The Fiddler’s
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© 1996-2010 Andrew Kuntz
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation 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] |
[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
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.
***
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.
T:Sugar in the Gourd [7]
M:2/4
L:1/8
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.
***
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:
***
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.
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
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.
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