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]

 

 

 

STRAC AN CADAS. AKA and se "Tear the Calico [1]."

                       


STRAC AN MHUC AN LEINE. AKA and see "The Telegraph," "Rolling on the Ryegrass," "The Ladies Tight Dress," "The Listowel Lasses," "Boil the Kettle Early," "Kitty got a clinking (coming from the races) [1]," "Punch for the Ladies [2]," "The Brown Red Girl," "Love among the Roses," "The Kilfinane Reel," "The Lady on the Railroad," "What the Devil Ails You [2]" "Roll her on the Banks," "The Railway Station," "The Connachtman's Rambles," "McCaffrey's Reel," "The Rathkeale Hunt," "The Shannon Breeze [1]," "The Piper's Lass," "Old Molly Ahern," "Maureen Playboy."

           

STRACHEN’S. Scottish, Strathspey. Dedicated to Strachen’s Music Shop, Aberdeen, by Aberdeenshire fiddler and composer J. Murdoch Henderson (1902-1972). Henderson (Flowers of Scottish Melody), 1935.

           

STRACHUR. Scottish, Reel. G Major. Standard tuning. AA'BB'. Composed by Carl Volti. Kerr (Merry Melodies), vol. 3; No. 48, pg. 8.

X:1

T:Strachur

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 48  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(Bc)|dgeg dBGB|dgeg d2 (Bc)|dgeg dBGB|1 AFDF A2:|2 AFDF Aedc||

|:(BG)GG (DG)GG|BGGB dedc|1 (BG)GG (DG)GG|FGAB cedc:|2 Bdgf edcB|AGFE D2||

 

STRADDLE THE DONKEY.  "Boys in the Gap [1]," "Cat in the Hopper," “Laird o’ Cockpen,” "Lord Doneraile," "When She Cam Ben (She Bobbit)." An Irish version of the Scots tune usually known as “Laird o’ Cockpen.”  

           

STRADDY, THE. Irish, Air (6/8 time, "with spirit"). F Major. Standard tuning. AB. "'Straddy', an idle careless fellow" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 599, pgs. 310‑311.

           

STRAGLASS HOUSE--A STRATHSPEY. Scottish, Strathspey. D Major. Standard tuning. AABB. The tune appears first in print in Robert Bremner's 2nd Collection of Scots Reels or Country Dances, c. 1760. It is one of the earliest mentions of the term 'strathspey' in print (along with Neil Stewart's 1761 printing of "A Strathspey Reel," although the very earliest was Walsh's 1743‑44 collection). McGlashan (Collection of Strathspey Reels), c. 1780/81; pg. 8.

X:1

T:Straglass House

M:C

L:1/8

R:Strathspey
S: McGlashan – Strathspey Reels (c. 1780-81)

Z:AK/Fiddler’s Companion

K:D

A|D/D/D D>E F>AAB|A<F d>F E3 F|D/D/D D>E F>AAB|A<F d>F A3:|

|:B|A/A/A d>A B>Ad>F|E/E/E F>D E3F|A/A/A d>A B>Ad>F|

A/A/A dF A3B|A<F d>A B>Ad>F|E/E/E F>D E>FG>B|A>F G>E F>AAB|

A<F d>F A3:|

                                   

STRAIGHT FOURS. American, Reel. USA, southwestern Pa. G Major. Standard tuning. AA'BB. Source for notated version: Samuel Losch (fiddler from Juniata County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 35, pgs. 31‑32.

                       

STRAIGHT TIP CLOG. American, Clog. B Flat Major. Standard tuning. AABB. White’s Unique Collection, 1896; No. 154, pg. 28.

X:1

T:Old Timer Clog

M:C|

L:1/8

R:Clog

S:White’s Unique Collection (1896), No. 154

Z:AK/Fiddler’s Companion

K:Bb

(3de=e | g>fd>B F>DB,>D | C>EG>c e>gf>=e | g>f_e>c A>FG>A |

(3BAB (3cBc (3dcd (3ede | g>fd>B F>DB,>D | C>EG>c e>gf>=e |

g>f_e>c A>FG>A | B2 [F2d2][D2B2] :: c2 | (c>A) (3cfg a>fa>f |

(d>B) (3dga b>gb>g | =e>d’c’>b a>bd>e | (3f=ef (3gfg a>fc>A |

(c>A) (3cfg a>fa>f | (d>B) (3dga b>gb>g | =e>d’c’>b a>bd>e | f2 [c2a2][A2f2] :|

                                   

STRAND HORNPIPE. Scottish, Hornpipe. G Major. Standard tuning. AA’AA’BB. Kerr (Merry Melodies), vol. 4; No. 298, pg. 31. WMT002, Wendy MacIsaac – “That’s What You Get” (1997?).

X:1

T:Strand Hornpipe

M:C|

L:1/8

R:Hornpipe

B:Kerr – Merry Melodies, vol. 4, No. 298  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

g>a|b>gd>B G>Bd>g|f>ec>A E2_E2|D>dc>A F>DE>F|G>AB>c d2 g>a|

b>gd>B G>Bd>g|f>ec>A E2_EE2|D>dc>A F>DE>F|G2B2G2:|

|:A>G|F>GA>B c>DE>F|G>AB>c d2 A>G|F>GA>B c>DE>F|G>AB>c d2 g>a|

b>gd>B G>Bd>g|f>ec>A E2_E2|D>dc>A F>DE>F|G2B2G2:|

                                   

STRANGER [1], THE. AKA and see “Boys of Ballysimon,” “Poll Ha'penny [2].” Irish, Reel or Hornpipe. D Major. Standard tuning. ABC. McNulty (Dance Music of Ireland), 1965; pg. 26. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 138, pg. 69. O'Neill (O’Neill’s Irish Music), 1915; No. 295, pg. 148.

X:1

T:Stranger, The [1]

M:C

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

dc | B2 BG A2 (3ABc | dcAF G2 FG | AFDE FAGE | DEFG A2 dc | B2 BG A2 (3ABc |

dcAF G2 FG | AFDE FAGE | D2 (3DDD D2 || FG | Adde f2 ef | dcAG A2 FG | Adde f2 ed |

cdec d2 FG | Adde f2 ef | dcAF G2 FG | AFDE FAGE | D2 (3DDD D2 || FG | Adde f2 ef |

dcAG A2 FG | Adde f2 ef | gfef defg | afge dfec | dcAF G2 FG | AFDE FAGE | D2 (3DDD D2 ||

 

STRANGER [2], THE. American, Hornpipe. D Major. Standard tuning. AABB. Howe (1000 Jigs and Reels), c. 1867; pg. 59.

X:1

T:Stranger

M:4/4

L:1/8

R:Hornpipe

S:Howe – 1000 Jigs and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:D

DE | F3A GFED | F2A2A3d | BcdB BAGF | G2E2E2 DE | F3A GFED |

F2A2A3d | BcdB Aceg | faec d2 :: ef | gfed f2a2 | gfed dcBA |

gfed fafa | g2e2 e2 ef | gfed f2a2 | gfed dcBA | BcdB Aceg | faec d2 :|

                       

STRANGER AT THE GATE. Irish. A famous recording of the tune was made unaccompanied by the renowned button accordion player Paddy O'Brien (1922-1991) in 1954.

                       

STRANGER FROM LIMERICK, A. Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 196.

                       

STRANGER IN THE NEIGHBORHOOD. AKA and see “Jingle at the Window.”

                       

STRANGER ON A MULE. Old-Time, Breakdown. G Major. Standard tuning. AB. Source for notated version: Denny Reid [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 151.

                       

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

                       

STRAP THE RAZOR. AKA and see "Strop the Razor."

 

STRATFORD JUBILEE.  English, Jig. A Major. Standard tuning. AABB. The melody is unique to Charles and Samuel Thompson’s Compleat Collection (London, 1773). According to Robert Chambers’ Book of Days, the Stratford Jubilee was a days long celebration in 1769 in Stratford-upon-Avon, Warwickshire, commemorating the death of Shakespeare 150 years before. The celebration was the idea of the town corporation, who hit upon the brilliant public relations scheme of inviting the leading actor and producer of the day, David Garrick, to become a burgess. They presented him with an elegant box made from the mulberry tree Shakespeare himself planted (which had recently been cut down by its owner, a “splenetic clergyman” who also pulled down Shakespeare’s house, to the great distress of the community). Garrick acquitted himself well, hosting a number of events, dinners, stage entertainments, and of course several complete performances of Shakespeare’s works. See http://www.thebookofdays.com/months/sept/6.htm for more. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3)  , 1773; No. 112.

X:1

T:Stratford Jubilee

M:6/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

Ace dBG|AEE EGB|Ace dBG|A[Ec][A,3a3]::fDD Dfa|geB GEb|

abg fe^d|e3 efg|afd Bcd|ecA GAB|FAd EAc|[Cc][Dd][B,B] [A,3A3]:||

 

STRATH SPRAY'S RANT. AKA and see "Sir Alex MacDonald's Reel." Scottish, Rant or Reel. D Major. Standard tuning. AABB. This is the earliest possible reference to the Scottish tune form "strathspey," and is from John Walsh's Caledonian Country Dances Book II, 1743‑4. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 24, pg. 46.

 

STRATHBOGIE EDITOR, THE.  Scottish, Reel. A Major. Standard tuning. AA’B. Composed by the great Scots fiddler-composer J. Scott Skinner (1843-1927), in honor of Mr. Joseph Dunbar, Huntly. A penned note on Skinner’s original manuscript reads: “In imitation of Nathaniel Gow’s ‘Fairy Dance’ in which the Writer’s friends think he has succeeded.” Skinner (Harp and Claymore), 1904; pg. 100.

X:1

T:Strathbogie Editor, The

M:2/4

L:1/8

R:Reel

C:J. Scott Skinner (1843-1927)

S:Skinner – Harp and Claymore (1904)

Z:AK/Fiddler’s Companion

K:A

e/ |: ({g}a)a/A/ aa/g/ | f/e/d/c/ B/e/f/g/ | ({g}a/)A/c/e/ a/g/a/f/ |1 e/d/c/B/ A/e/f/g/ :|2 e/d/c/B/ A/B/c/d/ ||

ea/g/ fB/c/ | dg/f/ eA/B/ | c/A/c/e/ a/e/f/d/ | c/A/B/G/ A/B/c/d/ |

e/A/a/g/ f/A/B/c/ | d/G/g/f/ e/E/A/B/ | c/A/c/e/ a/e/f/d/ | c/A/B/G/ A A/ ||

 


STRATHBOGIE TOAST, THE. AKA and see “The Bobbers of Brechin.” Scottish, Reel. G Minor. Standard tuning. AB. Composed by William Marshall (1748-1833). Strath‑ means 'valley,' or, in this case 'the valley of the Bogie River' in Aberdeenshire, where Huntly is the principle town and seat of the earl of Huntly. Strathbogie joins the River Deveron at Huntly. The lands were owned by the Gordon family, originally from Berwickshire, stemming from a grant by Robert the Bruce. They became Earls and later Dukes of the region. Hardie (Caledonian Companion), 1992; pg. 87. Marshall, Fiddlecase Edition, 1978; 1822 Collection, pg. 11. Stewart-Robertson (The Athole Collection), 1884; pg. 193.

X:1

T:Strathbogie Toast, The

T:Bobers of Brechin, The

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Gmin

g|dgg^f g2d=f|cdfg dfcf|dgg^f g2dg|fdcA G2 GA|Ggg^f g2 d=f|

cdfg afcf|d^fga bag=f|dfcA G2G||

d|BGdG BGd=e|fdcf AFcA|BGdG BGdg|fdcA G2 Gd|

BGdG BGd=e|fdcf AFcA|GABc d=efg|fdcA G2G||

 

STRATHDOWN. Scottish, Strathspey. D Major. Standard tuning. AABB'. Composed by William Marshall (1748-1833), and first printed in his 1781 collection (pg. 10). Strath‑ means 'valley', in this case 'valley of the Down River'. Marshall, Fiddlecase Edition, 1978; 1781 Collection, pg. 10.

X:1

T:Strathdown

L:1/8

M:C

S:Marshall1781 Collection

Z:AK/Fiddler’s Companion

K:D

F|D/E/F/G/ AF D/D/D B2|A<d A>F G>E E<F|D/E/F/G/ AF D/D/D B2|A<d A>G FDD:|

|:g|f>e d<e d/d/d f2|d>ef>e e>E E<g|1 f>e d<e d/d/d f2|B<d A>G FDD:|2

f>be>f d>ec>d|B>dA>G FDD||

 

STRATHEARN STRATHSPEY. AKA and see "Among the Houghs of Cromdale." Scottish, Strathspey. A Minor (Cole): G Minor (Athole, Gow). Standard tuning. AB (Cole): AAB (Athole, Gow). Composed by Dunkeld fiddler-composer Niel Gow (1727-1807), and considered to be in pipe style although it has a range of ten notes (rather than the usual nine for pipe style proper). Strath means 'valley,' in this case the valley of the Earn river in Perthshire, Gow's home county. Alburger (Scottish Fiddlers and Their Music), 1983; Ex. 71, pg. 109. Carlin (The Gow Collection), 1986; No. 220. Cole (1000 Fiddle Tunes), 1940; pg. 124. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 19. Jones [ed]. (Complete Tutor Violin), c. 1815; pg. 2. Stewart-Robertson (The Athole Collection), 1884; pg. 194. Ryan’s Mammoth Collection, 1883; pg. 162.

X:1

T:Strathearn

L:1/8

M:C

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Gmin

g|G<G d>c d<f ~g2|f>c d<f c>B A<F|G<G d>c A>cd>g|f>g a>A G2G:|

A|G<g g>f g<a ~a2|f>ga>g f>d f<c|d<g ~g>f d>fg>a|f>ga>A G2 G>A|

G<g g>f g<a ~g2|f>ga>g f>d f<c|d<cd<f ~g>f g<a|f>ga>A G2G||

X:2

T:Strathearns Strathspey.

M:C

L:1/8

B:Complete Tutor Violin (c. 1815)

Z:Dr. Evan Jones [Ed.]

K:Bb

U:T=!trill!

g | G<G d>c (d<f) g2 | f>cd<f c<BA<F | G<G d>c Acdg | f>g aA G2 G :|| A | Ggg>f (g<a) g2 | f>gag fdfc |

dg-g>f dfga | Tf>g aA G2 (G>A) | Gg-g>f (g>a) g2 | Tf>gag fefc | (dcd)<f (gfg)<a | Tf>g aA G2 G |]

 

STRATH ERRICK/ERRIKH (Strath-Fharagaic). Scottish, Strathspey. B Flat Major. Standard tuning. AAB. "This air relates to, and bears the name of, the editor's native district, at present, he regrets to say, divested by absence, death, and other casualties, of every friend, but those who have forfeited all title to the appelation, and of every circumstance that could tend to render his residence agreeable or comfortable, though once the scene of his highest enjoyments, and still of his dearest local attachments" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 123, pg. 49. Stewart-Robertson (The Athole Collection), 1884; pg. 280.\

X:1

T:Stratherick

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:Bb

B|F<B, F>D D>CC>D|F<B, F>D F<dc<d|B<G F>D D>CC>D|

F<B, F>E D2D:|

f|d>Bf>B d>c c<f|d>Bf>B g>Bf>B|d<bf<g d<fc<d|B<G F>E D2 D>B|

d>Bf>B d>c c<f|d>Bf>B g>Bf>B|d<bf<g d<fc<d|G<BF<B D2D||

 

STRATHGLASS HOUSE. Scottish, Slow Strathspey. D Major. Standard tuning. AAB. It is perhaps "Straglass House" in Bremner. Gow accompanies the tune with the note: “This Tune is not to be Danced, as it ought to have been amongst the Slow Tunes at the beginning of the Book, but was omited.” Gow (Complete Repository), Part 1, 1799; pg. 34. MacDonald (The Skye Collection), 1887; pg. 158.

X:1

T:Strathglass House

M:C

L:1/8

R:Slow Strathspey

S:MacDonald – Skye Collection  (1887)

Z:AK/Fiddler’s Companion

K:D

B|D/D/D D>E FAAB|A>F d>F [A,3E3]F|D/D/D D>E (FA)AB|A<F d>F A3:|

B|A/A/A d>A B>A d<F|E/E/E F>D [A,3E3] F|A/A/A d>A B>Ad>F|A/A/A dF A3B|

A/A/A d>A B>Ad<F|E/E/E F>D E>FGB|A>FGE F>DD<B|AF d>F A2||

 

STRATHLORNE LODGE. Canadian, Jig. Canada, Cape Breton. D Major. Standard tuning. AABB’. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 51.

 

STRATHMASHY. Scottish, Strathspey. C Minor. Standard tuning. AB. Stewart-Robertson (The Athole Collection), 1884; pg. 208.

X:1

T:Strathmashy

M:C

L:1/8

R:Strathspey

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:Cmin

e|B>G G>F E>CC>E|B,<G,E<G, B,3e|B>GG>F E<C C<E|B,<G, G>=B, C2 C<e|

B<G G>F E<C C>E|B,<G, E>G, B,3e|B<G G>F E>C D<G|B,<G, G>=B, C2C||

G|c/d/e/^f/ g>GG>=A|B<eG>_A B2 Be/d/|c>de>^f g<G G>c|G<c d>B c2 c>d|

e>fg>e f<d b>d|B<G e>G B2 B>a|g>fe>d c>de>g|G<c d>B c2c||

                       

STRATHMORE  Scottish, Air. Originally published in Angus Fraser’s A Collection of the Vocal Airs of the Highlands of Scotland (ca. 1874). Maggie’s Music MM220, Hesperus – “Celtic Roots.”

                       

STRATHMORE MEETING, THE (Coinneamh an t-Strath mhor). Scottish, Slow Air (6/8 time). A Dorian. Standard tuning. AABB. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 42.

                       


STRATHMORE'S REEL. Scottish, Reel. 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."

                       

STRATHNAIRN POLKA. AKA and see “Steve Cooney’s.” Irish, Polka. B Minor. Standard tuning. AB. A modern composition by West Kerry based musician and composer Steve Cooney. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), pg. 8.

                       

STRATHSPEY... A Scottish form of dance tune commonly involving dotted rhythms briskly emphasized in the bowing. They are notated in common, or 4/4 time. The form seems to have derived in the area of the valley (strath) of the river Spey, in the Scottish Highlands, though no one knows exactly by whom. Among the first composers of the form were a family known as the Browns, from Kincardineshire, and they are generally credited with founding the form. The Cummings of Freuchie were also famous early exponents of the style (the last of the line, John Roy Cumming, died around the middle of the 18th century). Daniel Dow’s (1732-1787) publication Thirty-seven new reells and strathspeys (c. 1775) appears to be the first published collection with the name strathspey in its title, though as the name of a tune or dance it appears in Menzies Manuscript of 1749 in the titles “The Montgomerie's Rant, a Strathspey Reele” and “Couteraller's Rant, a Strathspey Reel.” However, the earliest reference to a strathspey, according to John Purser (1992), was in 1653 - "To please the King the Morris dance I will; Stravetspy, and after, last of all, The Drunken Dance I'll Dance within that hall".

***

The tempo of the strathspey has apparently slowed down in modern times from the tempos played two hundred years ago Hugh Thurston, in Scotland's Dances, quotes Major Edward Topham, in 1775, writing as follows:
***
Another of the national dances is a kind of quick minuet, or what the
Scotch call a 'Straspae.'  We in England are said to walk a minuet:  this is
gallopping a minuet.  Nothing of the minuet is preserved except the figure;
the step and time most resemble an hornpipe--and I leave you to dwell upon
the picture of a gentleman full-dressed and a lady in a hoop dancing an
hornpipe before a large assembly."

***

Some strathspeys are now performed at the 116-138 bpm range, with 116 being the favoured tempo for Scottish Country Dancing. A few Cape Breton strathspeys have been recorded at 202 bpm(!), but step-dance strathspeys on the island are played within the 176-184 bpm range.

                       

STRATHSPEY (THE NATIVE COUNTRY OF THE SPRIGHTLY DANCE). AKA ‑ "Strath‑Spe." Scottish, Slow Strathspey. E Minor. Standard tuning. AAB. "In passing through the district of Strathspey, the traveller may be apt to forget, that among the long ranges of firwood and heath on each side, originated that sprightly style of performing and dancing the music which bears its name, now in universal request from the Spey to the Ganges. If the poets now take up the subject of some of the airs produced on its banks, it may become as renowned as a classic stream, as it is famous for giving birth to so much of our national and captivating amusement" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 155, pg. 63.

X:1

T:Stathspey (The Native Country of the Sprightly Dance)

T:Srath-Spè

M:C

L:1/8

R:Slow Strathspey

S:Fraser Collection  (1874)

Z:AK/Fiddler’s Companion

K:G

B,|EE E>F E>D B,2|G,<G, B,>C D2 D>F/G/|EE E>F E>F B, z/d/|B<GA<F [G,2E2] E)F|

EE E>F E>D B,2|G,G, B,>C D2 D>F/G/|EE E>F (G/A/)B^c d>=c|B<GA>F [G2E2] E||

B|e>B e<f e>^d e<f|d<A f>e d2 d>f|e>^de>f (g/a/)b/^c’/ d’>c’|b/^c’/d a>f e2 eg/a/|

[gb][gb] [bg](a/g/) [fa][fa] [fa](f/e/)|[df][df] (g/f/a/f/) d2 d(e/f/)|(g/e/f/d/ e/^c/d/)F/ (G/A/)B/^c/ d>=c|B<G A>G [G,2E2][G,E]||

                       

STRATHSPEY, THE. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Composed by Robert “Red Rob” MacIntosh. Gow (Complete Repository), Part 2, 1802; pg. 31.

X:1

T:Strathspey, The

M:C

L:1/8

R:Strathspey

S:Gow – 2nd Repository  (1802)

Z:AK/Fiddler’s Companion

K:Bb

F/E/|D(FF)B E(GG)c/B/|Acfe dbBf|D(FF)B E(GG)c/B/|(A/B/c) Fe dBB:|

a|b>BA>a g>GF>f|ec (e/d/)c/B/ Acca|b>Ba>B g>Bf>B|(A/B/c) (Fe) dBBa|

b>BA>a g>GF>f|ec (e/d/)c/B/ A(cc)B/A/|GBFB EBDF|(E/F/G) F>E DB,B,||

                       

STRATHSPEY FOREVER. Scottish, Strathspey. D Major. Standard tuning. AB. Composed by Shetland fiddler Arthur S. Robertson. Neil (The Scots Fiddle), 1991; No. 64, pg. 88.

                       

STRATHSPEY IN MEMORY OF ANGUS ALLAN GILLIS. See "Fight About the Fireside." Gillis was a Cape Breton fiddler of some renown.

                       

STRATHSPEY QUADRILLE. Scottish, Dance Tune (6/8 time). G Major. Standard tuning. AA. An oddity by one F.W. Grant that hardly resembles a strathspey. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 68, pg. 154.

                       

STRATHSPEY REEL, A. Scottish, Strathspey. A generically entitled tune found by John Glen (1891) to be earliest printed in Neil Stewart's 1761 collection (pg. 50).

                                   

STRATHSPEY WALTZ. Scottish, Dance Tune (3/8 time). G Major. Standard tuning. One part. An oddity by one F.W. Grant that hardly resembles a strathspey. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 67, pg. 154.

                       

STRATHSPEY WIGGLE. Scottish. An obscure form referred to in James Oswald's "Caledonian Pocket Companion" (versions published between roughly 1743‑59), though the exact meaning is unclear.


                       

STRAW BREAKDOWN. Old‑Time, Breakdown. Tennessee fiddler Arthur Smith's cover title for "Turkey in the Straw."

                       

STRAW COVE TWO-STEP. AKA and see "Two-Step de l'Anse aux Pailles."

                       

STRAW HAT, THE. English, Jig. D Major. Standard tuning. AABB. From the Hardy Collection, 19th century. Raven (English Country Dance Tunes), 1984; pg. 211.

X:1

T:Straw Hat, The

M:6/8

L:1/8

S:The Hardy Collection (19th century)

R:Jig

K:D

d2D FED|ABA cBA|dcB AGF|EFE D3|d2D FED|

ABA cBA|Fdc BA^G|A3 A3::A>BA dcB|A>BA AFD|

ABA dcB|AGF E2 F/G/|ABA dcd|efg fed|Bgf edc|d6:|

                       

STRAW MAN, THE (Bodach Fodair). Canadian, Reel. Canada, Cape Breton. A Major. AEae tuning. AB. The second part of this tune is the same as that of “Captain MacDuff’s Reel.” The reel was called by the Gaelic title by old-timers on Cape Breton Island. Source for notated version: Buddy MacMaster (Cape Breton) [Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 138. Sea-Cape Music ACR4-12940, Buddy MacMaster - “Judique on the Floor”  (1989. Appears as 1st “Traditional Reel”). Celtic CX 35, Donald MacLellan (c. 1950's. Unlisted after “The Leigh R.”). Rounder 7009, Doug MacPhee - “Cape Breton Piano” (1977). Rounder Records , John L. MacDonald – “Formerly of Foot Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005). Topic 12TS354, John Willie Campbell - “Cape Breton Scottish Fiddle” (1978. Appears as “Untitled”). WRC1-1548, Carl MacKenzie. WRC1-6100, Atlantica 04 50222, Kyle and Lucy MacNeil - “Rock in the Stream” (1989. Appears as “Mabou Coal Mines”).

                       

STRAW ROPE. Irish, Jig. D Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 56. Miller (Fiddler’s Throne), 2004; No. 105, pg. 72. Ceol Camloch CD, Josephine Keegan – “The Keegan’s Tunes” (2002).

                       

STRAW SEAT, THE (An Sisteadin/Suidistin). Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 31. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 833, pg. 155. O'Neill (Dance Music of Ireland: 1001 Gems), 1979/1986; No. 97, pg. 32.

X:1

T:Straw Seat, The

M:6/8

L:1/8

R:Jig

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 97

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/|d2d ded|cBA ABc|d2d de=f|ecA A2 B/c/|

d2d ded|cBA ABc|dB/c/d =cBA|GED D2:|

|:A/G/|FDF ABA|FDF ABA|ECE GAG|ECE GAG|

FDF ABA|FDF ABc|d2B/c/d =cBA|FED D2:|

                       

STRAWBERRIES, RASPBERRIES. AKA and see "Fraises et les Framboises."

                       

STRAWBERRY BANKS, THE. AKA and see “The Early Rose,” “Kiss the Bride.” Irish, Reel. G Major. Standard tuning. AB. Source for notated version: "Copied from (a) very old well‑written manuscripts lent to me in 1873 by Mr. J. O'Sullivan, of Bruff, Co. Limerick" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 234, pgs. 113‑114.

X:1

T:Strawberry Banks, The

M:C

L:1/8

R:Reek

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

Z:AK/Fiddler’s Companion

K:G

G2 AG FGAc|BGBd gfgd|ecAG FGAc|BGAF GFED|G2 AG FGAc|

BGBd gfgd|ecAG FGAc|BGAF G2G2||dg g2 ag g2|bgaf gfgd|ecAG FGAc|

BGAF GFED|dg g2 ag g2|bgaf gfef|dB(3d/e/f/ gfga|bgaf gedB||

                       

STRAWBERRY BEDS, THE. AKA and see "The Blackberry Blossom/Blossum" [1], “Maud(e) Millar [2].” Irish, Reel. G Major. Standard tuning. AAB. Kerr (Merry Melodies), vol. 1; No. 1, pg. 34.

X:1

T:Strawberry Beds, The

M:C

L:1/8

R:Reel

B:Kerr – Merry Melodies, vol. 1, pg. 34  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(ge)|dBAc BGGA|BcBA B2 (ge)|dBAc BGGB|Aaag a2:||

(ef)|gage abaf|gfga bgef|gfga bagf|eaag a2 (ef)|

gage abaf|gfga bgeg|bagf gfed|eaag a2||

                       

STRAWBERRY BLOSSOM [1], THE (Blat na/an Sublair). AKA and see "Boys of Ballinahinch," “Boys of Ballynahinch,” “Christmas Eve [3],” "Mullin's Fancy,” “Rising Sun" [6]. Irish, Reel. G Mixolydian (Roche): D Major (O'Neill, Stanford/Petrie). Standard tuning. AB (O'Neill/Krassen, 1001 & 1850, Roche): AAB (O'Neill/1850, Stanford/Petrie). “Christmas Eve/Night” is a related tune. Source for notated version: “From P. Carew’s MS” [Stanford/Petrie]. O'Neill (Krassen), 1976; pg. 124. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; Nos. 1354 and 1355, pg. 253. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 609, pg. 111. Roche Collection, 1982, Vol. 1; No. 165, pg. 65. Stanford/Petrie (Complete Collection), 1905; Nos. 483 & 484, pg. 122.

X:1

T:Strawberry Blossom, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – 1001 Gems (1907), No. 609

Z:AK/Fiddler’s Companion

K:D

fedf edBd|fd{e}dc d2 ag|fedf edBc|dBAF E2D2|fedf edBd|fd{e}dc defg|

afge fdec|dBAF E2D2||faab afdf|abaf gfeg|faab afdf|gfed B2A2|faab afdf|

abaf gfeg|fa (3aaa gb (3bbb|gfef gbag||

X:2

T:Strawberry Blossom, The [1]

M:C

L:1/8

R:Reel

S:Stanford/Petrie (1905), No. 484

Z:AK/Fiddler’s Companion

K:D

g | fddf eBBg | fddf gfge | fddf gBBc | dBAF E2D :|

g | f/g/aab afdf | afdf g2 fe | f/g/aab afdf | gfed B2 Ag |

f/g/aab afdf | afdf gfge | f/g/aab bgaf | gfed cdeg |

fddf eBBg | fddf gfge | fddf eBBc | cBAF E2D ||

X:3

T:Strawberry Blossom, The [1]

M:2/4

L:1/8

R:Reel

S:Stanford/Petrie (1905), No. 483

Z:AK/Fiddler’s Companion

K:Bb

e/ | d/f/f/g/ f/d/B/d/ | f/d/B/d/ ed/c/ | d/f/f/g/ f/d/B/d/ | e/d/c/B/ GF/e/ |

d/f/f/g/ f/d/B/d/ | f/d/B/d/ ed/c/ | d/f/f/g/ f/d/B/d/ | e/d/c/B/ GF/e/ ||

d/B/B/d/ c/B/G/e/ | d/B/B/c/ d/e/f/e/ | d/B/B/d/ c/B/G/F/ | B/G/F/D/ CB,/e/ |

d/B/B/d/ c/B/G/e/ | d/B/B/c/ d/e/f/e/ | d/B/B/d/ c/B/G/d/ | B/G/F/d/ c B/ ||

 

STRAWBERRY BLOSSOM [2]. AKA and see “Oíche Nollag” (Christmas Eve), “There’s nae luck aboot the hoose (There’s nae luck ava) [1].” Irish, Single Jig. Petrie (Complete Collection), 1905; No. 484.

 

STRAWBERRY BLOSSOM [3]. AKA and see “Blackberry Blossom/Blossum [1].”

 

STRAWBERRY BLOSSOMS [4].  Irish, Reel. G Major. Standar tuningd. AB. Brian Conway – “First Through the Gate.”

X:1

T:Strawberry Blossoms  [4]

M:C

L:1/8

R:Reel

S:Brian Conway

Z:AK/Fiddler’s Companion

K:G

ge | dBA(d BG)GA | B2 ({c}B)A Bdge | dBAB GABd | e(a{b}a)^g a2 ge |

dBA(d BG)GA | (3BcB Ad Bdge | dB (3ABA GAB(d | e)(a{b}a)^g agef ||

g(g{a}g)f gaba | ~g3a bgef | (3gag fa gedg | e(a{b}a)^g agef |

g(f{a}g)f gaba | ~g3a bgdf | (3bag ({a}g)f gedg | e(a{b}a)^g a2 ||


                       

STRAWBERRY JIG. American, Jig. G Major. Standard tuning. AABB. The composition is credited to Walter D. Sweet (the editor's father?) in Ralph Sweet's collection. Sweet (Fifer’s Delight), 1965/1981; pg. 31.

                       

STRAWBERRY ROAN. American, Waltz. G Major. USA, Arizona. In the repertory of Arizona fiddler Kenner C. Karchner, who said it was a favorite at rodeos as far back as 1920 (Shumway).

                       

STRAYAWAY CHILD. Irish, Jig. E Minor. Standard tuning. AABBCCDDEE (Kennedy): AABCCDDEEFF, AAB (Hebert): AABB’CCDDEEFF. Composed by Margaret Barry c. 1956 with the help of Sligo fiddler Michael Gorman (who lived in London most of his life). Parts of the tune came to Barry in a dream, which was then developed by Gorman. Gorman and Barry lived together in London during the 1950’s and 1960’s. Gorman and Barry were ‘discovered’ by British folksinger Ewan McColl, which led to an American tour and an appearance on the Ed Sullivan show in the early 1960’s. Accordion player Karen Tweed was enamoured of the tune for a while—in her (1994) book she calls it one of the most beautiful tunes she ever heard. Similar to “The Orphan [2]." Hinds/Hebert (Grumbling Old Woman), 1981; pg. 27. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 178, pg. 42. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 3. Cló Iar Chonnachta CICD 165, John Wynne & John McEvoy – “Pride of the West” (2007). Coleman Heritage Centre CC5, Joe O’Dowd – “The Coleman Archive, vol. 1 (various artists). Mulligan LUN013, The Bothy Band ‑ "Out of the Wind, Into the Sun." Rounder CD (Portraits Series), “Allan Lomax Collection.”

X:1

T:Strayaway Child, The

M:6/8

L:1/8

R:Jig

C:Margaret Barry & Michael Gorman

K:E Minor

G2A|:BEE GEE|B,EE G2A|BEE BAG|FDF Adc|BEE GEE|

B,EE G2A|BdB B2A|GEE E2A:||bee BdB|dBG AGA|

Bee BdB|dBG A2A|Bee BdB dBG AGA|BcB B2A|GEE E2A||

Bee BdB|dBG AGA|Bee BdB|dBG A2f|gfe dcB|AGA BGE|

AGE DB,D|EFE E3||:EAG EDE|G3 BAG|AGE DB,D|E3 E2D|

EAG EDE|G3 BAG|AGF DB,D|1 E3 E2D:|2 E3 E2B||:

efe ded|cBA BGE|GAB d2B|AGE D2c|BAG EDE|GAB cBA|

BAG EAG|1 E3 E2B:|2 E3 E3||:Bee efg|fdf eBA|

Bee efg|fdf e2f|gfe dcB|AGA BGE|AGE DB,D|1 EFE E3:|2

EFE E2B||:edB edB|AGA BGE|edB edB|AGA B3|

edB gfe|dcB AGA|BAG EAG|1 E3 E2B:|2 E3 EGA||

                       

STREAK O' LEAN, STREAK O' FAT. Old‑Time, Breakdown. USA, north Georgia. C Major. Standard tuning (fiddle). AABB'. See related tunes “Big Footed N....r [2]," "Hell Broke Loose in Georgia" and "Possum Up a Gum Stump" [2]. Fiddler A.A. Gray and guitarist John Dilleshaw recorded four sides together in Atlanta in March, 1930, including “Tallapoosa Bound”/”Streak O’ Lean-Streak O’ Fat” and “N….r Baby”/”The Old Ark’s a’Moving.” Source for notated version: A.A. Gray (north Ga.) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; p. 231. Vocalion 5430 (78 RPM), 1930, A.A. Gray (north Georgia) {recorded with '7 Foot Dilly', AKA John Dilleshaw).

                       

STREAKING OLD FIDDLE. AKA and see “Bob Taylor’s March.”

                       

STREAM OF THE CAT. AKA and see “Sruthán a’ Chait.” “Humours of Tullycreen/Tullycrine.” Irish, Hornpipe.

 

STREAMERS ON HER HAT. AKA and see "Ta Ra Ra Boom De Ay," "I Have a Wife in Baltimore." A local southwestern Pennsylvania title.

                       

STREAMLET, THE (An Srutan). Irish, Air (4/4 time). D Major. Standard tuning (fiddle). AB. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 506, p. 89.

X:1

T:Streamlet, The

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 506

Z:AK/Fiddler’s Companion

K:D

DF|A>BAF GBdB|A2 d>e f2 D>E|FAdB cdec|d4 z2||ef|

gfe>d dcBA|d2 f>g a2 F>G|AdBe gedc|d4 z2||

                       

STREAMS IN THE VALLEY. See “Gardiner’s Favourite [1], “London Lasses [1].”

                       

STREAMS OF BUNCLODY, THE (Na Amne Bunclodaig). Irish, Air (3/4 time). G Major. Standard tuning (fiddle). AB. O'Neill (Music of Ireland: 1850 Selections), 1903; No. 338, p. 59.

X:1

T:Streams of Bunclody, The

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 333

Z:AK/Fiddler’s Companion

K:G

gf|e2d2 BA|G2G2 GA|Bc d2 dB|e2d2 gf|e2d2 BA|G2G2 GA|B3 edB|A4 gf|

e2d2 BA|G2G2 GA|Bc d2 dB|e2d2 gf|e2d2 Bc|d2 dg dB|A2G2G2|G4||GA|

B2d2 ef|g2g2 fg|a3 gfd|e2d2 gf|e2d2 BA|G2G2 GA|B3 edB|A4 gf|e2d2 BA|

G2G2 GA|Bc d2 dB|e2d2 gf|e2d2 Bc|d2 dg dB|A2 G2G2|G4||

                       

STREAMS OF KILNASPIG, THE. Irish, Jig. G Major. Standard tuning. AABB. Source for notated version: the Pat Dunne manuscript [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 173.

X:1

T:Streams of Kilnaspig (#173), The

M:6/8

L:1/8

S:Pat. Dunne manuscript

Z:Paul Kinder

K:G

B/2c/2|dcB AFA|GBd gdB|cBc AFA|GBd c2 A|

dcB AFA|GBd gdB|cBc AFA|BGG G2:|

|:c|def gfg|eag fed|cBc AFA|GBd gec|

def gfg|eag fed|cBc AFA|BGG G2:||

                       

STREAMS OF LOVELY NANCY. English, Air (3/4 time). G Major. Standard tuning. AB. “The Streams of Lovely Nancy” is a ballad found in Britain and Ireland, collected by Vaughn Williams (1905), printed in The Penguin Book of English Folk Songs. According to Stephen Roud, the earliest published versions are from around 1800, and it is likely Cornish in origin.

***

Oh, the streams of lovely Nancy are divided in three parts,

Where the young men and maidens they do meet their sweethearts;

It is drinking of good liquor caused my heart for to sing,

And the noise in yonder village made the rocks for to ring.

***

Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 4 (appears as “Angels Unawares,” the name of a dance set to the tune by Graham Christian in 2000).

 

STREAMS OF POULAPHOUCA, THE. Irish, Reel. D Major. Standard tuning. AABB. . Uilleann piper John Cash was born in Wexford in 1832 and learned piping from an uncle, James Hanrahan from Tipperary. His wife, Polly Connors, had a reputation as a renowned step-dancer.  He was tall and well-built, and “although not loquacious or boastful, he had a quick tongue and he would play anything called for without fuss or comment.” Unlike many pipers of his time Cash did not have to depend solely on his music for his livelihood, and made a comfortable living tinsmithing and dealing in horses. The turn-of-the-century revival in Irish music helped sustain him, and he took first prize at the Feis Ceoil in 1900.  The Derry Hornpipe” was so associated with him that it was locally known as “Cash’s Hornpipe” (Breathnach, 1997).

***

The Poulaphouca is a current in County Wicklow upon which there are falls which drew visitors ‘from near and far’ and proved a popular resort. Another piper, Patrick Toomey (who played a double chanter) held station at the falls busking for the visitors on Sundays and holidays (Breathnach, 1997). Source for notated version: piper John Cash (Wicklow, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Traditional Dance Music), 1914; No. 31, pg. 13.

X:1

T:Streams of Poulaphouca, The

M:C

L:1/8

C:Piper John Cash (b. 1832)

K:D

D2 ed AFDF|AFDF ABAF|dAFD ABdB|AFDF GAGE|d2 ed AFDF|

AFDF ABAF|dAFD ABdB|AFDF ED D2:|

|:AFDF AF D2|GECE GE C2|AFDF AFDF|GECE FD D2|

(3AGF DF AF D2|(3GED CE GE C2|(3AGF DF (3AGF DF|

(3GED CE FD D2:|

                       

STREAMSTOWN, THE. Irish, Single Jig. D Major. Standard tuning. AABB. Source for notated version: accordion player John Joe Gannon [Breathnach]. Breathnach (CRÉ III), 1985; No. 59, pg. 29 (appears as “Gan Ainm”/No Title).

                       

STREANNCÁN AN IASCAIRE (The Fisherman’s Lilt). AKA and see “The Fisherman’s Lilt [1].”

                       


STREET PLAYER, THE. AKA and see “Cronin’s Reel [3].” Irish, Hornpipe. D Major. Standard tuning. AABB. Composed by the late County Cavan/Philadelphia fiddler and composer Ed Reavy (1898-1988) in honor of Tom and Jim McCafferty, two street musicians of local renown in the villages of Counties Cavan and Monaghan during the early years of the 20th century. The melody is often heard nowadays played as a reel, an adaptation said to stem from Michael Coleman’s playing (Coleman was an occasional visitor to the Reavy household). Source for notated version: Colm O’Donnell (b. 1962, Aclare, County Sligo)  [Flaherty]. Armagh Piper’s Club (Play 50 Reels), 1982; No. 10, pg. 6 (appears as “Cronin’s Reel”). Cranford (Jerry Holland: The Second Collection), 2000; No. 143, pg. 54. Flaherty (Trip to Sligo), 1990; pg. 18b (appears as reel setting, “Unknown”). Reavy (The Collected Compositions of Ed Reavy), No. 112, pg. 125. Shanachie SHA 34008, Andy McGann & Paddy Reynolds (appears as part of “Reavy’s Medley,” played as a reel). Jerry Holland – “Master Cape Breton Fiddler” (1982). Seamus Tansey – “Easter Snow” (appears as “Ed Reavy’s Favourite”).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

X:1

T:The Street Player

R:Reel (originally written as a hornpipe)

C:Ed Reavy

D:Catherine McEvoy with Felix Dolan (track 10a)

M:4/4

L:1/8

K:D

AFAd ~f3c|dcde fdAF|GAFG ~E3F|GAAG FGE2|

FDA2 FDFA|BGG2 cdeg|fagf edcd|eddc d3e:|

|:f2ef d2af|gfed cdec|dfaf g2ed|cdBc agfe|

FDFA D2GF|~G3B edcB|~a3b gecd|e2dc d3z:|

                                               

STREETS OF MULLINGAR, THE. Irish, Reel. G Mixolydian. Standard tuning. AABB. McNulty (Dance Music of Ireland), 1965; pg. 16.

                       

STRICHEN HOUSE. Scottish, Slow Strathspey. G Major. Standard tuning. AGBG. Composed by Alexander A. Hardie (1876-1961) in August, 1935. Alexander Hardie, grandson of family scion William Hardie (1787-1884), was blind due to an accident but nevertheless was an accomplished fiddler in the North-East Scottish style. Hardie (Caledonian Companion), 1986; pg. 12.

                       

STRICK UPON A STROGIN. Scottish. John Glen believes that this tune, appearing in the Leyden Manuscript (1642), is the ancestral tune of "Duncan Davi(d)son" and "Ye'll Aye Be Welcome Back Again." Samuel Bayard (1981) gives lukewarm support to this idea.

                       

STRICKLAND. English, Country Dance Tune (4/4 time). G Major. Standard tuning. AB. Knowles (A Northern Lass), 1995; pg. 21.

                       

STRIKE THE BELL. English, Reel. England, Northumberland. D Major/Mixolydian. Standard tuning. AABBCCDD. Seattle (William Vickers), 1987, Part 2; No. 339. North Star RS0009, "The Wind in the Rigging: A New England Voyage" (1988).

                       

STRIKE THE COLOURS.  English, Air (3/4 time). D Major. Standard tuning. AABB. ‘Strike the colours’ = surrender the ship. The melody is unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 138.

X:1

T:Strike the Colours

M:3/4

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:D

D>D FED EFG|F>F AGF GAB|ABc def gec|dAG FGA GFE|D>D FED EFG|F>F AGF GAB|

ABc def gec|dAG FGA D2::afd AFD BGE|AFD EFG ABc|def ged cde|

dAG FGA FED|D>D FED EFG|F>F AGF GAB|ABc def gec|dAG FGA D2:||

 

STRIKE THE GAY HARP. AKA and see “Fitzpatrick’s Jig,” “Jackson’s Night Cap,” "The Night Dance,” “The Piper’s Welcome,” “Strike the Young Harp.” Irish, Jig. D Major or D Mixolydian/Major. Standard tuning. AABBCC (Harker/Rafferty, Mallinson, McNulty, Taylor): AA'BBCC (O'Neill). The tune appears to be most often played in the major rather than the modal mode. The tune first appeared as “Jackson’s Night Cap” printed in Jackson’s Celebrated Tunes, Dublin, 1774. It was recorded on a 78 RPM in the 1920’s by Sligo fiddlers James Morrison and Paddy Sweeney. Martin Mulvihill gives it as “Fitzpatrick’s Jig,” probably named after Tim Fitzpatrick, a New York accordion player and contemporary of the great Sligo fiddler Michael Coleman, who often accompanied New York fiddler Lad O'Beirne.

***

One supposes that the title refers to playing the harp in a celebratory mood, or playing music that is reflective of a convivial humor. That harpers could indeed be ‘celebratory’ is attested to by Arthur O’Neill (1734-1818), one of the last of the old itinerant Irish harpers who had been blinded at age two. He wrote in this memoirs of the Granard harp competitions he participated in at the end of the 18th century: “After this first [1781] Ball was ended I became a favourite in and about Granard, where I remained about four months, where my company was much sought for. I will not attempt to say how I deserved such attention, only that I was then more cautious of avoiding inebriation than the other harpers and kept as little of their company as possible.”

***

Source for notated version: New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Harker (300 Tunes from Mike Rafferty), 2005; No. 209, pg. 64. Mallinson (Enduring), 1995; No. 29, pg. 12. McNulty (Dance Music of Ireland), 1965; pg. 22. O'Neill (Krassen), 1976; pg. 62. O’Neill (Music of Ireland), 1903; No. 1052. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 256. Taylor (Through the Half-door), 1992; No. 53, pg. 38. Green Linnet GLCD  1211, Kevin Crawford – “In Good Company” (2001). Maggie’s Music MM220, Hesperus – “Celtic Roots.” Shanachie 79023, "Chieftains 3" (1971/1982). Shaskeen - "Joys of Life."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Strike the Gay Harp

T:Strike the Young Harp

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1903), No. 1052

Z:AK/Fiddler’s Companion

K:Amin

c>AA B>GG|AGF E>DC|c>AA B>GG|cGE DEG|c>de A>Bc|GAF E2D|

C>CC C2E|GEC DEG||cde e^fg|gag gec|cde e^fg|afd dBG|cde g2g|

a^f/g/a/f/ g2=f|e>dc ced|cGE DEG||ced ced|cGF EDC|ced ced|cGE DEG|

cde A>Bc|GAF E2D|C>CC C2E|GEC DEG|

                       

STRIKE THE YOUNG HARP (Ceinm Suas an Cruit Og). AKA and see “Fitzpatrick’s Jig,” “Jackson’s Night Cap,” "The Night Dance," “The Piper’s Welcome,” “Strike the Gay Harp.” Irish, Jig. A Minor ('A' part) & C Major ('B' and 'C' parts). Standard tuning. ABC. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1052, pg. 198.

X:1

T:Strike the Gay Harp

T:Strike the Young Harp

M:6/8

L:1/8

R:Jig

S:O’Neill – Music of Ireland (1907), No. 1052

Z:AK/Fiddler’s Companion

K:Amin

c>AA B>GG|AGF E>DC|c>AA B>GG|cGE DEG|c>de A>Bc|GAF E2D|

C>CC C2E|GEC DEG||cde e^fg|gag gec|cde e^fg|afd dBG|cde g2g|

a^f/g/a/f/ g2=f|e>dc ced|cGE DEG||ced ced|cGF EDC|ced ced|cGE DEG|

cde A>Bc|GAF E2D|C>CC C2E|GEC DEG|

                       


STRIKE UP, YE LUSTY GALLANTS. Irish, Air (6/8 time, "spirited"). G Major. Standard tuning. One part. "The ballad with this title appears to be of English origin, and as such it is mentioned in Chappell's Popular Music of the Olden Time. It celebrates a sea fight between an English warship‑‑the Rainbow'‑‑and a pirate vessel commanded by 'Bold Captain Ward' in which the captain was defeated and taken prisoner. I heard the ballad sung in my native place in my youth to the air given below, with which also I give three verses from memory. The uniform tradition among the people whom I heard sing the song was that Captain Ward was an Irishman, one of the family of Ward or Mac‑an‑Bhaird of Donegal. But whatever may be thought of his nationality or about that of the ballad, the air I give here is Irish, and is quite different from the one given by Chappell" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 136, pgs. 69‑70.

 

STRING TOWN [1]. Old‑Time, Breakdown. G Major. Standard tuning. AABB. Ford (Traditional Music in America), 1940; pg. 98.

X:1

T:String Town [1]

M:2/4

L:1/8

R:Breakdown

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:G

D>[GB][G/B/] [GB]B/c/|dd/d/ b/a/[G,G|D>[FA][F/A/] [FA]A/B/|[Dc][D/c/][D/c/] B/A/[GB]|

D>[GB][G/B/] [GB]B/c/|dd/d/ B/A/[GB]|D/F/A c/B/A|[GB][G/B/][G/B/] [GB]:|

|:e/f/|gd/d/ Bd/d/|gd/d/ Bd/d/|ed/d/ fd/d/|aa/b/ a/f/e/f/|

gd/d/ Bd/d/|gd/d/ Bd|D/F/A c/B/A|[GB][G/B/][G/B/] [GB]:|

 

STRING TOWN [2]. See "Stringtown."

 

STRINGTOWN. Old-Time, Breakdown. G Major. Standard tuning. AABB. Source for notated version: John Hartford [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 232.

 

STRIP OF TURF.  AKA and see “Ciumhais na Móna.”

 

STRIP POLKA. American (?), Polka. G Major. Standard tuning. AA. The title is a mildly off-color pun of ‘strip-poker’. Source for notated version: Ernest Nepveu (Suncook, N.H.) via transplanted French-Canadian fiddler Omer Marcoux {1898-1982} (Concord, N.H.) [Miskoe & Paul]. Miskoe & Paul (Omer Marcoux), 1994; pg. 42.

 

STRÓIC AN CEAILEACÓ. AKA and see "Tear the Calico [1]."

 

STRÓIC INA GHIOBAIL É. AKA and see “Tear it to Rags.”

 

STROKESTOWN LASSES.  Irish, Reel. G Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 185, pg. 43.

 

STROLLING MASON, THE (“An Saorcloic Sduipeal” or “An Raibuire Raoin”). Irish, Air (4/4 time). D Mixolydian/G Major (O’Neill): F Dorian/E Flat Major (Stanford/Petrie). Standard tuning. AB. Sources for notated versions: Mary Madden and Frank Keane [Petrie]; Chicago Police Sergeant James O’Neill, a fiddler originally from County Down and Francis O’Neill’s collaborator [O’Neill]. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 395, pg. 69. Stanford/Petrie (Complete Collection), 1905; Nos. 464, 1070 & 1071, pgs. 117 & 271.

X:1

T:Strolling Mason, The

M:C

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 395

Z:AK/Fiddler’s Companion

K:G

EG|ABAG E2D2|EGAB c2 BA|GABG A2 GE|(D4 D2) EG|ABAG E2D2|EGAB c2 Bc|

dedA B2A2|G4||BA|GABc d2 Bd|e2 ce d2 BA|GABc A2 GE|(D4 D2) EG|ABAG E2 D2|

EGAB c2 Bc|dedA B2A2|G4||

 

STROMKARLN'S POLSKA. AKA and see “Hins Polska,” “Nackens Polska.” Swedish. AEac# tuning. The tune, whose name could be translated as “The Devil’s Polska,” features plucked or pizzicato notes in succession on the open 1st, 2nd and 3rd strings.  

 

STRONE JOHNNY. AKA and see The Blackthorn,” "The Irishman's Blackthorn Stick," "Clear the Road," “The Countess of Louden(’s Reel),” "Inch of Garth" “Jack McGuire,” "The Jolly Clam-Diggers," “The Old Blackthorn,”  "The Rising Sun [2]," “Rising of the Sun” (Eiri na Greine). Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: Rod Miller (Antrim, N.H.) [Miller]. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 2, No. 62. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 106.  Na Fili - "Farewell to Connacht" (1971).

X:1

T:Strone Johnny

M:4/4

L:1/8

K:G

G2BG DGBG|G2Bd cAFA|~G3B dGBc|defd cAFA|G2BG DGBG|

G2Bd cAFA|GBB2 dBB2|defd cAFA:: dggf g2fg|add2 adfd|dggf g2fe|

defd cAFA|dggf g2fg| agab agfe|dgg2 bgg2|defd cAFA :|

 

STRONG STEED, THE (An Stail Graoi). Irish, Slow Air (3/4 time). G Minor/G Dorian. Standard tuning. AAB. Source for notated version: "Ned Goggin the professional fiddler of Glenosheen Co. Limerick (1844 to 1850)" {Joyce}. Joyce (Old Irish Folk Music and Song), 1909; No. 164, pg. 83.

X:1

T:Strong Seed, The

T:An stail graoi

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler's Companion

N:"Slow and with expression"

K:Gmin

Bc|d2 d>c BG|G2 cB GA|F2G2 Bc|d2 d>c BG|{E}F2G2 G>A|G4:|

GA|B>A Bc d=e|f2 g>fdc|d>cBGGA|B>ABc d=e|f2g2 a>g|g4 ag|

fdg<fdc|BGc>BG=E|F2G2 g<f|e2 dc BG|{E}F2G2 G<A|G4||

                                   

STRONSAY WALTZ, THE. Scottish, Waltz. Scotland, Orkney Islands. The Island of Stronsay is one of the Orkneys. The tune, a fairly recent composition, was composed by a musician named Chalmers. Greentrax CDTRAX 9009, Pat Shearer - "Scottish Tradition 9: The Fiddler and his Art" (1993).

X: 1

T: Stronsay Waltz

M:3/4

R:waltz

L:1/8

D: Boys of the Lough, Farewell and Remember Me

Z:added by Alf warnock@magma.ca

N: Play with pronounced "swing"

K:A

ed|:"A"c3B cd|e2 c2 A2|"D"d3c de|f2 a2 af|

"A"e2 c2 B2|"F#m"A2 B2 c2|"Bm"B6-|B4 ed|

"A"c3 B cd|e2 c2 A2|"D"d3 c de|f2 a2 af|

"A"e2 c2 A2|"E7"B4 e2|"A"A6-|A4 e2:|

"A"a3g af|e2 c2 A2|"D"d3c de|f2 a2 af|

"A"e2 c2 B2|"F#m"A2 B2 c2|"Bm"B6-|B4 e2|

|1 "A"a3g af|e2 c2 A2|"D"d3c de|f2 a2 af|

"A"e2 c2 A2|"E7"B4 e2|"A"A6-|"A"A4 e2:|

|2 "A"c3B cd|e2 c2 A2|"D"d3c de|f2 a2 af|

"A"e2 c2 A2|"E7"B4 e2|"A"A6-|A6|]

                       

STROP THE RAZOR [1] (Cuir Faobar Air an Sgian-Bearrta). Irish, Double Jig. G Major (Cole, O'Neill, White): B Flat Major (Howe, Joyce). Standard tuning. AABB (most versions): AABBCC (Kennedy). See also similar melodies: "The Heart of My Kitty Still Warms to Me," "Linehan's Rambles," "Murray's Maggot," "Petticoat Loose [2]," "Young Ettie Lee." 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: "From James Buckley, a Limerick piper" [Joyce]. Cole (1000 Fiddle Tunes), 1940; pg. 60. Howe (1000 Jigs and Reels), c. 1867; pg. 19. Joyce (Ancient Irish Music), 1890; No. 94, pg. 96. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 179, pg. 42. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1092, pg. 206. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 285, pg. 62. Ryan's Mammoth Collection, 1883; pg. 89. White's Unique Collection, 1896; No. 7, pg. 2. PTI 1041, James & John Kelly - "Irish Traditional Fiddle Music."

X:1

T:Stop the Razor [1]

M:6/8

L:1/8

R:Jig

S:O'Neill - Dance Music of Ireland: 1001 Gems (1907), No. 285

Z:AK/Fiddler's Companion

K:G

D | DGG BAG | AFD FDC | DGG BAG | Add cAG | DGG BAG |

AFD F2G | FED F2G | Add cAG :: DGG G2A | DFF F2G | DGG GFG |

Add cAG | DGG G2A | DFF F2G | FED F2G | Add cAG :|

 

STROP THE RAZOR [2] (Cuir Faobar Air an Sgian-Bearrta). AKA - "Strap the Razor." Irish, Double Jig. G Major. Standard tuning. AABBCC (O'Neill/Krassen): AA'BBCC' (Mitchell): ABCD (O'Neill/1850): AABBCCDD (O'Neill/1001). The similar words 'strap' and 'strop,' which mean the same thing and both appear in American English, stem from regional dialect retained in the language; the New Englander says 'strap' when pronouncing strop, just as he or she does when saying 'drap' for 'drop.' Petrie (1855) identifies the tune as "a Munster jig." Philippe Varlet notes its age, remarking that the tune appears in 18th century collections and ballad operas. Sources for notated versions: piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]; Mr. Michael Kilkelly of Athlone, 1889 [Joyce]. Joyce (Old Irish Folk Music and Songs), 1909; No. 202, pg. 100 (appears as untitled jig). Mitchell (Dance Music of Willie Clancy), 1993; No. 29, pgs. 44-45. O'Neill (Krassen), 1976; pg. 76. O'Neill (Music of Ireland: 1850 Melodies), 1979; No. 1093, pg. 206. O'Neill (Dance Music of Ireland: 1001 Gems), 1986; No. 286, pg. 62. Stanford/Petrie (Complete Collection), 1905; No. 925, pg. 235. Claddagh Records CC17, Sean Keane - "Gusty's Frolics" (1975. Learned from Willie Clancy).

X:1

T:Strop the Razor

L:1/8

M:6/8

N:The parts are reversed from the usual

S:Joyce - Old Irish Folk Music (1909), No. 202

Z:AK/Fiddler's Companion

K:C

{G/A/B/} c3 cec|dBG G2A|_BGA B2 c|dgg fdB|c3 cec|dBG G2A|_BGA B2c|

dgg fdc||cBc edc|dcd fdB|cBc edc|dgg fdB|cBc edc|dcd fdc|_BGA B2c| dgg fdc||

X:2

T:Strop the Razor

L:1/8

M:6/8

S:O'Neill - Dance Music of Ireland: 1001 Gems (1907), No. 286

Z:AK/Fiddler's Companion

K:G

G>AG GBG|AFD DFD|G>AG G2B|Add cAF|G>AG GBG|AFD DFD|FDE F2G|Add cAF:|

|:GDG G2A|FDF F2A|GDG G2B|Add cAF|GDG G2A|FDF FGA|cAG FGA|Add cAF:|

|:G/A/B/^c/d/e/ f2d|aba/g/ f2d|cAG FGA|Add cAF|G/A/B/^c/d/e/ f2d|aba/g/ f2d| cAG FGA|Add cAF:|

|:G3 BGG|AGG BGG|G>AG BGG|Add cAF|G>AG BGG|FDE F2G|FDE F2G|Add cAF:|

X:3

T:Strop the Razor

M:6/8

L:1/8

S:David Kidd

Z:Lorna LaVerne

K:G

|:BGG AGG | BGG A2G | DGG G2F | DGG G2A |

BGG AGG | BGG A2G | D2E F2G | ADE FGA:|

|:dBB cAA | dBB cAA | DGG G2F | DGG G2B |

dBB cAA | dBB cAA | D2E F2G | ADE FGA:|

|:B3 cBc | d3 dBd | ~g3 gaf | gaf gdc |

~B3 cBc | d3 d2e | ~f3 fde | fag fdc:|

B2G A2F | G3 G3 |

 

STROP THE RAZOR [3]. Irish, Double Jig. G Major/Mixolydian ('A' part) & D Minor ('B' part). Standard tuning. AABB. Roche's version combines elements of versions #1 and #2. The 'A' part is very similar to O'Neill's "Strop the Razor [1]". Kerr (Merry Melodies), vol. 1; No. 43, pg. 39. Roche Collection, 1982, vol. 1; No. 103, pg. 44 (appears as "Strap the Razor").

X:1

T:Strap the Razor

R:Jig

D:Dun Creagan Live in Switzerland

Z:Rick Gagne

L:1/8

M:6/8

K:G

DGG BAG | AFD FDC | DGG BAG | Add cAG |

DGG BAG | AFD D2E | ^FDE ^F2G | Add cAG :||

Ade =f2g | a_bg =f2d | cAG =FGA | Add cAG |

Ade =f2g | a_bg =f2d | cAG =FGA | Ad/c/A g3 :||

                       

STRUAN ROBERTSON('S RANT) [1]. AKA and see "Cuckold come out of the Amrey," "David Rae." Scottish, Strathspey. E Minor (most versions): E Dorian (Bremner). Standard tuning.  AABB (Bremner): AABBC (Kerr): AABBCCD (Athole): AABBCCDD' (Skye). A good example of the form strathspey rant. John Glen (1891) finds the earliest appearance of the tune in print in either Stewart's 1761 collection (pg. 19) or Robert Bremner's collection (pg. 17). "Struan Robertson" is known in Northumberland under the title "Cuckold come out of the Amrey." One version also appears in the Gillespie Manuscript of Perth, 1768. Struan is a placename in Perthshire, a region known for its harpers in the 17th century. The Robertsons were Lairds of Lude in Perthshire. The widow of one of the lairds, John Robertson, himself having passed away in 1731, lived long enough to enthusiastically entertain Bonnie Prince Charlie at Lude in 1745, where he dallied to dance strathspeys and reels before campaigning in his unsuccessful bid for the throne.  Lady Lude was said to have been so excited that she behaved "like a light giglet" and that she was "so elevated while she was about the Young Pretender that she looked like a person whose head had gone wrong" (Sanger & Kinnaird, Tree of Stings, 1992). Bremner (A Collection of Scots Reels), 1757; pg. 17. Gow (1st Repository), 1799; pg. 2. Kerr (Merry Melodies), vol. 1; Set 4, No. 1, pg. 5. MacDonald (The Skye Collection), 1887; pg. 79. Stewart-Robertson (The Athole Collection), 1884; pg. 248. Surenne (Dance Music of Scotland), 1852; pgs. 62-63. Rounder 3067, Alan Stivell - "Renaissance of the Celtic Harp" (1982). Rounder 82161-7032-2, Bill Lamey - "From Cape Breton to Boston and Back: Classic House Sessions of Traditional Cape Breton Music 1956-1977" (2000).  Rounder 7059, Alex Francis MacKay with Gordon MacLean - "Gaelic in the Bow" (2005).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Struan Robertson's Rant

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler's Companion

K:Emin

e|E/E/E G>A B>A B<d|D/D/D F>E D/E/F/G/ A<F|E/E/E G>A B>A B<e|d>BA>F E/E/E E:|

|:g|e>fg>e b>eg>e|f<d d>f a/g/f/e/ d>f|e>fg>e b>eg>e|d>BA>F E/E/E E:|

|:B|G>BE>B G>BE>B|F>AD>A F>AD>A|G>BE>B G>BE>g|f>da>f e/e/e e:|

f|g>be>b g>be>b|f>ad>a f>ad>a|g>be>b g>be>g|f>da>f e/e/e e>f|

g>be>b g>be>b|f>ad>a f>ad>f|g>bf>a e>fd>f|d/^c/B/A/ d<F E/E/E ~E||

 

STRUAN ROBERTSON'S RANT [2]. Scottish, Reel. A Mixolydian. Standard tuning. AAB. McGlashan (A Collection of Reels), c. 1786; pg. 20

X:1

T:Struan Robertson's Rant

L:1/8

M:C|

S:McGlashan - Reels

Z:AK/Fiddler's Companion

K:Amix

e|ceAe cAec|Bgdg BGdG|ceAe cAae|fdgB A/A/A e:|

dega beea|gedg BGdB|dega beeg|fdgB A/A/A e2|dega beea|

g>edg BGdB|dega bgae|fdgB A/A/A e2||

                       

STRUAN ROBERTSON [3].  Scottish, Reel. E Major. Standard tuning. AABB. Composed by Scottish national champion fiddler Arthur Scott Robertson, of the Shetland Islands. Miller (Fiddler's Throne), 2004; No. 251, pg. 152. Spectrum Records FLP 5015, Arthur Scott Robertson - "Scotland's Champion Fiddler" (1975).

 

STRUMMIN' ON THE OLD BANJO. Old-Time, Breakdown. G Major. Standard tuning. AB. Source for notated version: J.P. Fraley (Rush, Kentucky) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 151.

                       

STRUY LODGE. Scottish, Reel. A Major. Standard tuning. AB. Composed by Pipe Major W. Ross. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 20. Temple TP021, Battlefield Band - "On the Rise" (1986).

                       

STU MO RUN. Scottish, Air (4/4 time). D Minor. Standard tuning. ABB. Martin (Taigh na Teud), 1990; pg. 9.

X:1

T:Stu mo run

M:4/4

L:1/8

R:Air

K:Dmin

D>E F>G A3F|G3 F E2C2|D>E F>G A3A|c3d A4|c2d A2F2|

G3F E2C2|D>E F>G A3F|AG FE D4||

|:D2 DC A,4|C2 CD E2C2|D2 DC A,4|C2E2 D4:|

                       

STUART LONGBOW. Old-Time, Breakdown. D Major. Standard tuning. AA'BB. Source for notated version: Pete Sutherland (Vermont) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 232.

                       

STUART LUNDY'S TUNE. Old-Time, Breakdown. D Major. Standard tuning. AB. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 152.

                       

STUART'S RANT(, THE). AKA and see Dick a Dollis,” “Lady Jane Stuart’s Rant,” “Stewart’s Rant,” “Was Yow at the Wedding.” Scottish, Rant. A Mixolydian. Standard tuning. AABB. The melody appears in the Bodleian Manuscript (in the Bodelian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740." John Glen (1891) also finds the tune in Robert Bremner's 1757 collection. Bremner (Scots Reels), c. 1757; pg. 45. Glen (The Glen Collection of Scottish Music), vol. 1, 1891; pg. 1. Hunter (Fiddle Music of Scotland), 1988; No. 254. S. Johnson (A Twenty Year Anniversary Collection), 2003; pg. 42. Maggie's Music MMCD222, Bonnie Rideout - "Scottish Fire" (2000).

X:1

T:Stuart's Rant, The

M:C

L:1/8

R:Reel

S:Bremner- Scots Reels (c. 1757)

Z:AK/Fiddler's Companion

K:A Mixolydian

e | (c/d/e) (f/g/a) "tr"e2 dc | dBgB aBgB | (c/d/e) (f/g/a) "tr"e2 dc | dBgB aAA :|

|: e | "tr"cA A/A/A "tr"cAcA | BE E/E/E BEBe | "tr"cA A/A/A "tr"cAcA | BE E/E/E aAA :|

 

STUBBERT'S JIG, THE. AKA and see "Sir Wilfred Laurier's [2]."

 

STUCK IN THE MUD. AKA and see "Missouri Mud."

 

STUMBLING FIDDLER, THE.  American, Jig. USA, New Hampshire. D Major. Standard tuning. AABB. Composed by Ralph Page (1903-1985, New Hampshire), the "dean of the contra dance callers," and a seminal figure in New England traditional dance and music for 40 years (see www.izaak.unh.edu/nhltmd/pagehome.htm). Miller (Fiddler's Throne), 2004; No. 106, pg. 72. Page (Northern Junket), vol. 4, No. 2, 1953.

 

STUMP TAIL DOG [1] . Old-Time, Breakdown. G Major. Standard tuning. AB (Silberberg): AA'BB (Phillips). Sources for notated versions: Brian Hubbard [Phillips]; Geff Crawford [Silberberg]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 232. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 152.

 

STUMP TAIL DOG [2]. Old-Time, Breakdown. A Major. Standard tuning. AA'BB'. Source for notated version: John Hartford, who had the tune from Howdy Forrester, who learned it from his Uncle Bob [Devil's Box]. Devil's Box, vol.. 22, No. 2, Summer 1988; pg. 48.

X:1

T:Stump Tailed Dog

L:1/8

M:2/4

S:Howdy Forrester, learned from his Uncle Bob, transcribed by John Hartford

K:E

bg/e/ f/e/f/g/|bg/e/ f>f|f/f/g/f/ ec|e/ee/ ee|bg/e/ f/e/f/g/|bg/e/ fe/g/|a/g/a/f/ e/c/B/c/|1

A/AB/ A2:|

L:1/8

M:2/8

|2 A>A||

K:A

L:1/8

M:2/4

A,A c>B|c/B/(3c/B/A/ FA|B/A/B/A/ cB|

L:1/8

M:2/8

AF/E/|

L:1/8

M:2/4

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STUMP TAIL DOLLY. AKA and see "Stumptown Dolly."

 

STUMPIE/STUMPEY. AKA - "Reel of Stumpie." AKA and see "Buttered Peas(e) [1]," Highland Wedding [1] (A' Bhanais Ghaidhealach),"” "Jack's Be The Daddy On't," "No Man's Jig,"  "Reel of Stumpie," "The Rosses Highland." Scottish (originally), Canadian, English; Strathspey. Canada; Cape Breton, Prince Edward Island. G Major (Dunlay & Greenberg, Dunlay and Reich, Perlman, Sweet): A Major (Athole, Gow, Honeyman, Hunter, Kennedy, Raven, Skye, Surenne). Standard tuning. AB (Honeyman, Surenne): AAB (Dunlay & Greenberg, Dunlay and Reich): AABB (Hunter, Kennedy, Perlman, Raven, Skye, Sweet): AABB' (Athole): AABBCCDDEEFF (Gow). "A very old tune" (Gow). The earliest recorded appearances of this double-tonic tune are in John Walsh's Caledonian Country Dances, book 1, c. 1743-44 (under the title "Butter'd Pease"), and in David Young's Duke of Perth Manuscript (AKA the Drummond Castle MS) which predates it, having been printed in 1734. William Stenhouse stated the "Reel o' Stumpie" was in the ballad opera The Female Parson (1729) under the title "Jockey has gotten a wife," though John Glen (Early Scottish Melodies, p. 201-2) said that the "Jockey..." tune was an entirely different melody. Bruce Olsen finds they were both right as the titles "Butter'd Peas" (Stumpie) and "Jockey has gotten a wife" were switched around in The Female Parson.  Olson also finds "Stumpie" employed in the ballad operas The Boarding School (1732), Achilles (1733), The Decoy (1733) and The Whim (1734). It is usually rendered in the key of 'A' Major in Scottish versions, but the Mabou (Cape Breton) version is in 'G' and is played a bit differently (Dunlay & Reich). Some melodic material from "Stumpie" is shared with "Lady Betty Wemyss' Reel;" as James C. Dick states, they cover the "same subject."

***

The tune was used, as so many famous Scots melodies were, by Robert Burns for one of his revisions of a Scots song (No. 457 in Johnson's Scots Musical Museum {1796}). This song is also published in Dick's The Songs of Robert Burns (1903, No. 205) though he omitted parts he apparently deemed too risqué for the times. Charles Gore gives that the tune (or song) had been previously published as "Hap and row the Feetie o't," and that Burns reworked the material as he did with numerous other older songs. These lyrics appear in The Merry Muses of Caledonia:

***

Wap and row, wap and row,

Wap and row the feetie o't

I thought I was a maiden fair,

Till I heard the grettie o't

***

My daddie was a fiddler fine,

My minnie she made mantie O,

And I mysel a thumpin quean,

And try'd the reel of stumpie O.

***

Lang kail, pease and leeks,

They were at the kirst'nin' o't,

Lang lads wanton breeks,

They were at the getting o't.

Wap and row, &c.

***

The Bailie he gaed farthest ben,

Mess John was ripe and ready o't,

But the Sherra had a wanton fling,

The Sherra was the daddie o't.

Wap an' row, &c.

***

The Burns lyrics go:

***

Hap and row, hap and row,      

Hap and row, the feetie o',t

I thocht I was a maiden fair

Till I heard the greetie o't.

My daddy was a fiddler fine,

My minnie she made mankie-o;       (mankie=calamanco, a silk-wool material)

And I mysel' a thumpin' quean,     

Wha danced the reel o' Stumpie O.

***

Gossip cup, the gossip cup,

The kimmer clash and caudle-O;    

The glowin moon, the wanton loon,

The cuttie-stool and cradle-O.      

Douce dames maun hae their bairn-time borne,

Sae dinna glower sae glumpie-O,

Birds love the morn and craws love corn,

And maids the reel o' Stumpie-O.

***

Dunlay and Greenberg (1996) report that Scots bagpiper Hamish Moore feels that the modern march "Highland Wedding" was derived from "Stumpie" and that he supplies a Gaelic title for the tune, "'Buail gu dluth le'd chluigean mi', meaning "strike me incessantly with your {?}." Some have noticed similarities in the Irish polka “Bill Sullivan’s.”

***

Sources for notated versions: Donald Angus Beaton (Mabou, Cape Breton) [Dunlay & Greenberg]; Paul MacDonald (b. 1974, Charlottetown, Queens County, Prince Edward Island) [Perlman]. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. 2, 1785; No. 44. Carlin (Gow Collection), 1986; No. 221. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 93. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 59. Gow (The First Collection of Strathspey Reels), 1784 (revised 1801); pg. 30. Gow (The Beauties of Niel Gow), Part 3, 1819. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 34. Hunter (Fiddle Music of Scotland), 1988; No. 150. Johnson (A Further Collection of Dances, Marches, Minuetts and Duetts of the Latter 18th Century), 1998; pg. 16. Kennedy (Fiddler's Tune Book), vol. 2, 1954; pg. 16. Kerr (Merry Melodies), vol. 1; Set 6, No. 3, pg. 6. Lowe (A Collection of Reels and Strathspeys), 1842. MacDonald (The Skye Collection), 1887; pg. 4. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 188. Raven (English Country Dance Tunes), 1984; pg. 168. Stewart-Robertson (The Athole Collection), 1884; pg. 13. Surenne (Dance Music of Scotland), 1852; pgs. 88-89. Sweet (Fifer's Delight), 1965/1981; pg. 57. Also found in many old collections. Beltona BL2128 (78 RPM), The Edinburgh Highland Reel and Strathspey Society (1936). Celtic CX 45, Wilfred Gillis - "Arisaig Airs." CTRAX 073, Hamish Moore - "Stepping on the Bridge/Daansa' air an Drochaid" (1994). DAB4-1985, Donald Angus Beaton- "A Musical Legacy" (1985. Appears as "A Mabou Strathspey"). JC 126, John Campbell- "Cape Breton on the Floor" (1981. Appears as "Traditonal Strathspey"). Smithsonian Folkways Records, SFW CD 40507, The Beaton Family of Mabou - "Cape Breton Fiddle and Piano Music" (2004). STEPH 1-94, Stephanie Wills - "Tradition Continued" (1994).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

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

X:1

T:Stumpie

M:C

L:1/8

S:Strathspey

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

Z:AK/Fiddler's Companion

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|:d|c>e e>d/c/ d>f f>e/d/|c>e e>d/c/ f<B B>d|1 c>e e>d/c/ d>f f>ed|c>eB>d c<AA:|2

c>e a2 b/a/g/f/ a2|c>aB>d c<AA||

                       

STUMPTAILED DOG [1]. See "Stump Tailed Dog."

                       

STUMPTAILED DOG [2]. AKA and see "Dolly."

                       

STUMPTOWN DOLLY. AKA and see "Dolly," "Stump Tail Dolly." USA, Eastern Kentucky. Old-Time, Breakdown. G Major. Standard tuning. AAAABB. An eastern Kentucky regional tune. See note for "Dolly." An influential recording made of the playing of Magoffin County, eastern Kentucky, fiddler W.M. Bill Stepp by Alan and Elizabeth Lomax for the Library of Congress on October 26, 1937. Source for notated version: Bruce Molsky [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 233. 5 String Productions 5SPO5002, Hoover Uprights - "Known for their Reputation" (2006. Appears as "Stumptailed Dolly," a version learned "mostly" from the W.M. Stepp recording).

 

STUMPTOWN STOMP. Old-Time. USA, Texas. G Major. Standard tuning. AABB. The tune was composed by Texas fiddler Eck Robertson, who recorded in the 1920's. Source for notated version: Eck Robertson (Texas) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 233. County 202, "Eck Robertson: Famous Cowboy Fiddler."

                       

STURGAN BRAE. Irish, Reel. D Major. Standard tuning. AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 40.

                       

STURGEON TEA, THE. AKA and see "Pigeon on the Gate [2]."

 

STYBARROW CRAG. English, Country Dance Tune (4/4 time). England, North-West. A Major. Standard tuning. AABB. Knowles (A Northern Lass), 1995; pg. 7.

 

STYLE OF BALLYLANDERS. Irish, Reel. The melody belongs to the "Reel of Bogie" family of tunes. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 9.

 

STYLE OF THE LAST CENTURY, THE. AKA - "An seann stoile." Scottish, Slow Strathspey. D Minor. Standard tuning. AAB. This tune "is an attempt of the editor to imitate the style of the last century" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 186, pg. 76.

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T:Style of the Last Century, The

T:An seann stoile

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R:Strathspey

S:Fraser Collection

Z:AK/Fiddler's Companion

K:D Minor

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C<A, A,>^C D2 Df|c>A A<c F<F c>A|f>ed>c (A/c/)d/e/ f<d|c>A E<A F<AE<A|C<A, A,>^C D2D||

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