The Fiddler’s Companion

© 1996-2010 Andrew Kuntz

_______________________________

HOME        ALPHABETICAL FILES       REFERENCES

 

SU - SV

[COMMENT1] 

 

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]

 

 

[COMMENT2] 

[COMMENT3] [COMMENT4] SUAN AGUS LAGAN. AKA and see “Gabhaidh Sinn an Rathad Mor,” “Stewart’s March.”

                                      

SUANTRAI CIARRAIGHE. Irish, Air (4/4 time). A Minor. Standard tuning. AAB. Roche Collection, 1982, vol. 3; No. 28, pg. 8.

           

SUANTVAIDHE. Irish, Air (4/4 time). G Dorian/F Major. Standard tuning. AB. The tune is identified in Howe as a lullaby. Howe (1000 Jigs and Reels), c. 1867; pg. 21.

X:1

T:Suantvaidhe

M:C

L:1/8

R:Air

S:Howe – 1000 Jig’s and Reels (c. 1867)

Z:AK/Fiddler’s Companion

K:Gdor

GA | B2A2B2 GA | B2 c>A B3B | c2G2 AGFE | G2F2F2 EF | G2G2 AGFE |

F2G2 e2 de | f2 ed cedc | =B2G2 A2 GF || E2G2 _BGFE | G2F2F4 |
E2G2 BGFE | G2F2F2 EF | G2G2 AGFE | F2G2e2 de | f2 ed cedc | =B2G2G2 ||

                       

SUAS AGUS SÍOS AN STAIGHRE. AKA and see “Up and Down the Stairs.”

 

SUAS AGUS SIOS ARIS. AKA and see "Up and Down Again."

 

SUAS AN STAIGHRE LEAT. AKA and see "Trip it Up Stairs [1]."

 

SUBAN NI MIC AEDA. AKA and see "Sally Magee."

 

SUBLIME WAS THE WARNING. AKA and see "(A) Sprig of Shillelagh [1]."

SUBSTITUTE WALTZ. Old‑Time, Waltz. USA, Oklahoma. In this case the melody was used to substitute for the "Tulsa Waltz [1]." G Major. Standard tuning. AB. Source for notated version: Max Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 155.

 

SUCCESS TO THE CAMPAIGN. AKA and see “Bath Frolick,” "The Successful Campaign." English, American; Reel. USA, New England. G Major. Standard tuning. AB (Barnes): AABB most versions). Johnson (1988) dates the tune to c. 1793, and prints contra dance instructions for it. However, it is not difficult to establish that the tune predates that year, for it was reliably reported to have been danced in 1780 at a ball given in Newport, Rhode Island, for George Washington and his staff. Arthur Tuckerman reports in his book When Rochambeau Stepped Ashore; A Reconstruction of Life in Newport in 1780 (Newport, Rhode Island, 1955, pp. 20-21) that “…asked to call the tune, [Gen.] Washington deferred to his beautiful partner [Ms. Margaret Champlain]. ‘A Successful Campaign’ she cried and Rochambeau and his aides took the instruments from the musicians and played that popular, and, in this instance, prophetic dance measure.” The dance must have been extremely popular that year, for it is referenced again by a French military engineer, the Marquis de Chastellux, after attending an assembly (i.e. ball) in Philadelphia on December 14th,  1780 (when the active theater of conflict in the American Revolution had moved south). He remarked that: “These dances, like the ‘toasts’ we drink at table, have a marked connection with politics: one is called ‘the success of the campaign’, another ‘Burgoyne’s defeat’, and a third, ‘Clinton’s retreat’…” (see Howard C. Rice Jr. ed. Travels in North America in the Years 1780, 1781 and 1782 by the Marquis de Chastellux, Chapel Hill, UNC Press, 1963, vol. 1, pg. 177).

***

In fact, the tune first appeared in London in John Walsh’s Twenty-Four Country Dances (1764), the publication Twenty-Four Country Dances for the Year 1769, and was reprinted in Thompson's 200 Country Dances, volume III (1773). In the latter publication the alternate title “Bath Frolick” is given. It proved so popular a dance melody that nearly every manuscript collection after 1769 included it, well into the next century. It is no exaggeration to say the “The Successful Campaign” was one of the ‘top hits’ of the country dance era. For example, it appears in the American manuscripts of John Greenwood 1785 (pg. 48), Aaron Beck, Joseph Cabot (Cambridge, Mass., 1784), Elizabeth Van Rensselaer’s 1782 copybook, and in Captain George Bush’s manuscript from the Revolutionary War, among many others.  The melody also appears in the late 18th century manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a musician and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Dance instructions for “The Successful Campaign” appear in a variety of period publications on both sides of the Atlantic. It was employed as a marching tune as well as a country dance, and its appearance in many fife manuscripts and publications indicate martial use.

***

In England, “Success to the Campaign” appears in the 1770 music manuscript collection of Northumbrian musician William Vickers. Matt Seattle (1987) points out that this tune closely resembles (especially in the 2nd strain) Vickers' version of "The Tipp Staff." Source for notated version: the MS collection of Captain George Bush (1753?-1797)  [Keller]. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 124. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 13.  Johnson (Twenty-Eight Country Dances as Done at the New Boston Fair), vol. 8, 1988; pg. 8 (appears as "The Successful Campaign"). Seattle (William Vickers), 1987, Part 3; No. 566. Sweet (Fifer’s Delight), 1965/1981; pg. 72 (appears as "A Successful Campaign"). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 176.

X:1

T:Success to the Campaign

M:C|

L:1/8

R:Reel

Z:AK/Fiddler’s Companion

K:G

G2 GB A2 Ac | BGBd g4 | gfed edcB | c2 AG GFED | G2 GB A2Ac | BGBd g4 |

g2 ge f2fd | e2 e^c d4 :: d2 e=f e2d2 | c2B2c2A2 | c2 ce d2c2 | B2A2B2G2 |

G2GB A2Ac | BGBd g4 | gfed edcB | A2d2G4 :||

X:2

T:Successful Campaign

M:C|

L:1/8

R:Reel

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

D2 | G3B A3c | BGBd g4 | gfed edcB | cABG F2 ED | G3B A3c | BGd g4 |

gfed efge | f2e2d2 :: d3f e3d | c3B c3A | c2 df e2d2 | B2A2B2G2 |

A3B A3c | BGBd g4 | gfed efge | BGAF G4 :||

X:3

T:Successful Campain or Bath Frolick  [sic]

M:C

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:G

(G2 G)B (A2 A)c|BGBd g4|gfed edcB|cBAG GFED|(G2 G)B (A2 A)c|

BGBd g4|gfed efge|fde^c d4::d2 d=f e2 d2|c2B2c2A2|c2 ce d2c2|

B2A2B2G2|(G2 G)B (A2 A)c|BGBd g4|gfed edcB|AGAB G4:||

 

SUCCESSFUL CAMPAIGN, THE. AKA and see "Success to the Campaign."

 


SUCH A GETTIN' UPSTAIRS [1]. AKA and see "Getting Upstairs [2]," "Gittin' Upstairs," "Asa Hoge Tune,"  "Never Seen The Like." Old‑Time, Breakdown. USA; Virginia, southwestern Pa., Arkansas, Tennessee, Kentucky. D Major (Bayard): C Major (Howe/Accordeon): G Major (Bayard). Standard tuning. AB. An early version of the tune was published by George P. Knauff in his Virginia Reels, volume IV (Baltimore, 1839). Samuel Bayard (1981) thinks the tune may have originated as a stage or vaudeville number, and indeed, it was adopted by American minstrels and was first published as a minstrel song in the 1830's. It was in the repertoire of minstrel Thomas "Daddy" Rice and Sigmund Spaeth reports it was sung by P.T. Barnum in black-face. The minstrel publication mentions its interpretor as "Mr. Bob Farrell, the Original Zip Coon." The song was said by Brown to have been featured by one Barney Burns, a low comedian connected with a rural travelling circus in the mid-nineteenth century. Several writers, beginning with Winston Wilkinson (Southern Folklore Quarterly, Vol. VI, No. 1, March 1942, “Virginia Dance Tunes”), have found that “Such a Getting Upstairs” is derived from the morris dance tune “Getting Upstairs,” collected by Cecil Sharp and published in 1909.

***

Various ditties or rhymes have been collected with the melody in American tradition, including floating verses. Wilkinson (1942) printed these:

***

Old Molly Hyar, what you doin’ dar?

Settin’ in a cornder smokin’ a cigyar.

Such a gittin’ up sta’rs I never did see

Such a gittin’ up sta’rs I neved did see.

And:

Some love coffee, some love tea,

But I love the pretty girl that winks at me.

Such a gittin’ up stairs you never did see,

Such a gittin’ up stairs you never did see.

***

This rhyme was collected with one of Bayard's Pennsylvania-collected versions:

***

Went upstairs with a dollar and a half,

Came downstairs with a cow and a calf.

Such a gittin' upstairs I never did see,

Such a gittin' upstairs'll never do me.

***

The tune is probably the "Getting Upstairs" mentioned in a 1931 account of a LaFollette, northeast Tenn., fiddlers contest. It is similar to West Virginia fiddler French Carpenter's "Shelvin' Rock." The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Wilkinson finds a variant of the melody as a play-party tune collected in Indiana, and in similar use by children in Liverpool, England (where they sing a rhyme beginning “Up the streets and down the streets,” which Wilkinson sees as a possible morris dance relic). North Georgia fiddler Clayton McMichen, recording with the Skillet Lickers for Columbia in 1929 (No. 15472), sang the song as “Never Seen the Like Since Getting’ Upstairs.” The English collector Cecil Sharp made a cylindar recording of this tune in 1909 of the playing of English musician John Locke, Leominster, Hereford, described as a “gipsy fiddler” (see abc below).

***

Sources for notated versions: George Strosnider (elderly fiddler from Greene County, Pa., 1930's), Irvin Yaugher (fiddler from Fayette County, Pa., 1946; learned from his great‑uncle), Frank Thomas (elderly fiddler from Somerset County, Pa., 1946), Thomas Hoge (fiddler and fifer from Greene County, Pa., 1944; as he fiddled it in the 1870's), and Hiram White (elderly fiddler from Greene County, Pa., 1930's) [Bayard]; James H. “Uncle Jim” Chisholm (Albmarle County, Va) [Wilkinson]. Bayard (Dance to the Fiddle), 1981; No. 170A‑E, pgs. 122‑123. Ford (Traditional Music in America), 1940; pg. 239. Howe (Complete Preceptor for the Accordeon), 1843; pg. 37. Wilkinson (Southern Folklore Quarterly), 1942; pg. 4. County 786, Clyde Davenport (Ky.) ‑ "Traditional Music From the Cumberland Plateau, Vol. 1."

X:1

T:Getting Upstairs

L:1/8

M:2/2

S:”Uncle Jim” Chisholm, Albermarle County, Va.

K:D

ag|fdec A2c2|dfed f2g2|fdec A2c2|1 dfec d2:|2 dfec d2 a>g||

f2g2a2d2|f2g2 a3a|b2a2g2f2|e2f2g2||

X:2

T:Such a Getting Up Stairs

M:2/4

L:1/8

S:Howe – Complete Preceptor for the Accordeon (1843)

Z:AK/Fiddler’s Companion

K:C

EFGc | E2 FG | AG FE | DE F2 :|

|: G/F/ | E/C/D/B,/ G,C | B,/C/D/E/ F/A/G/F/ | E/C/D/B,/ G,C | B,/C/D/E/ C :|

X:3

T:Getting Up Stairs I Never Did See

M:4/4

L:1/8

S:John Locke (1909)

K:A

ed | c2A2E2A2 | GABc dfed | c2A2E2A2 | GABG A2 :|

e2 | c3d e2A2 | c2d2e4 | f2e2d2c2 | B2c2 dfed |

c3d e2A2 | c2d2 e4 | f2e2d2c2 | B2c2 dfed ||

 

SUCH A GITTIN' UPSTAIRS [2]. AKA and see "Injun Et a Woodchuck [1]."

                       

SUCH A PARCEL OF ROGUES IN A NATION. AKA and see "The Rashes," "The Wee(, Wee) German Lairdie," "Wha the Deil Hae We Gotten for a King?" "Boyne Water [1]," "Cavalcade of the Boyne," "When the King Came O'er the Water," "King William's March." Scottish, Air.

                       

SUCH A WIFE AS I HAVE GOTTEN. See “Sic a Wife as I hae Gotten.”

                       

SUCH A WIFE AS WILLY HAD. Northumbrian, Reel. D Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 253.

                       

SUCH THINGS ARE. English, Jig. England, North‑West. G Major. Standard tuning. AAB. Knowles (Northern Frisk), 1988; No. 89.

                       

SUCH WERE THE JOYS OF MY DANCING DAYS. Northumbrian. The title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

                       

SUCK(E)Y BIDS ME. See "Sukey Bids Me."

                       


SUCKEY’S DELIGHT. AKA and see “Incle and Yarico [2].” English, Country Dance Tune (6/8 time). G Major. Standard tuning. AABB. Knowles (A Northern Lass), 1995; pg. 14. 

                       

SUD AR SO! AKA and see "Tit for Tat [1]."

                       

SUD MAR CHUIR MI'N GEAMHRADH THARUM. See "That's How I Spent the Winter."

                       

SUE'S JIG. Canadian, Jig. Alcazar Dance Series ALC‑201, Jerry Robichaud ‑ "Maritime Dance Party" (1978).

                       

SUGACAIS MIC FLANNCADA. AKA and see "Clancy's Frolics."

                       

SUGACAIS UI CROININ. AKA and see "Cronin's Frolics."

                       

SUGACAS UI CAIRBRE. AKA and see "Carbray's Frolics."

 

SUGACAS UI MATGAMNA. AKA and see "O'Mahoney's Frolics."

 

SUGAR BABE. Old-Time, Breakdown. G Major. GDgd tuning. Rounder CD0421, Bruce Molsky - “Big Hoedown” (1997. Fiddle part from Clyde Davenport, who lives near Jamestown, Tennessee, lyrics from Fiddlin’ John Carson’s 1929 “Whatcha Gonna Do When the Licker Runs Out”). Reed Island Rounders - “Wolves in the Woods” (1997).

                       

SUGAR BARREL. See the related tune "Pretty Little Girl with the Blue Dress On."

 

SUGAR BETTY/BETSY ANN [1]. AKA and see "Pretty Polly Ann(a) [2]." Old‑Time, Breakdown. A Major. AEae tuning. AABB. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Ford (Traditional Music in America), 1940; pg. 125.

X:1

T:Sugar Betty Ann

M:2/4

L:1/8

R:Breakdown

N:AEae tuning—retune, then finger as if in standard tuning

S:Ford – Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:A

[D/A/][D/B/]|[Dc>][DB] [D/c/][D/B/][D/A/][D/B/]|[D/c/][D/B/][D/A/]E/ [G,D][D/A/][D/B/]|[D/c/][D/B/][D/A/]E/ [G,D][B,D]|

[G,/D/][DA][D/B/] [DA][D/A/][D/B/]|[D/c/>][DB] [D/c/][D/B/][D/A/][D/B/]|[D/c/][D/B/][D/A/]E/ [G,2D2]|

[G,/D/]B,/[G,/D/]E/ [G,/D][D/A/][D/B/]|[D/c/][D/A/][D/B/][D/c/] [DA]::[Ae][A/e/]f/ [A/e/]c/[D/A/]c/|[A/e/]f/[A/e/]c/ [A2e2]|

[A/e][A/e/]f/ [A/e/]c/[D/A/]B/|[D/c/][D/A/][D/B/][D/c/] [DA]|[Ae][A/e/]f/ [A/e/]c/[D/A/]c/|[A/e/]f/[A/e/]c/ [A2e2]|

[Ae](f/g/) .a[A.e]|[D/c/][D/A/][D/B/][D/c/] [DA]:||

 

SUGAR BETTY ANN [2].  Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AA’BB’. A different tune than Ford’s “Sugar Betty/Betsy Ann [1].” Source for notated version: Fred Stoneking (b. 1933, Missouri) [Beisswenger & McCann ]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 141. Rounder CD 0381, Fred Stoneking – “Saddle Old Spike” (1996).

                       

SUGAR CREEK. Old‑Time, Breakdown. USA, West Virginia. In the repertoire of West Virginia fiddler Mose Coffman.

                       

SUGAR FOOT RAG. Old-Time, Breakdown. Composed by Jazz/Country guitarist Hank “Sugar Foot” Garland, the tune was a hit for him in 1950. According to Kerry Blech, the melody was in the repertoire of North Carolina fiddler Tommy Jarrell, who played it in his own, older, style (and who maintained, mistakenly in this case, that he had obtained his repertoire before the advent of radio).

                       

SUGAR HILL. AKA and see "Sailing on the Ocean." Old‑Time, Breakdown. USA; Arkansas, North Carolina, Virginia. D Major. ADae tuning. AABB. There are various thoughts about the origin of the title. Davidson (notes to Folkways 2477) thought it probably referred to drunken binges during “sugaring-off”, or the process of heating collected sap to make maple sugar. Another observation is that the song has African‑American roots and 'Sugar hill' is said to signify the 'wild part of town', the red-light district. Mike Yates (2002) reports that “Sugar Hill” is “believed to have been composed by George Washington Dixon some time prior to 1827,” a version of which was published in New York in 1855 in Christy’s Negro Songster, a collection of Minstrel songs. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, and the tune is sometimes found in that region under the title “Bunker Hill.” The tune has come to be identified with Galax, Va., style string bands and it has also been described as a classic Surrey County, North Carolina, number. The association with the area is probably due in part to the fact that the first commercial recordings of the tune were by Ballard Branch, Virginia,  fiddler (Davey) Crockett Ward and His Boys (1928), and, on a Brunswick 78, by Dad Crockett (1929). Yates finds it related to a Kentucky tune called “Jenny Get Around.”

***

Five cents in my pocket change, two dollars in my bill;

If I had ten dollars more I'd climb old Sugar Hill.

***

Possum sittin' on a 'simmon tree, cider's in my mill,

And if I had ten dollars more I'd climb on Sugar Hill.

***

If I hadn't no horse to ride, I'd be found a‑walkin',

Up and down old Toenail Gap, you can hear my woman talkin'.

***

Jaybird and the sparrow hawk, they had a fight together,

They took all around the briar patch, went to it down to a feather.  (all the above from Tommy Jarrell)

***

Squirrel's got a bushy tail, Possum's tail is bare,

Rabbit ain't got no tail at all, just a little old piece of hair.

***

Possum up a simmon tree, raccoon on the ground,

Raccoon says, "Hey, Possum, won't you toss them simmons down.”

***

I'm getting lonesome for my gal, I want a drink of rye.

I'm going on to Sugar Hill, or know the reason why!

***

If you want to get your eye knocked out, if you want to get your fill,

If you want to get your eye knocked out, go on to Sugar Hill.

***

The phrase ‘getting your eye knocked out’ in the last verse refers to copulation, according to fiddler Tom Paley. Banjo player Dan Tate, of Fancy Gap, Carroll County, Virginia, sang the following verses for Mike Yates in 1979:

***

Sugar Hill’s a big old hill, forty miles around;

Take my broad axe in my hand and hew the mountain down.

***

Cho: Run little Betty run, run little Betty run,

Run little Betty, poor girl, I’m bound to have some fun.

***

Missus had an old blue cow, I know the hour she was born,

Take a jaybird forty years to fly from horn to horn.

***

The Virginia Mountain Boomers (The Sweet Brothers with vocals by Ernest Stoneman) recorded a song called “Sugar Hill” (in G major), actually it is the song “Devilish Mary” with the chorus of “Sugar Hill” tacked on. Sources for notated versions: Fuzzy Mountain String Band (North Carolina) [Brody]; Tommy Jarrell (1901-1985, Toast, North Carolina), who learned it from his father, Ben Jarrell, fiddler with DaCosta Woltz’s Southern Broadcasters in the early 20th century [Jack Tuttle/Fiddler Magazine]. Fiddler Magazine, Spring 1995; pg. 28. Kuntz (Ragged but Right), 1987; pg. 303‑304. Brody (Fiddler’s Fakebook), 1983; pg. 269. Biograph 6003, "The Original Bogtrotters." Copper Creek CCCD 0193, Bill and Libby Hicks – “South of Nowhere.” County 534, "Round the Heart of Old Galax, vol. II." County 2702, Tommy Jarrell & Fred Cockerham - "Tommy and Fred." Folkways 31109, Tommy Jarrell – “Been Riding with Old Mosby” (1986). Heritage 054, The Roan Mountain Hilltoppers ‑ "Brandywine '83: Music of French America" (1984). Heritage Records, “June Apple, Old Time Fiddling & Clawhammer Banjo, Tommy Jarrell, Kyle Creed, Audine Lineberry & Bobby Patterson” (1972). June Appal 0067, Roan Mountain Hilltoppers - "Seedtime on the Cumberland" (1992). Merimac 9000, Dan Gellert & Shoofly ‑ "Forked Deer" (1986. Learned from Fields Ward "and elsewhere," slightly different than Tommy Jarrell's version). Musical Traditions MTCD321-2, Dan Tate – “Far in the Mountains, vols. 1 & 2” (2002). Rounder 0035, Fuzzy Mountain String Band‑ "Summer Oaks and Porch" (1973. Learned from Tommy Jarrell). Rounder CD 0371, Mac Benford and the Woodshed All-Stars - “Willow” (1996). Smithsonian Folkways SFW 40193, Tommy Jarrell – “Classic Old Time Fiddle” (2007. Reissue recordings). String (Topic) 802, “Emmett W. Lundy: Fiddle Tunes from Grayson County, Virginia; Recorded in Galax for the Library of Congress, 1941” (1977).

See also listing at:

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

X:1

T:Sugar Hill

M:2/4

L:1/8

S:Kuntz – Ragged but Right

K:D

a>g fd/e/|fe d(a|a)a/b/ a/f/d|B>A Ba|a3 g|f/d/e/c/ d(d|d)d/B/ AA/B/|d>B d2:|

dd f>e|f/d/e d(d|d)d/e/ f/e/d|B>A B(d|d)d f>e|f/d/e/c/ d(d|d)d/B/ AA/B/|d>B d2:|

X:2

T:Sugar Hill

M:C|

L:1/8

R:Reel

S:Brad Leftwich

N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm

Z:AK/Fiddler’s Companion

K:D

“D”(a2|:a)bag fede|fd”A”ec d2”D”(a2|a)bag fedc|”G7”B2 Bd B2”D”(a2|a)bag fede|

fd”A”ec “D”d3e|fedc “G”BABc|1 “D”d4 d2(a2:|2 “D”d4 d2 Bc||: “D”dcBc d3c|

dfec d2 Bc|dcde fe d2|”G7”B3c B2 Bc|”D”dcBc d2 ge|fdBc d2 ge|fedc BABc|1

d4 d2Bc:|2 d4 d4|| 

                       

SUGAR HOUSE. American, Hornpipe. F Major. Standard tuning. AABB. Stacy Phillips notes this is a new title for an old tune. Source for notated version: New Hampshire Fiddlers' Union [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 226.

                       

SUGAR IN MY COFFEE(-O). AKA – “I Like Sugar in my Coffee-O.” Old‑Time, Breakdown. USA; Arizona, Oklahoma, Arkansas, Missouri. G Major. Standard tuning tuning. AB (Silberberg, Thede): ABAB’ (Ruth). The tune is sometimes played in the key of ‘A’. Bayard (1981) thinks there is a relationship between his Pennsylvania‑collected sets of "Up Jumped Jinny With Her Shirt Tail Torn" and this tune. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The following rhyme was collected with the tune in Oklahoma (via Thede):   

***

Go there once and go no more,

If they don't give no sugar in my coffee‑o;

How in the world's the old folk know,

That I'll take sugar in my coffee‑o.

***

Sugar's high and sugar's low,

But I'll take sugar in my coffee‑o;

How in the hell's the old folk know,

That I'll take sugar in my coffee‑o. (Thede)

***

I went there, but I'll go no mo'

I didn't get sugar in my coffee, oh.

The wind blew high, the wind blew low,

The wind blew sugar in my coffee-o.

***

African-American collector Thomas Talley, in his book Negro Folk Rhymes (reprinted 1991, edited by Charles Wolfe), prints a song called “Sugar in Coffee” that is related to this song, and predates white recorded versions such as Tennessee’s Uncle Dave Macon’s (“She Wouldn’t Give Me Sugar in My Coffee”) and Georgia’s Fiddlin’ John Carson’s (“Little More Sugar in My Coffee”). Talleys version goes:
***

Sheep’s in de meader a-mowin’ o’ de hay,

De Honey’s in de bee-gum, so dey all say;

My head’s up an’ I’se boun’ to go,

Who’ll take sugar in de coffee-o?  (Similar to Uncle Dave Macon’s lyric)

***

I’se de prettiest liddle gal in de county-o,

My mammy an’ daddy, dey bofe say so.

I looks in de glass, it don’t say, “No”;

So I’ll take sugar in de coffee-o.  (Close to John Carson’s lyric)

***

Sources for notated versions: Ed Thomas (Dewey County, Oklahoma) [Thede]; Mel Durham [Silberberg]; Lyman Enloe (1906-1997, Missouri), who learned the tune from his Uncle Pink, according to Bil Shull [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 31. Ruth (Pioneer Western Folk Tunes), 1948; No. 77, pg. 28. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 152. Thede (The Fiddle Book), 1967; pg. 106. County CD-2707, Lyman Enloe – “Fiddle Tunes I Recall” (originally recorded 1973). Global Village C‑302, Midnight Cowtippers ‑ "New York City's Annual String Band Contest ‑ November 1984."

See also listing at:

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

X:1

T:I Like Sugar in My Coffee

M:2/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:G

DG B/c/B/G/|AB c2|DG B/c/B/G/|BA G2|DG B/c/B/G/|AB c2|

DG B/c/B/G/|BA G2||ed B/B/d/d/|ef g2|ed B/B/G/G/|BA A2|

ed B/B/d/d/|ef g2|ed B/B/G/G/|AG G2||DG B/c/B/G/|AB c2|

DG B/c/B/G/|BA G2|DG B/c/B/G/|AB c2|DG B/c/B/G/|BA G2||

ed B/B/d/d/|ef g2|ed B/c/B/G/|BA A2|ed B/c/B/d/|ef g2|ed D/E/G/B/|AG G2||

                       


SUGAR IN THE GOURD [1]. Old‑Time, Breakdown. USA; Virginia, West Virginia, North Georgia, Alabama, Arkansas, Missouri. G Major (Brody, Perlman, Reiner & Anick): A Major (Frets, Silberberg). Standard tuning. AB (Silberberg): AABB (Brody, Perlman, Reiner & Anick): AA'BB'C (Frets). There are several “Sugar in the Gourd” tunes, related and unrelated. This version of “Sugar in the Gourd” is melodically related to "Turkey in the Straw," and historically predates it, the words having been printed in the 1830's (Charles Wolfe). It was mentioned in an account authored by William Byrne describing a chance encounter with West Virginia fiddler ‘Old Sol’ Nelson during a fishing trip on the Elk River. The year was around 1880, and Sol, whom Byrne said was famous for his playing “throughout the Elk Valley from Clay Courthouse to Sutton as…the Fiddler of the Wilderness,” had brought out his fiddle after supper to entertain the company on a hunting trip (Milnes, 1999).

***

There are a few explanations of the meaning of the title. Formerly it has been thought that ‘sugar in the gourd' might refer to a practice of hanging sugar-filled vegetable gourds around a dance floor—to ease the friction for dancers sugar would periodically be thrown on those sections of the floor where the traffic was the heaviest.  Another explanation, not mutually exclusive, is that ‘sugar in the gourd’ is a euphemism for completed coitis—in other words, depositing sperm into a womb is putting ‘sugar in the gourd’.

***

“Sugar in the Gourd” is one of the tunes fiddlers would play to vie with each other in some older fiddle contests; the best version of  “Sugar” and a few other 'universally' known tunes won the fiddler the prize, as, for example, was documented in 1899 in an account of a Gallatin, Tenn., contest (Charles Wolfe, The Devils Box, Vol. 14, No. 4, 12/1/80). Similarly, the name of the title appears in the lists of tunes played by fiddlers at the Berea, Kentucky, fiddlers’ gatherings in the second decade of the 20th century, and a version was played in the 1919 Berea fiddle contest. The melody was played by Rock Ridge, Alabama, fiddlers around 1920 (Bailey). The Clarke County (Alabama) Democrat of May 9, 1929, described it as one of the "popular old‑time tunes" that would assuredly be "rendered in the most approved fashion" at a fiddlers' contest in Grove Hill, while the Northwest Alabamian of August 29, 1929, listed it as one of the tunes likely to be played at an upcoming convention in its area (Cauthen, 1990). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Ken Perlman (1996) writes that this American southern tune was in circulation on Canada’s Prince Edward island in the pre-radio 1920's, although how it got there is a mystery. His P.E.I. collected version is similar to one printed by Reiner & Anick, from the playing of Georgia fiddler John Carson who recorded the melody in 1924, and it seems possible that this recording was obtained by an unknown P.E.I. fiddler who learned the tune from it.

***

Well I'm goin' down the road and I met her on a board,

And the wind from her shoes knocked Sugar in the Gourd;

Sugar in the Gourd and the gourd upon the ground,

Well you wanna get to sugar got to break it all around.

***

Refrain

Sugar in the Gourd and you can't get it out,

When you wanna get to sugar got to break it all about.

***

I had a little hen who had a wooden leg,

That's the best hen that ever laid an egg;

Laid more eggs than he had around the farm,

And another drink of liquor wouldn't do you any harm.

***

I went down in the old clay field,

Blacksnake grabbed me by the heel;

I turned around to do my best,

And drove my head in a hornet's nest.

***

Went to the church want to climb the steeple,

Looked right down upon them people;

Some looked black and some looked blacker,

And some looked the color of a plug of tobaccer.  (Kuntz)

***

I met her on the road and I laid her on a board,

Tune up the fiddle give her Sugar in the Gourd.

***

Sugar in the Gourd and I can't get it out,

The way get sugar out, roll the gourd about.  (Carson)

***

Sources for notated versions: John McCutcheon and Kahle Brewer [Kuntz]; Alan Block [Phillips]; Fiddlin’ John Carson (north Georgia) [Reiner & Anick]; Sidney Baglole (b. 1912, Freetown, West Prince County, Prince Edward Island) [Perlman]; Carthy Sisco [Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 269. Frets Magazine, "Byron Berline: The Fiddle," October 1987; pg. 64. Kuntz (Ragged but Right), 1987; pg. 301‑302. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 64. Phillips (Fiddlecase Tunebook), 1989; pg. 41. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 108. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 153. Briar 0798, Earl Collins‑ "That's Earl." Carryon Records 002, "Ace Weems and the Fat Meat Boys." County 745, John Ashby‑ "Down on Ashby's Farm." County 507, Kahle Brewer and Stoneman's Dixie Mountaineers ‑ "Old‑Time Fiddle Classics." Front Hall 021, John McCutcheon‑ "Barefoot Boy With Boots On" (1981. Learned from Uncle Charlie Osborne, Russell County, Va.). Gennett 6483 (78 RPM), 1928, Tweedy Brothers (three W.Va. brothers, Henry, Charles, and George, who played twin fiddles and piano). Missouri State Old Time Fiddlers' Association, Pete McMahon - "Kansas City Rag." OKeh 7003 (78 RPM), Fiddlin John Carson {1924}. Rounder 1003, Fiddlin' John Carson‑ "The Old Hen Cackled and the Rooster's Going to Crow." Rounder 1005, Gid Tanner and the Skillet Lickers‑ "Hear These New Southern Fiddle and Guitar Records." Rounder CD 7014, Sidney Baglole– “Fiddlers of Western Prince Edward Island” (1997. Baglole claimed to have leaned it from fiddlers in his community before the days of broadcasting).Sugar Hill 3750, Byron Berline & John Hickman ‑ "Double Trouble." Victor 19449 {1924} and Edison {1925} (78 RPM's), Fiddlin' Cowan Powers 1877‑1952? (Russell County, S.W. Va.). Voyager VRCD 344, Howard Marshall & John Williams – “Fiddling Missouri” (1999. An ‘A’ major version).

X:1

T:Sugar in the Gourd [1]

L:1/8

M:2/4

S:Kuntz – Ragged but Right

K:A

|:A|c/B/c/d/ ee|c/ec/ e(e|f/)e/f/g/ a/b/a/f/|e/f/e/c/ e(g|a)a/b/ a/f/e/f/|g/f/e/d/ c/A/F/A/|

c/B/A/F/ E/F/A/B/|c/A/B/c/ A:|

|:A|c/B/A/F/ E/F/A/B/|c/B/c/d/ c/B/A/F/|c/B/A/F/ E/F/A/B/|c/A/B/c/ A:|

 

SUGAR IN THE GOURD [2]. The tune is closely related to the Irish hornpipe tune "The Poor Old Woman" (An tSeanbhean Bhocht). Bruce and Emmett (The Drummer's and Fifer's Guide), 1880; pg. 57.

 

SUGAR IN THE GOURD [3]. American, Reel. USA, southwestern Pa. D Major. Standard tuning. AABB'. The title is a floating one. Bayard (1981) points out that his untitled "Square Dance" (No. 537, pg. 477) is a 6/8 time version of this tune, illustrating an aspect of folk process by which fiddlers will recast existing tunes to make other ones. Source for notated version: William Wright (Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 355, pg. 354.

 

SUGAR IN THE GOURD [4]. AKA and see "Turkey in the Staw." The title is, of course a floater; in this case a local southwestern Pa. name for "Turkey in the Straw."

 

SUGAR IN THE GOURD [5]. Old-Time, Breakdown. USA, West Virginia. A cross-tuned, ‘crooked’ (irregular metre), melody from the playing of Edden Hammons of Pocahontas County, W.Va. Compare with John Salyer’s “Give the Fiddler a Dram [5].” West Virginia University Press, “The Edden Hammons Collection, Vol. 2” (2000).

 

SUGAR IN THE GOURD [6]. Old-Time, Breakdown. USA; North Carolina, Kentucky. G Major. Standard or GDgd (Clyde Davenport) tunings. AABB. Not related to any other tune by that name. Jeff Titon (2001) suggests the call-and-response structure of this tune suggests African-American origins. Soures for notated versions: Marcus Martin (Ararat, North Carolina) [Molsky]; Clyde Davenport (Monticello, Wayne County, Kentucky, 1990) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 157, pg. 182. Rounder 18964-1518-2, Various Artists – “American Fiddle Tunes” (a reissue of the 1971 Library of Congress LP of field recordings).

X:1

T:Sugar in the Gourd [6]

M:C|

L:1/8

S:Bruce Molsky, from Marcus Martin’s recording

Z:AK/Fiddler’s Companion

K:G

g2 ga gded|e g2 a [d3g3]A|[G,2G2][G,2G2] AGE(G|G)AGE D3z|g2 ga gded|

e g2 a [d3g3]A|[G,2G2] AB (3dBA GB|dBAF G2 G2:|

|:[G,E][G,2G2]A BAGA|B d2 d e2g2|[G,2G2][G,2G2] AGE(G|G)AGE D2D2|

EFGA BAGA|B d2 d e2g2|[G,2G2] AB (3dBA GB|dBAF G2 G2:|

“Variation: 1st measure”

gaba (3bag ed|

 

SUGAR IN THE GOURD [7]. American; March or Reel. F Major. Standard. AABB. Howe includes the tune in a section of marches and quicksteps. Howe (1000 Jigs and Reels), c. 1867; pg. 47.

X:1

T:Sugar in the Gourd [7]

M:2/4

L:1/8

R:March

S:Howe – 1000 Jigs and Reels

Z:AK/Fiddler’s Companion

K:F

(A/c/) | (d/c/).c/.c/ cA/c/ | (d/c/).c/.c/ ca/g/ | (g/f/)(f/e/) (e/d/)(d/c/) | (c/B/).B/.B/ B(G/B/) |

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

|: (c/A/) | B/c/d/B/ G/A/B/G/ | A/B/c/A/ F/A/c/A/ | B/c/d/B/ G/A/B/G/ |

A/B/c/A/ EC | (F/E/)(G/F/) (A/G/)(B/A/) | (c/B/)(d/c/) ed/f/ | c/d/B/G/ A/c/B/G/ | (G/F/).F/.F/ .F2 :|

 

SUGAR IN THE MORNING. Old-Time, Breakdown. Kerry Blech heard the tune from Rector Hicks, an Akron Ohio fiddler originally from central West Virginia. The melody is very similar to the tune "Banjo Tramp,” and Rector said he had it from influential W.Va./eastern Ky. fiddler Ed Haley, who called it "Sugar in the Morning." Blech reports that no tune by this title appears to have been recorded by Haley either commercially or on home discs.

 


SUGAR TREE STOMP. Old‑Time, Breakdown. USA, Tenn. G Major. Standard tuning. AA'B. Named for the tiny community of Sugar Tree, Tenn., southwest of Dickson City, Dickson County, it was composed by Arthur Smith and recorded by him in 1936. On the notes to County 736 Kenny Baker says: "Sugar Tree Stomp, that's from Arthur Smith. Now I'll tell you what, you know, Arthur was one of the world's greatest fiddlers, in my mind, but I didn't play it like Arthur played it.  I heard a little different way of going about playing it, not that I thought I could rearrange it and make the tune better; it's just what I heard and I wanted to record it that way.” Source for notated version: Kenny Baker [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 138. County 546‑547, "Fiddlin Arthur Smith and His Dixieliners" (1978). County 773, John Ashby (1915-1979, northern Virginia) and the Free State Ramblers - “Fiddling by the Hearth.” County 2705, Kenny Baker - "Master Fiddler."

 

SUGAR VALLEY. Old‑Time. One of the standard tunes in a square dance fiddler's repertoire, as listed by A.B. Moore in his History of Alabama, 1934 (Cauthen, 1990).

 

SUGARCANDY. Scottish, Reel. C Major. Standard tuning (fiddle). AABB. John Glen (1891) finds the earliest printing of the tune in Robert Bremner's 1757 collection (p. 91). The tune appears on the same page with “New Christmas,” and perhaps Bremner meant to associate the titles. Bremner (Scots Reels), c. 1757; p. 91.

X:1

T:Sugarcandy

M:C

L:1/8

R:Reel

S:Bremner – Scots Reels (c. 1757)   pg. 91

Z:AK/Fiddler’s Companion

K:C

g | “tr”e>dcg (a/g/f/e/ g)c | (a/g/f/e/ g)c A2f2 | “tr”e>dcg (a/g/f/e/ g)c | (Bd)(dg) (BG) “tr”B2 :|

|: AcBd cedf | c(e/f/g)c A2 “tr”f2 | AcBd ceec | (B/c/d) dg BG “tr”B2 :|

 

SUGARFOOT RAG. ‘Old‑Time’, Breakdown. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954, however it was at that time not a traditional tune but rather a newly composed one. It was penned by guitar virtuoso Hank Garland (19-2004) and later adapted to the fiddle. The tune became so associated with the composer that he was sometimes identified as “Hank ‘Sugarfoot’ Garland”. Words were adapted to it, and the song became a country hit for Red Foley.  Kerry Blech remarks that tune was in the repertoire of North Carolina old-time fiddler Tommy Jarrell (“who people said solidified his repertoire prior to the advent of the 1920’s recording industry,” says Kerry, “and therefore was ‘more pure’ than others; the fact that he played and loved Sugarfoot Rag, a c. 1950 composition, belies this notion to some degree.”)  Blech notes that Garland was also a highly respected in the contemporary jazz community, as well as the Nashville country music industry. Gid Tanner and the Skillet Lickers recorded the tune as “Pretty Little Widow” in 1928 (Vocalion 02948A) that is said to the same as “Sugarfoot Rag.” Clayton McMichen claimed his father had composed the tune.  

 

SUGARLOAF SCHOOLHOUSE. Canadian, Reel. Canada, Cape Breton. E Dorian. Standard tuning (fiddle). AAB. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 139, p. 40.

 

SUGRA AN CEAPAIG. AKA and see "The Humors of Cappa."

 

SUGRA AN GLINNEA. AKA and see "The Humors of Glynn."

 

SUGRA AN TUAIDMIMAN. AKA and see "Humors of Clare."

 

SUGRA AN UISGE-BEATA. AKA and see "The Humors of Whiskey [1]."

 

SUGRA AT-TRUIM. AKA and see "The Humors of Trim."

 

SUGRA BAILE-AN-LEASA. AKA and see "The Humors of Ballinlass."

 

SUGRA BAILE-CAISLEAN. AKA and see "The Humors of Ballycastle."

 

SUGRA BAILE-MEADONAC. AKA and see "The Humors of Ballymanus."

 

SUGRA BAILE-NA-CARRAIGE. AKA and see "The Humors of Ballinacarrig."

 

SUGRA BAILE-NA-GARRDA. AKA and see "The Humors of Ballingarry."

 

SUGRA BEANTRAIGE. AKA and see "The Humors of Bantry."

 

SUGRA BEIL-ATA-CONAILL. AKA and see "The Humors of Ballyconnell."

 

SUGRA BEIL-ATA-DA-CAB. AKA and see "The Humors of Ballydehob."

 


SUGRA BEUL-ATA-NA-FANAD. AKA and see "The Humors of Ballinafauna."

 

SUGRA CABAIN. AKA and see "The Humors of Cavan."

 

SUGRA CAISLE n-OLIBEIR. AKA and see "The Humors of Castleoliver."

 

SUGRA CAISLEAN-BERNAIRD. AKA and see "The Humors of Castle Bernard."

 

SUGRA CAISLEAIN-CUMAIR. AKA and see "The Humors of Castlecomer."

SUGRA CAISLEAN-NUADA. AKA and see "The Humors of Newcastle."

 

SUGRA CAISLEAN UI LIATAIN. AKA and see "The Humors of Castle Lyons."

 

SUGRA CARRAIG-MIC-CROISE. AKA and see "The Humors of Carrickmacross."

 

SUGRA CATAIR-NA-MART. AKA and see "The Humors of Westport."

 

SUGRA CILL CAINNAIG. AKA and see "The Humors of Kilkenny."

 

SUGRA DAINGEAN-UI-CUIS. AKA and see "The Humors of Dingle [1]."

 

SUGRA DROICID-NA-BANDANN. AKA and see "The Humours of Bandon."

 

SUGRA GLEANNDARTA. AKA and see "Humours of Glendart."

 

SUGRA LUIMNIG. AKA and see "The Humors of Limerick [1]."

 

SUGRA MUILLEANN-NA-FAUNA. AKA and see "Humors of Mullina(a)fauna [1]."

 

SUGRA SCAIRB. AKA and see "The Humours of Scarriff."

 

SUGRA SCOLIA. AKA and see "The Humors of Schull."

 

SUGRA TRIAG-LIA-BAIN. AKA and see "The Humors of Tralibane."

                       

SUGRACH AIBHISTIN. AKA and see "Gusty's Frolics."

                       

SUGRAD DROIGNAIG. AKA and see "The Humors of Drinagh [1]."

                       

SÚGRADH AIBHISTÍN. AKA and see “Gusty’s Frolics.”

                       


SÚGRADH NA hOÍCHE ARÉIR (Last Night's Fun). AKA and see "Last Night's Fun" [2], "Miss Brown's Fancy" [3], "Paddy be aisy," "Paddy, now won't you be easy," "Paddy "Go Easy"," "Whish, Cat from Under the Table," "Hush the cat from under the table," "Wink and she'll follow you." Irish, Slip Jig.

                       

SUIBAN NI MIC-MATGAMNA. AKA and see "Julia McMahon."

                       

SUICIDAL HOT DOG. Canadian, Jig. Canada, Cape Breton. D Major. Standard. AABB’. Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 235, pg. 68. Fiddlesticks cass., Jerry Holland - “Fathers and Sons” (1992).

                       

SUIDE NA H-INSE. AKA and see “The Seige of Ennis [1].”

                       

SUIDH SIOS FA MO DHIDEAN. AKA and see "Sit (Down) Under My Protection."

 

SUILE SHUIBHNE. See “Sweeney’s Eyes.”

 

SUIPEIR TIGHEARNA LEOID (Lude’s Supper). AKA and see “Lude’s Supper.” Scottish, Air.

 

SUIRCIN BAN, AN. AKA and see "The White Flail."

 

SUIRIDE UI CATAIL. AKA and see "Cahill's Courtship."

 

SUIRIGHE AN ÁILTEORA (The Caffler's Courtship). AKA and see "”Boys of Thomastown” (Buachaillí Bhaile Mhic Anndáin), "Away to the Bogs," "Carraig an tSoip."

 

SUIRTIN BAN, AN. AKA and see "The White Flail."

 

SUISHEEN BAWN, THE. See "Súisín Bán, An (The White Blanket [1])."

 

SÚISÍN BÁN, AN (The White Blanket). AKA and see "The White Blanket [1].”

 

SÚISÍN BUIDHE, AN (The Yellow Blanket). AKA and see "Casadh an tSugain." Irish, Air (3/4 time). F Minor. Standard tuning. AB. O'Sullivan (1983) notes the words of this song (sometimes known as "An Súisín Bán") and of "Casadh an tSugain"  have become "inxtricably intertwined...so that it is almost impossible to say, in the case of any particular verse, whether it belongs to one song or the other." Source for notated version: the Irish collector Edward Bunting noted the melody from "P. Quin, Harper, 1806," according to the index of his 1840 collection. O'Sullivan/Bunting, 1983; No. 79, pp. 122-123.

 

SUISTE BUIDE, AN. AKA and see "The Yellow Flail [1]."

 


SUIT OF GREEN, THE. Irish, Air (2/4 time). Ireland, County Carlow. E Flat Major. Standard tuning. One part. O Boyle reports that Denis Zimmerman, in his Irish Political Street Ballads and Rebel Songs, has called this song a "broadside romance" in which the political element (inherent in the title) is less important than the sentimental one.

***

Oh! 'twas on a Sunday morning as my love and I sat in a room

Thinking it was no harm when the Army came up to the door;

And with their guns they broke the door soon as my darling boy they seen,

They tore him from my arms for the wearing of the Suit of Green.

***

 Source for notated version: “Set in Carlow County by Mr. Watson” [Stanford/Petrie]. Ó Boyle (The Irish Song Tradition), 1976; pg. 86. Stanford/Petrie (Complete Collection), 1905; No. 686, pg. 172.

X:1

T:Suit of Green, The

M:2/4

L:1/8

S:Stanford/Petrie – Complete Collection (1905)

Z:AK/Fiddler’s Companion

K:Eb

E/F/ | G2 G>A | BG EF | GA B{d}c | B2 Bc/d/ | ed ef/g/ | ag fe |

ed BB/{d}c/ | B2 Bc/d/ | ef gf/g/ | ag fe | ed BG | A2 Bc | _d2 fe |

dB AF | {F}E2 E>{G}F | E3 ||

 

SUITE DES MADELINOTS, LA.  French-Canadian. Four tunes from the repertoire of Magdelan Islands fiddler Avila LeBlanc. The island group is located in the Gulf of St. Lawrence, between Prince Edward Island and Newfoundland, and was discovered in 1534 by explorer Jacques Cartier. The medley contains one cotillon, surrounded by three rabestans, a local expression for something small (much like the English word maggot). The rebestans have sung refrains. A-L 001, Lisa Ornstein & André Marchand – “One Fine Summer’s Day/Par un beau Samedi d’ été” (2009).

 

SUKEY BIDS ME. AKA ‑ "Sucky Bids Me,” “Suky Bids Me." Scottish, English, American; Reel. England, Northumberland. USA, New England. G Major. Standard tuning. AAB (Athole, Gow, Kerr, Vickers): AABB (Cole, Thompson, White). The melody appears earliest in the English publications Johnson's 200 Country Dances (1751), The Imperial Magazine (1761), and Rutherford's 200 Country Dances (1756), page 25. However it appears a few years earlier in the music commonplace book of Walter Rainstorp, dated 1747—Rainstorp was a musician from Cheapside, London. The Gillespie Manuscript of Perth, 1768, gives an early Scottish version. In America, “Sukey” appears in the Walpole, New Hampshire, A Collection of Contra Dances of Late, Approved, and Fashionable Figures (1799), and dance directions with the tune also appear in Clement Weeks' Greenland, New Hampshire, dance MS copybook of 1783 (page 20). Elizabeth Van Rensselaer included it in Boston in her music copybook, 1782. The melody also appears in the late 18th century manuscript copybook of Henry Livingston, Jr.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery’s invasion of Canada in a failed attempt to wrest Québec from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a musician and presumably a dancer, as he was elected a Manager for the New York Assembly’s dancing season of 1774-1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. 1; 1782  Carlin (The Gow Collection), 1986; No. 461. Cole (1000 Fiddle Tunes), 1940; pg. 41. Gow (Complete Repository), Part 2, 1802; pg. 17 (appears as “Sucky bids me”).  Kerr (Merry Melodies), vol. 2; No. 127, pg. 15. Ryan’s Mammoth Collection, 1883; pg. 69. Stewart-Robertson (The Athole Collection), 1884; pg. 174. Seattle (William Vickers), 1987, Part 3; No. 422. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 188. White’s Unique Collection, 1896; No. 65, pg. 12.

X:1

T:Sucky Bids Me (sic)

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G

G2 DE G2 e2|dGBG AFED|G2DE G2e2|dBcA G2G2:|

d2 Bc d2g2|afad ege^c|d2Bc d2g2|fge^c d3e|dgfe d^cBG|

G2GT AFE>D|G2 DE G2e2|dBcA G3||

X:2

T:Sukey Bids Me

M:4/4

L:1/8

R:Reel

S:Henry Livingston’s manuscript copybook, late 18th century

Z:AK/Fiddler’s Companion

K:G

G2 DE G2e2 | dBAG AFED | G2 DE G2e2 | dBcA G4 :|

|: d2 Bc d2g2 | fafd ege^c | d2 Bc d2g2 | fae^c d4 |

dgfe dcBA | B2 BG AFED | G2 DE G2e2 | dBcA G4:||

X:3

T:Suky bids me

M:C|

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

G2 DE G2e2|dBAG AFED|G2 DE G2e|dBcA G4::d2 Bc d2g2|fafd ege^c|

d2 Bc d2g2|faf^c d4|dgfe dcBA|B2 BG AFED|G2 DE G2e2|dBcA G4:||

 

SUL AR POSAD ME. AKA and see "Before I Was Married [1]."

 

SULAN JIG. Irish, Jig. D Major. Standard tuning. AABB. Composed by Peadar O’Riada.
X:1
T:Sulan Jig (Peadar O'Riada)
R:jig
C:Peadar O'Riada, winds--gentle whisper, track 3
M:6/8

L:1/8
Q:6/8=85
K:D
FED F2E|FAd B2A|FED F2E|D2E EFA|FED F2E|FAd B2A|(3Bcd e dBA|FEF E2D:|
A2e efg|fed edB|A2e efg|cBc d2B|A2e efg|afd edB|dBA BdA|Bdd D2A:|

 

SULAN REEL. Irish, Reel. G Major. Standard tuning. AABB. Composed by Peadar O’Riada.

X:1
T:Sulan Reel (Peadar O'Riada)
R:reel
C:Peadar O'Riada, winds--gentle whisper, track 3
M:C|

L:1/8
K:G
gfeg d2ed|BedB ABG2|gfeg d2ed|BedB BAA2:|
eaaf g2fg|eaaf gfeg|eaaf g2ge|dBgB BAA2:|

 

SULLEN BOY, THE (An Giolla Gruamach). Irish, Air (3/4 time). A Minor. Standard tuning. AB. "Sung as a nurse‑tune in Cork. This and the tune called Banalanna in my Ancient irish Music (p. 10) are variants of the same original melody: or one is a variant from the other. As it is set here, it forms a very beautiful lullaby" (Joyce). Source for notated version: John Windele, the distinguished Cork archaeologist (died 1865) {Joyce}. Joyce (Old Irish Folk Music and Song), 1909; No. 684, pgs. 341‑342.

X:1

T:Sullen Boy, The

M:3/4

L:1/8

R:Air

N:”Softly and in moderate time.”

S:Joyce – Old Irish Folk Music and Songs (1909), No. 684

Z:AK/Fiddler’s Companion

K:Amin

E>D | C2D2 {F}E>D | E2A2 {G}E>D | E2E2 {G}E>D | E2E2 E>D | C2D2 {F}E>D |

E2E2 {G}E>C | D2D2 {E}D>C | D2D2 || A>B | c2A2 {A}d>c | A4 {G}E>D |

E2E2 {G}E>D | E2E2 A>B | c2A2 {A}d>c | A4 {G}E>C | D2D2 {F}E>C | D2D2 ||

 

SULLIVAN'S HOLLOW. Old‑Time, Breakdown. USA, Mississippi. D Major. Standard tuning. AA’B. The recording by the twin-fiddle Freeny’s Barn Dance Band, the original source for the tune, has been called by Tony Russell (1973) “one of the greatest stringband recordings ever made.” Although often rendered in the key of ‘D’, it is also played in the key of ‘C’. Sullivan's Hollow was a place near Lorena, Smith County (south of Scott County, south of Leake County), Mississippi, a part of the Bienville National Forest. It was a rough-and-tumble hill community for many years during and after the Civil War, as captured by Ann R. Hammons, author of Wild Bill Sullivan—King of the Hollow. She describes “the bloodiest fight the Hollow ever knew" (pg. 65), a mid-19th century battle that began after Wild Bill Sullivan had whipped Gabe Chain in a fight. In retaliation Chain determined to kill Bill’s brother, Neece, at Shiloh Church in Covington County, and enlisted the aid of some friends in the venture. They attacked Neece, who was accompanied by his friends Frank Gibbeons and Dan Hathorn at the spring near the church and a bloody fight ensued in which Gabe Chain himself was killed.  During the fight another of the Chain gang slumped to the ground, and was asked by one of his comrades whether he was hurt much, a question answered by Dan Hathorn who said, “You damn right he is hurt. He is dead as hell.” Hathorn saved Neece Sullivan by pulling two guns and warning the others that, "If you touch him, you are dead men."

***

Despite the fact that Bill Sullivan was proclaimed ‘king’ of Sullivan’s Hollow, Dan Hathorn appears to have been an individual to be reckoned with. He appears again in Hammons’ book on page 99:

***

Many acts of violence occurred at the sawmill at Bunker Hill.  This sawmill,

a sash mill, was first erected by Francis Marion Howell and Wiley Sullivan. 

At one time, when a man named Eaton attempted to kill his brother‑in‑law,

Hathorn, to obtain possession of it, Eaton stabbed Hathorn three times in the

back, and two shots were put through his chest by a man named Yawn who

accompanied Eaton. While Eaton was stabbing him, Hathorn seized his own

pistol and shot Eaton through the heart and killed him.  Hathorn recovered

from his wounds and lived eighteen years after this incident.

***

Some see similarities with the Irish jig “Out on the Ocean [1].” Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 234. County Records 3514, Freeny's Barn Dance Band ‑ "Mississippi String Bands, vol. 2: Traditional Fiddle Music of Mississippi." OKeh 45508 (78 RPM), 1930, Freeny's Barn Dance Band (twin fiddle band from Leake County, Mississippi). Philo Records, Kenny Hall. Rounder 0132, Bob Carlin ‑ "Fiddle Tunes for Clawhammer Banjo" (1980).

 


SULLIVAN'S JIG. American, Sand Jig (4/4 time). G Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 2; No. 427, pg. 48.

X:1

T:Sullivan’s Jig

M:C

L:1/8

R:Jig

S:Kerr – Merry Melodies, vol. 2, No. 427  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

(ba)|(ge) zf (e4|e>)ba>g a2 (ba)|(ge) zf (e4|e>)ba>g a2 (ba)|(ge) zf (e4|e>)ba>g a2 b>c’|

d’>c’b>a b>ag>e|d2 [A2f2][B2g2]::(3DEF|G2 (3BAG d>BG>B|A2 (3cBA e>cA>G|F>GA>B c>de>f|

(3gfg (3age d2 B>A|G2 (3BAG d>BG>B|A2 (3cBA e>cA>G|F>GA>B c>de>f|(3gfg a>f g2:|

                       

SULLIVAN’S SHAMROCK BAND. Irish, Polka. Ireland, West Kerry. D Mixolydian. Standard tuning. AABB. There seems to be some confusion in Mac Amhlaoibh’s printed version between accidentals and accompaniment chords, however, the tune works quite well when played in the mixolydian mode throughout. Mac Amhlaoibh & Durham (An Pota Stóir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 17, pg. 19.

                       

SULTAN POLKA. In 1866 during the Canadian gold-rush Robert Burrell grumbled in a letter that the music from Bakerville’s Hurdie house across the street was disturbing his sleep. He mentioned four of the songs that were ringing in his ears: "Silver Lakes Varsovianna,” "King of the Cannibal Islands,” "Sultan Polka" & "Edinburgh Quadrille.”

                       

SULTERS OF SELKERKE. AKA and see "Souters o' Selkirk."

                       

SUMMER DANCE, THE. English, Country Dance Tune (6/8 time). England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 62, pg. 44.

                       

SUMMER DAYS. Scottish, Strathspey. A Major. Standard tuning. AABB’. Kerr (Merry Melodies), vol. 4; No. 32, pg. 6.

X:1

T:Summer Days

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 32  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

A<A G>F E2 A>B|c>Ad>B e>c e>a|A<A G>F E2 A>B|c<f e>c B3c:|

|:A>Bc>d e>c e<a|f<a g>f e>c B>c|A<A G>F E2 A>B|1 c<f e>c B3c:|2 c<e B>c A3z||

                       

SUMMER EVENING (Fe Ascar Samrad). Irish, Air (3/4 time). A Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 215, pg. 37.

X:1

T:Summer Evening

M:3/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 215

Z:AK/Fiddler’s Companion

K:A

E|(A2 A) cBA|(G2 G) Bcd|e2 f dBA|G4 (3EFG|(A2 A) cBA|G3 A B/c/d|e2 f dBG|A4||c>d|

(e2 e) fed|(c2 c) edB|(A2 A) BAG|E2 (3EFG|(A2 A) cBA|G3 A B/c/d|e2 f cBG|A4||

                       

SUMMER FLOWER. Irish, Schottische. G Major ('A' part) & D Major ('B' and Trio parts). Standard tuning. AABBC. Roche Collection, 1982, vol. 3; No. 143, pgs. 45‑46.

 

SUMMER HILL. Scottish (?), Reel. D Major. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 186, pg. 43. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 48.

X:1

T:Summer Hill

M:C

L:1/8

R:Reel

S:O’Farrell – Pocket Companion, vol. III (c. 1808)

Z:AK/Fiddler’s Companion

K:D

A | d>FAF dF B2 | dFAF BEEF | dFAF dF B2 | ABAG FD D2 :| d<d fd gefd |

e<e fd eBB>c | d<d fd gefd | efga fd d2 | d<d fd gefd | eefd eBBc | dfBd Ad F2 | ABAG FD D2 ||

 

SUMMER IN IRELAND (An Samhradh in Éirinn). AKA and see "O'Dowd's No. 9," "Dowd's No. 9," "Jackson's No. 9," "Hugh Gillespie's," "The Cow with the Crooked Horn." Irish, Reel. D Major. Standard tuning. AABB. Source for notated version: Aggie White {Mrs. Sean Ryan}, 1966 (Ballinakill, Co. Galway, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 165, pg. 86. Ceol, iii, pg. 90.

                       

SUMMER IS ICUMEN IN. AKA and see "Summer is Come and the Grass is Green."

                       


SUMMER IS GONE/COME AND THE GRASS IS GREEN, THE ("Ta An Samrad Ann" or "Ta an Samrad Ag teacht). AKA and see "Summer is Icumen In". Irish, English; Slow Air (3/4 time). D Minor (Howe, Joyce, Stanford/Petrie): D Mixolydian (O'Neill). Standard tuning. One part. "I took down both air and words of this song in 1853, from the singing of Jack Hennessy of Kilfinane in the county Limerick" (Joyce). Flood (1905) claims the English version is "merely a harmonized arrangement" of a strain taken from an old Irish tune entitled "Ta an Samrad Ag teach" (The Summer is Coming), which was sung in ancient Ireland to usher in that season. It was copied by John Fornsete, a Benedictine monk of Reading, around the year 1230, and entered English tradition. Chappell (1859) prints a version of this Ionian mode dance air set for six voices, which he dates from 1240, and says it contains the earliest canon and the earliest persistently repeated bass discovered at the time he was writing; it is the first air in his "Popular Music of the Olden Time." Thomas Moore used the tune for his song "Rich and Rare." Source for notated version: “Mr. Joyce from Michael Hennesy, Kilfinane” [Stanford/Petrie]. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pgs. 10‑13. Howe (1000 Jigs and Reels), c. 1867; pg. 29. Joyce (Old Irish Folk Music and Songs), 1909; No. 416, pg. 227. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 482, pg. 84 (appears as "The Summer Has Come"). Stanford/Petrie (Complete Collection), 1905; No. 555, pg. 141.

X:1

T:Summer is Come, The

T:Summer is Come and the Grass is Green, The

M:3/4

L:1/8

R:Air

N:”With feeling”

S:O’Neill – Music of Ireland (1903), No. 482

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/|d>c A/G/c/G/ A>G|E/D/G>E DD DD/E/|FG A2 f>e|d/c/A/G/ F/G/A/B/ =c D/E/|

FG A2 gf/e/|d>c e/d/c/e/ d(3A/B/c/|d>=c A/G/c/G/ A>G|E/D/G/>E/ DD D||

                       

SUMMERHILL [1]. Irish, Polka. D Major. Standard tuning. AABB. Composed by Sean O Driscoll, a banjo and accordion player originally from Blarney, who lived in Minneapolis and lately in County Cork. Sean O’Driscoll – "Sticking Out A Mile.”

X: 1

T: Summerhill [1]

C: S. O Driscoll

M: 2/4

L: 1/8

Q: 300

R: polka

Z: Transcribed by Bill Black

K: D

d>c dA | BA FD | dc dA | Be ec |

d>c dA | BA FD | EG FE | D2 D2 :|

FA AF | Ge ec | dA FA | BG EG |

FA AF | Ge ec | d/2B/2A FE | D2 D2 :|

 

SUMMERHILL [2]. Irish, Polka. G Major. Standard tuning. AABB. Composed by Sean O Driscoll, a banjo and accordion player originally from Blarney, who lived in Minneapolis and lately in County Cork. Sean O’Driscoll – "Sticking Out A Mile.”

X: 1

T: Summerhill [2]

C: S. O Driscoll

M: 2/4

L: 1/8

Q: 300

R: polka

Z: Transcribed by Bill Black

K: G

DG GA | B2 AG | FA AB | c/2B/2A FD |

DG BA | B2 AG | Ad c/2B/2A | AG G2 :|

gG gG | g2 f/2g/2e | fd d/2c/2B | AB cA |

gG gG | g2 f/2g/2e | fd d/2c/2A | AG G2 :|

 

SUMMERHILL [3]. Irish, Polka. D Major. Standard tuning. AABB. Composed by Sean O Driscoll, a banjo and accordion player originally from Blarney, who lived in Minneapolis and lately in County Cork. Sean O’Driscoll – "Sticking Out A Mile.”

X: 1

T: Summerhill [3]

C: S. O Driscoll

M: 2/4

L: 1/8

Q: 300

R: polka

Z: Transcribed by Bill Black.

K: D

A | df ed | c/2B/2A AF | GB AG | FD DE |

FD FG | Ad dA | BA Bc | d3 :|

e | fe/2f/2 gf | ec A>B | (3cBA eA | e>d cB |

fe/2f/2 gf | ec A>B | (3cBA eA | d3 :|

 

SUMMERHILL [4].  See “Summer Hill.”

                       

SUMMERTIME, SUMMERTIME. See “We Brought the Summer with Us.”

                       

SUMNER'S HORNPIPE. American, Hornpipe. D Major. Standard tuning. AABB. Similar to "Queen of the West." The tune was recorded by Cape Breton fiddle Winston Fitzgerald, paired with “Ferry Bridge Hornpipe,” which appears on the same page in Ryan’s Mammoth Collection (1883) just above “Sumner’s.” “Queen of the West” is a more common title for the melody. Source for notated version: Benny Thomasson (Texas) [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 95. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 227. Ryan’s Mammoth Collection, 1883; pg. . White’s Unique Collection, 1896; No. 123, pg. 22.

X:1

T:Sumner’s Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896), No. 123

Z:AK/Fiddler’s Companion

K:D

(F/E/) | D/F/A/F/ D/F/A,/F/ | E/G/A/G/ E/G/A,/G/ | F/A/d/F/ G/B/e/c/ | A/d/f/d/ c/A/G/E/ |

D/F/A/F/ D/F/A,/F/ | E/G/A/G/ E/G/A,/G/ | F/A/d/A/ B/g/e/c/ | ddd :: (c/d/) |

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

e/c/A/c/ E/A/c/e/ | f/d/A/d/ F/A/d/f/ | g/b/a/g/ f/e/d/c/ | ddd :|

                       

SUN ASSEMBLY. English; Air, March or Country Dance Tune (2/4 time). A Major (Barnes, Thompson): G Major. Standard tuning. AB. The tune was published in London publishers Samuel, Ann and Peter Thompson’s Collection of 200 Favourite Country Dances (vol. 1, c. 1780-90—a reissue of Charles and Samuels Thompson’s original 1757 collection), and John Johnson’s Choice Collection of 200 Favourite Country Dances (vol. 6, 1751). Barnes (English Country Dance Tunes), 1986. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 8). Ken Sheffield – “Two Barns, vol. 1” (1982).

X:1
T:Sun Assembly
M:2/4
L:1/8

R:March, Air or Country Dance Tune
K:G
g2d2 | B2AG | e2G2 | F2 ED | GBdB | A^c eg | fde^c | d2 D2 |!
g2d2 | B2AG | e2G2 | F2 ED | EGcE | DFAc | BAGF | G4 ||!
Bd gf | e2 dc | Bd gf | e2 dc | Bd gf | fe ed |dc cB | B2 A2 |!
cB AG | F/G/A D2 | cB AG |e/f/g f2 | eG ge | dB AG | D2 F2 | G4 ||

X:2

T:Sun Assembly

M:2/4

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

a2 {f}e2|{d}c2 BA|f2A2|G2 FE|(Ac)(ec)|(d^f)(fa)|(ge)(f^d)|e2E2|a2 {f}e2|{d}c2 BA|f2A2|GG2 FE|

(FA)(dF)|(EG)(Bd)|(cB)(AG)|A2 A,2||(ce)(ag)|f2 ed|(ce)(ag)|f2 ed|(ce)(ag)|”tr”(gf)”tr”(fe)|

“tr”ed”tr”dc|”tr”c2B2|(dc)(BA)|(G/A/B) E2|dcBA|(fg/a/) g2|fAaf|ecBA|E2G2|A4||

                       

SUN BEAMS, THE. English, Country Dance Tune (cut time). F Major. Standard tuning. AAB. The melody was published in Charles and Samuel Thompson’s Compleat Collection of 200 Favourite Country Dances (vol. 3, 1773) and Longman and Broderip’s Compleat Collection of 200 Favourite Country Dances (London, 1781). It also appears in the 1770 music manuscript collection of Northumbrian musician William Vickers (about who unfortunately little is known), the 1780 copybook of Perthshire fiddler or fifer John Fife (who may have compiled some of his tunes at sea), and the 1780 commonplace book of fiddlers John and William Pitt Turner (Norwich, Conn.). Seattle (William Vickers), 1987, Part 2; No. 361. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3)  , 1773; No. 15.

X:1

T:Sun Beams, The

M:C|

L:1/8

R:Reel

S:William Vickers music manuscript copybook, pg. 100 (1770)

Z:AK/Fiddler’s Companion

K:F

c|fcAd cAFE|DdBG cAFc|fcAd café|DdBG F2F2:||

c|fcfa gece|gegb agfg|afea gecg|afed c2 cB|

Acfg ag/f/ gA|Bdga bgec|fcAd café|EdBG F2F2||

X:2

T:Sun Beams, The

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:F

c|fcAd cAFE|DdBG cAFc|fcAd cAFE|DdBG F3::c|fcfa gecf|gegb agfg|

afda gecg|afed c3B|Acfg ag/f/ gA|Bdga bgec|fcAd cAFE|DdBG F3:||

                       

SUN BEHIND GLENTIES, THE. AKA and see “Johnny’s Gone to France [2].” Irish. Ireland, County Donegal. A Donegal name for the tune.

           

SUN FROM THE EAST.  English, Waltz, Air (3/4 time). D Major (Callaghan): C Major (Livingston). Standard tuning. One part. “Sun from the East” appears in print in Charles and Samuel Thompson’s Choice Collection of Favorite Hunting Songs (London, 1770), as a song air. As “The sun from the east tips the mountains with gold” it appears in The Vocal Enchantress (pub. by J. Fielding, London, 1783) and on songsheets. Apparently, the song was from the opera Apollo & Daphne, where it was sung by Mr. Beard.

***

The sun from the east tips the mountains with gold,

And the meadows all spangled with dewdrops behold.

Hear the lark’s early matin proclaims the new day,

And the horn’s cheerful summons rebukes our delay.

With the sports of the field there’s no pleasure can vie,

While jocund we follow, follow, follow, follow, follow, follow, follow, follow, follow, follow,

Follow, follow, follow, follow, the hounds in full cry.

***

The melody appears in the early 19th century Thomas Hardy family manuscripts. It was also included in several American manuscripts of the late 18th century including flute player Henry Livingston’s (Dutchess County, N.Y.) late 18th century ms., flute player Henry Beck’s 1786 commonplace book, Micah Hawkins (New York) 1794 copybook, and George White’s (Cherry Valley, N.Y.) c. 1790-1830 commonplace book. Callaghan (Hardcore English), 2007; pg. 86.

X:1

T:Sun from the east, The

M:3/4

L:1/8

S:Henry Livingston’s music manuscript copybook (before 1787)

K:C

G2|c2G2c2|e4 dc|d2G2d2|f4 ed|e2 cd ef|g2 fe dc|dB G2F2|(F E3) GG|

c2e2dc|{e}d2 (cB) (AG)|c3e (dc)|{c}B4 GG|(AB)c2 (BA)|(Bc) d2 e^f|

g2 (dc) (BA)|G4 dd|d2 (cB) AG|d3e f2|e2 (dc) (BA)|e4 e2|a2 (ed) (cB)|

c B A B c A|d e f e d c|B A G A B G |c B c e f|g3 f e2|f2e2d2|c4||

           

SUN HAS LOOS'D HIS WEARY TEAMS, THE. AKA ‑ "Winchester Christening," "London Gentlewoman," "The Hemp Dressers." English, Air. Published by John Gay, The Beggar's Opera (1729). Raven (English Country Dance Tunes), 1984; pg. 59.

 

SUN RISE WALTZ. Old‑Time, Waltz. Caney Mountian Records CEP 208 (extended play LP, privately issued), Lonnie Robertson (Mo.), c. 1965‑66.

 

SUN SPLITTING THE STONES, THE.  Irish, Reel. Composed by Nenagh, County Tipperary, fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 21.

 

SUNBEAM, THE (Ga Greine). Irish, Air (4/4 time). F Major. Standard tuning. AAB. Joyce, 1909; No. 107, pg. 55.

 

SUNBURY COMMON.  English, Country Dance Tune (cut time). A Major. Standard tuning. AABB. Sunbury Common is a village in Surrey, on the Thames, southwest of London. Sunbury was once the residence of Admiral Hawke, who blockaded Rochefort in 1757. The melody was first published in John Johnson’s Choice Collection of 200 Favourite Country Dances (London, 1751). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 38.

X:1

T:Sunbury Common

M:C|

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:A

A3c c2 Bd|dcBA BGFE|A3c c2 Bd|dcBA {^d}e2 E2::e2 ae f2 e2|defg aef”tr”e|

e2 ae “tr”f2e2|{f}e2 {d}c2 c2B2|”tr”ecBA fdcB|ecBA fdcB|ecBA dBAG|E2G2 [A,4E4A4]:||

 

SUNDAY AFTERNOON. American, March (4/4 time). USA, southwestern Pa. D Major. Standard tuning. AABB'. Bayard (1981) suspects this tune was derived from a martial‑band tune, or perhaps a song tune. He notes both "I Want to See the Old Home" and "Scotland is My Ain Hame" show some general resemblance. Source for notated versions: Samuel Losch (Juniata County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 29, pg. 29.

 


SUNDAY IS/WAS MY WEDDING DAY. AKA and see "Apples in Winter [1]," "General White's Jig," "Kennedy's Jig,” "The Misfortunate Rake," "Next Sunday is My Wedding Day," "Rattle the Quilt (to Pieces)," "The Shamrock (Reel) [1]," "The Squint‑eyed Piper," "The Unfortunate Rake [2]." Irish, Jig. E Minor (Cole, Williamson): E Dorian (Kerr). Standard tuning. AABB. A member of the "Hillside" family of tunes‑‑see Bayard's (1944) extensive notes under "Red Brick House in Georgia Town." Also a variant of “Hills of Glenorchy [1].” Cole (1000 Fiddle Tunes), 1940; pg. 62. Kerr (Dance to the Fiddle), Vol. 2; No. 265, pg. 29. Ryan’s Mammoth Collection, 1883; 80 & 91. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 77. Recorded by the Incredible String Band. Revonah RS‑924, "The West Orrtanna String Band" (1976. Learned from an Incredible String Band recording).

 

SUNDAY MORNING. AKA and see "Maidin Domhnaigh."

 

SUNDAY NIGHT. Irish, Reel. A Major. Standard tuning. AA’BB. The Scot’s tune “I’m Over/Owre Young to Marry Yet” appears to be ancestral for the first part. Maire O’Keeffe, in her liner notes to Daly’s album, indicates these words are sung to the tune:

***

Hey little boy, who made your britches o?

Me mammy cut them out

And me daddy sewed the stitches o.

***

X:1

T:Sunday Night

M:4/4

L:1/8

Z:Paul de Grae

R:reel

D:Jackie Daly, "Many's a Wild Night" track 3(b)

K:A

c|ecAB c2 Bc|ecAB cBBc|ecAB c2 Bc|1efed cAA:|2efed cA A2||

fgaf b2 c'b|agfa eccB|AGAB c2 Bc|efed cA A2:||

 

SUNDAY NIGHT REEL.  Old-Time, Reel. G Major. Standard tuning. AABB’. Composed by Art Galbraith (1909-1993), a Missouri fiddler who lived near Springfield, around 1960, while sitting on his front porch of a Sunday night. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 42. Rounder Records 0133, Art Galbraith – “Dixie Blossoms” (1980).

 

SUNDAY RIVER WALTZ. American, Waltz. F Major. Standard tuning. AABB. Composed in 1984 by fiddler Pete Sutherland (Vermont). The Sunday River is located in the western part of the State of Maine. Matthiesen (Waltz Book I), 1992; pg. 48. Sutherland (Bareface), 1984; pg. 25.

 

SUNDERLAND BARRACKS.  English, Reel. G Major. Standard tuning. AAB. Sunderland Barracks was in County Durham. A military presence there dates from the early 18th century, but it was not until the wars with France later in the century that a permanent barracks was established. In the John Rook music manuscript (Cumbria, 1840) the melody is set in the key of ‘D’. Northumbrian Pipers Pocket Green Book, 1993.

X:1

T:Sunderland Barracks

M:C|

L:1/8

R:Reel

K:G

D|G2 BG dGBG|G2 BG FDAF|G2 BG dGBG|ceAc BG G:||

f|gdBd ceBd|gdBd eAAf|gdBd ceBd|Bdce dGGf|

gdBd ceBd|gdBd eAAf|gdBd ceAc|Bedc BG G||

X:2

T:Sunderland Barracks

M:C|

L:1/8

R:Reel

S:John Rook manuscript (Cumbria, 1840)

K:D

A|d2 fd adfd|d2 fd cAec|d2 fd adfd|gbeg fdd:|
|:c|dAFA GBFA|dAFA BEEc|dAFA GBFA|FAGB ADD:|

 

SUNDERLAND HORNPIPE [1]. English, Hornpipe. England, Yorkshire. G Major. Standard tuning. AABB. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Merryweather & Seattle (The Fiddler of Helperby), 1994; No. 2, pg. 28.

 

SUNDERLAND HORNPIPE [2]. English, (Old) Hornpipe (3/2 time). D Major. Standard tuning. AABB. The melody appears in Walsh’s third collection of Lancashire tunes (Lancashire Jigs, Hornpipes, Joaks, etc.) published around the year 1730.

X:1

T:Sunderland Hornpipe

B:Walsh

M:3/2

L:1/8

K:D

DEFG ABcA d4|fgaf e2 dc B2 A2|BcdB A2 GF G2 B2|egbg edcB AGFE |\

DEFG ABcA d4|fgaf e2 dc B2 A2|BcdB A2 GF E2 c2|dBAG FdEc d4::\

ABcd efga f4| bagf gefg c3 A2| DEFG AB=cd B4|egba gfed c2 A2|\

afeB =cedc B2 A2| bgec dfed c2 A2| afge fdec dBAG| F2 d2 E2 c2 d4:|

 

SUNDERLAND LASSES. English, (3/4 time). England, Northumberland. G Major. Standard tuning. AABBCC. The melody appears in the 1770 music manuscript (pg. 28) of Northumbrian musician William Vickers, about whom unfortunately little is known. Vickers noted the tune in 6/8 time but it scans better in ¾ time, as it is set, for example, in the James Biggins music manuscript (Leeds, 1779). Similar in contour and melodic material to “Lads of Alnwick.” Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 184.

X:1

T:Sunderland Lasses

M:3/4

L:1/8

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

B2 G/A/B/c/ dB|G/A/B/c/ dBdg|B2 G/A/B/c/ dB|AeeAce:|

|:G/A/B?c/ dBgB|G/A/B/c/ dBdg|G/A/B/c/ dBgB|AeeAce:|

|:g2 d/e/f/g/ gd|BddGBd|g2 d/e/f/g/ gd|AeeAce:|

X:2

T:Sunderland Lasses

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:D

c2 A/B/c/d/ ec|A/B/c/d/ ecea|c2 A/B/c/d/ ec|Bffd df:|

|:A/B/c/d/ ecac|A/B/c/d/ ecea|A/B/c/d/ ecac|BffB df:|

|:a2 e/f/g/a/ ae|ceeA ce|a2 e/f/g/a/ ae|BffB df:|

X:3
T:Sunderland Lasses. JB.69
M:3/4
L:1/8
Q:120
S:James Biggins MS, Leeds, 1779.
R:Misc.
O:England
A:Yorkshire
Z:vmp.Nick Barber & Chris Partington
K:A
c2A/B/c/d/ ec|A/B/c/d/ ecea|c2A/B/c/d/ ec|BffB df:|!
|:A/B/c/d/ ecac|A/B/c/d/ ecea|A/B/c/d/ ecac|BffB df|:|!
|:a2e/f/g/a/ ae|ceeA ce|a2e/f/g/a/ ae|BffB df:|]
W:Version?This one Vickers.

 

SUNDRUM HOUSE. Scottish, Reel. A Major. Standard tuning. AA'BB'. Composed by Hugh Dunlop. Kerr (Merry Melodies), vol. 3; No. 78, pg. 10.

X:1

T:Sundrum House

M:C

L:1/8

R:Reel

S:Kerr – Merry Melodies, vol. 3, No. 78  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

Aeef edcB|AEcE dEBE|1 Aeef edcB|Aagf e2e2:|2 AaAg AfAe|ecdB A2A2||

|:eaag aece|fBBc defe|1 eaag aece|Becf e2e2:|2 ceAe dfBf|eagb a2A2||

 

SUNFLOWER HORNPIPE. Old-Time, Hornpipe. D Major. Standard tuning. AABB. Drew Beisswenger (2008) points to similarities with “Cricket in the Hearth” and “Marmaduke’s Honrpipe.” Sources for notated version: Lyman Enloe (Missouri) [Phillips]; Jesse Wallace (1907-2006, born Stone County, Arkansas), learned from Lyman Enloe [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 157. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 227. Graphic Recording, Jesse Wallace – “The Stone County Fiddler” (c. 1979).

 

SUNNY BANK, THE. Irish, Slow Air (6/8 time). D Minor. Standard tuning. AB. O'Neill (O’Neill’s Irish Music), 1915; No. 48, pg. 33.

X:1

T:Sunny Bank, The

M:6/8

L:1/8

R:Air

N:”Largo”

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:Dmin

D/E/ | FA^c d>ef/d/ | dAf edc/B/ | A>GF/E/ D>EF/G/ | Afe/^c/ d2 =c/d/ | ffe/d/ cAf/e/ |

dAG/F/ D2 C/D/ | FF/G/A/c/ dfc/B/ | AF/>A/G/>F/ F2 || A/^c/ | dd/e/f/d/ =cAA |

BGA FDA/^c/ | dAf ed=c/B/ | AG/F/A/c/ d2f/d/ | cAG/F/ DC/D/F/G/ |

Acd/e/ f2 f/e/ | d/c/{c}B/A/{A}G/F/ G/>F/DC | C/>D/FF/>G/ F2 ||

 

SUNNY BANKS, THE (Na Bruachanna Gréine). AKA and see “The Flowers of Ballymote,” “Gardiner’s Favourite [1],” “The Flying Column [2]," “London Lasses [1],” “The Maids of Donegal.” Irish, Reel. D Major. Standard tuning. AABB (Breathnach, Mallinson, Mulvihill): AA’BB’ (Vallely). See also the related slip-jig setting in the first part of “Top it Off.” Sources for notated versions: flute player Éamonn de Stabaltún (Ireland) [Breathnach]; “from my mother” [Mulvihill]; Breathnach (CRÉ I), 1963; No. 148, pg. 59. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 62. Mallinson (Enduring), 1995; No. 8, pg. 4. Mulvihill (1st Collection), 1986; No. 65, pg. 17. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 31, pg. 16. Coleman Center CD CC004, Harry McGowan, Mick Loftus & Jim Corry – “The Mountain Road” (1999. Various artists. “A Compilation of tunes popular in South Sligo”). Gael-Linn CEF060, “Paddy Glackin.” Shanachie 97011, Dan Ar Bras - "Irish Reels, Jigs, Airs and Hornpipes" (1990).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Sunney Banks, The

R:reel

D:De Danann 1

D:Paddy Glackin: Ceol ar an bhFidil le Paddy Glackin

Z:id:hn-reel-554

Z: transcribed by henrik.norbeck@mailbox.swipnet.se
M:C|
L:1/8

K:D

AF~F2 d2cA|(3Bcd AF GFGB|AF~F2 d2 cA|1 (3Bcd AF DEFG:|2 (3Bcd AF D3g||

|:fded cAAg|fdef g2ag|fded cA~A2|1 (3Bcd AF D3g:|2 (3Bcd AF DEFG||

 

SUNNY BANKS [2], THE. AKA – “The Old Sunny Banks.” Irish, Reel. D Major. Standard tuning. ABB’. Rafferty’s version has different beginning than "Sunny Banks [1]", learned that way from local players when he was a young musician in Ballinakil (Harker, 2005). 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. 96, pg. 30. Shanachie 79054, Cherish the Ladies – “Fathers and Daughters” (1985).

X:1

T:Sunny Banks, The

R:reel

S:Mike Rafferty

N:he played this before Private Ass and Cart.

Z:lesl

M:C|

K:D

FG|:A{B}AFA BAFz|ABAF G{A}GFG|Az (3FGA BAFG|1 ABAF D2zF:|2 ABAF d2ze||

|:fded cAaz|faef geag|fded cAAz|1 BGAF d2ze:|2 BGAF D2zF||

|:A{B}AFA BAFz|ABAF G{A}GFG|A{B}AFA BAFz|ABAF D2zF|

AzFA BAFG|ABAF G{A}GFG|A{B}AFA BAFz|ABAF d2ze||

|:fded cAaz|faef ggag|fded cAAz|1 BGAF d2ze:|2 BGAF D4||

                       

SUNNY DAN. AKA and see "Daniel of the Sun."

                       

SUNNY HOME IN DIXIE. Old‑Time, Breakdown. USA; southwestern Va., western N.C.  G Major. Standard tuning. AB. A Galax, Va., region standard. A "show" piece of Dobson, North Carolina, banjoist and fiddler Frank Jenkins (b. 1888), "that won him countless blue ribbons" (Richard Nevins). Also recorded by John Rector’s Wildcats. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 153. County 507, Frank Jenkins' Pilot Mountaineers (Frank Jenkins, Oscar Jenkins, Ernest Stoneman) ‑ "Old Time Fiddle Classics." Flying Cloud FC-023, Kirk Sutphin - "Fiddlin' Around." Living Folk LFR‑104, Allan Block ‑ "Alive and Well and Fiddling."

                       


SUNNY SOUTH, THE. Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (O’Neill’s Irish Music), 1915; No. 365, pg. 176.

X:1

T:Sunny South, The

M:4/4

L:1/8

R:Hornpipe

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

Z:AK/Fiddler’s Companion

K:G

ge | dBAB GFEF | GBAF G2 GA | BABd efgg | edBG A2 Bc | dBcA BGAF |

GBAF G2 GE | DGBG cAEF | G2 (3GGG G2 :: GF | EGce d2 (3def | gedB G2G2 |

EGcg fde^c | d2 (3ddd d2 (3def | g2 af gedB | GBAF G2 GE | DGBG cAEF | G2 (3GGG G2 :|

                       

SUNNYSIDE. Old‑Time, Texas‑Style; Breakdown. F Major. Standard tuning. AABB. Source for notated version: Vernon Solomon (Texas) [Phillips]. Phillips (Fiddlecase Tunebook), 1989; pg. 42. Phillips (Traditional American Fiddle Tunes), 1994; pg. 235. County 703, Vernon Solomon. Caney Mountain Records CLP 228, Lonnie Robertson (Mo.) ‑ "Fiddle Favorites."

                       

SUNRISE, THE (An Troigean). Irish, Hornpipe. G Major ('A' part) & E Minor ('B' part). Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 193. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1684, pg. 313.

X:1

T:Sunrise, The

M:2/4

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1903), No. 1684

Z:AK/Fiddler’s Companion

K:G

(3D/E/F/ | G/>F/G/>B/ A/>G/E/>F/ | G/>A/G/>E/ Dz | (d2 e/>)d/B/>G/ | B/>A/A/>B/ AD |

G/>F/G/>B/ A/>G/E/>F/ | G/>A/G/>E/ Dz | (d2 e/>)d/B/>G/ | A/>c/B/>A/ G :|

|: E | e E/>F/ G/>F/E | ^d/>e/f/>d/ ez | e E/>F/ G/>F/E | ^d/>e/f/>d/ ez |

e/>^d/e/>f/ g/>f/e/>g/ | f/>e/d/>f/ e(3d/e/f/ | g/>f/g/>e/ d/>B/G/>B/ | A/>cB/>A/ G :|

                       

SUNSET, THE. Irish, Reel. D Major. Standard tuning. AABB. Composed by flute player Cathal McConnell and Seamus Quinn.

X:1

T:The Sunset

S:Altan

C:Cathal McConnell \& Seamus Quinn

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

L:1/8

M:4/4

K:D

ed|cFFF c2dc|BGBd e2ed|=cdeg d2Ad|dfed cded|\

cFFF c2dc|BGBd e2ed|=cdeg fde^c|dfec d2::ag|\

fdfg a2gf|e=cef g2za|fggf gfec|dfed cded|\

cFFF c2dc|BGBd e2ed|=cdeg fde^c|dfec d2:|

X:2

T:Sunset, The

C:Cathal McConnell & Seamus Quinn.

R:reel

D:Altan: Altan

Z:Tom Keays

M:C|

K:D

P:D

ed||cF~F2 Bcdc|BG (3Bcd deed|=cdeg d2Ad|dfed ^cded|

cF~F2 Bcdc|BG (3Bcd deed|=cdeg fde^c|1 dfec d2ed:|2 dfec d2ag||

|:fdfg a2gf|e=cef g3a|fg (3agf gfe^c|dfed ^cded|

cF~F2 Bcdc|BG (3Bcd deed|=cdeg fde^c|1 dfec d2ag:|2 dfec d2||

"Variations:"

ed||cF~F2 Bcdc|BG (3Bcd deed|=cdeg d2Ad|dfed ^cded|

cF~F2 Bcdc|BG (3Bcd deed|=cdeg fde^c|1 dfec d2ed:|2 dfec d2ag||

|:fdfg a2gf|e=cef g3a|fg (3agf gfe^c|dfed ^cded|

cF~F2 Bcdc|BG (3Bcd deed|=cdeg fde^c|dfec d2ag|

=f=c=fg a2g=f|e=ce=f g3a|fg (3agf gfe^c|dfed ^cded|

cF~F2 Bcdc|BG (3Bcd deed|=cdeg fde^c|dfec d2||

                       

SUNSET OVER FOULA. Shetland, Waltz. D Major. Standard tuning. One part. Composed in the 1950's by Shetland accordion and piano player Ronnie Cooper, and recorded by him with the band "The Hamefarers" (which also included Scottish fiddle Willie Hunter). Matthiesen (Waltz Book II), 1995; pg. 55. Thule Records, "The Hamefarers" (c. 1950's).

                       

SUNSET PARK. Irish, Jig. G Major. Standard tuning. AABB. Composed in 1988 by Falmouth, Massachusetts, musician and writer Bill Black, named for a Brooklyn, New York, neighborhood. Black (Music’s the Very Best Thing), 1996; No. 48, pg. 25.

X:1

T: Sunset Park

C: © B.Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: G

D | DGB AGE | DEG Age | dBB cde | dBB AGE |

DGB AGE | DEG Adc | BAB ded | cAF G2 :|

e | gab edd | efg dBB | cde eag | fd^c d2 d |

gab edd | efg dBB | cde dBG | cAF G2 :|

                       

SUNSET POLKA. AKA and see "Polka du Soleil Couchant."

           

SUNSET REEL.  Canadian, Reel. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher (1934-1989). Durocher was born the youngest of sixteen children, to a modest family of few resources. He quit school in his young teens to help make family ends meet and remained a factory worker for most of his life, not even possessing a drivers license. John came to fiddling when he found a broken fiddle in the trash one day and asked the owner for permission to retrieve it; with some repair work he had his first instrument. A few lessons from a local teacher (which served to teach him how to read and write music), were all the formal music education John received. He was a prolific composer of fiddle tunes, however, and named them for sports and current events, family and friends and topics of his day, explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer, who included many of his tunes in his broadcasts and printed collections, helping Durocher to become quite influential in the Ontario scene for his over 400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27].

           

SUNSET WALTZ. Canadian, Waltz. D Major. Standard. AABB. Composed by Ward Allen, a one-time Canadian Champion fiddler. GRT Records 9230-1031, “The Best of Ward Allen” (1973). Sparton Records SP 213, “Ward Allen Presents Maple Leaf Hoedown, vol. 3.”

X:1

T:Sunset Waltz

C:Ward Allen

R:Waltz

M:3/4

L:1/8

Z:Transcribed by Bruce Osborne

K:D

[D/A/][F3/2 A3/2] [G/ A/]|[D2 A2] A/A3/2 A3/2A/|B2 A3/2G/ F3/2E/|D2 F/A3/2 A3/2c/|(3BcB A2 f3/2a/  |

g2 -g3/2a/ g3/2e/|c2 -c3/2d/ c3/2B/|A2 -A3/2B/ A3/2G/|(3FED B,3/2A,/ B,3/2C/|D2 F/A3/2 A3/2c/|

B2 A3/2G/ F3/2E/|D2 F/A3/2 A3/2c/|(3BcB A2 f3/2a/|g2 -g3/2a/ g3/2e/|c2 -c3/2d/ c3/2B/|A2 f3/2e/ c3/2e/|[F4 d4]:|

|:[F2 d2]|[A2 -f2] -[A3/2f3/2][A/ f/] [A3/2 f3/2][A/ f/]|[A2 .f2] [A2 .e2] [d2 .f2]|[f2 -a2] -[f3/2a3/2][f/ a/] [f3/2a3/2][f/ a/]|[f2 a2] g3/2e/ f3/2e/|

[e2 -a2] -[e3/2a3/2][e/ a/] [e3/2a3/2][e/ a/]|[e3/2a3/2][A/ e/] [d2 f2] e3/2g/|[A2 -f2] -[A3/2f3/2][A/ g/] [A3/2f3/2][A/ e/]|[d2 f2] [F2 A2] [D2 A2]|

[A2 -f2] -[A3/2f3/2][A/ f/] [A3/2f3/2][A/ f/]|[A2 .f2] [A2 .e2] [d2 .f2]|[f2 a2] [f3/2a3/2][f/ a/] [f3/2a3/2][f/ a/]|[f2 a2] g3/2e/ f3/2e/|

[e2 -a2] -[e3/2a3/2][e/ a/] [e3/2a3/2][A/ e/]|[A2 g2] f3/2e/ [c3/2e3/2][A/ e/]|[d2 -f2] -[d3/2f3/2][d/ f/] [d3/2f3/2][d/ f/]|[d4 f4]:|

                       

SUNSHINE HORNPIPE, THE (Crannciuil Taitneam na Greine). AKA and see “The Pansy Blossom [1],” "Shunster's Hornpipe,” “St. Elmo Hornpipe." English, Irish, Scottish; Hornpipe. England, Northumberland. A Major (Carlin, O’Neill): G Major (Mallinson). Standard tuning. AABB. Carlin (English Concertina), 1977; pg. 46. Mallinson (Enduring), 1995; No. 75, pg. 31. O’Brien (Jerry O’Brien’s Accordion Instructor), 1949. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 952, pg. 163. . Cló Iar-Chonnachta CICD 168, Brian Conway, Joe Burke, Felix Dolan – “Tribute to Andy McGann” (2007). Cló Iar-Chonnachta CICD 173, Brian Conway – “Consider the Source” (2008). Eamonn Cotter – “Traditional Music from County Clare.”

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:Sunshine Hornpipe, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – 1001 Gems (952)

Z:AK/Fiddler’s Companion

K:A

cd|(3eae (3cec (3AcA ED|CEAc ecAc|(3dfd (3cec (3BdB (3AcA|GBFB E2 cd|

e>ac>e A>cE>D|CEAc ecAc|(3dfd (3cec (3BdB (3GBG|Aaec A2:|

|:Bc|dBGB EGBc|dBGB d2 cd|ec (3AcA EAcd|ec (3Ace a2 ga|

fdBd (3fed (3cBA|(3GAB (3AGF E2 cd|eafd cABG|Aaec A2:|

                       

SUO-GAN. Welsh, Lullaby. An air that, unlike many Welsh airs for which antiquity is claimed, is evidently quite old, according to Kidson (Groves).

                       

SUPPERTIME. Old-Time, Breakdown. G Major. Standard tuning. AB. Source for notated version: Greg Canote (Seattle) [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 154.

                       

SUPPLE DANCER, THE (An Rinceoir Luat). Irish, Hornpipe. G Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 184. O'Neill (1850), 1903/1979; No. 1646, pg. 306.

X:1

T:Supple Dancer, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Music of Ireland (1646)

Z:AK/Fiddler’s Companion

K:G

d>c|(3BdB G>B c>AF>A|a>fg>e d>cB>A|(3BdB G>B c>BA>G|F>Ad>f e>dc>A|

(3BdB G>B c>AF>A|a>fg>e d>cB>A|(3BdB (3GAB c>AF>A|G2B2G2:|

|:B>c|d2g2f2e2|(3ded (3cBA G2F2|Eedc BAGF|AGFE D2 B>c|d2g2f2e2|

(3ded (3cBA G2F2|Eedc BAGF|A2G2G2:|

 

SUPPLE SANDIE. Shetland, Shetland Reel. From the island of Whalsay, Shetland.

 

SUR LE COURTABLEAU (On the Courtableau). Cajun, Two-Step. USA, Louisiana. G Major. Standard tuning. BB(Vocal)BBBBBB(Vocal)BB. Raymond Francois (1990) explains the title refers to Bayou Courtableau in St. Landry Parish, named for one Jacques Courtableau who owned the land in the area in the late 18th century. The bayou was an early waterway to Washington, Louisiana, from the Atchafalaya River. Source for notated version: accordion player Nathan Abshire (Basile, La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 92-93. Swallow Records SW-LP6014, Nathan Abshire.

 


SUR LES BORDS DE LA RIVIERE. French, Valse (3/4 time). G Major. Standard tuning. AAB. Stevens (Massif Central), 1987, vol. 1; No. 66.

 

SUR LOS CAN D'EN DUONO. French, Bourree (3/8 time). France, Auvergne (central France). C Major. Standard tuning. AABB. Stevens (Massif Central), 1988, vol. 2; No. 39.

 

SURGEONS' CALL. New England, Polka. G Major. Standard tuning. AABB. In past centuries the professions of surgeon and physician were related, but different, callings, and the former was not always held in the highest esteem. More than once riots broke out at the site of public executions in England when surgeons tried to claim dead bodies after a hanging for purposes of dissection. Miller & Perron (101 Polkas), 1978; No. 67.

 

SURGEON'S TRIUMPH, THE. Scottish, March (4/4 time). D Major. Standard tuning. AB. Composed by the famous Scottish fiddle-composer, J. Scott Skinner, c. 1922 and dedicated to a Dr. Milne, a surgeon who had operated on him. The MS is published for the first time in Bill Hardie's Beauties of the North (1986), having been obtained from the surgeon's son, who gave it to Ian Collie, Director of Education for Central Region, who in turn gave it to Dr. Tom Anderson (Shetland), and thence to Mr. Hardie. Hardie (Caledonian Companion), 1986; pg. 18 (includes variations).

 

SURPRIZE, THE.  English, Country Dance Tune (cut time). A Major. Standard tuning. AABB. The melody first appears in London publishers Charles and Samuel Thompson’s third country dance collection (1773). It was also entered into the 1788 music commonplace book of fiddlers John and William Pitt Turner, of Norwich, Conn. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 4.

X:1

T:Surprize, The

M:C|

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:A

A2e2”tr”c3B|(A/B/c) BA GF E2|A2e2”tr”c3B|(A/B/c) EG A4:|
|:(c/B/A) AA (c/B/A) AA|(A/B/c) BA B2E2|E2a2 edcB|A2a2 edcB|(A/B/c) EG A4:||

 

SURRENDER OF COPENHAGEN. English, Jig. G Major. Standard tuning. AABB. In 1807 the Danish fleet and the city of Copenhagen were taken by the British under Lord Cathcart in a pre-emptive move to prevent the ships being used by Napoleon. Cathcart also gets a nod in Goudling’s volume with the tune “Lord Cathcart’s Reel.” Goulding (Twenty Four Country Dances for the Year 1808), 1808; No. 24.

X:1

T:Surrender of Copenhagen

M:6/8

L:1/8

R:Jig

B:Goulding & Co. – Twenty Four Country Dances for the Year 1808 (London)

N:”With proper Tune & Directions to each Dance (as they may be

N:performed at Court, Bath, and all Public Assemblys.”

Z:Transcribed and edited by Flynn Titford-Mock

Z:abcs’s:AK/Fiddler’s Companion

K:G

G2G GFG|D2G GFG|D2G GFG|ABA d2d|B2G GFG|D2G GFG|D2G EcB|AGF G3:|

|:d|B2e e^de|A2d d^cd|G2c cBc|c2c BAB|A2G GFG|D2G GFG|D2G GFG|AGF G2:||

 

SURROUND, THE.  Irish, Hop Jig. From the Goodman manuscript. The second part is very similar to the Leitrim hop jig “Do it Fair.”

 

SURRY HORNPIPE.  American, Hornpipe. G Major. Standard tuning. AABB. The melody appears in Edward Riley’s Flute Melodies (New York, 1814), and William Williams’ New and Complete Preceptor for the Fife (Utica, N.Y., 1826). Mattson & Walz (Old Fort Snelling Book for the Fife), 1974; pg. 84.

 

SURRY REEL.  English, Jig. F Major. Standard tuning. AABB. The melody appears to be unique to Charles and Samuel Thompson’s Compleat Collection, vol. 3 (London, 1773). Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 186.

X:1

T:Surry Reel, The

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:F

c|ABc cAc|dBd c2A|BdB AcA|GAG G2B|ABc cAc|dBd c2A|Acf dge|(f3 f2):|
|:g|efg gec|bag a2g|fed ed^c|(d3 d2)e|fcA Bcd|cAF E2F|GBA GFE|(F3 F2):||

 

SUSA DUBH, AN. AKA and see "The Black Blanket."

 

SUSAI NI CHEALLAIGH (Susanna Kelly). AKA and see "Sally Kelly," "Sheela ni Kelly," "Miss Sally Kelly." Irish, Air (2/4 time). E Dorian/D Major. Standard tuning. AB. The melody was composed by the blind Irish harper Turlough O'Carolan (1670-1720). O'Sullivan (1983) points out that, next to Murphy, Kelly is the most common surname in Ireland. In O'Carolan's time most of the Kellys lived in County Roscommon, and both Catholics and Protestants used the name.  The Susanna of the title, according to O'Carolan's lyrics, lived in the barony of Athlone, probably the daughter of Edmond Kelly, son of John Kelly of Scregg (Churchborough). Source for notated version: the Irish collector Edward Bunting noted this tune from Patrick Linden (Newtown Hamilton, County Armagh) in 1802, according to the index of his 1840 collection, though his MS copy attributes it to the harper Charles Byrne. O'Sullivan/Bunting, 1983; No. 34, pgs. 53-55.

                       

SUSAN LICK THE LADLE. AKA and see "Darkey Under the Woodpile", "O Little Girl What Makes You Look So Clever", "The Girl That Looks So Clever O!". American, Reel. USA, southwestern Pa. G Major. Standard tuning. AABB. The title begs comparison with the Scottish "Lick the Ladle, Sandy", though Bayard (1981) is not able to trace it to old country collections. He does note "some faint general likeness" to the British "The Irish Hautboy". Sources for notated version: Frank Lowry (fiddler from Fayette County, Pa., 1944), Samuel Losch (fiddler from Juniata County, Pa., 1930's), George Strosnider (elderly fiddler from Greene County, Pa., 1928) [Bayard]. Bayard (Dance to the Music), 1981; No. 261A‑C, pg. 222.

                       

SUSAN MACLEOD. Scottish, Strathspey. A Major. Standard tuning. ABCD. Composed by Pipe Major Donald MacLeod. Martin (Ceol na Fidhle, vol. 3), 1988; pg. 26.

                       


SUSANNAH/SUZANNA GAL [1]. AKA and see "Western Country," “Fare Thee Well My Pretty Little Miss,” "Fly Around My Pretty Little Miss," “Goin’ Back to Georgia,” "Blue Eyed Girl/Gal," "Blue Eyed Miss" (W.Va.), “Blue Eyes Run My Crazy.” Old‑Time, Breakdown. USA; North Carolina, W.Va., Virginia. D Major. Standard or ADae (Tommy Jarrell) tunings. AABB. A popular dance tune in the Galax (Grayson County, Va,)/Mt. Airy (N.C.) region ("A Galax standby") under several titles in the same region. It appears to be well-known in several variants through-out the upland South—see notes for “Western Country” and “Fly Around My Pretty Little Miss,” “Pretty Little Pink.” 

***

From Tommy Jarrell (in part):

***

16 horses in my team

The leader he is blind

I'm going down that rocky road

To see that gal of mine.

***

How'd you make you living now

Susan-anna gal

Drinking whiskey and playing cards

Susan-anna gal

***

Sources for notated version: Emmett Lundy (Grayson County, Virginia) [Krassen]; fiddler and cattle farmer Edd Michael (Port Republic, Virginia) [Reiner & Anick]; Tommy Jarrell (Mt. Airy, N.C.) [Jack Tuttle/Fiddler Magazine]. Fiddler Magazine, Spring 1995; pg. 27. Krassen (Appalachian Fiddle), 1983; pg. 35. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 235. Reiner & Anick, 1989; pg. 86. County 713, Tommy Jarrell ‑ "Susanna Gal." County 2702, Tommy Jarrell & Fred Cockerham - "Tommy and Fred." Folkways 3832, Glen Smith & Wade Ward ‑ "Western Country." Marimac Records, 1989, Wilson Douglas (W.Va.) ‑ "Boatin Up Sandy." Yodel-ay-hee Records 014, The New Dixie Entertainers - "Maybelle Rag."

 

SUSANNA GAL [2]. Old‑Time, Breakdown. A Patrick County, Virginia, variation of version #1, which "has a different high part, closer to "Sally Ann," than versions collected in Grayson and Surry Counties" (Tom Carter and Barry Poss). An exception is Emmett Lundy, who even though a Grayson County, Virginia, fiddler, has a version similar to this. County 201, The Old Virginia Fiddlers ‑ "Rare Recordings 1948‑49". String 802, Emmett Lundy (1941 Library of Congress recordings). Marimac 9110, Dad Blackard's Moonshiners ‑ "It'll Never Happen Again: Old Time String Bands, Vol. 1" (orig. rec. 1927).

                       

SUSANNA KELLY (Susai Ni Cheallaigh). AKA and see "Susai Ni Cheallaigh." Irish, Planxty. E Dorian. Standard tuning. AB. Composed by blind Irish harper Turlough O'Carolan (1670-1738). The melody (sometimes given as “Saely Kelly”) comes from the playing of the elderly harper Charles Byrne, notated by Edward Bunting at the famous 1792 Belfast Harp Assembly. That Carolan composed the piece is in some dispute; harper Byrne attributed it to O’Carolan, but elsewhere in his work Bunting makes the attribution to another harper, Conellan, who composed a century earlier. Complete Collection of Carolan's Irish Tunes, 1984; No. 75, pg. 64‑65.

                       

SUSAN’S GONE. AKA and see “Sweet Susan.” Old-Time, Breakdown. USA, Kentucky.

                       

SUSIE BRODIE. Scottish, Strathspey. G Mixolydian. Standard tuning. AAB (Athole, Gow): AABB' (Kerr). Composed by the renowned Perthshire fiddler-composer Niel Gow (1727-1807). Carlin (The Gow Collection), 1986; No. 222. Kerr (Merry Melodies), vol. 2; No. 130, pg. 16. Stewart-Robertson (The Athole Collection), 1884; pg. 177.

X:1

T:Susie Brodie

M:C

L:1/8

R:Strathspey

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

Z:AK/Fiddler’s Companion

K:G

g|d<G B>G c<=F A>g|d<G B>G d<G B>G|c<aB<g c>=F A<c|d>cB>A d<GB<g:|

G<gB<g c<=F A>c|G<gB<g G<g BG|c<aB<g c<=F A>c|d>cB>A d>G B<g|

G<gB<g c<=F A>c|G<gB<g d<gB<g|(3cac (3BgB c<=F A>c|c>dB>A d<GB<g||

X:2

T:Susie Brodie

M:C
L:1/8

C:Niel Gow (1727-1807)

B:Gow – Fifth Collection of Strathspey Reels (1809)

Z:AK/Fiddler’s Companion

K:G

g|d<G B>G c=F A<g|d<G B>G dGBG|c<a B<g c=F A<c|d>c “tr”B>A d<G B<g:||

G<g B<g c=FAc|G<g B<g Gg BG|c<a B<g c=FAc|d>c “tr”B>A dGB<g|

G<g B<g c=FAc|G<g B<g dg Bg|(3cac (3BgB c=FAc|d>c “tr”B>A dG B<g||

 

SUSI'S WALTZ. American, Waltz. G Major. Standard tuning. AABB. Composed in 1988 by David Cahn (Seattle, Washington) for his little sister. Source for notated version: Mel Marshall [Phillips]. Matthiesen (Waltz Book II), 1995; pg. 59. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 313. Rodney Miller Band - "Greasy Coat."

 

SUSSEX POLKA [1]. English, Morris Dance Tune. England, Cheshire. A Northwest morris dance tune from Marston, Cheshire. Cottey Light Industries CLI-903, Dexter et al - "Over the Water" (1993. Learned from the playing of the Knots of May).

 

SUSSEX POLKA [2]. English, Polka. G Major. Standard tuning. AABB. The tune appears as an untitled polka from the Welch family (Bosham, Sussex) MS, printed in Vic Gammon's Sussex Tune Book.

X:1

T:Sussex Polka

M:2/4

L:1/8

Z:Ed Caines

O:England

A:Sussex

R:Polka

S:Welch Family MS in Vic Gammon’s Sussex Tune Book

K:G

DGA|B2B2Bdce|d2G2G2AB|c2ecB2dB|A2A2ADGA|B2B2Bdce|

dBG2g3d|edcBdcBA|A3G:||:Bc|d2d2d2ef|g2d2d2ea^f|g^fededcB|

cBAGA2GA|B2B2Bdce|d2G2g3d|edcBdcBA|A2G2:||

                       

SUSSIE. Scottish, Country Dance Tune (2/4 time). D Major. Standard. AABB. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 54, pg. 20.

X:1

T:Sussie

M:2/4

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:D

B | A>FD>F | E>FGB | A>FD>F | Addc/B/ | A>FD>F | E>FGB | AF D/E/F/G/ | Add :|

|: A | d>fe>g | f>dcB | d>fe>g | f(aa)f | g>feg | f>dcB | Bd e/d/c/B/ | Add :|

                       

SUTHERLAND. Scottish, Strathspey or reel. A Major/Mixolydian. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 187, pg. 44 (reel setting). Kerr (Merry Melodies), vol. 4; No. 13, pg. 4.

X:1

T:Sutherland

M:C

L:1/8

R:Strathspey

S:Kerr – Merry Melodies, vol. 4, No. 13

Z:AK/Fiddler’s Companion

K:A

(ef/g/ a>f (e<c) a2 | (ef/g/) a>c e2a2 | (ef/g/) a>f (e<c) a2 | d<B =g>B d2f2 :|

|: e>Ac>A e>Ac2 | e>Ac>A (ef/g/)a2 | e>Ac>A e>Ac>A | d<B =g>Bd2f2 :|


                       

SUTHERLAND’S. Canadian, Reel. Canada, Cape Breton. A modern composition by Cape Breton fiddler Howie MacDonald. Atlantica Music ATLD 0193, Howie MacDonald - “The Ceildh Trail” (1993). Atlantica Music 02 77657 50222 26, Howie MacDonald - “Atlantic Fiddles” (1994).

                       

SUTRA SEANA CNOCAINE (Humours of Old Knockane). Irish, Reel. A Dorian. Standard tuning. AB. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 53, pg. 142, Roche Collection, vol. 3; No. 83, pg. 25.

                       

SUTTOR'S DAUGHTER (Nithian a Ghreish). AKA and see "Wilt thou be my dearie," "Shoemaker's Daughter [1]." Scottish, Strathspey. D Major. Standard tuning. AAB (Gow): AABB (McGlashan). “A very Old Tune,” notes Gow, who directs it be played “Slow, with expression.” ‘Suttor’ may be a variant of the Scots word souter, meaning a shoemaker. John Glen (1891) finds the earliest printing of this tune in Alexander McGlashan's 1786 collection. Gow remarks that "Wilt thou be my dearie" is derived from this set. Carlin (Gow Collection), 1986; No. 198. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 19. McGlashan (Collection of Strathspey Reels), vol. 3, 1786; pg. 6.

X:1

T:Suttor’s Daughter, The

M:C|

L:1/8

R:Strathspey

S:McGlashan – Strathspey Reels (1786)

Z:AK/Fiddler’s Companion

K:D
A,|D<B, B>A, D2 A,2|:D>EF>D F>EE>F|D<B, B,>A, D2 A2|D>E FF F<F F2|

E>DEF B3d|A>B A<F B<E E>F|D<A, B,>A, D2 A,2|B>AAF F>E E<F|D<A, B,>A, D2 A:|

|:A|d>ef>d f>e e<f|d>AB>A d2 A2|d>eff f<f f2|e>def a3b|a>ba>f b<e e>f|

d>AB>A d3B|A<F F>D F<E E<F|D<A, B,>A, B,/C/ D2 A,|d>ef>d f>e e<f|

d>AB>A d2 A2|d>eff f<f f2|e>def b3d’|a>baf b<e e>f|d>AB>A d3B|

A>FF>D F>E E<F|D<A, B,>A, D3 A,|B>AAF FEE>F|D<A, B,>A, D2 A2:|

                       

SUTTORS OF SELKIRK. See "Souters o' Selkirk."

                       

SUZANNA GAL. See "Susannah Gal."

                       

SVENSK ANNA'S WALTZ. AKA and see “Peek-a-boo Waltz.” Swedish, Waltz. D Major. Standard tuning. AABB. Tom Paley informs that "Svensk" is not only the word for Swedish but is also a family name in the Boda/Raettvik area of Sweden. He was told that the tune was named for a woman named Svensk Anna (or, as it would be put in America, Anna Svensk). In America the tune is known as the “Peek-a-boo Waltz,” a title Seattle fiddler Vivian Williams believes may have derived from the popular song “Peekaboo, I See You,” of the mid-19th century. Thompson (Fiddler's Almanac), 198‑; pg. 54.

 

_____________________________________

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.

                              


 [COMMENT1]This was Font/Pitch 1,10 - Off.

 [COMMENT2]This was Font/Pitch 1,10 - On.

 [COMMENT3]This was Font/Pitch 1,10 - Off.

 [COMMENT4]Note:  The change to pitch (12) and font (1) must be converted manually.