The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME        ALPHABETICAL FILES       REFERENCES

 

STI - STO

 

 

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]

 

 

 

STICK A PIN THERE.  English, Jig. G Major. Standard tuning. AABB. The title is the burden of a song called “The Doctor Outwitted.” Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 142.

X:142

T:Stick a Pin there

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:G

D|G>Bd c>BA|d>FG A2A|B<GB A>GF|B>d^c d2::A|B>GD E2 G/G/|cAE F2A|

d>BF G>AB|c>Ad {c}B2 B/c/|d>cd e2 A/B/|c>Bc d2d|g>fe d>cB|e>cd G2:||

                          

STICK ACROSS THE HOB, THE. AKA and see “Lyon’s Favourite,” “Maurice Carmody’s Favourite,” "Morrison's Jig [1]," “Paddy Stack’s Fancy Jig.” 

 

STICK BEAT, THE. AKA and see "Old Stick Beat March," "Old Seven Spot," "Old Number Seven," "Taylor's March," "Frank Keeney [2]," "Davistown." American, March (2/4 time). USA, southwestern Pa. D Major. Standard tuning. AABBCC. A stick beat is a martial band term for when drummers alternately strike with drumsticks the rim of the drum then each other. The tune appears not to be known outside southwestern Pa. Sources for notated versions: eight southwestern Pa. fifers [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 228A‑H, pgs. 186‑189.

 

STICK DANCE. English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AB (x5), A. From the Upton‑on‑Severn area of England's Cotswolds. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 30, pg. 21.

 

STICK IT IN THE ASHES. AKA and see “Farrell O’Gara’s Favorite Reel,” “Last Night in Leadville,” “Last Night’s Fun [1],” “Old Joe Sife’s Reel.” American, Reel. A Major. Standard tuning. AABB. The tune appears again in Ryan/Cole under the title “Pretty Jane’s Reel.” O'Neill prints variants as "Macroom Lasses" and "More Power to Your Elbow." Cole (1000 Fiddle Tunes), 1940; pg. 25. Ryan’s Mammoth Collection, 1883; pg. 50.

X:1

T:Stick it in the Ashes

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

A | E/A/A/B/ c/B/c/d/ | e/c/d/B/ c/A/E/A/ | E/A/A/B/ c/B/c/d/ | e/c/A/c/ .B.A | E/A/A/B/ c/B/c/d/ |

e/c/d/B/ c/A/E/A/ | E/A/A/B/ c/B/c/d/ | e/c/B/c/ A :: (3e/f/g/ | .a(c/a/) (e/a/)(c/A/) | d/B/c/A/ (B/F/).F |

.a(e/a/) e/a/a/c’/ | b/a/b/c’/ aa | a/c’/f/a/ e/a/c/e/ | d/B/c/A/ (B/F/).F | (E/A/)(A/B/) c/B/c/d/ | e/c/B/c/ A :|

 

STICK IT IN THE MIDDLE. Old‑Time. The title appears in a list of traditional Ozark Mountan fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

 

STICK THE MINISTER [1]. AKA and see "Allie Crocker.” Irish, Reel. D Major. Standard tuning. AAB. Roche Collection, 1982, vol. 1; No. 197, pg. 75.

 

STICK THE MINISTER [2]. AKA and see "De'il Stick the/da Minister."

 

STICK THE MINISTER [3?]. A tune by this title appears in the Bodleian Manuscript, which bears the inscription “A Collection of the Newest Country Dances Performed in Scotland at Edinburgh by D.A. Young, W.M. 1740.” See also “De’il Stick the/da Minister.”

 

STICK THE WORLD BEFORE YOU. Irish, Jig. Kidson (Groves) identifies the tune as an Irish jig printed by Oswald in his Caledonian Pocket Companion and elsewhere about the middle of the 18th century. It is sometimes erroneously claimed as Welsh due to its appearance in a 1794 collection from that country, where it appears as “Drive the World Before Me [2].”

 

STICKS AND STONES. AKA and see "Helter Skelter." Old‑Time, Quadrille (6/8). USA, Pennsylvania. G Major ('A' part) & C Major ('B' part). Standard tuning. AABB. 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: Charles Lutz (York County, Pa.) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, Vol. 1), 1973; pg. 118.

 

STILE OF BALLYLANDERS, THE. Irish, Reel. E Dorian. Standard tuning. AB. Some relation to the “Reel of Bogie” family of tunes. Bulmer & Sharpley (Music from Ireland), vol. 3; 9. Roche Collection, 1982, Vol. 1; No. 178, pg. 69.

 


STILL ON THE HILL. AKA and see "Sells' Brothers Circus Rag." Old-Time, Country Rag/Swing Tune. D Major ('A', 'B' and 'C' parts) & A Major ('D' and 'E' parts). Standard tuning. AABBCCDDEE. The alternate title refers to the Sells Brothers circus, a latter-19th century outfit dominated by Peter Sells. Circusus provided employment for many musicians at various times in their careers. Source for notated version: Howard Forrester, who had the tune from Uncle Dave Macon [Devil’s Box, Phillips]. Devil’s Box, vol. 22, No. 3, Fall 1988; pg. 22. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 136. Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - “The Down East Star.”

X:1

T:Sells’ Brothers Circus Rag

T:Still on the Hill
L:1/8

M:2/4

S:Howdy Forrester, learned it from Uncle Dave Macon

B:The Devil’s Box

N:Transcribed by John Hartford, who notes Forrester recorded the tune

N:under the title “Still on the Hill.”

N:Order of the parts is ABCABDA

K:D

F/G/||AA B/A/F/E/|DA, DA,|FF/G/ F/D/D/F/|EA, EA,|cc/d/ c/B/A/F/|

EE/F/ E/D/C/B,/|A,/d/c/B/ A/G/F/E/|D3:|

F/G/||AD/F/ A/F/A/d/|fA fA|e/d/c/B/ A/c/e/f/|dgAg|gg g/f/e/d/|cc/d/ c/B/A/G/|

A/B/c/B/ A/G/F/E/|d3 F/G/|AdAd|ff/g/ fd|e/d/c/B/ A/c/e/f/|gAgA|

e/d/c/B/ A/c/e/f/|g/f/g/a/ g/f/e/d/|eB A/B/c/A/|d3||

A|:(a2 a>)b|a3 A|(d2 d/)B/A/F/|E4|g4|g3 c/B/|A/B/c/B/ A/G/F/E/|d3:|

e|:c’3 e|a3 e|(a2 a/)f/e/c/|B4|g(b b2)|b3 g/f/|e/f/g/f/ e/d/c/B/|A3:|

 

STILL THEY SAY SHE'S KIND OF PRETTY. New England. A modern composition by New Hampshire caller and musician Dudley Laufman. Front Hall FHR‑024, Fennigs All‑Star String Band ‑ "Fennigmania" (1981).

 

STILL WAITING. AKA and see "Toujours Apres Esperer."

 

STILLHOUSE. AKA and see "Cider Mill." Old‑Time, Breakdown. USA; Patrick County, Va. D Major. ADae (Tommy Jarrell) tuning. Heritage XXXIII, Delmar & Calvin Pendleton ‑ "Visits" (1981).

 

STILLHOUSE BRANCH. AKA – “Still House Branch.” Old‑Time, Breakdown. USA, Ky. A Major. One of a family of tunes that includes "Brown's Dream [1],” “Brownstream,” Herve Brown’s Dream,” Jimmy Johnson Pass That Jug Around the Hill,” John Brown's Dream,” “Little Rabbit Pretty Little Gal [1],” “Table Mountain Road” and others. The tune family is a common a popular one in the Blue Ridge Mountains, where it probably originated but has since been disseminated. North-east Kentucky fiddler Buddy Thomas recorded the tune under the “Stillhouse Branch” title but also knew the piece alternately as “Brown Stream,” a mondegreen for “Brown’s Dream.” He believed the “Brown Stream” title to refer to the stream of whiskey that emerges from a moonshine still, according to Mike Yates (2002). Rounder 0032, Buddy Thomas (Northeast Ky.) ‑ "Kitty Puss: Old Time Fiddle Music From Kentucky."

 

STILLMAN'S REEL. The melody appears in the Company of Fifers and Drummers (1976), Book I, pg. 27.

 

STILLY NIGHT [1], THE. Scottish, Strathspey. A Major. Standard. AABB. Kerr (Merry Melodies), vol. 3; No. 93, pg. 12.

X:1

T:Stilly Night [1]

M:C

L:1/8

R:Strathspey

B:Kerr – Merry Melodies, vol. 3, No. 93  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

c2 (c>B) A<F F<A|E>EA>c (B/c/d) c2|c2 (c>B) A<F F<A|E<E e>c ({c}B2) A2:|

|:E>AA>c B>AA>A|B>A d>c ({c}B2)A2|E>AA>A B>AA>A|e>cc>A (B/c/d) c2||

 

STILLY NIGHT [2]. Irish, Jig. B Flat Major. Standard. AABB. Kerr (Merry Melodies), vol. 4; No. 240, pg. 26.

X:1

T:Stilly Night [2]

M:6/8

L:1/8

R:Jig

B:Kerr – Merry Melodies, vol. 4, No. 240  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:B Flat Major

d3 d2c|B2G G2B|F2F B2d|cde d3|d3 d2c|B2G G2B|
F2B d2B|c3B3::F2B B2B|c2B B2B|c2B e2d|

c3B3|FBB B2B|c2B B2B|f2d d2B|cde d3:|

 

STINGO. AKA ‑ "Oil of Barley," "Cold and Raw," “Juice of Barley [1],” "The Mother Beguiles the Daughter,” “Up in the Morning Early." English, Country Dance Tune (6/4 time). G Dorian. Standard tuning. AABC. The air was published by Playford in his English Dancing Master (1651). There is a song called "A Cup of Old Stingo" contained in Merry Drollery Complete, 1661 & 1670, which Chappell (1859) says must be forty or fifty years younger than that publication, if it is the original song, thus placing it in the reign of King Charles I. Stingo is evidently a brewed alcoholic beverage, according to the lyrics of this ballad. The Merry Drollery ballad begins:

***

There’s a lusty liquor which

Good fellow use to take-a;

It is distilled with Nard most rich,

And water of the lake-a.

***

Of hop a little quantity,

And Barm to it they bring too;

Being barrell’d up, they call’t a cup

Of dainty good old stingo.

***

In the area once countryside outside London, on the road toward Paddington, there was an establishment called The Yorkshire Stingo opposite Lisson Grove, that “invited the wayfarer to its tea-garden and bowling-green; it was much crowded on Sundays, when an admission fee of sixpence was demanded at the doors. For that a ticket was given, to be exchanged with the waiters for its value in refreshments; a plan very constantly adopted in these gardens, to prevent the intrusion of the lowest classes, or of such as might only stroll about them without spending anything” (R. L. Chambers, Book of Days, vol. 2, 1863).

***

The tune appears under the title of “Stingo, or the Oyle of Barley” in John Playford’s Dancing Master from 1651-1690, and afterwards as “Cold and Raw.” The “Cold and Raw” title was derived from a “New Scotch Song” to the tune by Thomas D'Urfey, printed in one of his books in 1688. Sir John Hawkin’s givens an anecdote about Queen Mary, consort of King William III, and says: “Mr. Gosling and Mrs. Hunt sung several compositions of Purcell, who accompanied them upon the harpsichord; at length the Queen beginning to grow tired, asked Mrs. Hunt if she could not sing the old Scots ballad of ‘Cold and Raw’.” A similar tune, under the rather vague title “Northern Catch” (Catch=simple song) appears in John Hilton’s Catch that Catch Can (1652). D’Urfey printed another song to the melody in his Pills to Purge Melancholy (1719), called “A New Song to the Scotch Tune of ‘Cold and Raw’.” Samuel Bayard (in his article “A Miscellany of Tune Notes,” Studies in Folklore, pg. 170) finds the melody under the title “Captain Gwynn’s Attack” on pg. 80 of the first book of Nicholas Bennett’s Alawon fy Ngwlad (1896) and again in Bennett’s second volume in “a curious set” as “Judge a Point” (pg. 97).

***

Chappell (Popular Music of the Olden Time), vol. 1, 1859; pgs. 298‑299. Raven (English Country Dance Tunes), 1984; pg. 37. Harmonia Mundi 907101, The King's Delight - "17c. Ballads for Voice & Violin Band" (1992. Appears as tune for "The Little Barley-Corne").

X:1

T:Stingo

T:Oil of Barley, The

T:Cold and Raw

M:6/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:G Dorian

G4G2 d4B2 | c2 A4 F4F2 | G4G2 d4B2 | G6B6 :|

B4B2 B4 AB | c4c2 c4c2 | d4d2 g4g4 | d6f6 ||

B4B2 B4 AB | c4c2 c3d_e2 | d3c B2 c4 A2 | G6 B6 ||

X:2

T:Northern Catch

M:6/8

L:1/8

S:John Hilton – Catch as Catch Can (1652)

Z:AK/Fiddler’s Companion

K:E Minor

z|E2E B2B|Bd2 D3|E2E B2G|E3 G2:||G|G2G G2G|A2B c2B|

B2B ed2|B3 d2G|G2G G2G|A2B c2 d/c/|B>AG F>ED|E3B2||

                                               

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

                       

STIR HER UP AND HOLD HER GANGING. Scottish. The melody appears in the Skene MS. (a lute MS of 1615‑20 or 1534), and later in Henry Playford's collections of the late seventeenth century and in his collection of Scottish dance tunes of 1700.

                       

STIR THE COUCHE-COUCHE. AKA and see "Brasse le Couche-Couche."

                       


STIR THY/YOUR FEET JOHNNY. AKA and see “Keep Your Feet, Johnny,” "Northern Road," "Boher O'Huaid." Irish, Jig. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 176, pg. 41. O’Farrell (Pocket Companion, vol. 1), c. 1805; pg. 47.

X:1

T:Stir Your Feet Johnny

M:6/8

L:1/8

R:Jig

S:O’Farrell – Pocket Companion, vol. 1 (c. 1805)

Z:AK/Fiddler’s Companion

K:D

d | AGF A2D | DED FED | AGF A2D | F3d3 | AGF A2D | DED AGF |

EFE E2F G3B3 :| ABc d2F | AGF d2F | ABc dAF | B3d3 | ABc ded |

cBA d2A | Bcd EGE | G3B3 | ABc d2F | AGF d2F | ABc dAF |

B3d3 | faf gec | fdB AFD | EFE E2F | G3B3 ||

                       

STIRLING CASTLE. AKA - “Sterling Castle.” AKA and see “Gray Day Light,” "Gray Day-Licht," "Harvest Home [2]," "The Kirn," “Marquis of Hansley’s.” Scottish (originally), Irish; Highland or Strathspey. Ireland, County Donegal. D Major. Standard tuning. AB (most versions): AA’B (Martin, Skinner). Composed by Professor Bannatyne, Aberdeen, this tune is in both bagpipe and fiddle repertories. According to Bill Hardie (1986), North-East Scottish fiddlers "of two or three generations ago" knew this strathspey by the title "The Grey Day-Licht." The reference to "Harvest Home" as an alternate title comes from J. Scott Skinner's Harp and Claymore collection (1904), where “The Kirn” is also given as an alternate. Bill Hardie notes that the similarity between "Stirling Castle" and the popular hornpipe "Harvest Home" is a tenuous one, however, there is considerable similarity to "Harvest Home [2].” In Ireland the piece is popular today as a Highland in County Donegal, and was one of the several Scottish tunes recorded by the great Sligo/New York fiddler Michael Coleman.

***

Stirling Castle is a spectacularly restored castle in Stirling, Scotland, and is located on the top of a plain of an extinct volcanic hill surrounded on three sides by steep cliffs. The site had been fortified since ancient times, but the main surviving buildings date from the 15th and 16th centuries, along with a few structures from the 14th century. Stirling Castle was the childhood home of Mary Queen of Scots and was the permanent crown residence for many of the Stewart kings.

***

Sources for notated versions: Bill Hardie (Aberdeenshire, Scotland) [Hunter]; MacDonald (1887) in his Skye Collection notes the tune is "According to Doig”; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; “Willie Blair’s Set” [Skinner]. Cranford (Winston Fitzgerald), 1997; No. 121, pg. 50. Giblin (Collection of Traditional Irish Dance Music), 1928; 58. Hardie (Caledonian Companion), 1986; pg. 22. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 8. Hunter (Fiddle Music of Scotland), 1988; No. 114. Kerr (Merry Melodies), vol. 1; Set 2, No. 1, pg. 4. MacDonald (The Skye Collection), 1887; pg. 55. Martin (Traditional Scottish Fiddling), 2002; pg. 128. Skinner (Harp and Claymore), 1904; pg. 78. Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). Nimbus NI 5320, Ciaran Tourish, Dermot McLaughlin, Seamus Glackin, Kevin Glackin - “Fiddle Sticks: Traditional Music from Donegal” (1991). RC2000, George Wilson – “Royal Circus” (2000). Topic 12TS381, The Battlefield Band ‑ "At the Front" (1978). “Melodeon Greats” (1978).

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:Stirling Castle

S:session playing

Z:Juergen.Gier@post.rwth‑aachen.de

M:4/4

L:1/8

R:Strathspey

K:D

D2F>A D>A F<A|A,2 C>E A,>E C<E|\

D2F>A D>A F<A|1(3Bcd (3efg (3fed (3cBA :|2\

(3Bcd (3efg f<d d|]A|d2 f>d g>e f>d|\

B2 c>d (3efd (3cBA|d2 f>d g>e f>d|\

(3Bcd (3efg f<d d>A|d2 f>d g>e f<d|\

B2 c>d (3efd (3cBA|(3fga (3gfe (3dcB (3AGF|\

(3GAB (3ABc (3dAG (3FGE|]

X:2

T:Stirling Castle

M:C

L:1/8

R:Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

A,|D<D F>D A>D F>D|A,<A, C>A, E>A, C<E|D<D F>D A>D F>A|

(3Bcd (3efg (3gfe (3cBA|D<D F>D A>D F>D|A,<A, C>A, E>A, C>E|

D<D F>D A>D F>A|(3Bcd (3efg f<d d||A|d<d f>d g>e f>d|

(3Bcd (3efg (3fed (3cBA|d<d f>d g>f g>b|(3agf (3gfe (3dcB (3AGF|

d<d f>d g>e f>d|(3Bcd (3efg (3fed (3cBA|(3fga (3gfe (3dcB (3AGF|

(3GAB (3ABc (3dAG (3FED||

                       

STIRLINGSHIRE MILITIA. Scottish, "Rather Slow" March. A Major. Standard tuning. AABBCCDD. A 19th century tune composed by Hugh MacKay. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 54, pg. 23. MacDonald (The Skye Collection), 1887; pg. 179. Breton Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts” (reissue of Celtic Records CX 59).

X:1

T:Stirlingshire Militia

M:2/4

L:1/8

R:March

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:A

e|A/A/e/A/ cB/A/|A/B/c/a/ ec/A/|A/A/a/f/ e/f/e/A/ | cB/>B/ Be | A/A/e/A/ cB/A/|

A/B/c/a/ eB/A/|A/A/a/f/ e/f/B/e/|cA/>A/ A:|

|:g|a/e/f/a/ fe/c/|ea/e/ fe/c/|e>f e/f/e/A/|cB B/B/g | a/e/f/a/ fe/c/ | ea/e/ fe/c/ |

f/e/a/f/ e/f/B/e/|cA A/A/:|

|:e | A/A/A/c/ e/A/c/A/ | e/A/c/A/ cB/A/ | A/A/a/f/ e/f/e/A/ | c>B B/B/e |

A/A/A/c/ e/A/c/A/ | ea/e/ cB/A/ | f/e/a/f/ e/f/B/e/ | cA A/A/ :|

|: fg | a/e/c/e/ A/e/f/e/ | a/e/c/e/ fe/c/ | a/e/c/e/ A/e/c/e/ | fB B(f/g/) |

a/e/c/e/ A/e/f/e/ | a/e/c/e/ fe/c/ | f/e/a/f/ e/f/c/e/ | cA A/A/:|

                       


STIRLINS IDA LUM. Shetland, Reel. D Major. Standard tuning. AAB. "Composed in 1979 while sitting inside the ruins of Tom (Anderson's) maternal great grandfather's house and listening to the Starlings feeding their young somewhere up the old lum (chimney)" (Anderson). Anderson (Ringing Strings), 1983; pg. 30.

                       

STOCAINNEAN DAOIMEAN (Checkered Stockings).  Scottish, Air (4/4 time). E Dorian. Standard tuning. One part. A popular puirt a beul (mouth music) tune.

***

Haio hairum, stocainnean daoimean,

Haio hairum, stocainnean daoimean,

Haio hairum, stocainnean daoimean,

‘S iad bhios grin anns na lòrns.

***

Martin (Traditional Scottish Fiddling), 2002; pg. 75.

 

STOCKTON HORNPIPE, THE. English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. Stockton on Tees is a town on the River Tees, once a shipbuilding and railroad center, along with other heavy industries, and a port leading to the Baltic routes. Hall & Stafford (Charlton Memorial Tune Book), 1974; pg. 44. Miller (Fiddler’s Throne), 2004; No. 315, pg. 185. Raven (English Country Dance Tunes), 1984; pg. 187.

X:1

T:Stockton Hornpipe, The

L:1/8

M:C|

R:Hornpipe

D:G

cc|Bd g2g2 fg|afdB c2 BA|Bdgf edcB|AGFE D2 dc|

Bd g2g2 fg|afdB c2 BA|cedc BGAF|G2G2G2:|

|:dc|BcdB edcB|cdBc A2 cB|AbcA dcBA|BcAB G2 dc|

BGBd bgdB|cAce afdB|cedc BGAF|G2G2G2:|

                                   

STÓR MO CHROÍ [1], A (Treasure of my heart). AKA - "Astore McCree," "Astoreen Machree." AKA - “A Stór mo Chroí.” Irish, Air (3/4 time). D Minor. Standard tuning. One part. The air is one of the many variants of “Bruach na Carraige Báine.” The sentimental song written to it is addressed to a loved one on the verge of emigrating, and tells of the sorrows and temptations of the “strangers’ land.” It is the work of Briain Ó hUigínn (Brian O’Higgins, 1882-1949), also known as Briain na Banban [Banban is a poetic name for Ireland], born in Kilscyre, County Meath, well versed in Irish history who wrote hundreds of poems and songs, both nationalistic and humorous, as well as Celtic greeting cards. His brother was the great fiddler Frank O’Higgins. Brain O’Higgins was also a poet, politician, political prisoner in Birmingham and brilliant satirist. “A Stór Mo Croí” first appeared in his collection of poetry Songs of Glen na Mona in June 1929, and he suggested the words be sung to the air of “Bruach na Carraige Báine.

***

A stór mo croí, when you're far away,

From the homes you'll soon be leaving,

And it's many's the time by night and day

Your heart will sorely be grieving.

Though the stranger's land is rich and fair

And riches and treasures golden,

You'll pine I know for the long long ago

And the love that's never olden.

***

A stór mo croí, in the stranger's land,

There is plenty of wealth and earnings,

Wealth and gems adorn from the rich and the grand,

But there are faces with hunger tearing,

Though the road is weary and hard to thread

And the lights of the city may blind you

You'll turn, a stoir, for Erin's shore

And the ones you left behind you.

***

A stór mo croí, when the evening sun

Over mountains and meadows is falling

Won't you turn away from the throng and listen

And maybe you'll hear me calling.

Though the voice you'll hear is surely mine

For somebody speedily returning,

A run, a run, won't you come home soon,

To the ones who will always love you.

***

The tune is popular at current singing sessions and competitions, and sometimes suffers from the frequency of its hearing. Terry Moylan once played the air on the pipes in the famous piper Willie Clancy’s company, and the latter remarked it was his favorite of all. Source for notated version: “From the whistling of a native of Crossmolina in the county Mayo, 1852; and its origin may with great probability be assigned to that very musical county” [Joyce]. Howe (1000 Jigs and Reels), c. 1867; pg. 26. Joyce (Ancient Irish Music), 1873/1890; No. 34, pg. 36.  Claddagh CC4, Sarah and Rita Keane (east Galway)- “Once I Loved.” Drumlin Records BMNCD2, Brian McNamara – “Fort of the Jewels” (2004. Learned from the singing of Mairéad and Nollaig Casey of Bandon, West Cork, who had the air passed down from their family). Kells Music 9502, Dervish - "Harmony Hill." Tara CD3035, Nollaig Casey & Arty McGlynn - “Causeway.” Iarla Ó Lionáird – “Music of Dreams.”

X:1

T:Astoreen Mcahree

T:O Treasure of My Heart

M:3/4

L:1/8

R:Air

N:”Slow & sad”

S:Joyce – Ancient Irish Music (1890)

Z:AK/Fiddler’s Companion

K:Dmin

D2 DEFG | A2d3c | B2A2 GF | D2 D4 | c2c2d2 | c2A2G2 | A2d2d2 |

d4 de | f2e2d2 | c3 edc | B2A2 GF |D2 D4 | c3 edc | B2A2G2 | A2F2 F>G | F6 ||

 

STOIR MO CHROI [2], A. Irish, Air (3/4 time). D Major. Standard tuning. AAB. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 64, pg. 57.

      

STOLEN APPLES. American. Composed by flute player Malcolm Dalglish. Green Linnet GLCD 1200, Lunasa – “Otherworld” (1999).

      

STOLEN BREEKS, THE (Briogais Mhic Rùairidh). Scottish, Slow Air (6/8 time). C Minor. Standard tuning. AABB. "The air of the Stolen Breeks has a set of excellent but rather splentic words, allusive to the proscription of the Highland dress after the 1745, which hint as it might have happened, that if the Jacobite party had prevailed, or might still prevail, the first thing they ought to do, should be to 'proscribe the breeches in turn, and have an opportunity of seeing one half of their adversaries perish of cold; in short, that their more delicate southern neighbors could not less relish the proscription of the one than they disrelished the proscription of the other, and that payment in kind would be the justest sort of retribution'" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 147, pg. 59.

X:1

T:Stolen Breeks, The

T:Briogais Mhic Rùairidh

M:6/8

L:1/8

R:Air

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:Cmin

C | E>FG BGB| G2c cze| c>BA GAF| G2C CzC| E>FG BGB| Gcd edc| c>BA GAF|E2C Cz:|

|: G| c>dc BAG| edc BAG| cde dc=B| c2C CzC| E>FG BGB| Gcd edc| cGA GAF|E2C Cz:|

      

STOLEN KISS, THE.  Scottish, Air. Composed by James Oswald (d. 1769) and used by Robert Burns for his lyric "Go Fetch to me a Pint o' Wine."

           

STOLEN PURSE [1], THE (An Sparan Do Bi Giodte). AKA and see "An Fhuiseog ar an Tra," “The Lark on the Strand [1],” "The Old Woman Lamenting Her Empty Purse," Irish, Double Jig. D Major. Standard tuning. AABBCC. Breathnach (1963) states this tune was adapted by O’Neill from “The Old Woman Lamenting Her Empty Purse.” Similar to “The Lark on the Strand [1]." See also the related “Oh! Hag You Have Killed Me [2].” Source for notated version: John Mulvihill (County Limerick) via Chicago fiddler Edward Cronin (“a Tipperary man from Limerick Junction”) [O’Neill]. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 344, pg. 71.

X:1

T:Stolen Purse, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 344

Z:AK/Fiddler’s Companion

K:D

G|FED c/B/Ag|fed cAG|A/B/AG ABc|dcA ABG|FED c/B/Ag|fed cAF|G3 GAF|DGG G2:|

|:B|cBA fAg|fed cAG|A/B/AG ABc|dcA ABG|FED fAg|fed cAF|G3 GAF|DGG G2:|

|:f|a/g/fa g/f/eg|fed cAG|A/B/AG ABc|dcA Afg|a/g/fa g/f/eg|f/e/df ecA|G3 GAF|DGG G2:|

 

STOLEN PURSE [2], THE. Irish, Jig. G Major. Standard tuning. AABB. O’Neill (1922), remarks: “This rare jig tune which has haunted my memory for years was evidently derived from ‘The Old Woman Lamenting Her Purse’, No. 560, O'Neill's Music of Ireland 1903. The air does not appear in the Bunting Collections. A setting in which the first part is repeated after the second part is printed without note or comment in Petrie's Complete Collection of Irish Music.” O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 145.

X:1

T:Stolen Purse (#145), The

M:6/8

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

K:G

dBA AGA|BGG G2 B|dBA ABd|efe edB|

dBA AGA|BGG G2 A|GED G2 A|Bdd edB:|

|:def g2 b|agf "tr"g2 e|def g2 a|bge edB|

def g2 b|agf g2 a|bgg agf|"tr"e2 d efg:||

           

STOLEN REEL, THE. AKA and see “The Swallow’s Nest [3].” Irish, Reel. G Major. Standard tuning. AABB. Bill Black (1996) says flute player Mike Rafferty “borrowed” this tune from Bronx fiddler Martin Mulvihill, who jokingly accused him of theft. The group Sliabh Notes recorded the tune under the title “The Swallow’s Nest” on their album “Gleanntan,” and note that the tune was composed by Nenagh, County Tipperary, accordion player Paddy O’Brien (1922-1991). Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 322, pg. 172. Harker (300 Tunes from Mike Rafferty), 2005; No. 40, pg. 13. Kells Music 9509, Mike & Mary Raffety – “The Dangerous Reel.” Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001).

X:1

T: The Stolen Reel

S: M. Rafferty

Q: 350

R: reel

Z:Transcribed by Bill Black

M: 4/4

L: 1/8

K: G

BA | G3 A GEDE | G2 BG BedB | AE E2 A2 Bc | egfa gedB |

G3 A GEDE | G2 Bd efge | dG G2 eGBG | FGAF G2 :|

Bc | dg (3gfg edBA | GEDE G2 Bd | eaab aged | BABd e2 ge |

dg (3gfg agbg | aged e2 ge | dG (3GFG eGBG | FGAF G2 :|

                                   

STONE CUTTERS YARD. Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

                       

STONE FIDDLE, THE/THE FIDDLE STONE. Irish, Reel. F Major. Standard tuning. AABB’. Composed by fiddler and piano player Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh, inspired by The Fiddle Stone, a giant stone fiddle which stands at Castle Caldwell, Belleek, Co. Fermanagh, set on a peninsula on Lough Erne. The stone commemorates the unfortunate drowning of inebriated fiddler Denis McCabe in 1770, who fell from a family barge belonging to Sir James Caldwell during a convivial excursion.  Sir James erected the stone in his memory, with the inscription:

***

Beware ye fiddlers of ye fiddlers’ fate,

Nor tempt ye deep lest ye regret too late,

Ye ever have been deemed to water foes,

Then shun the lake till it with whisky flows,

On dry land only exercise your skill,

There you may play and drink your fill.

***

Keegan (The Keegan Tunes), 2002; pg. 28.

 

STONE FRIGATE, THE. Canadain, Reel. Canada, Cape Breton. Composed by Pipe Major Donald Kerrigan. Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). 

                                               

STONE GRINDS ALL. AKA and see “The Job of Journey Work [1].”

                       

STONE IN THE FIELD [1], THE (An Chloch sa nGarrai). Irish, Reel. A Dorian. Standard tuning. AB (Breathnach): AABB (McNulty). Source for notated version: piper Sean Potts (Ireland) [Breathnach]. Breathnach (CRE I), 1963; No. 104, pg. 44. Breathnach (CRÉ II), 1976; No. 224 (appears as “Gan ainm/No title”; it is a variant of the melody in CRE I). McNulty (Dance Music of Ireland), 1965; pg. 15. MKM7590, Mike McHale – “The Schoolmaster’s House” (2000. Learned originally from piper Leo Rowsome, later changed to the Paddy Carty version because he liked the difference in the ‘B’ part).

X: 1

T:Stone in the Field, The [1]

M:4/4

L:1/8

Q:180

S:Tommy Reck

R:Reel

Z:Andrew Pickering

N:Posted to the woodenflute mailing list January 2002

K:ADor

AG|EAAG ABcd|eaaf gedB|cBAc BG {A}(3GFG|AcBA GEDF|

EAAG ABcd|eaaf gedB|cBcd efed|cABG A2:|

cd|eaag agab|c'2 ba gedB|cBAc BG {A}(3GFG|AcBA GED2|

ea {b}(3aga bg {a}(3gfg|agef gfga|bgaf gedB|AcBG A2:|

X:2

T:Stone in the Field, The [1]

R:Reel

M:4/4

L:1/8

K:G

EAAG ABcd|eaaf gedB|cBAc BAGB|AcBA GEED|

EAAG ABcd|eaaf gedB|cBcd eage|1 dBGA BAAG:|2 dBGA BA (3Bcd||

eaa^g a2ab|bc'ba gedB|cBAcBAGB|AcBA GEED|

ea~a2 bg~g2|agef gfga|bgaf gedB|1 AcBG ABcd:|2 AcBG A4||

 

STONE IN THE FIELD [2], THE. Irish, Jig. G Major. Standard tuning. AABB. A jig-time version of the reel “Greenfields of America [1].” See also “Molly Brallaghan [1].” The tune was recorded by pipers Tom Ennis and by Seamuis Ennis. Miller (Fiddler’s Throne), 2004; No. 103, pg. 71.

X:1

T:Stone in the Field, The [2]

S:Padraig O'Keeffe MS, via 'Music from Sliabh Luachra'

Z:Nigel Gatherer

L:1/8

M:6/8

K:G

B|cBA BdB|AGA BGE|DEG AGA|BdB AGE|cBA BdB|AGA BGE|

DEG AGA|BGG G2::D|GBd gdd|edd gdB|GBd gdB|

AGA BGE|GBd gfg|e/f/ge fdB|GBB AGA|BGG G2:|]

X:2

T:Stone in the field (The)

M:6/8

L:1/8

R:Jig

Z:Andrew Pickering

K:G

cec BdB|AGA BGE|DEG AGA|BdB AGE|

cec BdB|AGA BGE|DEG AGA|BGF G3:|

GBd g3|ede gdB|GBd gdB|AGA AGE|

1 GBd g3|ede gdB|G2 B AGA|BGF G3:|

2 g3 f3|edB AGE|G2 B AGA|BGF G3|

                                   

STONE MOUNTAIN RAG. Old-Time, Country Rag. C Major. AABBC. The melodic contour resembles the “Stone’s Rag”/”Whiskers” type of tunes. The ‘B’ part begins on an A Major chord. OKeh 45423 (78 RPM), Roanoke Jug Band (1929).

           

STONE MOUNTAIN TODDLE. Old‑Time, Breakdown. USA, Kentucky. An old string band tune recorded by John V. Walker (1891‑1980) in the early 1930's with his band Walker's Corbin (Ky.) Rambers. County 548, Walker's Corbin Ramblers - "Ridin' in an Old Model 'T'".

           

STONE OF THE TUB. See "Clach Na Cudain [2]," "Keystone of Inverness."

           

STONE OUTSIDE DAN MURPHY'S DOOR, THE. Irish, Canadian; Waltz. Canada, Prince Edward Island. G Major. Standard tuning. AAB. Composed by J. Patterson. Perlman (1996) calls the tune “a converted North American pop song.” Source for notated version: Wilfred Bernard (b. 1919, Souris Line Road, North-East Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 169. Green Linnet SIF3040, De Dannan - "Ballroom" (1987).

           

STONEBYRES. Scottish, Reel. A Dorian. Standard tuning. AABB'. Kerr (Merry Melodies), vol. 3; No. 140, pg. 17.

X:1

T:Stonebyres

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 140  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:Amin

EAAB c2 (Bc) | dcBA GABG | EAAB c2 (BA) | BGdB A/A/A A2 :|

|: cde^f gage | dcBA GABG |1 cde^f gage | dBGB A/A/A A2 :|2 cedf eaec | BGdB A/A/A A2 ||

           

STONECUTTER'S JIG, THE. AKA and see John Naughton’s (Jig),” “Jug of Brown Ale,” The Mug of Brown Ale [2],” “Old Man Dillon,” "One Bottle More [2]." Irish, Jig. A Dorian. Standard tuning. AB. Source for notated version: Patrick MacDowell, "distinguished sculptor: born in Belfast 1799: died 1870," via Forde (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 533, pg. 285.

           

STONEHILL FAIR, THE. Irish, Jig. D Major. Standard tuning. AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black, named for the annual Irish festival at Stonehill College, Easton, Massachusetts, held each June. Black (Music’s the Very Best Thing), 1996; No. 216, pg. 116.

X:1

T: Stonehill Fair

C: © B. Black

Q: 325

R: jig

M: 6/8

L: 1/8

K: D

A | FBB dBB | afd cBc | FBB dcd | fdc B2 A |

FBB dBB | afd cBA | FAd BAB | dAF D2 :|

A | Bff cff | dfa baf | d2 f ede | fdc B2 A |

Bff cff | dfa afa | b2 f agf | edc d2 :|

           

STONEHOUSE JIG, THE. Canadian, Jig. Canada, Nova Scotia. E Major. Standard tuning. AABB’. Composed by Aubrey Chapman, father of Antigonish, Nova Scotia, fiddler and teacher Stan Chapman. Cranford (Jerry Holland’s), 1995; No. 243, pg. 70. Fiddlesticks cass., Jerry Holland - “A Session with Jerry Holland” (1990).

           

STONE'S RAG. AKA and see "Whiskers," "Lone Star Rag [1]," "Forty‑Eight Dogs in the Meathouse." Old‑Time, Texas Style; Country Rag. USA; Tennessee (originally), Texas, Missouri, Nebraska. C Major. Standard tuning. AB (Christeson): AA'B (Phillips/1995, Silberberg): AABB' (Brody, Phillips/1989). A popular country rag composed and featured by Oscar Stone, fiddler for Dr. Humphrey Bates' Possum Hunters, a 1920's‑1930's Nashville string band. Unfortunately, Stone himself never got to record it, however, it was first recorded in 1928 by his friend Charlie Arrington, a fiddler from Tennessee in fellow Opry band, Paul Warmack's Gully Jumpers. There supposedly are records from the Opry indicating Stone played his tune on broadcasts at WSM. A closely related melody, “Whiskers,” predates Stone’s copyright, Kerry Blech points out. Texas fiddler Bob Wills recorded a close variant of the tune in 1940 under the title “Lone Star Rag [1].” Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Stephanie Prausnitz/Glenn Berry [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 266. Christeson (Old Time Fiddlers Repertory, vol.1), 1973; pg. 153. Phillips (Fiddlecase TuneBook), 1989; pg. 40. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 137. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 151. Catfish KATCD203, “Early Stars of the Grand Old Opry.” ConQ 81038, Thomas C. Ashley ‑ "Over at Tom's House." County 541, Paul Warmach and his Gully Jumpers ‑ "Nashville: the Early String Bands, vol. 1." Flying Fish FF‑247, "Fiddle Fever" (1981. Appears as 2nd tune of "The Rags"). Folkways FA 2492, New Lost City Ramblers‑ "String Band Instrumentals" (1964). Kicking Mule KM‑325, Banish Misfortune ‑ "A Health to the Company" (1981). Rounder 0100, Byron Berline‑ "Dad's Favorites." Stoneway 104, Chubby Wise‑ "Chubby Wise and His Fiddle." Rounder (?), "Fiddle Fever."

See also listing at:

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

X:1

T:Stone’s Rag

M:C

L:1/8

K:C|

c>d e(g g)a g>e|a>g e(c c)d c2|F>G A c2 d c2|d>c A d2 c A2|B>d B G2 ^F G>A|

B>d B G2 ^F G>A|1 c2 A c2 d e2|g8:|2 g>f g(a a)>g e2|c8||

|:a>g e>a g>e a>g|e>a g>e a>g e2|d>c A>c c>A d>c|A>d c>A d>c A2|1

B>d  B G2 ^F G>A|B>d B G2 ^F G>A|c2 A c2 d e2|g4 z^g3:|2 c’ c’3 a4| g>e g(a a)>g e2|e>d e(g g)e d2|c8||

           

STONE'S THROW. Old‑Time, Breakdown. A Major (Frets): G Major (Sutherland). AEae tuning. AA'B (Frets): AA’BB’ (Sutherland). Composed in 1983 by Vermont fiddler Pete Sutherland. Frets Magazine, December 1987; pg. 22. Sutherland (Bareface), 1984; pg. 24. Flying Fish Records FF-336, Pete Sutherland – “Poor Man’s Dream” (1984).

           

STONEWALL JACKSON. AKA and see “Richmond Cotillion.” Old-Time, Breakdown. USA, Indiana. See note for “Richmond Cotillion.”

           

STONEWALL JACKSON'S RIDE. Old‑Time. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

                       

STONEY CREEK [1]. Bluegrass, Breakdown. A ('A' part), F ('B' part). Standard tuning. AABB. Composed by Jim and Jesse McReynolds. Brody (Fiddler’s Fakebook), 1983; pg. 267. County 714, Kenny Baker‑ "High Country." Rounder 0085, "Tony Rice." Prize 498‑02, Carl Jackson‑ "Bluegrass Festival." Marie Rhines‑ "Tarten and Sagebrush."

 

STONY CREEK [2].  Old-Time, Breakdown. A Major. Standard tuning. AABB. A different tune than “Stoney Creek [1].” Source for notated version: Vivian Williams and Howie Meltzer [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 41.

                       

STONEY FORK. Old‑Time, Breakdown or Polka. USA. A Major. Standard tuning. AABBCC. Composed by Ellis Hall. The order of Brody's and Phillips' versions are different, with Phillips version being different from the Hall original. Sources for notated versions: Norman Blake (Georgia) [Brody]; Paul Warren [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 268. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 231. Columbia (78 RPM), Ellis Hall and Bill Addis. Rounder 0122, Norman Blake‑ "Rising Fawn String Ensemble." CMH 6237, Paul Warren‑ "America's Greatest Breakdown Fiddle Player."

                       

STONY HILL. Irish. The tune was transcribed by Steve MacDonogh in his book Green and Gold, that used the 1982 Wren event as an opportunity to explore historic and folklore background of the tradition.

X:1

T:Stony Hill

B:Green and Gold: The Wrenboys of Dingle, by Steve MacDonogh

N:Fergus O'Flaherty said "...There's a version of it on a De Danann

N:record: Charlie Pigott picked it up from the Flannerys, who'd be

N:his uncles, I suppose."  An amalgam of tunes, it is basically a

N:version of the eighteenth century "Rose Tree", starting with a

N:piece from "Leather Away the Wattle-o!" [Steve MacDonogh]

N:transposed from E flat

Z:Transcribed by Paul de Grae

M:2/4

L:1/8

K:G

B/A/|GD B,D|G2 Ge|dB B/A/G/A/|BA AB/A/|

GD B,D|G2 Ge|dB AB|G2 G:|

d|e>d eg|G>F Ge|dB B/A/G/A/|BA Ad|

e>d eg|G>F Ge|dB AB|G2 Gd|

e>d eg|G>F Ge|dB B/A/G/A/|BA AB/A/|

GD B,D|G2 Ge|dB AB|G2 G||

           

STONY HOLLOW. American, Country Dance Tune. USA, New York’s Woodland Valley, Catskill Mountain region. D Major. Standard tuning. AA’BB’. An irregular melody. Cazden prints dance calls from source Van Kleeck. Source for notated version: George Van Kleeck [Cazden]. Cazden (Dances from Woodland), 1945; pg. 18.

X:1

T:Stony Hollow

M:2/4

L:1/8

K:C

B|AGEG|e4|d c2 E|G3 c|B2 B>A|B3 A|A G2 E|G3 A/B/|

cGcd|e>d e2|

M:3/4

L:1/8

d2 e3 E|

M:2/4

L:1/8

G3 c|B>A B2|GG ed|(c4|c):|

           

STONEY MAN, THE.  Irish, Reel. Composed by Nenagh, County Tipperary, fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 10.

                       

STON(E)Y POINT [1]. AKA and see "Stony Point Reel" (Pa. title), “Buck Creek Girls,” “Booker’s Bluff,” "Hop Along, Sally," “Hop Skip Squirrel,” "Hop Squirrel," “Off with Your Jacket,” "Old Dad," "Pigtown Fling," "Wild Horse," "Wild Horses at Stoney Point," "White Horse [3]". "Kelton's Reel." American and British Isles; Breakdown and Reel. USA, widely known. G Major ('A' and 'C' parts), E Aeolian ('B' part). Standard tuning. AABBCC (Brody): AABBCCDD (Christeson): AA'BC (Bayard). Christeson (1973) says it was descended from "Kelton's Reel", published in Ryan's Jigs and Reels. Early printings in the United States include Old Dan Emmett’s Original Banjo Melodies (1844) as “Old Dad,” with words. It also can be found in Winner’s Music of the Dance (1866) as “Stony Point Reel.” The tune may take the name Stony Point from the Revolutionary War battle in which Mad Anthony Wayne successfully assaulted a fortified position on the lower Hudson River. The tune is known locally as "Hop Squirrel" in the Franklin/Floyd County area of Virginia, but a similar title for the melody, called “Hop Skip Squirrel,” was in the repertoire of the late Wade Enloe of Eldon, Missouri, in the north Ozarks (Bill Rogers, personal communication). See also the Mid-West variant “Walk Along John [1],” and the related “N....r in the Woodpile [2].” Source for notated version: James Marr (Missouri, 1949) [Bayard]. Bayard (Dance to the Fiddle), 1981; Appendix No. 19, pg. 580. Brody (Fiddlers Fakebook), 1983; pg. 267. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 99. Can be found in Ryan's Jigs and Reels under the title "Kelton's Reel" and in White's Unique Collection of Jigs and Reels (Boston, 1896) under "Pig‑Town Fling." Bay 727, "Kenny Hall and the Sweet Mill String Band." County 762, Lyman Enloe‑ "Fiddle Tunes I Recall." Dorian Discovery DIS-80103, Helicon - "Horizons" (1992). Kicking Mule KM‑327, "Scartaglen" (1984). Library of Congress, 1939, W.A. Bledsoe (Meridian, Miss.). PearlMae Muisc 004-2, Jim Taylor – “The Civil War Collection” (1996. Collected by fiddler Bruce Greene from Jake Phelps, Todd County, Kentucky, and John Salyer, Magoffin County, Ky.). Rounder 0004, Clark Kessinger‑ "Old‑Time Music" (appears as "Wild Horses"). Rounder 0060, Brother Oswald and Charlie Collins‑ "Oz and Charlie." Rounder 0092, Tony Rice‑ "Manzanita." Rounder 0089, Oscar and Eugene Wright‑ "Old Time Fiddle and Guitar Music from West Virginia." CD, Alan Jabbour, James Reed, Bertram Levy – “A Henry Reed Reunion” (2002).

 

STONY POINT [2]. AKA – “Stoney Point.” AKA and see "Norah the Pride of Kildare.” American, Jig. D Major. Standard tuning. AABB. “Stony Point” appears in early American music manuscripts such as Benjamin Carr’s Evening Amusement (pg. 14), published in Philadelphia, Pa., in 1796. Morrison (1976) and Bayard (1981) date the title of this once‑very-popular dance air to probably the late 1780's. It commemorates a far more embarrassing event for the British commander Sir Henry Clinton than the "Britons Strike Home" dance incident, namely his 1779 defeat at the fort at Stony Point, New York, at the hands the American forces commanded by General "Mad" Anthony Wayne. The tune, however, Bayard (1981) traces to earlier times and finds it in James Oswald's Caledonian Pocket Companion, vol. 1, pg. 64 (though he probably did not compose it, he thinks), and in McGibbon's Collection of Scots Tunes, pg. 47, where it is called simply "Gigga" (jig). Bayard notes that this and many other giggas were based to some extent on the immediately preceding song in a collection; in the case of the Stony Point "Gigga,” the preceding song was "The Bonny Boat Man.” Sources for notated versions: fifer J.R. Pinkerton via Thomas Hoge (elderly fifer from Greene County, Pa.) [Bayard]; the manuscript collection of Captain George Bush (1753?-1797), an officer in the Continental Army [Keller]; Evening Amusement (1796)  [Miller, Morrison]. Bayard (Dance to the Fiddle), 1981; No. 551, pg. 491. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 13. Miller (Fiddler’s Throne), 2004; No. 104, pg. 71. Morrison (Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976), 1976; pg. 39.

X:1

T:Stony Point

M:6/8

L:1/8

K:D

F/G/ | ABA FDF | dcd AFD | FGA def | e2E EAG | FDF AFA |

GBG cBA | fed Adc | (d3 d2) :: d/c/ | BcA def | gfe agf | ecA Fad |

A3 G3 | FAd dAF | Gbe efg | fed Adc | (d3 d2) :|

 

STONY POINT [3]. American, March (6/8 time). USA, southwestern Pa. D Major. Standard tuning. AB. Source for notated version: Hoge MS No. 2 (a fife MS from southwestern Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 550, pgs., 490‑491.

           

STONEY RIDGE STOMP. AKA and see "Sandy River Belle [2]." Old‑Time, Breakdown. USA, West Virginia. Oscar Wright's retitling of "Sandy River Belle." Rounder 0089, Oscar and Eugene Wright (Princeton, W.Va.) ‑ "Old Time Fiddle and Guitar Music from West Virginia."

           

STONY ROAD, THE.  English, Jig. G Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 177, pg. 42.

                       

STONEY/STONY STEPS, THE (An Chéim Cloiche). AKA and see “Good for the Tongue,” “Jenkin’s Hornpipe,” “Na Cois Ceimeanna,” “The Stepping Stones [1],” “Washington Hornpipe.” Irish, Reel. D Major (McNulty): D Mixolydian/Major (Breathnach). Standard tuning. AB (Breathnach): AAB (Taylor): AABB (McNulty, Mulvihill). Sources for notated versions: accordion player Treasa Potts (Ireland) [Breathnach]; Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; set dance music recorded at Na Píobairí Uilleann, late 1980’s [Taylor]. Breathnach (CRÉ I), 1963; No. 149, pg. 59. Bulmer & Sharpley (Music from Ireland), vol. 1, No. 12. Taylor (Music for the Sets: Blue Book), 1995; pg. 24. Levey Collection. McNulty (Dance Music of Ireland), 1965; pg. 15. Mulvihill (1st Collection), 1986; No. 95, pg. 25.

X:1

T:Stony Steps, The

M:C|

L:1/8

Q:220

R:reel

Z:Philippe Varlet

K:D

A3 B AF~F2|ABdf efdA|FA~A2 BFAF|GEAG FDFG|

A3 B AF~F2|ABdf efdA|FA~A2 BFAF|GEAG FDD2||

{a}fedc defg|afbf afeg|fded fded|ABAG FDD2|

{a}fedc defg|afbf afeg|~f3 d e2 de|fa{b}af efdB||

           

STONY STEPS HORNPIPE. AKA – “Stoney Steps,” “Stone Steps.” AKA and see "Blake's Hornpipe" [2], "The Brewer's Horse," “Novey Gallows.”  English, Irish; Hornpipe. B Flat Major. Standard tuning. AABB. A very popular melody in the English repertoire. Attributed to Tyneside fiddler and composer James Hill in Kohler’s Violin Repository (Edinburgh, 1881-1885), but may have simply been passed on by him‑‑see Seattle's note for "Blake's Hornpipe [2].” Indeed, Barry Callaghan (2007) notes that it was in widespread circulation before Hill’s day, including in Northumbrian musician William Vicker’s 1770 manuscript collection, and Perthshire fiddler John Fife’s 1780 collection. Callaghan believes it is a stage tune from the late 18th century, and notes it came into widespread circulation throughout Britain. In addition, “Stoney Steps” can be found in the music manuscript collections of William Mittel (New Romney, Kent, 1799), the Welch family (Bosham, Sussex), John Clare (Helpstone, Northants, 1820, as “Novey Gallows”), the Rev. Robert Harrison (Brampton, Cumbria, 1820, as untitled hornpipe), and Joshua Gibblons (see “Stoney Steps [4]”). The first part of the tune only is similar to Chappell’s “The Brewer’s Horse” It is the second part of Vicker’s “Blake’s Hornpipe [2]" that is cognate with the first part of the “Stony Steps” tune. Levey gives that the tune can be played as a reel as well as a hornpipe. Callaghan (Hardcore English), 2007; pgs. 98-100. Levey (Dance Music of Ireland, 2nd Collection), 1873; No. 75, pg. 34. Wilson (Companion to the Ball Room), 1816. Riley’s Flute Tutor, 1820.  EFDSS CD13, Anahata – “Hardcore English” (2007. Various artists).

X:1

T:Stony Steps, The

M:C

L:1/8

R:Hornpipe or reel

S:Levey – Dance Music of Ireland, 2nd Collection (1873)

Z:AK/Fiddler’s Companion

K:B_

(3F/G/A/ | B>cd>e (f>B) {c/}(3BAB | (gB)(aB) (bB) {c/}(3BAB |

G>BF>B G>BF>B | (c<e) dc (BA)GF | B>cd>e (f>B) {c/}(3BAB |

g(B a)(B b)B {c/}(3BAB | G>BF>B (eg)fe | d>cB>A B2 z :: f |

f>B {c/}(3BAB | f>B {c/}(3BAB | g>(ab>)(a g>)(^fg>)(d | g>)(^fg>)(d e>)(dc>)(B |

A>)ed>c B>AG>F | B>cd>e f>B {c/}(3BAB | g(Ba)(B b)B {c/}(3BAB | G>BF>B e>gf>e | d>c B>A B2 z :|

 

STONEY STEPS [3]. English, Hornpipe. G Major. Standard tuning. AB. Offord (John of the Greeny Cheshire Way).

X: 1

T:Stoney Steps

M:4/4

L:1/8

S:Offord

Z:p

K:G

G2 BG dBgB|ecAd GFED|ECB,C  A,2 AB|cABG GFED|

G2 BG dBgB|ecAd GFED|ECB,C  A,2 AB|cAGF G4||

G,A,B,C DEFG|ABcD B2G2|BcAF G2 ef|ged^cd4|

dBgd =cBed|cBAG FEDC|B,DGD CEAc|BAGF G2z2||

 

STONEY STEPS [4].  English, Hornpipe. C Major. Standard tuning. AABB. Source for notated versions: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Callaghan (Hardcore English), 2007; pg. 98. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 61. Fellside Records FECD192, Spiers & Boden – “Tunes” (2005. Learned from Anahata at the Sidmouth Melodeon Competition).

X:1

T:Stoney Steps Hornpipe [4]

M:C|

L:1/8

R:Hornpipe

S:Joshua Gibbons manuscript (1823-26)

K:C

cdef gec’g|afed cBAG|AFEF C2 de|fedc cBAG|cdef gec’g|

afed cBAG|AFEF C2 de|fdcB c2::FG cc FG cc|defd cBAG|

AcBd egac’|bagf g4|affd gedc|defd cBAG|AFEF C2 de|fdcB c4:|

           

STONEYBATTER [1] (Bóthar na gCloch). AKA and see “Fill the Bumper Fair,” “Hey for Stoney Batter,” “Love and Whiskey.” Irish, Slig Jig. B Minor (‘A’ part) & G Major (‘B’ part). Standard tuning. AABB. Breathnach (1963) identifies this tune as a variant of “Bob and Joan,” “Boban John,” or (in older collections) “Bobbing Joan,” commonly found in 18th century collections. He prints this verse:

***

Hi for Bob and Joan, Hi for Stoneybatter,

Leave your wife at home, or surely I’ll be at her.

***

See also the related “Butterfly [3].” Source for notated version: piper Seán Potts [Breathnach]. Breathnach (CRÉ I), 1963; No. 63, pg. 27.

 

STONY BATTER [2] (Bóthar na gCloch). Irish, Single Jig. D Major. Standard tuning. AB. Unrelated to “Stony Batter [1]." Source for notated version: fiddler and uilleann piper Stephen Grier (Farnaght, Co. Leitrim), who wrote his manuscripts in the 1880's [Breathnach]. Breathnach (CRÉ IV), 1996; No. 65, pg. 32. Drumlin Records, Brian McNamara – “A Piper’s Dream.”

           

STOOL OF REPENTANCE, THE. AKA and see “The Wright’s Rant.” Scottish (originally), English, Canadian, American; Jig. USA, New England. Canada, Prince Edward Island. A Major (most versions): G Major (Kerr vol. 3). Standard tuning. AABB. "Old" (Gow). “The Stool or Repentance” is the name of a Scottish jig that has not only survived but has remained popular for nearly three centuries. An early version of the melody can be found in the William Dixon manuscript dated 1734, and, as “Border Reel” it can be found in David Young’s Duke of Perth ms. from the same year. Printed versions from the 18th century often give the tune as “Wright’s Rant.” In the 19th century the jig appears in several Scottish collections such as MacDonald’s Skye Collection, Stewart-Robertson’s Athole Collection and one of Nathaniel Gow’s volumes.  It was included in a number of 20th century collections, and its modern popularity, especially with contra-dancers, is attested to by its inclusion in The Portland Collection and The New England Fiddler’s Repertoire, standard contra-dance volumes.

***

The curious title comes from Scottish church history and has to do with a survival of old Roman Catholic tradition. Several authorities report that in the Old Scottish Kirk transgressors, particularly adulterers, were often given the penance in church of sitting themselves for one or two weeks before the entire congregation on the cutty stool or the ‘stool of repentance.’ This artefact was actually a special seat or stool dedicated for the purpose and was set up before the pulpit. In some congregations the “penitent” had to stand on the stool after the service was over to receive the minister’s rebuke. The practice was in regular use during the hey-day of the Scottish fiddle composers in the late 18th and early 19th century, and in fact the Scots national poet Robert Burns' was one of its more notable victims. His famous satirical verse "Holy Willie's Prayer," about a godly hypocrite, was inspired perhaps by his own experience of being made in 1784 to sit before the congregation on the famous stool, “Clad in the black sackcloth gown of fornication” (McIntyre, 1995). This was in consequence of his dalliance with Elizabeth Paton, by whom he fathered an illegitimate child.  He was hardly chastened by the experience, however, as later that same year, before the birth of his daughter Elizabeth, he wrote his song “The Fornicator”: 

***

But my downcast eye be chance did spy

What made my lips to water,

Those limbs so clean where I, between,

Commenc’d a Fornicator.

***

In the 18th century collections of James Aird (Airs and Melodies, vol. 1) and Robert Bremner (1757) it is called “The Wright’s Rant.” It is a favorite jig among modern contra dance musicians in the United States. Reg Hall (1998) notes that the tune has had long enough currency in Northumberland to be considered a local tune. Sources for notated versions: Becky Tracy [Phillips]; Reuben Smith (b. 1931, Blooming Point, Queens County, Prince Edward Island) [Perlman]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 12, pg. 32. Carlin (Master Collection), 1984; No. 129, pg. 80. Carlin (The Gow Collection), 1986; No. 378. Cranford (Winston Fitzgerald), 1997; No. 174, pg. 69. Davie, Caledonian Repository (Book 1), 1829. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 36. Hardie (Caledonain Companion), 1992; pg. 42. Hunter (Fiddle Music of Scotland), 1988; No. 303. Jarman, No. or pg. 19. Kerr (Merry Melodies); vol. 1; No. 12, pg. 31, and vol. 3, No. 293, pg. 32. Lowe (A Collection of Reels & Strathspeys), 1844. MacDonald (The Skye Collection), 1887; pg 8. (miss-labeled as a strathspey). Martin (Traditional Scottish Fiddling), 2002; pg. 44. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 36. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 138. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 380. Songer (Portland Collection), 1997; pg. 191. Stewart-Robertson (The Athole Collection), 1884; pg. 134. Sweet (Fifer’s Delight), 1965/1981; pg. 23. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 47. Celestial Entertainment CECS001, Brenda Stubbert (Cape Breton) - “In Jig Time!” (1995). Pibroch MacKenzie – “The Mull Fiddler” (1969). Angus Cameron – “Strings to the Bow” (1977). “The Fiddler’s Companion” (1980). RC2000, George Wilson – “Royal Circus” (2,000). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Topic 12TS239, Will Atkinson. Topic TSCD 669, Will Atkinson (et al) – “Ranting and Reeling: Dance Music of the north of England” (1998. Atkinson {b. 1908} was a harmonica player from near Alnwick, Northumberland).

X:1

T:Stool of Repentance, The

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:A Major

e|a2e c2e|agf edc|aff f2e|fag f2e|a2e c2e|agf edc|d2f efg|a2c B2A:|

|:cAA eAA|cAA edc|dBB fBB|dBB fed|cAA eAA|cAA edc|d2e f2e| fac B2A:|

           

STOOPED OLD MAN, THE (An Seanduine Crom). Irish, Air (6/8 time). F Major. Standard tuning. AB. "From the whistling of Joe Martin of Kilfinane, about 1852. Different from 'Seanduine Cam', or 'Seanduine Crom,' Stanford‑Petrie, No. 1225. Compare this with 'Thamama Hulla,' the air of Moore's song 'Like the bright lamp that shone on Kildare's holy fane'" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 20, pg. 13.

X:1

T:Stooped Old Man, The

T:An Seanduine Crom

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:F

(3F/G/A/|BBB AAA|GAF D2C|FFF AGF|G2G G2A|

BBB AAA|FAF D2C|CDF AFG|F2F F2||

(3F/A/c/|_e2f e2d|c2c def|B2B A2A|G2G GAF|

BBB AAA|FAF D2C|FFF AFG|F2F F2||

           

STOORIE MILLER. Scottish, Strathspey. An alternate name for one of the “

           

STOP TUNE. AKA and see "Take Off Your Hat Off to the Ladies." American, March. D Major. Standard tuning. One part. Bayard (1944) thinks perhaps this was originally a stage piece. The title comes from a theatric affectation; somewhere in the course of playing, the performer would stop and take off his hat. Source for notated verison: Mrs. Sarah Armstrong (Derry, Pa., 1943) [Bayard]. Bayard (Hill Country Tunes), 1944; No. 42.

           

STOP WALTZ [1]. Old‑Time, Waltz. USA, Iowa. D Major. Standard tuning. AABB. Christeson says the same descriptive title has been used for other waltzes. Source for notated version: Frame Davis (Des Moines, Iowa) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 185.

X:1

T:Stop Waltz [1]

M:3/4

L:1/8

S:R.P. Christeson – Old Time Fiddler’s Repertory, vol. 1 (1973)

K:D

FG|A4 [FA][GA]|A2 fe f2|A4 [FA][GA]|A2 fe f2|e2 ab a2|e2 ga gf|ef ed cB|A2F2G2|

A4 [FA][GA]|A2 fe f2|A4 [FA][GA]|A2 fe f2|e2 ab a2|e2 ga g2|AA BA cA|[F4d4]:|

|:a2|a4 aa|a2f2d2|A2 z2z2|z2z2 ef|g4 gg|g2e2c2|A2 z2z2|z2z2 fg|

a4 aa|a2f2d2|B2 z2z2|z2z2 ef|gf ed cB|A2B2c2|d3 cde|d4:|

 

STOP WALTZ [2].  English, Waltz. D Major. Standard tuning. AABBCCDC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 179, pg. 48.

X:1

T:Stop Waltz [1]

M:3/4

L:1/8

K:D

FG|BA AF GB|Af fA Af|Ge eG Ge|Fd dF FG|BA AF GB|…

           

STOP, YOU ROGUE, STOP. AKA and see "Be Easy, You Rogue," "Priest With the Collar."

           

STÓR MO CHROÍ, A. See “(A) Stoir mo Chroi.”

                       

STORIES WITH JIM AND JACK MACLEAN. Canadian, Reel. Canada, Cape Breton. A Dorian. Standard tuning. AA’B. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 38, pg. 11.

           

STORM, THE. Irish, Jig. A version of “King of the Pipers.” Duval & Jones (A Dossan of Heather: Irish traditional music from Packie Manus Byrne of Donegal for tin whistle, fiddle or flute), 2000.

                                               

STORMONT LADS, THE. Scottish, Strathspey. G Major (Cranford, Kerr, Stewart-Robertson): F Major (Gow). Standard tuning. AAB (Gow): AABB (most versions). Source for notated version: Cape Breton setting by fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton) [Cranford]. Cranford (Brenda Stubbert’s), 1994; No. 68, pg. 24. Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 10 (3rd edition). Kerr (Merry Melodies), vol. 1; Set 14, No. 3, pg. 10. The Piper’s Assistant, 1877. Stewart-Robertson (The Athole Collection), 1884; pg. 166. WMT002, Wendy MacIsaac – “That’s What You Get” (1998?).

X:1

T:Stormont Lads, The

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G

B|G>Bd>B G<B d2|eee>d e<f g2|g>be>g d<G B>d|e>dg>B A2G:|

|:B|G<g g>d B<G B2|A<a a>g a>b e2|g>be>g d<G B>d|e>dg>B A2G:|

X:2

T:Stormont Lads, The

M:C

L:1/8

R:Strathspey

B:Gow – 2nd Collection of Niel Gow’s Reels, 3rd ed., pg. 10  (orig. 1788)

Z:AK/Fiddler’s Companion

K:F

f|c<F”tr”c>A FA/B/ c2|d<G d>B GB/c/ d2|”tr”f>adf .c.F.A.c|{e}dc/d/ fA “tr”G2F:||

A|Fff>e fF A2|Ggg>f gG g2|”tr”f>adf cFAc|d<c f>A ({A}G2F2|

F>f e/f/g/e/ fF A2|Gg ^f/g/a/f/ gG g2|=fa/f/ df/d/ cFAc|dc/d/ fA/B/ ({A}”tr”G2 F||

           

STORMSTOWN. American, Song Tune? or March?  USA, southwestern Pa. G Major. Standard tuning. AB. Stormstown is the name of a village in Centre County, Pa. Source for notated version: James McKivison (fiddler from Centre County, Pa., 1930) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 25, pgs. 27‑28.

                       

STORMY VOYAGE (An Aisdear Anfac). AKA and see "Captain Thompson." Irish, Air (4/4 time, "with spirit"). D Minor. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 86, pg. 15.

X:1

T:Stormy Voyage

M:C

L:1/8

R:Air

N:”With spirit”

S:O’Neill – Music of Ireland (1903), No. 86         

Z:AK/Fiddler’s Companion

K:D Minor

(3A=B^d | d3e f2e2 | d3c A2 GE | D3E F2G2 | A6 A2 | d3e f2e2 |

d3cA2 GE | A2 GE D2D2 | D6 || AG | F2F2F2 ED | E2E2E2 D^C |

D3E F2G2 | A6 A2 | d3e f2e2 | d3c A2 GE | A2 GE D2D2 | D6 ||

           

STORMY WEATHER [1]. AKA and see "Miss Mona(g)han(‘s Reel)," "The Belles of Tipperary [2]," "The Connacht Lasses," "The Green Fields to America," "The Blea‑berry Blossom," "Jackson's Welcome to Cork [1]," "The Four Courts of Dublin," "Johnny Shooting in the Glen," "O'Connell in Clare," "The Barrow Castle," "Lamont's Reel," "The White‑haired Piper," "The Dandy Girl/Lass/Lasses," "The Kerry Star." Irish, Reel. D Major. Standard tuning. AB. Source for notated version: fiddler John Doherty (1895-1980, County Donegal) [Feldman & O’Doherty]. Feldman & O’Doherty (The Northern Fiddler), 1979; pg. 75.

STORMY WEATHER [2]. Irish. Ireland, Donegal. A different Donegal tune than the “Stormy Weather” in the Northern Fiddler.

                       

STORNOWAY CASTLE. Scottish, Reel. A Mixolydian. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 4, 1991; pg. 9.

                       

STORYTELLER [1], THE (An Scealaide). Irish, Double Jig. C Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 743, pg. 138.

X:1

T:Storyteller, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903),  No. 743)

Z:AK/Fiddler’s Companion

K:C

c/d/ | e>dc cAG | GEG GEG | e>dc c<ge | edd d2 c/d/ |

e>dc cAG | GEG GEG | cge d>cd | ecc c2 :|    

|: G/F/ | EGc cec | GBd dfd | ceg g>fe | e>dd d2 e/f/ |

g>ec cec | dBG G2F | EGc d>cd | ecc c2 :|

           

STOURTON WAKE.  AKA and see “London Pride.” AKA – “Stornton Wake.” English, Morris Dance Tune (cut time). G Major. Standard. AAB. Collected from the Cotswold village of Adderbury. A “Stourton Wake” was also danced in the village of Longborough, although the tune there was “London Pride,” “noted by Misses Daking, Marshall and Blunt from Fred Webb of Bloxham, whose father had been a Longborough musician.” Bacon (Handbook of Morris Dances), 1974; pg. 321. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 124.

X: 1
T: Stourton Wake
M: 4/4
S: Seabright
N: Paul Turner
A: Adderbury
O: English
R: Reel
K: E Dorian
V:1 ~ given
V:2
D2 |: E2 z4 D2 :|
P: A
|: B3 c d2 B2 | AGFE F2 D2 | E2 B2 BAGF | E4 E4 :|
P:B
B3 c d2 B2 | ed cB c2 A2 | B3 c d2 B2 | e4 B4 |
B3 c d2 B2 | AGFE F2 D2 | E2 B2 BAGF | E4 E4 ||

                       

STOW FAIR.  English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning. AABB. The melody first appears in print in R. Baldwin’s London Magazine, or Gentleman’s Monthly Intelligencer (1760). The fair at Stow-on-the-Wold, Gloucestershire, dates from the year 1330, and was originally a market and hiring fair, and survives in modern times as a horse fair. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 29.

X:1

T:Stow Fair

M:2/4

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:Bb

Bc|d2 Bd|f2 df|b2f2|f2g2|f2 ed|edcB|AB c2|c2 Bc d2 Bd|f2 df|b2f2|

f3g|f2 ed|edcB|F2B2|B2::d/c/|BABG|d2 Bc|dcde|f2 de|f3g|

fdcB|AB c2|c2 ga|bagf|b2 ag|fdcB|G2 FE|DF B2|Gc e2|.c2 .B2|.B2:||

 

_______________________________

HOME       ALPHABETICAL FILES        REFERENCES

 

© 1996-2010 Andrew Kuntz

Please help maintain the viability of the Fiddler’s Companion on the Web by respecting the copyright.

For further information see Copyright and Permissions Policy or contact the author.