Jimmy Tripplet – “Helena’s Green are the Woods” (learned from Melvin Wine). Jack Krack & Doug Van Gundy – “Two Far Gone.”

 

STACK(S) OF BARLEY, THE. AKA and see "Evening was Waning," "Little Mary Cassidy," “The Little Stack of Barley [1],” "Patrick Condon's Vision.” Irish, Hornpipe or Barn Dance; Canadian, Reel. Canada, Prince Edward Island. E Minor ('A' part) & G Major ('B' part). Standard tuning. AABB.  There is a special couple dance to this tune (played in hornpipe time) in which the partners face each other and use the ‘barrel’ hold. It is sometimes customary to dance the Stack of Barley after the ceili dance The Siege of Ennis. Two hornpipes are played as an accompaniment with the first being “The Stack of Barley,” considered the signature tune for the dance. Accordion player Joe Burke (b. 1939), originally from Coorhoor, above Loughrea in County Galway, remembers playing with the Leitrim (parish) Céilí Band for set dancers in the 1950’s at Irish dance venues in London, and was impressed by the “thousands of people” who danced the sets and old-time waltzes at the halls.  Later he played gigs in New York, Chicago and Boston, playing on a circuit for Bill Fuller’s dance halls along with piano player Felix Dolan and fiddler Paddy Killoran. They dressed formally and had a fifteen minute spot between the Fintan Ward Band’s sets, giving them time to play “The Seige of Ennis,” “Stack of Barley” and an old-time waltz (Vallely & Piggott, Blooming Meadows, 1998). Martin Mulvihill (1986) remarks: “Old Irish dance” and “There are several versions of this tune. This one I learned from the lilting of my grandfather.” Source for notated version: Louise Arsenault (b. 1956, Welligton, East Prince County, Prince Edward Island) [Perlman]. Allan's Irish Fiddler, No. 89, pg. 23. Mallinson (Enduring), 1995; No. 79, pg. 33. Messer (Way Down East), 1948; No. 41. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 61, pg. 36 (appears as "Stacks of Barley"). Mulvihill (1st Collection), 1986; No. 52, pg. 129. O'Neill (Krassen), 1976; pg. 180. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 63. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 11. Columbia 33523F (78 RPM), Michael Coleman & P.J. Dolan (1927). Edison 51041 (78 RPM), John H. Kimmel (accordion player from New York City), 1922. Flying Fish FF70572, Frank Ferrel – “Yankee Dreams: Wicked Good Fiddling from New England” (1991). Leader LEA 2004, Martin Byrnes. Shanachie 79093, Paddy Glackin and Robbie Hannon – “Whirlwind” (1995). Topic TSCD606, Michael Coleman & P.J. Dolan et al – “Round the House and Mind the Dresser: Irish Country-House Dance Music.” WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

X:1

T:Stack of Barley, The

M:4/4

L:1/8

R:Hornpipe

K:G

gf|efed BedB|(3ABA AG AcBA|G2 GA BA (3Bcd|e2A2A2 Bd|

efed BedB|A2 AG AcBA|G2 GA BdAc|B2G2G2:|

|:GA|BABd g2 fg|agfg edBd|g2 fg ed (3Bcd|e2A2A2 Bd|

(3efg af g2 ge|dBAG AcBA|GFGA (3Bcd Ac|B2G2G2:|

                       

STACK OF OATS, THE. AKA and see “Crossroads Ceili.” Irish, Barndance. Reg Hall (1995) defines an Irish barndance as “a rural variant of the ballroom schottische…popular in the hey-day of country-house dancing in Ireland…transplanted successfully in the dance halls and clubs of Irish-America.” Topic TSCD 602, Erin’s Pride Orchestra – “Irish Dance Music” (1995. A reissue of the original 1948 recording).

 

STACK OF OATS [2], THE.  Irish, Hornpipe. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 34.

                       

STACK OF RYE, THE. Irish, Hornpipe. Composed by the late County Clare fiddler Junior Crehan.

 

STACK OF WHEAT, THE. AKA - “The Little Stack of Wheat.” Irish, Hornpipe. G Major. Standard tuning. AABB'. Some similarity to the “Off to California” family of tunes. Philippe Varlet also finds the tune in Tadhg Crowley’s piping tutor, published in 1936. It was popular in the 1920’s, he says, and was recorded by a number of artists of the era, including Michael Coleman, James Morrison and Tom Ennis, the Flanagan Brothers and Dan Sullivan’s Shamrock Band. Coleman recorded it in a medley following the “Little Stack of Barley [1].” Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 99, pg. 25. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 82. Cranitch (Irish Fiddle Tunes), 1996; No. 86, pg. 160. Harker (300 Tunes from Mike Rafferty), 2005; No. 259, pg. 80 (appears as “The Little Stack of Wheat”). Mallinson (Enduring), 1995; No. 77, pg. 32. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 14. Larraga Records LR093098, Mike and Mary Rafferty – “The Old Fireside Music” (1998). Topic TSCD 602, Pat Roche’s Harp & Shamrock Orchestra – “Irish Dance Music” (1995. A reissue of the original 1934 recording).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Stack of Wheat, The

M:4/4

L:1/8

R:Hornpipe

K:G

BA|GEDE GABG|(3ABA GA Bdef|gedB GABG|dBAG E2 BA|

GEDE GABG|A/B/A GA Bdef|gedB GABG|AGEF G2:|

Bd|edBd edgd|edBd e2 d/e/f|gedB GABG|dBAG E2 Bd|

edBd edgd|edBd e2 d/e/f|gedB GABG|AGEF G2 Bd||

edBd edgd|edBd e2 d/e/f|gedB GABG|dBAG EcBA|

GEDE GABG|(3ABA GA Bdef|gedB GABG|AGEF G2||

X:2
T:Little Stack of Wheat, The
R:Hornpipe
S:Mike Rafferty
Z:lesl
M:C|
K:G
BA|GEDE GABG|A2GA (3Bcd eg|gedB GABG|dBAG E2BA|
GEDE GABG|A2GA (3Bcd eg|gedB GABG|AGEF G2:|
(3Bcd|edgd ed (3Bcd|edgd e2 (3def|gedB GABG|dBAG E2 (3Bcd|
edgd ed (3Bcd|edgd e2 (3def|gedB GABG|AGEF G2 (3Bcd|
edgd ed (3Bcd|edgd e2 (3def|gedB GABG|dBAG E2BA|
GEDE GABG|(3ABA GA Bdeg|gedB GABG|AGEF GG||

                                   

STACK RYAN’S. Irish, Polka. A County Clare polka set named for their source for the tunes, Stack Ryan. See individual tunes under the titles “Babes in the Woods [2],” “Cooraclare Polka,” and “Clare Dragoons.” Green Linnet GLCD 3092, Bernard O’Sullivan & Tommy MacMahon – “Clare Concertinas.”

                                   

STACK THE RAGS (Cruac Suas na Ceirteaca). AKA and see “Leitrim Jig [1].” Irish, French‑Canadian; Single Jig. G Dorian. Standard tuning. AAB. Carlin (Master Collection), 1984; No. 82, pg. 54. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 989, pg. 184. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 379, pg. 77.

X:1

T:Stack the Rags

M:6/8

L:1/8

R:Single Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 379

Z:AK/Fiddler’s Companion

K:G Dorian

d|cAG G2^F|D2G G3|cAG G2G|f3 e2d|cAG G2=F|D2G G3|F2G A2B|c3 d2:|

||G2g g3|^faf g3|d2g g2e|f3 e2d|G2g g3|^faf g3|aba a2g|f3 d2c|d2g g3|^faf g3|

d2g g23|f3 f2g|agf gfe|fed g2d|cAG G2G|f3 e2||

                                   

STACKOLEE. Old-Time, Breakdown. USA; West Virginia, Eastern Kentucky. In the repertoire of the regionally famous fiddler Ed Haley. It was the only track on the Rounder LP that the late Rector Hicks thought sounded like Haley at his best, according to Kerry Blech. See also note for “Stagolee.” Rounder Records, Ed Haley.

                                   

STACK’S HORNPIPE. Irish, Hornpipe. D Major. Standard tuning. AABB. See also the related “Honeysuckle [2].” Source for notated version: Patrick Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 313.

X:1

T:Stack's Hornpipe

M:4/4

L:1/8

S:Patrick Stack, Chicago

Z:Paul Kinder

R:Hornpipe

K:D

(3ABc|d2 (3cBA BFAF|DFAF G2 (3FED|FAdc Bdgf|(3efe (3dcB A2 (3ABc|

dBcA BFAF|DFAF GFED|FAdf (3efe ce|dfec d2:|

|:ec|Acec Acec|Adfd Adfd|Acef gfgf|(3efe (3dcB A2 (3ABc|

dBcA BFAF|DFAF GFED|FAdf (3efe ce|dfec d2:||

                       

STAD ERRO ROGURA STAD STAD (“Stay Easy, You Rogue, Stay, Stay”). AKA and see “Be Easy, You Rogue.”

                       

STADTHOUDER, LA.  French, Country Dance (2/4 time). G Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.  He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 53.

X:1

T:Stadthouder, La

M:2/4

L:1/8

S:Daubat – Cent Contredanses en Rond (1757), No. 53

Z:AK/Fiddler’s Companion

K:G

{A}G2 (B/c/d/B/) | G>de>f | {a}g2 (A/B/c) | B2A2 | {A}G2 (B/c/d/B/) |

G>de>f | {a}g2 | (A/B/c) | {c}~B4 :: .d.d (B/c/d) | .D(dcB) | .c.c (A/B/c) |

.D(cBA) | .B.B (G/A/B) | D>dg>c | B2A2 | G4 :|

                       

STAESIA DONNELLY’S. Irish, Double Jig. The tune is from the late fiddler Jimmy Power, originally from Kill in Waterford, although his spent much time in London. Staesia Donnelly was his aunt. Piping Pig Records PPPCD 001, Jimmy O’Brien- Moran – “Seán Reid’s Favourite” (1996. Learned from piper John Murphy).

 

STAFFORD'S RECEIPT FOR WHISKEY. AKA and see "Carolan's Receipt (for Drinking)," "Doctor John Stafford."


 

STAFFORD'S REEL (Ríl Stafort). Irish, Reel. E Minor. Standard tuning. AB. Source for notated version: fiddler Owen Kelly, 1968 (Co. Tyrone, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 285, pg. 145.

 

STAFFORDSHIRE HORNPIPE, THE. English, Sword Dance Tune (2/2 time). D Major. Standard tuning. AB. Second figure of the sword dance from the Flamborough, England, area. One of the earliest recordings of the tune was in 1909 when Cecil Sharp waxed it on a cylinder from the playing of John Locke, described as a “gipsy fiddler.” Callaghan (Hardcore English), 2007; pg. 24. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 30. Kirkpatrick & Harris (Opus Pocus), 1988. Raven (English Country Dance Tunes), 1984; pg. 77.

X:1

T:Staffordshire Hornpipe, The

M:2/2

L:1/8

S:Flamborough

K:D

(3ABc|d2b2g2ed|ce a2f2d2|d2b2g2 ed|ce a2 Acec|d2b2g2ed|ce a2f2d2|

gbag fdec|d2f2d4||f2e2d2c2|Bc (3dcB A2 Bc|dcde fefg|

a2g2e2a2|f2e2d2c2|Bc (3dcB A2a2|b2 ag fd ec|d2f2d2||

 

STAGE COACH, THE. English, Jig. A Major. Standard tuning. AABB. The tune appears unique to London publishers Charles and Samuel Thompson’s 1765 collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 2, pg. 1.

X:1

T:Stage Coach, The

M:6/8

L:1/8

B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)

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

Z:abc’s:AK/Fiddler’s Companion

K:A

E|A2c B2d|c2e Bcd|A2c B2d|cBA BAG|A2c B2d|c2e Bcd|efg agf|ef^d e2:|

|:e|c2e d2f|B2d cBA|f2a gfe|F2A GFE|F2A G2B|A2c Bcd|efg aec|BAG A2:||

 

STAGE HORNPIPE [1], THE. AKA and see “Kielder Jock’s,” "The Merrymaker's Club,” “The Norfolk Hornpipe" [2],” “The Omnibus.” Irish, Hornpipe. G Major. Standard tuning. AABB. The melody was composed as “The Omnibus” by the 19th century Tyneside fiddler-composer James Hill, famous for his hornpipe compositions. “The Stage” was published in the Newcastle Courant in 1882. Stage hornpipes were danced on stage for some one hundred and fifty years, although their heydey was in the latter half of the 18th century when several performers made their reputations dancing various hornpipes. They were still regularly performed between acts in plays as late as 1840 or 1850 (Kidson). A distanced version of Hill’s “Stage Hornpipe” tune was recorded in New York 1927 by the renowned County Sligo fiddler Michael Coleman (1891-1945), paired with “The Western Hornpipe.” Coleman was an accomplished step dancer as well as a master fiddler and actually danced a stage hornpipe in the 1920’s while simultaneously playing the instrument, when he was hired as an entertainer on a tour of Keith’s Theaters. Influential Cape Breton fiddler Angus Chisholm learned the tune from Coleman’s recording, and it has been recorded by Johnny Wilmot, John Campbell, and others in the island’s tradition. Source for notated version: Michael Coleman [Miller & Perron]. Bulmer & Sharpley (Music from Ireland), vol. 2, No. 49. Cranford (Jerry Holland: The Second Collection), 2000; No. 204, pg. 76. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 85, pg. 21. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 37. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 123 (two versions). Mulvihill (1st Collection), 1986; No. 19, pg. 93. O'Neill (Krassen), 1976; pg. 216. Gael-Linn CEF 153, Paddy Glackin – “In Full Spate” (1991). Gael-Linn Records CEF 161“Michael Coleman 1891-1945” (1992. Reissue of 1927 recording). IRC Records, "Musical Glory of Old Sligo." Shanachie 34014, James Kelly, Paddy O’Brien, Daithi Sproule – “Traditional Music of Ireland” (1981).

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:Stage Hornpipe [1]

M:4/4

L:1/8

R:Hornpipe

K:G

GA | BGFG EGDB, | G,B,DB cBcB | AEAB cBcB | (3AGF (3GFE DCB,A, |

G,B,DB cBcd | edef gfge | dbca Bgfg | ecAF G2 :: ef |

ga (3gfe dbbd | caac BggB | BGAB cAag | fgfe defd |

ga (3gfe dbbd | caac BggB | (3gag fg egfg | ecAF G2 :|

 

STAGE HORNPIPE [2], THE. English, Hornpipe. England, Northumberland. A Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 245.

 

STAGE HORNPIPE [3], A. AKA and see “Pet of the House.” Irish, Hornpipe. A Major. Standard tuning. AABB. The melody was printed by O’Neill as “Pet of the House,” set in the key of ‘G’. Source for notated version: the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; no. 327.

X:1

T:Stage Hornpipe, A

M:2/4

L:1/16

S:Rice-Walsh manuscript

Z:Paul Kinder

R:Hornpipe

K:A

E2|A2A2 AcBd|c2c2 cedf|eagf edcA|Ace^d fedB|

A2A2 AcBd c2c2 cedf|eagf (3efe (3dcB|c2A2 A2:|

|:A2 ceAe ceAe|dfBf dfBf|ceAe ceAe|BAGF Aced|

ceAe ceAe|dfBf dfBf|eagf (3efe (3dcB|c2A2 A2:||

 

STAGE REEL, THE (Ríl an Stáitse). AKA and see “Maeve’s Reel.” Irish, Reel. G Major. Standard tuning. AABB. The tune is related to “Dowser’s Favourite” and “Maeve’s Reel,” composed by Jim McKillop from County Antrim. Source for notated version: the mid-20th century collection of Jack Wade (County Monaghan) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 208, pgs. 94 & 95. 

 

STAGGER THE BUCK (Tiob an Fiad). AKA and see “The Big Bow Wow,” "Priest avourneen," "Ta an Coileach ag Fogairt an Lae [2]," "When the cock crows it is day [3]."  Irish, Double Jig. G Major. Standard tuning. AABB. See also the related single jig “Be Easy, You Rogue.” Source for notated version: the playing partners of Chicago police Sergeant James Early and John McFadden, a piper and fiddler from adjoining counties in the province of Connaght [O’Neill]. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 173, pg. 41. O'Neill (Krassen), 1976; pg. 33. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 854, pg. 159. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 115, pg. 34.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Stagger the Buck

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 115

Z:AK/Fiddler’s Companion

K:G

D | GBG AGE | c2c B2d | GBG AGE | EAA AGE |

GBG AGE | B/c/de/f/ gfe | dBG AGE | DGG G2 :|

|: G | Gge dBG | c2c B2d | Gge dBG | EAA AGE |

Gge dBG | B/c/de/f/ gfe | dBG AGE | DGG G2 :|

 

STAGOLEE. Old‑Time, Blues Tune. The blues ballad about Stagolee (or Stackerlee) and his fight with Billy Lyons has been a blues classic for generations and can be found in most volumes of American folksongs. There actually was such a person, finds George M. Eberhart (in an article entitled "Stack Lee: The Man, the Music, and the Myth, in the journel Popular Music and Society, Spring, 1997), one Stack Lee Shelton who murdered William “Willie” Lyons on Christmas Day, 1895, in a saloon on 11th & Morgan (now Delmar) in (east) St. Louis. Lyons and Shelton were actually friends but an argument arose between them, some say over a dispute about hats. The result was that Shelton shot and killed Lyons, who now rests in an unmarked grave in Saint Peter’s Cemetery, St. Louis.

***

The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Chubby Dragon CD1008, Brad Leftwich, Bruce Molsky et al – “Mountairy.usa” (2001).

 

STAGSHAW BANK FAIR. English, Reel. England, Northumberland. G Major. Standard tuning. AABB. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 168.

X:1

T:Stagshaw Bank Fair

M:C

L:1/8

R:Reel

S:Bruce & Stokoe – Northumbrian Minstrelsy

Z:AK/Fiddler’s Companion

K:G

d/c/|BGGB cAAc|BGGc Gdbd|BGGB cAAc|Bge^c d3:|

|:e|dBdg eceg|fdef gage|dBdg eceg|fdef g2 fe|

dB B2 ec c2|dB B2 AFDd|edef gage|dBcA G3:|

 

STAIC AN MARGAID. Irish, Air (3/4 time). G Major. Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 18, pg. 5.

 

STAICIN EORNA, AN. AKA and see "The Little Stack of Barley."

 

STAIL GRAOI, AN. AKA and see "The Strong Steed."


 

STAINES MORRIS. English, Air and Country Dance Tune (4/4 or 6/4 time). E Minor (Bacon, Raven): D Minor (Williamson): D Dorian (Chappell): G Dorian (Barnes, Sharp). Standard tuning. ABC (Sharp): AABCC (Raven): AABB (Barnes, Chappell).  The tune first appears in the William Ballet Lute Book (1595), and was printed in "much altered" form in Playford's Dancing Master of 1650‑51. There is a town of Staines on the Thames River, but no one seems to know if it has anything to do with the title or not. The tune was used for a morris dance of the same name in the Cotswold village of Longborough, Gloucestershire. Bacon (The Morris Ring), 1974; pg. 255. Barnes (English Country Dance Tunes), 1986. Chappell (Popular Music of the Olden Time), vol. 1, 1859; pg. 243. Raven (English Country Dance Tunes), 1984; pg. 34 & 46. Sharp (Country Dance Tunes), 1909/1994; pg. 25.  Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 17. Carthage CGLP 4406, Hutchings et al - "Morris On" (1972/1983). Maggie’s Music MMCD216, Hesperus - “Early American Roots” (1997).

X:1

T:Staines Morris

L:1/8

M:2/2

S:Sharp – Country Dance Tunes

Z:AK/Fiddler’s Companion

K:G Minor

d2g2 =e2 ^f2|g2 =f=e d3e|fgf_e d2 cB|AGAB G4|d2g2 =e2 ^f2|

g2 =f=e d3e|fgf_e d2 cB|AGAB G4||Bcd=e d2 cB|AGAB G4|Bcd=e d2 cB|

AGAB G4||B2B2 F2F2|GABc d3 =e|fgf=e d2 cB|AGAB G4|B2B2 F2F2|

GABc d3=e|fgf=e d2 cB|AGAB G4||

           

STALK EN VAURAGA. Irish, Slow Air (3/4 time). A Major. Standard tuning. AABB. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 126.

X:1

T:Stalk en Vauraga

M:3/4

L:1/8

R:Air

N:”Slow”
S:O’Farrell – Pocket Companion, vol. II (c. 1806)

Z:AK/Fiddler’s Companion

K:A

AB | c2E2F2 | A4 A2 | B3c BA | B2c2A2 | d3e dc | d2f2a2 | (fe)(dc)(BA) | A2 (dc)(BA) |

=G2 (BG)(FE) | F2 AFdF | E2F2A2 | A4 :: ed | (cB)(AB)(cd) | e4f2 | g4f2 | e2f2d2 |

c2 (AB)(cd) | e4f2 | a3b af | e2f2c2 | a3b af | e2f2a2 | B3c BA | B2c2A2 | d3e (dc) |

d2f2a2 | (fe)(dc)(BA) | A2 (dc)(BA) | G2 BGdG | F2 AFdF | E2F2A2 | A4 :|

                       

STAMFORDHAM HOPPING. AKA and see "A Mile to Ride." English, Slip Jig. The tune appears under this title (a variant of a Northumbrian title “Stannerton Hopping”) in the music manuscript of John Bell.

 

STAMPANTAKT. One Finnish version of "Soldier's Joy [1]." See Bayard's note for "The King's Head."

 

STAN CHAPMAN'S JIG. Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AAB (Miller): AABB’ (Holland). Stan Chapman is a Cape Breton style fiddler, music and fiddle teacher who lives in Antigonish, Nova Scotia. Composed by the late Cape Breton fiddler Jerry Holland (1955-2009, Inverness, Cape Breton). The tune has also been recorded by Cape Breton Mic-Mac Indian fiddler Lee Cremo. Cranford (Jerry Holland’s), 1995; No. 195, pg. 56. Miller (Fiddler’s Throne), 2004; No. 102, pg. 70. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992). Green Linnet SIF1122, Kevin Burke - "Open House" (1992. Erroneously credited to Stan Chapman). Green Linnet SIF3112, Nomos - “I Won’t Be Afraid Anymore.” Shanachie 78002, “Solas.” Jerry Holland – “Crystal Clear” (2000).

 

STANADOIR SUGAC, AN. AKA and see "The Jolly Tinker [2]."

 

STANADOIR UA LUIMNEAC, AN. AKA and see "The Limerick Tinker."

 

STANDARD CLUB QUADRILLE NO. 1. There is some resemblance of the second figure of this tune with Bayard's Pennsylvania collected "Allegheny County." Henry Ford, Mr. & Mrs. ("Good Morning." Old Time Dancing Music, Calls And Directions), 1941; pg. 10.

 

STANDARD HORNPIPE, THE. AKA and see "Harvest Home [1]," "Fred Wilson's Clog," "Kildare Fancy," "Zig-Zag Hornpipe/Clog," "Dundee Hornpipe," "Ruby Lip," "Higgins' Hornpipe," "Cork Hornpipe [1]," "Cincinnati Hornpipe [1]," "Cliff Hornpipe," "Snyder's Jig" (Pa.), "Kephart's Clog" (Pa.). Irish, Hornpipe. D Major. Standard tuning. AABB. Roche Collection, 1982, vol. 3; No. 175, pg. 61.

 


STANDARD OF IRELAND, THE. Irish, Air (3/4 time). C Major. Standard tuning. ABC. O'Neill (O’Neill’s Irish Music), 1915; No. 39, pg. 27.

X:1

T:Standard of Ireland, The

M:3/4

L:1/8

R:Air

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:C

ED | C2E2 GA | c2e2 dc | A3 BcA | G4 cB | A3 GcA | G2E2FE | {E}D2C2C2 | C4 || EF |

G2A2 Bd | c4 GE | C2D2EG | A4 GA | c2E2A2 | e4 dc | c2A2G2 | G4 || GA | c2c2d2 |

e2a2gf | e2 fe {e}dc | A4 cd | e2d2cB | A2A2GF | E2c2ed | d4 || ef | g2fe {e}dc | d2G2cd |

e2c2G2 | A4 cA | G3 Acd | e2a2gf | e2 c>e d>c | c4 ||

 

STANDING ABBEY. AKA and see “McDermott’s Hornpipe.” Irish, Hornpipe. F Major. Standard tuning. AABB. Roche Collection, 1982, vol. 2; No. 210, pg. 10.

 

STANDING STONES (OF STENNESS), THE). Scottish, March. Greentrax CDTRAX 9009, Pat Shearer (Orkney Islands) - “Scottish Tradition 9: The Fiddler and his Art” (1993). Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

 

STANGATE BRIDGE.  English, Country Dance Tune (cut time). G Major. Standard tuning. AABC. The melody was printed in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 5 (London, 1750). Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 147 (appears as “Yes! I am Mireille’s Daughter”, the name of a country dance by Fried de Metz Herman set to the tune in 1996).

 

STANHOPE i' WEARDALE. AKA and see "A Mile To Ride." English, Slip Jig. England, Northumberland. G Major. Standard tuning. AABB. The melody appears in Northumbrian musician William Vickers 1770 music manuscript collection. Stanhope in Weardale is the name of a town in Northumberland in the upper valley of the River Wear.

X:1

T:Stanhope I’ Weardale

M:9/8

L:1/8

R:Jig

S:William Vickers manuscript (1770)

K:G

ded Bed BGB|d2B BdB d2e|ded Bed BGB|c2A AcA c2e:|

|:GAB gag fed|edB gdB d2e|GAB gag fed|ecA AcA c2e:|

 

STANLEY FERRY HORNPIPE. English, Hornpipe. England, Yorkshire. A Major ('A' part) & E Major ('B' part). Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddle of Helperby), 1994; No. 43, pg. 39.

 

STANNERTON HOPPING. AKA and see "A Mile To Ride," “Riding a Mile.” English, Slip Jig. England, Northumberland. F Major. Standard tuning. AABB. See note for “Mile to Ride.” “Stannerton Hopping” was printed by Northumbrian musician William Vickers in his music manuscript of 1770 (wherein it also appears as “A Mile to Ride” and “Stanhope in Weardale”). 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. In parts of England a ‘hopping’ refers to the harvesting of hops.

 

STAN’S JIG. Canadian, Jig. Composed by Gene Laderoute (for Stan Chapman?). Atlantica Music 02 77657 50222 26, Donny LeBlanc - “Atlantic Fiddles” (1994).

 

STANTIPES. English. Antilles (Island) AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master" (1973).

 

STAR (HORNPIPE) [1], THE (Crannciuil an Realt). Irish, Hornpipe. G Major. Standard tuning. AABB. Paul de Grae declares the tune a curiosity, and identifies it as an amalgam of two tunes printed in Ryan’s Mammoth Collection (1883). “The first part is that of ‘Gray’s Opera House’ while the second part begins with the second part of “Amazon” and concludes in the same way as the first part of ‘Gray’s Opera House.’” O'Neill (Krassen), 1976; pg. 186. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1654, pg. 307. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 875, pg. 151.

X:1

T:Star Hornpipe, The

M:C|

L:1/8
R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1903), No. 875

Z:AK/Fiddler’s Companion

K:G

Bc|dcdf gecA|GFGB D2 EF|GFGA BABc|dcdf A2 Bc|

dcdf gecA|GFGB D2 EF|Gedc BAGF|A2G2G2:|

|:cB|AGAB cBcd|edef g2 gf|edcB cBAG|F2D2 D2Bc|

dcdf gecA|GFGB D2 EF|Gedc BAGF|A2G2G2:|

 

STAR [2], THE. Irish, Slow Air (4/4 time). E Flat Major. Standard tuning. AB. Source for notated version: Miss mary Eva Kelly (see note for "The Star of Munster") {Joyce}. Joyce (Old Irish Folk Music and Song), 1909; No. 783, pg. 382.

X:1

T:Star, The [2]

M:C

L:1/8

R:Air

N:”Moderately slow”

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

Z:AK/Fiddler’s Companion

K:Eb

B | e3f e2d2 | c3B G2B2 | e3B e2f2 | g4 {a/g/}f2B2 | e3fe2d2 | c3B G2B2 | c3e defg | e6 ||

B2 | A3Bc2e2 | G3B BAGF | ~E3F B3B | c4B2a2 | g3b bagf | e3f edcB | G3A BGEG | F4 E3 ||

 

STAR [3], THE. AKA and see “Star at Liwis,” "The Scheme." English, Jig. G Major (Moore/Ashman): F Major (Thompson). Standard tuning. AABB. The melody first appeared in John Johnson’s Choice Collection of 200 Favourite Country Dances, vol. 3 (London, 1744), followed by appearances in David Rutherford’s Compleat Collection of 200 of the Most Celebrated Country Dances (London, 1756), and Charles and Samuel Thompson’s 1757 country dance collection. In America, it was printed by Exeter, New Hampshire, publishers Norris and Sawyer in their volume Village Fifer (1808), and in Alvan Robinson’s Massachusetts Collection of Martial Music (Hallowell, Maine, 1818). Northumbrian musician William Vickers included it in his 1770 manuscript under the title "The Scheme," with “The Star” as an alternate title, and Cheapside, London, musician Walter Rainstorp penned it into his copybook, begun in 1747. While it may have no connection with the title of the jig, The Star was a notorious London brothel in the Strand, kept by Peter Wood. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 93b, pg. 38. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 182.

X:1

T:Star, The [3]

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:F

c/B/|AFF F2A|BGG G2e|fed cdB|AFF F2::a(f/g/a) F2a|g(e/f/g) E2g|

fef dgf|ecc c3|dBd (g/a/b)B|cAc (f/g/a)A|BAB GcB|AFF F3:||

 


STAR ABOVE, THE. Irish, Slide (12/8 time). Ireland, West Kerry. D Major. Standard tuning. AABB’ (Mac Amhlaoibh & Durham). Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 74, pg. 43.

 

STAR ABOVE THE GARTER, THE. Irish, Slide (12/8 time). Ireland, Kerry. G Major/D Mixolydian ('A' part) & D Mixolydian ('B' part). Standard tuning. AABB. No relation to Mac Amhlaoibh’s “The Star Above.” The Star and Garter is an English chivalric order whose origins are ancient. The story goes that at a Ball possibly held at Calais, Joan Countess of Salisbury dropped her garter and King Edward (III) seeing her embarrassment picked it up and bound it about his own leg saying in French, ‘Evil, (or shamed) be he that that thinks evil of it' this is almost certainly a later fiction. There are those that believe this to be a fable, perhaps perpetrated by the French to bring discredit, but the origins are rather obscure. The regalia of the order includes a ‘garter’ that is a necklace, while the star is a medal to be worn on the chest. As a famous symbol of upper-class station, the name was transferred to items and situations that had pretensions to status. For example, the Star and Garter is also the name of a famous English Hotel at Richmond, whose hey-day was the early 19th century. Still, there are no specific references in the order to a star above a garter, and what was originally meant by the title (or why it was applied to an Irish tune) is not known.  It has been suggested the title is a sexual entendre. The tune was popularized by Kerry fiddlers (and siblings) Dennis Murphy (1910-1974) and Julia Clifford (1914-1997), both pupils of the influential Sliabh Luachra fiddle teacher Pádraig O’Keeffe (1887-1963). Sources for notated versions: fiddler Dennis Murphy and Julia Clifford (Sliabh Luachra region, Co. Kerry) [Mulvihill]; Paddy Ryan [Bulmer & Sharpley]. Brody (Fiddler’s Fakebook), 1983; pg. 264. Bulmer & Sharpley, vol. 2, No. 59. Mallinson (Enduring), 1995; No. 67, pg. 28. Mulvihill (1st Collection), 1986; No. 7, pg. 116. Songer (Portland Collection), 1997; pg. 190. Sullivan (Session Tunes), Vol. 3; No. 22, pg. 8. Claddagh CC5, Denis Murphy & Julia Clifford – “The Star Above the Garter” (originally recorded 1969). Claddagh CC14, Chieftains‑ "Chieftains 4.” Ossian OSS CD 130, Sliabh Notes – “Along Blackwater’s Banks” (2002). Pied Piper PPP301, Chulrua – “Barefoot on the Altar.” Shanachie 79024, "Chieftains 4" (1972/1983). Denis Murphy (with Johnny O’Leary) – “The Star Above the Garter” (a 1949 performance in Denis’s house, recorded by Seamus Ennis. The pair played the ‘c’ notes sharpened). Tara 1008, John & James Kelly – “Irish Traditional Fiddle Music” (1973).

X:1

T:The Star Above the Garter

M:12/8

L:1/8

R:slide

D:Denis Murphy, Music from Sliabh Luachra, track 4(a)

K:G

d2 B BAG A3 ABA|G2 E c2 B BAG ABc|

d2 B BAG ABA ABA|G2 E c2 E EDD D3:|

|:d2 e f2 a g2 e d2 B|G2 B c2 B BAG ABc|

d2 e f2 a g2 e d2 B|G2 B c2 E EDD D3:|

 

STAR AT LIWIS. AKA and see "The Scheme."

 

STAR HORNPIPE [1], THE. Irish, Hornpipe. G Major. Standard tuning. AABBBCC. The first strain is shared with “Belfast Hornpipe (1),” “Sweep’s Hornpipe (1),” and “Millicent’s Hornpipe.” Allan's Irish Fiddler, No. 91, pg. 23.

X:1

T:Star Hornpipe (1) (The)

M:C

L:1/8

K:G

e>f|g>dB>G F>GD>C|(3B,B,B D>G B>dg>d|^c>dc>d A>dG>A|F>GE>F D>de>f|

g>dB>G F>GD>C (3B,B,B, D>G B>dg>d|e>cB>E C>gf>e|(3ded (3cBA G2:|

|:=f2|e>de>B c>Bc>e|d>^cd>=c B>GB>d|c>Bc>B A>BA>G|^F>Ae>^c d>^de>f|

g>dB>G F>GD>C|(3B,B,B, D>G B>dg>d|e>cG>E C>gf>e|(3ded (3cBA G2:|
|:(3DEF|G2B2 B>d^c>d|F2A2 A>d^c>d|G2 e>f g2 f>e|(3ded (3cBA G>DE>F|

G2B2 B>d^c>d|F2A2 A>d^c>d|G2 e>f g2 f>e|(3ded (3cBA G2:||

 

STAR HORNPIPE [2], THE. Scottish, Hornpipe. B Flat Major. Standard tuning. AABB. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 52. Howe (1000 Jigs and Reels), c. 1867; pg. 60. McGuire & Keegan (Irish Tunes by the 100, vol. 1), 1975; No. 77, pg. 21.

X:1

T:Star Hornpipe, The

M:C

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:Bb

D>E|F>Bd>c B>AG>F|E>Gc>d e>dc>B|A>ca>g (3fgf (3efe|(3ded (3ded B>AG>F|

D>Fd>c B>AG>F|E>Gc>d e>dc>B|A>ca>g (3fgf (3edc|B2 b2 B2:|

|:(3fga|b2 DF Bdfb|g2 EG Begb|f2 CE Acef|d2 B,D FBdf|

b2 DF Bdfb|g2 EG Begb|A>gf>=e _e>Ad>c|B2 b2 B2 :|

 

STAR HORNPIPE [3], THE. See "The Star" [1].

 

STAR HORNPIPE [4], THE. AKA and see "Silver Star Hornpipe," "The Twilight Star." American, Hornpipe. USA; Michigan, southwestern Pa. G Major. Standard tuning. AB. The second part of the tune is a common international strain. Source for notated version: Irvin Yaugher (fiddler from Fayette County, Pa., 1944; learned from fiddler John O. Miller, a native of Michigan, in the 1880's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 109, pgs. 62‑63.

 

STAR IRISH JIG. Irish, Jig. G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 3; No. 257, pg. 28.

X:1

T:Star Irish Jig

M:6/8

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 3, No. 257 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

e|dBB gBB|dBB (d2e)|dBB gBB|cAB (c2e)|dBc def|

gfe dcB|gfe dcB|cAB c2::e|dBB gBB|dBB (d2e)|dBB gBB|

cAB (c2e)|dBB gBB|dBB def|gfe dcB|cAB c2:|

 


STAR OF BETHLEHEM, THE. AKA and see "Bonaparte Crossing the Rhine [1]," "Boneparte's Retreat [5]," "Ranahan's March [1]," "Loch Na Gar [1]," "The Freemason's March," "Bruce's March" (Pa.), "Caledonian March" (Pa.), "Dirge of the Berlin Band" (Pa.). American, March (2/4 or 4/4 time). USA, southwestern Pa. D Major. Standard tuning. AB (Silberberg): AA'BBC (Phillips). Not a Christmas tune, the word ‘star’ in the title is used in the Irish sense, i.e. a beautiful woman. Bayard (1981) believes the tune to be Scottish, though he finds it a "little hard" to trace. Irish versions he found are Breathnach 1963, No. 210, "An Comhra Donn" (The Brown Casket), and an untitled set in Miller & Perron (Irish Traditional Fiddle Music), Vol. 1, No. 46. Forms of the tune appear as the air for hymns in shapenote hymnals. Sources for notated versions: nine southwestern Pa. fifers and fiddlers [Bayard]; James Bryan [Phillips]. Bayard (Hill Country Tunes), 1944; No. 90. Bayard (Dance to the Fiddle), 1981; No. 156A‑I, pgs. 91‑94. Cole (1000 Fiddle Tunes), 1940; pg. 124 (appears as “Loch na Gar”). Howe (School for the Violin), 1851; pg. 17. Howe (Diamond School for the Violin), 1861; pg. 24. Kennedy (Fiddlers Tune Book), vol. 1; No. 21. Kerr (Merry Melodies), vol. 1, pg. 49 (8th) and vol. 2, No. 214. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 230. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 149. White's Excelsior Collection, pg. 70 (2nd). Rounder 0215, James Bryan ‑ "The First of May” (1986).

See also listing at:

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

 

STAR OF KILKENNY, THE ("An Realt Cill-Cainnig" or "Realtan Cill Cainnic"). AKA and see "The All‑Ireland," "The Burren," "Clematis," "Thady Casey's Fancy.” Irish, Reel. E Minor. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). A song written by Egan O'Rahilly on the occasion of the marriage of the Jacobite Lady Iveagh's second daughter to Lord Kenmore in 1720, the Kilkenny star being, of course, the bride. O'Neill (Krassen), 1976; pg. 123. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1349, pg. 252. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 604, pg. 110.

X:1

T:The Star of Kilkenny

M:C

L:1/8

R:Reel

K:Em

BcAF G2GA | B2Ac Beed | BcAF G2ef | gefd Beef :|

g2ga gdBd | gefd Beef | g2ga bgaf |1 gefd Beef :|2 gefd Beed ||

 

STAR OF MUNSTER, THE ("An Realt Mumain" or "Realt Na Muman"). AKA and see “Birds in the Bushes,” "Bright Star of Munster," “The Eight O’Clock Train,” “Kitty’s Wishes,” “Millstone [2],” "Miss Mary Eva Kelly of “Kitty's Wishes," “Rock of Muff” (?). Irish, Reel. A Dorian (Am). Standard tuning. AB (Joyce, Kennedy, O'Neill/1850 & 1001): ABB (Allan's): AA'B (O'Neill/Krassen): AABB (Brody, Mallinson): AABB’ (Songer): AA’BB’ (Harker/Rafferty): ABB’CDD’ (Mitchell). A star is a euphemism for a beautiful woman. The melody is at least as old as the latter 19th century, for O’Neill (1913) mentions it as one of the first reels learned as a boy by Callinafercy, Kilcoleman, County Kerry fiddler and uilleann piper William F. Hanafin, born in 1875 (who later, in his adolescence, emigrated to Massachusetts). O’Neill himself learned this tune from County Mayo piper James O’Brien, who visited Chicago (where O’Neill worked in the police department) in 1876. O’Neill describes him as “a neat, tasty Irish piper of the Connacht school of close players, and though his Union pipes were small, they were sweet and musical...One of his peculiarities—and an unpleasant one, occasionally—was a habit of stopping the music in order to indulge in conversation. He could not be induced to play a tune in full, when under the influence of stimulants, as his loquacity was uncontrollable, and he never hesitated under such conditions to express a passing sentiment. Amiable and harmless at all times, he died at a comparatively early age in Chicago, a victim to conviviality, his only weakness.”  The great County Sligo-born fiddler Michael Coleman (1891-1945) recorded the tune in New York in April, 1922, released on a 78 RPM for the Vocalion label (paired with “O’Dowd’s Favourite,” both played in the unusual key of G Dorian). Another early recording of “Star of Munster” was by Ballybay, County Monaghan, piper Robert William “Willie” Clarke (1889-1934) for Columbia Records of London in 1928, for a series of records entitled “The Pipes of Three Nations” (which included a Highland piper and a Northumbrian small-piper). The reel has proved quite popular as an accompaniment for New England contra dances since the 1970's, and is frequently heard today at Irish sessions. Sources for notated versions: Portumna, Co. Galway; better known as 'Eva', the writer of national ballads in 'The Nation' newspaper, who seems to have had as cultivated a taste for Irish music as for literature. She is now Mrs. Doherty, the widow of the well‑known Dr. Kevin Izod Doherty, and is living in hale old age in Australia" (Joyce); piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; piper Jimmy O’Brien (County Mayo) [O’Neill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Allan's Irish Fiddler, No. 49, pg. 12. Brody (Fiddler’s Fakebook), 1983; pg. 265. Giblin (Collection of Traditional Irish Dance Music), 1928; 21. Harker (300 Tunes from Mike Rafferty), 2005; No. 5, pg. 2. Joyce (Old Irish Folk Music and Songs), 1909; No. 780, pg. 381. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 184, pg. 43. Mallinson (Essential), 1995; No. 44, pg. 19. Mitchell (Dance Music of Willie Clancy), 1993; No. 64, pgs. 66-67. O'Neill (Krassen), 1976; pg. 99. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1218, pg. 230. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 495, pg. 94. O’Neill (O’Neill’s Irish Music), 1915; No. 238, pg. 126. Peoples (Fifty Irish Fiddle Tunes), 1986; 10. Roche Collection, 1982, vol. 1; No. 136, pg. 55. Songer (Portland Collection), 1997; pg. 190. Bellbridge Records, Bobby Casey – “Casey in the Cowhouse” (1992. Originally recorded 1959). Front Hall 05, Fennigs All Stars‑ "Saturday Night in the Provinces." Gael‑ Linn 068, Maurice Lennon‑ "An Fihdil." Gael‑Linn 069, Seamus Creagh‑ "An Fhidil Straith II." Green Linnett 1012, Martin Mulvihill‑ "Traditional Irish Fiddling From County Limmerick." Green Linnet GLCD 1127, “Martin Hayes” (1993). Green Linnet GLCD 3009/Mulligan 021, Kevin Burke‑ "If the Cap Fits" (1978). GTD Heritage Trad. HCD 008, Tommy Peoples - "Traditional Irish Music Played on the Fiddle." Island ILPS 9501, "The Chieftains Live" (1977). Larraga Records LR093098, Mike & Mary Rafferty – “The Old Fireside Music” (1998). Shanachie 29002, "Kathleen Collins." Shanachie 29008, Frankie Gavin‑ "Traditional Music of Ireland.” Topic TSCD602, Michale Coleman – “Irish Dance Music” (1995. A reissue of the 1922 original).

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:Star of Munster, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 495

Z:AK/Fiddler’s Companion

K:Ador

ed|c2 Ac B2GB|AGEF GEDF|EAAB cBcd|eaaf gfed|cBAc BAGB|

AGEF GEDF|EAAB cded|cABG A2z2||eaab ageg|agbg agef|

gfga gfef|geaf gfed|eaab ageg|agbg agef|g2 ge a2 af|b2 ba gfed||

 


STAR OF STRATHMORE. Scottish. The composition of James 'Jamie' Allan of Forfar (1800‑1877).

           

STAR OF THE COUNTY DOWN. AKA and see "I Love Nell,” “Mary from Blackwater Side,” "My Love Nell," “Paddy’s Return [2],” "When a Man's in Love," “When first I left old Ireland.” Irish; March (4/4 time), Air or Waltz (3/4 time). A Minor (most versions): E Minor (Silberberg). Standard tuning. AB (Barnes, Matthiesen, Silberberg): AAB (Brody, Johnson, Phillips). A star, in Irish vernacular, is a beautiful woman. John Loesberg (1980) says the air originally was set to the sheet ballad "My Love Nell," but first appears under the "Star of the County Down" title in Hughes' Irish Country Songs, with words written by Cathal Mac Garvey {1866-1927}. However, this popular air seems to have been attached to numerous songs over the years. For example, P.W. Joyce (1909) prints a version of the air under the title “Mary from Blackwater Side” (No. 187), while George Petrie (Stanford/Petrie, 1905) collected it several times: as an untitled air from favorite source sculptor Patrick MacDowell (No. 196), “When first I left old Ireland” (No. 863), and “Paddy’s Return” (No. 867). This tune is identified by Cazden (et al, 1982) as belonging to the protean and huge 'Lazarus' family of tunes, which includes, among numerous others in the Gaelic/British tradition, the Scottish "Gilderoy," Cazden's own Catskill Mountain collected "Banks of the Sweet Dundee," and Chappell's English "We Be Poor, Frozen Out Gardeners" as well as literally hundreds of other airs. Jerome Colburn points out that an American shape-note variant of the “Star” family appears in the tenor of the hymn “Help Me to Sing” (attributed to B.F. White) from The Sacred Harp (1859). The tune is also used for two poaching ballads (one from Scotland, one from Ireland, “Van Dieman’s Land”), remembers Sean Laffey, and the forebitter /capstan shanty "Banks of Newfoundland.” Rock singer Van Morrison performed a march-time version of the song with the Chieftains on a 1994 recording. County Down takes its name from Downpatrick, where St. Patrick is said to have been buried (Down is a variation of the Celtic word Dun, meaning a fortified place). Source for notated version: Fennigs All Stars (New York) [Brody]. Barnes (English Country Dance Tunes), 1986. Brody (Fiddler’s Fakebook), 1983; pg. 265. Johnson (The Kitchen Musician's Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 11. Matthiesen (The Waltz Book), 1992; pg. 47. Phillips (Fiddlecase Tunebook: British Isles), 1989; pg. 46. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 149. Fretless 200A, Yankee Ingenuity‑ "Kitchen Junket" (1977). Front Hall 05, Fennigs All Stars‑ "Saturday Night in the Provinces." Front Hall 017, Michael and McCreesh‑ "Dance, Like a Wave of the Sea" (1978. Learned from English fiddler John Harrison). Hepatica 002, Carrie Crompton ‑ "Angel's Draught." Sampler 8910, Mitzie Collins & Roxanne Ziegler ‑ "St. Patrick's Day in the Morning." Song of the Wood 001, Jerry Read Smith ‑ "The Strayaway Child."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Star of the County Down

M:3/4

L:1/8

S:Jay Ungar

K:Amin

E2G2|A4A2|A4 GA|c4c2|d4 cd|e4 dc|A4 GE|(G6|G2)E2G2|A4A2|A4 GA|c4c2|

D4 cd|e4 dc|A2E2G2|1 (A6|A2) E2G2:|2 (A6|A2) AB cd|g4 g2|g4 ec|d4 d2|d4 (e/d/c/d/)|

E4 dc|A4 GE|(G6|G2) E2 G2|A4 A2|A4 GA|c4 Bc|d4 cd|e4 dc|A2E2G2|1 A6 AB cd e^f:|2 (A6|A2||

X:2

T:Untitled Air

M:3/4

L:1/8

R:Air

S:”From Mr. MacDowell”

B:Stanford/Petrie – Complete Collection, No. 196  (1905)

Z:AK/Fiddler’s Companion

K:Amin

EAA|A2 GE cc|d2 cd ef|e>dcA A^F|G3 c/>B/ AA|A2 GE cc|

d2 cd ef|e>d c/A/^G/B/ AA|A3||c/d/ ee|e2 dc dd|d2 cd ef|

e>d c AA^F|G3 c/>B/ AA|A2 GE cc|d2 cd ef|e>d c/A/^G/B/ AA|A3||

           

STAR OF THE EAST. AKA and see “The Star.” Irish, American; Hornpipe. B Flat Major. Standard tuning. AABB. "Can be used as a Clog,” notes Ryan. Cole (1000 Fiddle Tunes), 1940; pg. 113. Ryan’s Mammoth Collection, 1883; pg. 151.

X:1

T:Star of the East

M:C|

L:1/8

R:Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:Bb

(D>.E) | F>Bd>c B>AG>F | E>Gc>d e>dc>B | A>ca>g (3fgf (3efe | (3ded (3cdc B>AG>F |

D>Fd>c B>AG>F| E>Gc>d e>dc>B | A>ca>g (3fgf (3edc | B2b2B2 :|

|: (3fga | [d2b2] D>F B>df>b | [B2g2] E>G B>eg>b | [A2f2] C>E A>ce>f | [F2d2]B,>D F>Ad>f |

[d2b2]D>F B>df>b | [B2g2] E>G B>eg>b | a>gf>=e _e>Ad>c | B2b2B2 :|

           

STAR POLKA. Scottish, Polka. C Major. Standard tuning. AABBCCAABB. Kerr (Merry Melodies), vol. 3; No. 441, pg. 50.

X:1

T:Star Polka

M:2/4

L:1/8

R:Polka

S:Kerr – Merry Melodies, vol. 3, No. 441  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:C

G/A/G/A/ Ge|fAA (d/c/)|B/c/B/c/ Ba|age (E/F/)|G/A/G/A/ Ge|

edA (d/c/)|B/d/f/a/ gB|ccc z::e’gg f/e/|gfd>c’|d’f fe/f/|

age>e’|e’e ed/e/|gfd>c|B/d/f/a/ g>B|ccc z:|

“Trio”

|:C/E/G/c/ ed|cB B/A/G|D/G/B/d/ fB|c/d/e/f/ g2|

C/E/G/c/ ed/c/|F/A/d/f/ af/d/|c/B/A/G/ ^F/G/e/d/|ccc z:|

           

STAR WALTZ [1]. English, Waltz (3/8 time). England, Yorkshire. G Major. Standard tuning. ABC. 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. 90, pg. 52.

 


STAR WALTZ [2]. English, Waltz (3/8 time). England, Yorkshire. G Major. Standard tuning. AABBCC. A companion waltz to "Star Waltz" [1]. 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. 91, pg. 52.

 

STAR WALTZ [3]. French-Canadian, Waltz. G Major. Standard tuning. AA'BB'. No relation to "Star Waltz" [1] or [2]. Source for notated version: transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.), who learned the melody from a record he obtained in Montreal called "Tour de Danse...Tour de Valse" [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 50.

 

STAR WALTZ [4]. The title of a waltz recorded by the Thomasson Brothers for Okeh Records in 1929, whom Charles Wolfe (1997) believes were the father and uncle of Benny Thomasson (credited as being one of the founders of modern contest fiddling).

           

STAR YGUTEN. Norwegian, Springar. The "first springar of the big ones" of the traditional repertoire that a hardranger fiddle pupil learns (Hopkins). See also "Bruremarsj."

           

STARAIDH DUBH, A (The Black Jester). See "An bhFaca Tu an Starraidhe Dubh?"

           

STARK MAD.  English, Reel. D Dorian. Standard tuning. AABB. The melody appears in the 1770 music manuscript copybook of Northumbrian musician William Vickers as “Stark Madd” [sic]. There are no sharps or flats in the key signature in Vickers’ ms., although that may be a mistake of omission (try either major or mixolydian mode).

X:1

T:Stark Mad

M:C|

L:1/8

R:Reel

S:William Vickers’ music manuscripts, pg. 22  (1770)

Z:AK/Fiddler’s Companion

K:D Dorian

(A/B/4c/4)|dDAG FDD B/c/|dDAF ECC B/c/|dDAF BGAG|GBAF ECC:|

|:e|~fedc dDDe|~fedf eEEe|~fedc faeg|BGAF ECC:|

 

STARLIGHT CLOG. AKA ‑ "Starlight Hornpipe"??. AKA and see "The Nightingale (Clog) [2]," “Peacock Rag," "The Mason‑Dixon Schottische." American, Clog. F Major. Standard tuning. AABB. White's Excelsior Collection, 1907; pg. 54. White's Unique Collection, 1896; No. 151, pg. 27.

X:1

T:Starlight Clog

M:C|

L:1/8

R:Clog

S:White’s Unique Collection (1896), No. 151

Z:AK/Fiddler’s Companion

K:F

(3AB=B | c>af>.d (3c=Bc (3dcA | B>bg>.d B2 (3GAB | c>eg>e b>ge>c | (3fag (3fed (3cFG (3AB=B |

c>af>.d (3c=Bc (3dcA | B>bg>d B2 (3GAB | c>eg>e b>ge>c | f>ca>g [A2f2] :: (A>^c) | (3dAd (3fdf a>fd>A |

(3^cAc (3ece a>fd>A | (3^cAc (3ece g>fe>d | ^c>bg>e c>_BG>A | (3FDF (3AFA d>AB>=B |

c>af>d (3c=Bc (3dcA | B>bg>d B2 (3GAB | c>eg>e b>ge>c | f>ca>g [A2f2] :|

           

STARLIGHT HORNPIPE. Old-Time. Caney Mountain Records CEP 208 (extended play LP, privately issued), Lonnie Robertson (Mo.), c. 1965‑66.

           

STARLIGHT SCHOTTISCHE. American, Schottische. C Major (‘A’ part), F Major (‘B’ part) & G Major (‘C’ part). Standard tuning. ABC. Ruth (Pioneer Western Folk Tunes), 1948; No. 128, pg. 44.

X:1

T:Starlight Schottische

M:4/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:C

(3EF^F | G>Gc>d e>cG>E | A>A>d>e f4 | B>g^f>g =f>dA>B |

(3ced (3cBA G2 (EF) | G>Gc>d e>cG>E | A>Ad>e f4 | B>g^f>g =f>dA>B | c2e2c4 ||

K:F

A4B2=B2 | c4f4 | e2 (3Gce d2 (3FAd | d>cA>F D>CB,>C | A2B=B2 | c4a4  |

g>fd>f c>BA>B | (3cdc (3BAG F2 ||

K:G

Bc | d>ed>c B>cB>A | G2 (3Geg e2d2 | F2 (3FAg f2e2 | G2 (3Geg e2d2 |

d>ed>c B>cB>A | G2 (3Geg e2d2 | (3fgf (3efe (3ded (3cBA | G2B2G2 ||

           

STARLIGHT WALTZ. American, Waltz. USA; Ohio, Missouri. G Major. Standard tuning. AB. A “Starlight Waltz” was recorded on 78 RPM in 1932 by Hugh “Hughie” A. MacDonald, sometimes known as “The Polka King.” MacDonald was born in Lanark, Antigonish County, Nova Scotia, and was one of the first fiddlers to record Scottish fiddle music. He died in 1976. Source for notated version: Alan Ede [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 150. Edison 52425 (78 RPM), 1928, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but later taught Baltzell to play the fiddle}. Rounder 0436, Earl Ball – “Traditional Fiddle Music of the Ozarks, vol. 2: On the Springfield Plain.”

           

STARR LABEL REEL. New England, Reel. A Major. Standard tuning. AABB. The title comes from Starr Records, a Canadian recording company. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 80.

X:1

T:Starr Label Reel

M:C|

L:1/8

K:A

|:AB cd e2e2|fe fa e4|dc Bd cB Ac|BA GA B2E2|AB cd e2e2|fe fa e4|

dc Bd cB Ac|BA GB A2E2:|

|:AG AB c2A2|FG AF E2E2|AG AB c2 AB|c2B2B2E2|

AG AB c2A2|FA GF E2E2|AG AB c2 AB|c2 (3BcB A2 E2:|

                       

STARRY LANE TO MONAGHAN, THE. Irish, Reel. E Dorian. Standard tuning. AA’BB’. Composed by County Cavan/Philadelphia fiddler and compser Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 61, pg. 67.

X:1

T:The Starry Lane to Monaghan

R:reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:Barnagrove is near the Monaghan border.

N:On a starry night, so the story goes, one

N:could look down this lane and see clear through

N:to the neighboring county. Ed's mother came

N:from Monaghan. To this day, he has a special

N:fondness for Monaghan people.

K:G

EF | GEBE eEBE | GFGB AFDF | GEB,E GABd | (3efg fg ed^cd |

BEEF GEB,E | GFGB AFEF | GABG FGAF |1 EFGA BEEF :|2

EFGA BEEf || gbef gbeg | fdd^c defa | gbef g2 fe | defd Beef |

geBA ^GABd | ^cdeg fddf | (3gab eg fe^ce |1 dBAF E2 ef :|2 dBAF E2 ||

                       

STARRY NIGHT FOR A RAMBLE, A. English, New England; Jig. England, East Anglia. D Major. Standard tuning. AAB (Kennedy, Raven): AABB (Miller & Perron). Kennedy (Fiddlers Tune Book), vol. 2, 1954; pg. 46. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 40. Raven (English Country Dance Tunes), 1984; pg. 109. F&W Records 5, Canterbury Country Orchestra‑‑"Mistwold." Old Hat Records OH-1, Old Hat Band - "Old Hat Concert Party."

X:1

T:Starry Night for a Ramble

M:6/8

L:1/8

R:Jig

K:D

f2d A2F | G3 B2B | A2d c2d | e3 efg | fed A2F | G3 BcB | A2d c2e | d3 d3 :|

|: g2g gfe | f2f fed | e2e efg | (a3a2 f | gag gfe | fgf fed | efe efg | a3 a2g :|

                       


STARS AND STRIPES WALTZ. Old‑Time, Waltz. USA, Missouri. C Major. Standard tuning. ABB. Howard Marshall informs that this tune is attributed to the legendary Callaway County, Missouri waltz fiddler, Vee Latty.  “Latty played in several of the state contests broadcast by WOS-AM live from the dome of the Capitol in Jefferson City in the late 1920s.  MSOTFA (Missouri State Old Time Fiddler’s Association) recently brought out a cassette issue of some of his fiddling from old home recordings made in the 50s.” R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 193. Missouri State Old Time Fiddlers Association 001, Pete McMahan (Mo.) ‑ "Ozark Mountain Waltz.” Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999).

                       

STARTER’S ORDERS. English, Polka. G Major. Standard tuning. AABB. A modern composition by Ralph Smethurst. Plain Brown Tune Book, 1997; pg. 39.

                       

STARVATION WALTZ, THE. AKA and see "Valse de Creve de Faim."

                       

STATE HOLDER’S JIG.  English, Reel. G Major. Standard tuning. AAB. The melody appears in the 1770 music manuscript collection of Northumbrian musician William Vickers, about whom unfortunately nothing is known.

X:1

T:State Holder’s Jigg, The

M:C|

L:1/8

R:Reel

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

K:G

GABG ABc2|Bc/d/ BG FG/A/ FD|GABG AB c2|ce/c/ DF G2G,2:||

GBdg ec c2|Bc/d/ BG FG/A/ FD|GBdg ec c2|B2c/d/ DF G2G,2|

GBdg ec c2|Bc/d/ BG FG/A/ FD|fdge af g2|Bc/d/ DF G2G,2||

 

STATE HOULDERS MINUET, THE. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth (1768).

                       

STATELY MANOR.  English, Country Dance Tune (2/2 time). D Major. Standard tuning. AABB. Composed by Charles Bolton in 1991. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 123.

 

STATELY SARAH. Irish, Air (4/4 time). G Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 317, pg. 79.

                       

STATEN ISLAND (HORNPIPE). AKA and see “The Arranmore Ferry,” "Burns' Hornpipe," "None So Pretty [2]." Scottish, English, Irish, American; Hornpipe. USA; New England, southwestern Pa. Ireland, County Donegal. D Major. Standard tuning. AABB (most versions): AA’BB’ (Harker/Rafferty). “Staten Island Hornpipe” was first printed in James Aird’s Selection of Scotch, English, Irish, and Foreign Airs (vol. II, 1782), printed in Glasgow, identical to version played today. I suspect that the title may have associations with the large contingent of British troops that were stationed on Staten Island during the American Revolution, and, since period army references abound in Aird’s period collection, he may have obtained it from British military sources. Others have convincingly argued that the title refers to Isla de los Estados, located just east of Tierra del Fuego off the coast of Argentina, a welcome landmark to sailors which marked a successful passage of Cape Horn and the beginning of the last leg of the journey home. The island was first claimed by the Dutch in the 16th century and named after their governing state council, hence Staten Island (the same rationale for New York’s Staten Island). There is even a State Island in the Atlantic Arctic region, mapped in 1695, and it is possible (though much more unlikely) the title derived from it. A version appears in the 1823-26 music manuscript book of Lincolnshire musician Joshua Gibbons under the title “Scotch Hornpipe.”

***

“Staten Island Hornpipe” appears in a few musician’s manuscripts from North England in the 19th century, though none predate Aird. It was reintroduced I in traditional circles during the 1960’s “folk revival” in the United Kingdom (and America, for that matter), largely through the playing of English fiddler Dave Swarbrick. Burchenal (1918) associates the tune with the New England contra dance The Haymakers, or The Merry Haymakers, and indeed, in the intervening years the tune has gained strong associations with American contra dance music, so that it is often mistaken for an American tune. From contra-dance musicians it has even been imported into American “old-time” repertoire, and has been even called an “Appalachian standard,” which it by no means is. Any associations to the Staten Island ferry (e.g. the ‘c’ natural notes in the ‘B’ part being likened to the toots of a steam whistle) are spurious. Bayard (1981) sees a general resemblance to "The Athole Volunteers March" printed in McDonald's Gesto Collection.

***

In Donegal the tune is known as “Arranmore Ferry,” although it has been absorbed into Irish repertoire under its usual title in modern times. Irish versions tend to differ from Scottish and American versions, sometimes centering in the mixolydian rather than major mode (see Mike Rafferty’s version, for example), and sometimes being played as a reel. Sources for notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960) and Hoge Ms (a fife MS from Pa., 1944) [Bayard]; Danny Gardella [Phillips]; Stephanie Prausnitz [Silberberg]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Aird (Selection), vol. II, 1782; No. 83, pg. 30. Bayard (Dance to the Fiddle), 1981; No. 318A‑B, pg. 274. Brody (Fiddler’s Fakebook), 1983; pg. 266. Burchenal, 1918; pgs. 4‑5 (appears as "Haymakers" [2]). Cole (1000 Fiddle Tunes), 1940; pg. 97. Harker (300 Tunes from Mike Rafferty), 2005; No. 255, pg. 78. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 46. Hunter (Fiddle Music of Scotland), 1988; No. 314. Jarman (Old Time Fiddlin' Tunes); No. or pg. 30. S. Johnson (The Kitchen Musician No. 4: Collection of Fine Tunes), 1983 (revised 1991, 2001); pg. 14. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 2. Kennedy (Fiddlers Tune Book), vol. 1, 1951; No. 5, pg. 3. Kerr (Merry Melodies), vol. 1; No. 8, pg. 21. Miller & Perron, 1983; No. 129. Phillips (American Fiddle Tunes), vol. 2, 1995; pg. 226. Raven (English Country Dance Tunes), 1984; pg. 172. Ryan’s Mammoth Collection, 1883; pg. 133. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 150. Spandaro (10 Cents a Dance), 1980; pg. 3. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 60 (appears as “Scotch Hornpipe”). Sweet (Fifer’s Delight), 1965/1981; pg. 56. Tolman (Nelson Music Collection), 1969; pg. 18. F&W Records 1, "F&W String Band." Front Hall 05, Fennigs All Stars‑ "Saturday Night in the Provinces." June Appal 014, John McCutcheon‑ "The Wind That Shakes the Barley" (1977. Learned from Richard Blaustein). Kicking Mule 209, Hank Sapoznik‑ "Melodic Clawhammer Banjo." North Star RS0009, "The Wind in the Rigging: A New England Voyage" (1988). Rounder Select 82161-0476-2, “The Wind That Shakes the Barley: Hammered Dulcimer Music” (reissues, orig. released 1977).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Staten Island Hornpipe, The

M:C|

L:1/8

R:Hornpipe

K:D

AG|FDFG A2Bc|defe dcBA|B2GB A2FA|G2E2 E2AG|

AG|FDFG A2Bc|defe dcBA|d2d2 efge|1 f2d2 dBAG:|2 f2d2 defg:|

|:a2fa g2eg|f2df e=cAB|=c2=c2 efge|=c2=c2 efge|

a2fa g2eg|f2df ec (3ABc |d2d2 efge|1 f2d2 defg:|2 f2d2 dBAG:|

X:2

T:Staten Island

M:C

L:1/8

S:John Rook manuscript (Wigton, Cumbria, 1840)

K:D

AG|FDFG A2A2|defd c2 Ac\B2 GB A2 FA|G2E2E2 AG|FDFG A2A2|

defd c2A2|d2d2 efge|f2d2d2::fg|a2 fa g2 eg|f2 df e2c2|=c2c2 efge

|=c2c2 efge|a2 fa g2 eg|f2 df e2A2|d2 d2 efge|f2d2d2:|

                       

STATIA DONNELLY’S. AKA and see “Pausteen Fawn.” Irish, Jig.

 

STATUE CLOG. American, Clog. A Major ('A' part) & E Major ('B' part). AABB with four measure segues in between. The statue clog was a variety show specialty of the 1870’s and 1880’s, notes Don Meade. It was similar to the pedestal clog, in that, according to the Streetswing Dance History Archives, “the dancer would climb upon a marbled or gilded pedestal (24 inch base) and basically clog or Tap out a routine while posing as motionless as a statue. Henry E. Dixey who used to whitewash himself, was one such dancer that was known as a Pedestal dancer, he would be presented to the stage as a statue on a pedestal in the likes of Apollo or Discobulos. When the curtains parted he would start clog dancing on the pedestal in a statue like motion, only moving the feet and legs.” According to Edward B. Marks (They All Sang, 1934, pg. 65), the clogging derived from the Lancashire style clog dance.

***

Minstrel men had conventions, traditions. All passed through the same species

of apprenticeship. They went with the minstrels as boys, for eight or ten dollars a

 week. Under the unrelenting taskmastership of the Gormans, or Fagan himself,

they learned the minstrel dance technique. A man danced clog or “song-and-dance”

(soft shoe). If clog, he specialized in either Lancashire, American, or trick.  Waltz

clog grew out of American clog, statue out of the Lancashire style. “Buck and wing,”

says old Tom Barrett, as he reclines on the N.V.A. club mezzanine, “started all the

trouble. Buck-and-wing is a bastard dance, made of clogs and jigs and song-and-

dance together, and it makes for faking. In a clog, or a sand jig like the one Paddy

Hughes did you can spot faking in a minute. Well, now they’ve got no dancing at

all, only acrobatics.”

***

Cole (1000 Fiddle Tunes), 1940; pg. 117. Ryan’s Mammoth Collection, 1883; pg. 155. Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

X:1

T:Statue, The

M:C

L:1/8

R:Clog

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

|: e2 | c’>ed’>e c’>eb>g | a>ga>b c’>ae>c | d>fb>a g>ef>g | a>bc’>d’ e’2 e>a |

c’>ed’>e c’>eb>g | a>ga>b c’>ae>c | d>fb>a g>ef>g | a2 [e2c’2][c2a2] :|

N:”Andante”

M:C

L:1/8

e2 | c’8 (a2e2) | (f4 f)(.d’.c’.b) | a(e^de( (c’>b) | a6 ||

N:”Allegro”

M:C|

L:1/8

K:E

g2 | b>^ab>c’ b>ge>f | g>fe>c B>gf>e | d>ef>g a>bc’>d’ | e’>d’c’>a b2 g>a |

b>^ab>c’ b>ge>f | g>fe>c B2 (3gfe | d>ef>g a>bc’>d’ | e’2g2e2 :|

N:”Andante”

M:C

L:1/8

(c>d) | e3f e(c’ba) | g2(f2 f)(d’c’b) | (a3e)f2g2 | a6 ||

                       

STAY A WEE BIT, BONNIE LAD. English, Reel. England, Northumberland. D Major. Standard tuning. AAB. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 149.

X:1

T:Stay a Wee Bit, Bonnie Lad

M:C

L:1/8
S:Bruce & Stokoe – Northumbrian Minstelsy

Z:AK/Fiddler’s Companion

K:D

DFAF dF E2|DFAF BABd|GeFd eFEF|DFAd BABd:|

adab afdf|adab abaf|adab afdf|dABA dABd|adab afdf|

adab abaf|gbaf edef|dABA dABd||


                       

STAY ALL NIGHT. AKA and see “Waterbound,” “Way Down in North Carolina.” Old-Time, Breakdown. A Major. Standard or AEae tunings. AABB. This is the melody to the song “Waterbound.” Jarrell sang (in part):

***

Stay all night and don’t go home (x3)

Stay with me till morning.

***

Songer (Portland Collection), 1997; pg. 191. County 741, Tommy Jarrell, Fred Cockerham & Oscar Jenkins - “Stay All Night and Don’t Go Home” (1973).

                       

STAY AND HAVE ANOTHER. AKA and see “Fan go fóilleach,” “Stay for another while.” Irish, Reel. D Major. Standard tuning. AAB. Source for notated version: set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Taylor (Music for the Sets: Blue Book), 1995; pg. 25.

                       

STAY AND TAKE THE BREIKS WITH THEE. AKA ‑ "Stay and take your breeches with you." Scottish, Reel. Mentioned by Robert Woodrow in "Correspondence" (vol. xi, n. 96) that in 1716 it was played by the pipers of the third of three companies of Argyle's Highlanders which entered Perth and Dundee. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best Highland Reels written by David Young, W.M. & Accomptant."

                                   

STAY AND TAKE YE BRANDY POTT. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

           

STAY AND TAKE YOUR PETTICOAT WITH YOU. English, Country Dance Tune (2/4 time). G Minor. Standard tuning. AABB. The title appears to be a play on the earlier “Stay and You’re your Breeches/Breiks with You.” The melody, like many in Charles and Samuel Thompson’s 1757 collection, first appears in John Johnson’s 200 Favourite Country Dances, vol. 7 (London, 1756). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 89.

X:1

T:Stay and take your Petticoat with you

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Gmin

d|bag^f|gedc|d(3c/d/e/ dc|BAGd|bag^f|gbac|dc/B/ “tr”c2|d3:|
|:d|(f_a)(g=B)|cGEG|egf=A|BFDF|(BA) (ed)|g^fge|dcBA|G3:||

 

STAY AS YOU ARE, YOU ROGUE.  See “Fan Mar Táir.”

                       

STAY EASY YOU ROGUE, STAY, STAY. AKA and see “Be Easy, You Rogue.”

 

STAY FOR ANOTHER WHILE (Fan go Fóilleach). AKA and see “The Dark Girl in Blue,” “Fan go Fóilleach,” “Market Day [1],” “Stay and have another.” Irish, Reel. D Major. Standard tuning. AAB. Breathnach (1985) remarks: “Title on sleeve notes Mary Delaney.” Source for notated version: fiddler John Kelly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 127, pg. 61. Gael‑Linn Records CEF 018, John Kelly & Willie Clancy ‑ "Seoda Ceoil I" (1968).

X:1

T:Dark Girl in Blue, The

T:Stay for Another While

R:reel

Z:id:hn-reel-197

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

M:C|

L:1/8

K:D

d2AG FDDE|FEFG AB (3=cBA|dBAG FDDg|1 fde^c d2 (3ABc:|2 fde^c d2dA||

defg afdB|=cdef ge^ce|defg a2fd|faag fed^c| defg afdB|=cdef g2fg|afge

fded|^cdeg fde^c||

                       

STAY HOME, LOVELY MARY. Irish, Air. Anthony Buffery says the air is often played by Seamus O'Sullivan, who learned the melody over 60 years ago from a farmer named Seán Ferris, who used to sing it while milking the cows on his land near the Abbeyfeale road. Printed versions of the song apparently have yet to surface.

                       

STAY WHERE YOU ARE (Fan Mar Tair). AKA and see “Fan mar táir, a chlaidhre!” (Stay as you are, you rogue!). Irish, Double Jig. D Major. Standard tuning. AABBCC. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 327, pg. 68.

X:1

T:Stay Where You Are

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 327

Z:AK/Fiddler’s Companion

K:D

ABc|dcd ABc|d2A AGE|dcd ABc|def gfe|dcd ABc|d2A AGE|GAG EDE|c3:|

|:ABc|d2e fed|ecA AcA|d2e fed|f<af gfe|d2e fed|ecA AGF|GFG EDE|c3:|

|:ABc|d2A c2A|d2A ABc|d2A c2A|def gfe|d2B =c2A|B2G A2F|GAG EDE|c3:|

                       

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