The Fiddler’s Companion

© 1996-2009 Andrew Kuntz

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SAIL - SALLO

 

 

 

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]

 

 

 

SAIL AWAY LADIES [1A]. Old‑Time, Breakdown. USA; Kentucky, Tennessee. G Major. Standard tuning. AB (Silberberg): AB tuning. B (Brody, Ford): AABB (Spandaro): AABBCC (Phillips). The tune is related to the numerous versions of "Sally Ann" played in the keys of A and G Major. According to Guthrie Meade (1980), the tune is identified with the south central Kentucky and middle Tennessee locals. Harry Smith (Folkways FA2951, 1952) thought that Uncle Bunt Stephen’s performance (Columbia Records, 1926) was “probably similar to much American dance music in the period between the Revolutionary and Civil Wars.” The title also appears in a list of the standard tunes in the square dance fiddler's repertoire, according to A.B. Moore in his 1934 book History of Alabama. Southern Kentucky fiddler Henry L. Bandy recorded the tune for Gennett in 1928, though it was un-issued, however, the earliest recordings were Uncle Bunt Stevens (1926-without words) and Uncle Dave Macon (1927-with words). Stephens won the title of World Champion Fiddler in 1926 playing this tune, along with his version of “Old Hen Cackled,” beating 1,876 other fiddlers in auto magnate Henry Ford’s series of contests, held at dealerships through the East and Midwest. The winners of the local contests were brought to Detroit to play in the championship round. Stephens prize was said to be $1,000, a new suit, a car, and a new set of teeth.

***

Paul Wells (Middle Tennessee State University) states that the song was collected around the turn of the 20th century and seems to have been common to both black and white traditions. Tom Paley (former New Lost City Ramblers member) believes the verses of “Sail Away Ladies” to be typical floating verses, and go:

***

If ever I get my new house done,

(I'll) give my old one to my son.

***

Children, don't you grieve and cry.

You'll be angels, bye and bye.

***

Come along, girls, and go with me.

We'll go back to Tennessee.

***

(I) got the news from Shallow (or "Charlotte") Town.

Big St. Louis is a‑burning down.

***

I chew my tobacco and I spit my juice.

I love my own daughter but it ain't no use.

***

(Paul Mitchell and others believe the words in Macon’s last line sometimes heard as own daughter is really Dona, pronounced Dough-nee in the American South, a Spanish/Italian word for a mature love object, a woman.).

***

Another version of this last couplet goes:

***

I chew my tobacker and I swaller my juice

Sail away, ladies, sail away.

I'd like to go to Heaven, but it ain't no use.

Sail away, ladies, sail away.

***

African-American collector Thomas Talley, writing in his book Negro Folk Rhymes (reprinted in 1991, edited by Charles Wolfe), printed a similar but different text:

***

Sail away, ladies! Sail away!

Sail away, ladies! Sail away!

Nev’ min’ what dem white folks say,

May de Mighty bless you. Sail away!

***

Nev’ min’ what you daddy say,

Shake yo liddle foot an’ fly away,

Nev’ min’ if yo’ mammy say:
“De Devil’ll git you.” Sail away!

***

Kentucky fiddler H.L. Bandy sang the following lyric to “Sail Away Ladies”, usually associated with the tune “Old Miss Sally”:

***

I asked that girl to be my beau

She hacked at me with a garden hoe

***

I asked that girl to be my wife,

She took at me with a butcher knife

***

Uncle Dave Macon also included a chorus which went, "Don't she rock, Die‑Dee‑Oh?” but Paley notes that other old recordings have variants like "Don't she rock, Darneo?" and even "Don't she rock 'em, Daddy‑O?" (which seems to harken to the beatnik era). Some unknown “revival” wag re-interpreted Macon’s lines as:

***

Don't sheetrock the patio (x3)

Sail away, ladies, sail away

***

Wolfe (1991) finds the song in several older collections: Brown (1:153), Brewer (165) and a 1903 collection by William W. Newell, Games and Songs of American Children (170). It also appears in a modern collection of African-American songs and games, Jones and Hawes’s Step It Down (174, as “Horse and Buggy”).

***

English musician Dave Arthur remarks that the song became popular in Britain in the skiffle craze of the 1950’s, and appeared on vinyl EP Loneei Donegan Hit Parade vol. 2 (1957), under the title “Don’t You Rock Me, Daddy-O.” A few years later it appeared on the set-list of the band The Quarrymen, out of Liverpool, who metamorphosed into the Beatles.

***

Sources for notated versions: Highwoods String Band (Ithica, N.Y.) [Brody]: Uncle Bunt Stevens (Tenn.) [Phillips, Spandaro]; Carthy Sisco [Silberberg]. See Journal of the Society for Ethnomusicology, #1, 1968; Linda Burman ‑ "The Technique of Variation in an American Fiddle Tune (Sail Away Lady)." Brody (Fiddler’s Fakebook), 1983; pg. 241. Ford (Traditional Music in America), 1940; pg. 35. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 207. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 136. Spandaro (10 Cents a Dance), 1980; pg. 32. Columbia 15071‑D (78 RPM), "Uncle Bunt Stevens" (Tenn.) {1926}. County 521, "Uncle Dave Macon: Original Recordings 1925‑1935." Folkways FA 2395, New Lost City Ramblers‑ "vol. 5." Folkways FA‑2951, Uncle Bunt Stevens ‑ "Anthology of American Folk Music, vol. 2, Social Music" (1952). Gennet Records, Master #14361, Henry L. Bandy (1928. Not released). Kicking Mule 213, Susan Cahill‑ "Southern Clawhammer Banjo." Morning Star 45004, H.L. Bandy (southern Ky.) - "Wish I Had My Time Again." Rounder 0074, Highwoods String Band‑ "No. 3 Special" (1976. Learned from Uncle Dave Macon's recording). Rounder 0193, Rodney Miller ‑ "Airplang" (1985). Vocalion 5155 (78 RPM), Uncle Dave Macon (1927). Wildgoose Records, Rattle on the Stovepipe – “8 More Miles” (2005).

See also listing at:

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

X:1

T:Sail Away Ladies

L:1/8

M:4/4

Z:AK/Fiddler’s Companion

K:G

g2ga g2d2 | e3d e4 | g2g2 edB2 | d6 d2 | e2ed B2G2 | A3G G4 | B2BE D2E2 |

G3G G4 :: B2BG A2G2 | B3A G4 | B2GE D2E2 | G3G G4 :|

 

SAIL AWAY LADIES [1B]. Old‑Time, Bluegrass; Breakdown. USA. G Major. Standard tuning. AAB (Phillips): AABB (Brody). See also the related tune "Sally Ann [1][3]." Source for notated version: Kenny Baker [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 242. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 207. County 730, Kenny Baker‑ "Baker's Dozen." County 705, Otis Burris‑ "Virginia Breakdown" (Brody's version '1C').

 

SAIL AWAY LADIES [1C]. Old‑Time, Breakdown. USA, Oklahoma. G Major. Standard tuning. AAB. Source for notated version: W.S. Collins (Pottawatomie County, Oklahoma) [Thede]. Thede (The Fiddle Book), 1967; pg. 95.

 

SAIL AWAY LADIES [2]. Old‑Time, Breakdown. USA, Kentucky. G Major. Standard tuning. AB (Silberberg): ABB (Titon): AABB (Brody, Phillips). No relation to “Sail Away Ladies [1]," the tune that usually goes by this title that is in the “Sally Ann” family. Some have suggested that the tune may be related to Ed Haley’s “Indian Ate/Eat the Woodchuck,” but others do not hear the resemblance. Gus Meade and Mark Wilson, however, point to a relation with Kenny Baker’s “Indian Killed a Woodcock.” Source for notated versions: J.P. Fraley (Rush, Boyd County, Ky.), learned from his father, Richard Fraley, also a fiddler, who called the tune by the “Sail Away” title. According to Betty Vornbrock, Fraley remembers hearing Arthur Smith’s version (“Sail Away Ladies [1]") on the radio long after he learned his father’s version [Brody, Phillips, Silberberg]. Brody (Fiddler’s Fakebook), 1983; pg. 242. Phillips (Traditional American Fiddle Tunes), Vol. 1, 1994; pg. 207. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 137. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 141, pg. 167. Bee Balm 302, “The Corndrinkers.” Rounder 0037, J.P. and Annadeene Fraley‑ "Wild Rose of the Mountain” (1974).

 


SAIL AWAY LADIES [3]. AKA and see "Chinquapin." Old‑Time, Breakdown. USA; Round Peak, North Carolina. E Minor/G Major. Standard tuning. AA'B. This melody, almost entirely played over an E minor chord (with a G major cadence in the 'B' part) is unrelated to the "Sally Ann" tune family, unlike so many other tunes with the title "Sail Away Ladies." The source for the tune, Mt. Airy, North Carolina, fiddler Tommy Jarrell, learned this single tune from Round Peak fiddler Preston 'Pet'/'Pat' McKinney, whom he chanced to meet in the road when Jarrell was age sixteen and on his way to a dance with his fiddle. McKinney, on his way to get some whiskey, hailed him and noting the instrument said "They say you fiddle, son." Jarrell handed him the fiddle which was in ADae tuning (the 'normal' tuning for Jarrell) and McKinney re-tuned it to standard tuning and played "Sail Away Ladies." Jarrell asked him the title and to play it again, and by the end had it fixed in his mind (see Peter Anick, "An Afternoon with Tommy Jarrell, 1982," Fiddler Magazine, Spring 1995, and notes on the tune appearing with Jarrell's recording on County 756). Source for notated version: Tommy Jarrell (Mt. Airy, N.C.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 207. County 756, Tommy Jarrell‑ "Sail Away Ladies" (1976). Heritage V, Roscoe Parish (Galax, Va., under the title "Chinquapin"). In the repertoire of Luther Davis, Galax, Va.

 

SAIL HER OWER DA RAFT TREES. AKA and see "Sailor Ower da Raft Trees." Shetland, Shetland Reel. G Major. Standard tuning. AABB. A traditional reel which Anderson (1970) notes is a "different version from the one played by the Shetland Fiddlers Society." Source for notated version: Arthur Peterson (Shetland) [Anderson & Georgeson]. Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 26. Anderson and Swift, Haand Me Doon the Fiddle; No. 41. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 60, pg. 119.

 

SAIL ROUND THE ROCKS, THE. Irish, Slip Jig. G Major. Standard tuning (fiddle). AB. P.W. Joyce (Old Irish Folk Music and Songs, 1909) printed the tune as an unnamed “Irish Hop Jig” (No. 840). A similarly titled, but unrelated, tune is "Sailor on the Rock." Source for notated version: piper Daniel Markey (Drogheda, Ireland) [Darley & McCall]. Darley & McCall (Darley & McCall Collection of Irish Music), 1914; No. 25, pg. 10.

 

SAILING BACK OF WHIDDY (Ag Seolad Taob Le Faoit). Irish, Air (4/4 time). C Major. Standard tuning. AB. Composed by fiddler James O’Neill (b. 1863, originally from County Down & Belfast), who, while a sergeant on the Chicago police force in the first decade of the twentieth century, collaborated with Captain Frances O’Neill on “Music of Ireland.” O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 56, pg. 10.

 

SAILING DOWN THE RIVER. AKA and see "Davy, Davy," "Going Down the River," "Paddy Won't You Drink Some (Good Old) Cider."

 

SAILING IN THE LOWLANDS LOW. Irish, Air (4/4 time). G Major. Standard. One part. A famous ballad. Source for notated version: "From the whistling of Joe Martin of Kilfinane Co. Limerick, a rambling working man with a great knowledge of Irish airs and songs, and much natural musical taste" (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 182, pg. 91.

X:1

T:Sailing in the Lowlands Low

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

G2 BG E2D2|GABc d4|e2 ee edBd|e4 d4|G2 BG E2D2|GABc d4|edBG A2 BA|G6 z2||

 

SAILING INTO WALPOLE MARSH. Irish, Reel. A Dorian. Standard. AA’BB. The title apparently refers to poaching on a lord’s marsh. Similarities in the beginning to “Castle Kelly.”  HM301, Tony Sullivan - “Sully’s Fancy.” Phaeton PHAE999, James Kelly - “The Ring Sessions.” Conor Keane - “Oidhreacht.”

X:1
T:Sailing into Walpole's Marsh
M:4/4
L:1/8
R:Reel
Z:Andrew Pickering
N:Posted to the woodenflute mailing list January 2002
K:Ador
A2 AG AcBA|G2 GE GEDG|A2 AG ABcd|eged cAdc|
AG G2 AG G2|GEDE GDEG|A2 AG ABcd|1 eged cA dc:|
2 eged cA A2|
|eg g2 eaaf|gedB cA A2|eg g2 eaag|age^c d2 ef|
g2 ge a2 af|gedB cA A2|c2 gc acgc|eage d4:|

 

SAILING ON THE OCEAN. AKA and see "Sugar Hill." Old‑Time, Breakdown. USA, Arkansas. County 531, Luke Highnight & his Ozark Strutters (Clarke County, Ark.) ‑ "Old Time String Band Classics, 1927‑1933" (1975).

 


SAILOR BOY, THE. Irish, Slow Air (3/4 time). G Major. Standard. One part. Source for notated version: "Mr. J.C. MacGowan of Newtownards, a good amateur musician," c. 1873 (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 317, pg. 148.

X:1

T:Sailor Boy, The

M:3/4

L:1/8

R:Air

N:”Rather slow”

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

Z:AK/Fiddler’s Companion

K:G

B|dd/B/ d>e BB|AG G3A|BA/G/ A2 Bd|ee d3G|Bd g2 ba|g/e/d/e/ d2 gf|

E/d/B d>e BB|AG G3||

                       

SAILOR CUT DOWN IN HIS PRIME, THE. English, Waltz. A favorite tune of multi-instrumentalist Walter Bulwer (1888-c. 1972), of Shipdham, Norfolk, England. Topic TSCD607, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1959).

                       

SAILOR DON.  Canadian, Jig. Canada, Cape Breton. A Major. Standard tuning. AABB. Composed by fiddler Dougie MacDonald. Cranford (Jerry Holland: The Second Collection), 2000; No. 233, pg. 86.

 

SAILOR JACK (Sean An Loingseoir). Irish, Air (2/4 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 615, pg. 108.

X:1

T:Sailor Jack

M:2/4

L:1/8

R:Air

N:”Moderate”

S:O’Neill – Music of Ireland (1903), No. 615

Z:AK/Fiddler’s Companion

K:G

g|dB A>G|GBD z/E/|GG c>B|B A2 g|dB A>G|GBD z/E/|GB A>G|G2 z||

B|c>B cd|ed g>e\dB AB/d/|e3 g|dB A>G| GBD z/E/|GB A>G|G2 z||

                       

SAILOR LAD(DIE). AKA and see "Sodger Lad(die)." Scottish, English; Jig. England, Northumberland. G Major. Standard tuning. AABB. John Glen (1891) finds the earliest appearance of the tune in print in Neil Stewart's 1761 collection (pg. 15). Stewart’s collection, printed in Edinburgh and entitled Collection of the Newest and Best Reels and Country Dances, is dated to 1775 by the Kellers et al. The jig next appears in James Aird’s Selection of Scotch, English, Irish and Foreign Airs, vol. II, published in Glasgow in 1785 (Aird prints different “Sailor Laddie’s” in his vol. 3). Scottish fiddler John Fife included “Sailor Laddie” in his manuscript collection begun in 1780 in Perthshire, and probably continued at sea. It is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 71, pg. 26. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 166, pg. 39. Wilson (Companion to the Ball Room), 1816; pg. 58.

X:1

T:Sailor Laddie

M:6/8

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:G

g | B>AG GDE | A>BA ABd | e/f/gG GDE | GAG B2G |

cAc BGB | ABA ABd | e/f/gG GDE | GAG G2 :|

|: e/f/ | gag gdB | Aaa a2g | def gdB | gb/a/g/f/ gdB |

c>de gdB | aAA ABd | e/f/gG GDE | G>AG G2 :|

                       

SAILOR LASSIE, THE. Scottish. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1768 2nd collection (pg. 107).

                       

SAILOR LOVED A FARMER'S DAUGHTER, A (Inion An Toice, Agus An Mairnealach). Irish, English; Air (3/4 time). B Flat Major. Standard tuning. ABB. The title is from the Irish collector Edward Bunting's 1840 collection, however, O'Sullivan (1983) states his translation of the Irish is incorrect and should be "The Wenches Daughter and the Sailor." The tune may be found in Stanford's "Songs of Old Ireland" (pg. 83) with new words by Alfred Perceval Graves entitled "A Sailor Lad wooed a Farmer's Daughter." In the English tradition it was collected from a Warwickshire farmer c. 1900, in almost the same version as Bunting's. Source for notated version: Bunting was given the tune by "G. Petrie, Esq. Dublin, 1839." O'Sullivan/Bunting, 1983; No. 138, pg. 195.

                       

SAILOR ON THE ROCK (Maraí ar an gCarraig). AKA and see "Johnny With the Queer Thing." Irish, Reel. Ireland, County Sligo. D Major. Standard tuning. AB (Miller & Perron, Taylor/Half-Door, Tubridy): AAB (DeMarco & Krassen): AA’B (Taylor/Sets, Taylor/Tweed): AABB (Flaherty, McGuire & Keegan): AA'BB' (O'Neill). Harry Bradshaw and Jackie Small say the tune probably owes its popularity to County Leitrim flute player John McKenna (1880-1947). “Sailor on the Rock” was apparently a local Leitrim tune that McKenna brought into the standard repertoire through his influential 78 RPM recording.  Sources for notated versions: Denis Murphy [Miller & Perron]; Michael Coleman (Co. Sligo/NYC) [DeMarco & Krassen]; fiddler Andrew Davey (b. 1928, Cloonnagh, Mullaghroe, Keash) [Flaherty]; set dance music recorded at Na Píobairí Uilleann, in the 1980’s [Taylor]; Leo Ginley [McGuire & Keegan]; “As played by Jimmy Norton, the Boss Jig Player” [Howe]. Bulmer & Sharpley (Music from Ireland), vol. 3, No. 5. DeMarco & Krassen (A Trip to Sligo), 1978; pgs. 39, 53, 67. Flaherty (Trip to Sligo), 1990; pg. 112. Howe (1000 Jigs and Reels), c. 1867; pg. 49 (appears as “A Favorite Reel”). McGuire & Keegan (Irish Tunes by the 100, Vol. 1), 1975; No. 37, pg. 10. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 42. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 101. O'Neill (Krassen), 1976; pg. 113. Taylor (Through the Half-door), 1992; No. 50, pg. 34. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 15. Taylor (Music for the Sets: Yellow Book), 1995; pg. 15. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 22. DMPCD 9401, Karen Tweed – “Drops of Springwater” (1994). Gael-Linn CEF 161, “Michael Coleman 1891-1945” (1992). Green Linnet GLCD 3051, Frankie Gavin – “Frankie Goes to Town” (1991).  Green Linnet GLCD 1150, “Moving Cloud” (1995). Shanachie 79023, "Chieftains 3" (1971/1982). Shaskeen - "Shaskeen Live." Néillidh Mulligan – “The Leitrim Thrush” (learned from his father Tom).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Sailor on the Rock

M:C|

L:1/8

K:D

A|defd BAFB|AD(3FED FAAc|defd BAFB|ABdf edBc|D2fd BAFB|

ADFD FAAB|defd BAFB|ABdf e2||de|fa(3a^ga fedf|g3a bgeg|faag fedB|

ABdf e2 de|fa(3a^ga fedf|g3a bgeg|fgfe d3B|ABdf (3efe d||

X:2

T:Sailor on the Rock, The

R:reel

S:Mary Bergin

Z:id:hn-reel-192

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

M:C|

L:1/8

K:D d2fd BAFB|AD (3FED FAAB|defd BAFB|1 ABdf (3efe dA:|2 ABdf (3efe de||

|:faag fd (3Bcd|~g3a bgeg|1 faag fedB|ABdf (3efe de:|2 ~f3e dedB|ABdf (3efe dA||

                                                                                               

SAILOR ON THE ROPE. Irish, Reel. A Dorian. Standard tuning. AB. Carlin (Master Collection), 1984; No. 206, pg. 122.

                       


SAILOR OWER DA RAFT TREES. AKA and see "Sail Her Ower Da Raft Trees/Rough Trees/Rofftree," "Lady Mary Ramsay('s) [1]." Shetland, Shetland Reel. Shetland, Whalsay. D Major. ADae tuning. AABB. "Lady Mary Ramsay('s) [1]" was originally a Scottish strathspey, moulded in the Shetlands to "the faster vigorous and choppy bowing action common to Shetland reel playing" (Cooke). There is more than one tune by this title. Source for notated version: Andrew Poleson (Whalsay, Shetland) [Cooke].

                       

SAILOR SET DOWN ON THE SHORE. A fiddle tune in the c. 1840’s collection of painter William Sidney Mount, of Long Island, whose brother Robert Nelson Mount worked as an itinerant dancing master.

                       

SAILOR SET ON SHORE. AKA and see "Sailor's Return [1]," "Sailors On Shore," "Eilleen Curran [1]."

                       

SAILOR’S, THE. AKA and see “The Barren Rocks of Aden.” Irish, Polka. Bulmer & Sharpley (Music from Ireland), vol. 4.

                       

SAILORS ARE ALL AT THE BAR, THE. English, Air (9/8 time). England, Northumberland. G Major. Standard tuning. AABB. While one might imagine a bevy of sailors in a local pub, the title actually has to do with the fact that ships needed to be floated above a sand bar on the River Tyne, presumably waiting until the tide came in to allow them safe passage over it. "(This tune) was all that remained of what had evidently been a longer ballad when Bell's 'Rhymes of the Northern Bards' was published in 1812, and it was included in that work. The tune is above a century old, and is very likely one of the old bagpipe hornpipes" (Bruce & Stokoe).

***

The sailors are all at the Bar,

They cannot get up to Newcastle; (x2)

Up with smoky Shields,

And hey for bonny Newcastle; (x2)

***

See also the similar “Drunken Sailor” from the McFarlane manuscript, and Daniel Wright’s “The Rolling Hornpipe.” Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 128.

X:1

T:Sailors Are All at the Bar, The

L:1/8

M:9/8

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:G

BGB AFA G2B|AcA FAF AcA|BGB AFA G2c|def gdc BAG:|

|:F2f ege f3|cde fcB AGF|G2g ege g3|def gdc BAG:|

                       

SAILOR'S BONNET, THE (“Bairéad an Mháirnéalaigh” or “Boinéad na tSeoltóra”). AKA and see "Highlander's Bonnet." Irish, Reel. D Major. Standard. ABB (Reiner & Anick): AABB (most versions): AABB’ (Moylan). The “Sailor’s Bonnet” is the third tune of a famous medley by Sligo fiddler Michael Coleman (1891-1945), following “The Tarbolton” and “Longford Collector,” frequently played at Irish sessions down to this day.  The first part is usually played single, and the second part doubled, totalling eight and sixteen bars, respectively. Harry Bradshaw and Jackie Small note that, while Coleman helped to popularize it, “The Sailor’s Bonnet” had been comparatively unknown until the 78 RPM recording of it by the duet of Leitrim flute player John McKenna (1880-1947) and Sligo fiddler James Morrison (d. 1947), which predates Coleman’s 1934 recording.

***

Breathnach (1963) notes that O’Brien has another setting in his Irish Folk Music (176). The ‘B’ part of “Sailor’s Bonnet” is similar to the second part of the American breakdown “Billy in the Lowground.” Sources for notated versions: fiddler Jean Cariginan (Montreal, Canada) [Brody]; fiddler Seán McGuire (1927-2005, Belfast, Ireland) [Miller & Perron]; piper Matthew Tiernan/Maitiu Mac Tighearnain (Ireland) [Breathnach]; Michael Coleman (Co. Sligo/New York) [Reiner & Anick]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 157, pg. 62. Brody (Fiddler’s Fakebook), 1983; pg. 243. Harker (300 Tunes from Mike Rafferty), 2005; No. 127, pg. 38. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 48. Mallinson (Essential), 1995; No. 64, pg. 28. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 10. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; pg. 102. Moylan (Johnny O’Leary), 1994; No. 279, pg. 159. Reiner & Anick (Old Time Fiddling Across America), 1989; pg. 159. Sullivan (Session Tunes), vol. 2; No. 5, pg. 3. Taylor (Through the Half-door), 1992; No. 45, pg. 31. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 23. Coleman Music Center CHC 009, fiddler Andy Davey (1928-2005) – “The Coleman Archive, vol. 2: The Home Place” (2005). Folkways FW 8876, Kevin Burke‑ "Sweeney's Dream." Gael-Linn CEF 045, “Paddy Keenan” (1975). Green Linnet SIF‑1110, Johnny Cronin, Paddy Cronin, James Kelly & Johnny McGreevy ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Leader LEA 2004, Martin Byrnes. Mulligan 002, The Bothy Band‑ "1975." Philo 2001, "Jean Carignan" (appears as third tune of "Tarbolton Reel Medley" and learned from a Michael Coleman record made in the mid 1930's). Shanachie 33001, Michael Coleman‑ "The Wheels of the World." Shaskeen - "Shaskeen Live."

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Sailor’s Bonnet, The

M:C|

L:1/8

R:Reel

K:D

A2 FA df f2|dfef dBBd|A2 FA defe|dBAF ADDB|A2 FA df f2|

afef dBBd|A2 FA defe|dBAF AD D2:|

|:~a2 ab afdf|afef dB ~B2|fb(3bbb bafa|(3bbb af feef|bf f2 afef|afef dBBd|

A2 FA defe|dBAG FA D2:|

                                               

SAILOR'S COMPLAINT, THE. English, Air (3/4 time). F Major. Standard tuning. AA'B. The air appears in Walsh's Musical Miscellany, vol. iv. Chappell (1859) says many sea songs were written to this tune, the most famous of which was "Cease, Rude Boreas," written by G.A. Stevens.

***

Come and listen to my ditty,

All ye jolly hearts of gold;

Lend a brother Tar your pity,

Who was once so stout and bold.

But the arrows of Cupid,

Alas! have made me rue;

Sure, true love was ne’er so treated,

As am I by scornful Sue.

***

Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pg. 165.

X:1

T:Sailor’s Complaint, The

M:3/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:F

Ac|B2 AGFE|F2G2 Ac|B2 AGFE|1 F4:|2 F3||

A BA|d3 c BA|G>A B2 AG|F3 D EG|C4 GA|B2 AG cE|F2G2 fd|c3 A BG|F4||

                       

SAILOR'S CRAVAT, THE (Carabat An Loingseoir). AKA and see “Reel of Tralishlane.” Irish, Reel. D Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB' (O'Neill/Krassen). O'Neill (Krassen), 1976; pg. 140. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1446, pg. 268. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 681, pg. 121. Green Linnet Records, Jack and Charlie Coen – “The Branch Line” (1992. Reissue of Topic Records album recorded in 1977. Learned by Jack Coen from accordion player Paddy O’Brien).

X:1

T:Sailor’s Cravat, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 681

Z:AK/Fiddler’s Companion

K:D

d2 fe dcBd |ABFB ADFA|d2 fe dcBd|AFDF GEEz|

d2 fe dcBd|ABFB ADFA|d2 fe dcBd|AFEG FD D2||

AddA BAFA|defd Beez|AddA BcdB|AFGE FD D2|

AddA BAFA|defd Beez|AddA Bgfe|dBAG FD D2||


                       

SAILOR'S DANCE, THE. English, Air (2/2 time). B Flat Major. Standard tuning. AABB'. The tune was composed by English composer Henry Purcell for his "Dido and Aeneas" (1689). Emmerson (1971) believes the tune is very suggestive of the common‑time 'modern' hornpipe rhythm. Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 91, pg. 165.

                       

SAILOR'S DELIGHT, THE. English, Slip Jig. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 368.

                       

SAILOR’S FANCY. English, Reel or Hornpipe. F Major. Standard tuning. AABB. Knowles (A Northern Lass), 1995; pg. 21.

 

SAILOR'S FAREWELL, THE (Slán an Mhairnéalaigh). AKA and see "Reynold's Reel," "The Sailor's Return [2]," "Mulhaire's Reel," “New Town Bridge,” "The Rough Road," "Joe Cooley's Reel [2]." Irish, Reel. G Major. Standard tuning. AABB. Source for notated version: from the whistling of Jimmie Ward, 1966 (Miltown Malbay, Co. Clare, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 146, pg. 78.

 

SAILOR'S HORNPIPE [1]. AKA and see "College Hornpipe," “Duke William’s Hornpipe,” "Jack's the Lad [1]," "Lancashire Hornpipe [1]."  English (originally), American; Reel, Hornpipe, or Breakdown. England, Northumberland. USA; New York, southwestern Pa., West Virginia, Alabama, Arkansas. G Major (Most versions): D Major (Sweet): B Flat Major (Hardings, Seattle/Vickers). Standard tuning. AABB. Originally titled the "College Hornpipe" this melody became known as the "Sailor's Hornpipe" through its association with the performance of the hornpipe dance, typically performed on the stage in nautical costume (see notes for "College Hornpipe"). At the turn of the 18th century a sailor was a favorite character of the musical stage and the nautical theme became so associated with the dance that many hornpipes were generically labeled a 'sailor's hornpipe'. The dance itself features a distinctive 'side-cutting' step. The style retained its popularity throughout the century, and none‑less than J. Scott Skinner, the famous Scottish violinist who was also a dancing master, taught the dance at Elgin and other places to his pupils. George Emerson, in his article on the Hornpipe (Folk Music Journal, vol. 2, No. 1, 1970) finds an early reference:

***
at Drury lane, May 1740, Yates ..is .. billed to perform a 'hornpipe in the character of Jacky Tar. There is no mention then or later of anyone performing 'the' or 'a' sailor's hornpipe. It is always a 'hornpipe in the character of a sailor'..”

***

As the "College Hornpipe" the tune was in print in 1797 or 1798 by J. Dale of London, and although the melody predates Dale's publication, the English antiquarian Chappell's editor dates it no earlier than the second half of the 18th century. Emerson suggests the comic ballet The Wapping Landlady (1767) was the source of the Sailor Hornpipe that was famously danced by the American dancer Durang for some twenty years at the end of the 18th century. The ballet featured the trials of Jack Tar ashore, and was choreographed by Arnold Fisher (of “Fisher’s Hornpipe” fame). See also note for “College Hornpipe” for more.

***

"Sailor's Hornpipe" was imported to North America where it entered traditional repertoire and became fairly widely known, still with its nautical connotations--so strong was the association, in fact, that it was selected as the theme song of a popular mid-20th century animated cartoon character, Popeye the Sailorman.  Bronner (1987) reports the earliest known printing in the United States was in a publication by B. Carr entitled Evening Entertainments in the year 1796 (under the "College Hornpipe" title).  Although the name "Sailor's Hornpipe" has been something of a floating title in the United States, it is probably the 'College' tune under this title which was cited as having commonly been played for country dances in Orange County, New York, in the 1930's (Lettie Osborn, New York Folklore Quarterly). Similarly in American tradition, it was played at a fiddle contest in Verbena, Alabama, in 1921 (as noted in the Union Banner of October 27, 1921), and also in another 1920's contest in Georgia by one R.L. Stephens of Camp Hill, Alabama (according to the Columbus (Ga.) Register of December 10‑12, 1926) {Cauthen, 1990}. The title also appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. The late Kentucky fiddler George Lee Hawkins, renowned as a "hornpipe fiddler," played “Sailors” in the key of F. Sources for notated verisons: W. Franklin George (W.Va.) [Krassen]; Floyd Woodhull, 1976 (New York State) [Bronner]; Marion Yoders (fiddler and fifer from Greene County, Pa., 1963) and Brown Hall (fiddler from Fayette County, Pa., 1956) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 310E‑F, pgs. 262‑263. Brody (Fiddler’s Fakebook), 1983; pg. 243. Bronner (Old Time Music Makers of New York State), 1987; No. 10, pg. 56. Cole (1000 Fiddle Tunes), 1940; pg. 87 (appears as "College Hornpipe"). Ford (Traditional Music in America), 1940; pg. 46. Hardings All-Round Collection, 1905; No. 177, pg. 56. Krassen (Appalchian Fiddle), 1973; pg. 83. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 222. Seattle (William Vickers), 1987; No. 439 (appears as "College Hornpipe"). Sweet (Fifer’s Delight), 1965/1981; pg. 41. Folkways FA 2472, Roger Sprung‑ "Progressive Bluegrass, vol. 3." Decca DL 74601, Bill Monroe‑ "Bluegrass Instrumentals." New World NW 293, Rodney Miller ‑ "Instrumental Dance Music 1780's‑1920's." Paramount 3017 (78 RPM), 1927, John Baltzell {Baltzell was a native of Mt. Vernon, Ohio, as was minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but later taught Baltzell to play the fiddle}. Topic TSCD607, Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded 1962).

X:1

T:Sailor’s Hornpipe [1]

T:College Hornpipe

M:C
L:1/8

R:Hornpipe

B:Harding’s All Round Collection, No. 177  (1905)

Z:AK/Fiddler’s Companion

K:B Flat

B>A|B2 B,2 B,2 F>E|D>F B2 B>dc>B|c2C2C2 c>B|A>cf>=e f2 g>a|

b>ag>f g>fe>d|e>dc>B B>AG>F|G>BA>c B>dc>e|d2B2B2:|

|:F>E|D>FB>F E>FB>F|G2E2E2 G>F|=E>Gc>G E>Gc>G|A2F2F2 e>d|

e2g2 g>fe>d|e>dc>B B>AG>F|G>BA>c B>df>e|d2B2B2:|

 

SAILOR'S HORNPIPE [2] (Crannciuil an Mairnealaig). AKA and see “The Manchester Hornpipe [1],” "Rickett's Hornpipe." English, Scottish, Shetland, Irish; Hornpipe. D Major. Standard tuning. AABB. A version of the melody also under the “Sailor’s Hornpipe” title appears in the music manuscript copybook of fiddler John Burks, dated 1821. Unfortunately, nothing is known of Burks although he may have been from the north of England. The melody is a variant of the widely popular “Manchester Hornpipe.” MacDonald (The Skye Collection), 1887; pg. 171. O'Neill (Krassen), 1976; pg. 169 (2nd Setting). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1578, pg. 292. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 827, pg. 143. Roche Collection, 1982, vol. 2; No. 206, pg. 9.

X:1

T:Sailor’s Hornpipe [2]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 827

Z:AK/Fiddler’s Companion

K:D

(3ABc|dcdA FAdf|edcB A2 fg|afaf bagf|edcB A2 fe|

dcdA FAdf|edcB A2 fg|afdg bgec|d2d2d2:|

|:(3efg|afaf d2 ga|bgbg e2 fg|afaf bagf|edcB A2 fe|

dcdA FAdf|edcB A2 fg|afdg bgec|d2d2d2:|

X:2

T:Sailor’s Hornpipe [2]

M:C|
L:1/8

R:Hornpipe

S:John Burks’ music manuscript copybook, dated 1821

Z:AK/Fiddler’s Companion

K:B Flat

F2|BABF DFBd|edcB AGFE|DFBd edcB|ABGA F2F2|

BABF DFBd|edcB AGFE|DFBF GecA|B2B2B2:|

|:d2|(fd)(dB) (Bd)(df)|(fe)(ec) (ce)(eg)|fddB geec|dfAc BAGF|

BABF DFBd|edcB AGFE|DFAF GecA|B2B2B2:|

 

SAILOR'S HORNPIPE [3] (Crannciuil an Mairnealaig). AKA and see “Dan Cameron’s Favorite,” “Miss Gayton’s Hornpipe.” Irish, Hornpipe. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 169 (1st Setting). O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1577, pg. 292 (1st Setting). O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 826, pg. 143.

X:1

T:Sailor’s Hornpipe [3]

M:C|

L:1/8

R:Hornpipe

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 826

Z:AK/Fiddler’s Companion

K:D

AG|FAdc d2 AG|FAdc d2 A^G|Aced cBA^G|Aced cBA=G|

FAcd d2 AG|FAdc d2A2|BcdB cdec|f2d2d2:|

|:ef|gfge c2 Ac|dcdB A2GF|GABG FGAF|EDEF E2 ef|

gfge c2 ec|dcdB A2 ^GA|BcdB cdec|f2d2d2:|

 

SAILOR'S HORNPIPE [4] and [5]. In southwestern Pa. the title was used as a floater for versions of the common tunes "Fisher's Hornpipe" and "Haste to the Wedding [1], presumably by novice listeners and players." Craig (The Empire Collection of Hornpipes), c. 1890’s; pg. 4 (appears as “The Sailor’s Hornpipe,” a version of “Fisher’s” in G Major).

              

SAILOR’S HORNPIPE [6]. Scottish, Hornpipe. A Major. Standard tuning. AA’BB. Kerr (Merry Melodies), vol. 4; No. 275, pg. 29.

X:1

T:Sailor’s Hornpipe [6]

M:C|

L:1/8

R:Hornpipe

S:Kerr – Merry Melodies, vol. 4, No. 275  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

(cd)|ecea fagf|ecea fagf|efec dedB|cdcA B2cd|

ecea fagf|ecea fagf|gbge faf^d|e2g2e2:|

|:(cB)|ABcd efga|f2B2 B2(B^A)|Bc^de fgab|g2e2e2(cd)|

ecag fedc|dBba gfed|cecA BdBG|A2c2A2:|

 

SAILOR’S (HORNPIPE) [7]. AKA and see “Morpeth Rant [1],” “West’s Hornpipe.” English, Hornpipe or Reel. B Flat Major. Standard tuning. AAB. Jamie Knowles (1993) identifies this tune as an unusual version of “Morpeth Rant.” Source for notated version:  the music manuscript of Joseph Kershaw, a musician from Slackcote, Saddleworth, North West England who began his entries around the year 1820 [Kershaw]. Joseph Kershaw Manuscript, 1993; No. 74.

 

SAILOR'S JACKET, THE (Casog an Loingseoir). AKA and see "Come to your Tay,” “McDonagh’s (Reel) [2].” Irish, Reel. D Major/Mixolydian. Standard tuning. AAB. See also similarly structured tunes "P.J. Conlon's," "Kitty in the Lane [1]," "The Ballinafad Reel [1]," "Jenny Picking Cockles," "Take Her Out and Air Her [2]." Source for notated version: tin whistle player Jimmy McGettrick (b. 1909, Aughris, Rathmullen, Ballymote, Co. Sligo) [Flaherty]. Flaherty (Trip to Sligo), 1990; pg. 139. O'Neill (Krassen), 1976; pg. 127. O'Neill (Music of Ireland: 1850 Melodies), 1903; No. 1369, pg. 255. O'Neill (Dance Music of Ireland: 1001 Gems), 1907; No. 621, pg. 112.

X:1

T:Sailor’s Jacket, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907))

Z:AK/Fiddler’s Companion

K:D

dfec A2 AB | cdef {a}gfge | dfec A2 AB | cBcG ED D2 :| d2 fd adfd | c2 ec gcec |

d2 fd adfd | eaag ed d2 | defg afge | cdef g2 fg | (3agf (3gfe fded | ea{b}ag ed d2 ||

 

SAILORS ON SHORE. AKA and see "Sailor's Return [1]," "Eileen Curran [1]," "Sailor(s) Set on Shore." Irish (originally), American; Reel. G Minor. Standard tuning. AABB. Sources for notated versions: New Hampshire Fiddlers' Union [Phillips]; the 1938 typewritten manuscript of New Hampshire fiddler John Taggart (1854-1943) entitled “Recollections of a Busy Life” (New Hampshire Historical Society, Concord, N.H.). Taggart wrote in his ms. that the tunes “were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity” [Miller]. Miller points out that Sharon is in “the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day” (pref. iv) [Miller]. Ford (Traditional Music in America), 1940; pg. 89. Howe (1000 Jigs and Reels), c. 1867; pg. 80 (appears as “Sailors Set on Shore”). Miller (Fiddler’s Throne), 2004; No. 309, pg. 182 (appears as “Sailors Set on Shore”). Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 208. New Hampshire Fiddler’s Union, Miller & Peery – “The Music of John Taggart” (1989).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Sailors Set on Shore

M:

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:G Minor

BAGF DGGB | AFcF dFcF | BAGF DGGA | BABc dgga | bgaf gdde | fdcB AF F2 |

BAGF DGGA | BdcA BG G2 :: G2 g2 gagf | F2f2 fgfd | E2g2E2 ga | bgaf dgga |

Bggf dgge | fdcB AF F2 | BAGF DGGA | BdcA BG G2 :|

 

SAILOR’S POLKA, THE. AKA and see “Barren Rocks of Aden.” Irish, Polka. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 76.

 

SAILOR'S RANSOM, THE. Irish (?), Reel. A Major. Standard tuning (fiddle). AABB. Cole (1000 Fiddle Tunes), 1940; p. 49. Ryan’s Mammoth Collection, 1883; p. 78.

X:1

T:Sailor’s Ransom , The

M:2/4

L:1/8

R:Reel or Hornpipe

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:A

e/d/ | c/e/d/c/ B/d/c/B/ | A/c/B/A/ .G.E | A/G/B/A/ d/c/B/A/ | B/f/e/^d/ .e(e/=d/) |

c/e/d/c/ B/d/c/B/ | A/c/B/A/ G/E/F/G/ | A/c/B/A/ G/B/A/G/ | AcA :|

|: (3e/f/g/ | a/g/b/a/ g/f/e/d/ | c/f/e/d/ .c.A | G/A/B/c/ d/c/B/A/ | B/e/^d/f/ .e(f/g/) |

a/g/b/a/ g/f/e/d/ | c/f/e/d/ .c.A | e/^d/f/e/ =d/B/G/B/ | AcA :||

 

SAILOR'S RETURN [1], THE (Fillead an Mairnealaig). AKA and see "Eileen Curran [1]," “Maura Connolly’s,” "Sailor(s) Set on Shore," "Sailors on Shore." Irish, Reel. G Dorian (O'Neill): A Dorian (Breathnach). Standard tuning (fiddle). AB. Paul Cranford (1997) finds this to be a reel setting of Robert MacIntosh’s 18th century strathspey “Lady Dalrymple.” The American tune “Paresis” is also a related tune, published in the turn of the century Harding Collection, from which source Cape Breton fiddlers picked up the tune. “Maura Connolly’s” is a related tune. Source for notated version: accordionist Paddy O'Brien, 1970 (Dublin, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 239, p. 124 (untitled tune). O'Neill (1915 ed.), 1987; No. 281, p. 142. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1375, p. 256. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 625, p. 113. Claddagh Records, Paul McGrattan - “The Frost Is All Over.” Coleman Music Center CHC 009, flute player Desmond Higgins (Cloone, Co. Leitrim) – “The Coleman Archive, vol. 2: The Home Place” (2005. Various artists).

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Sailor’s Return, The [1]

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907)

Z:AK/Fiddler’s Companion

K:Gmin

BAGF DGGB|AFcF dFcF|BAGF (3D=E^F GA|BABc dgga|(3bag a^f gdd=e|

FdcB AF F2|BAGF (3D=E^F GA|BdcA BG G2||Ggg^f gag=f|Fff=e fgaf|

Ggg^f dgga|(3bag af dgga|(3bag (3agf gdd=e|fdcB AF F2|BAGF (3D=E^F GA| BdcA BG G2||

 

SAILOR'S RETURN [2], THE. AKA and see “Belharbour Reel,” “Fisherman’s Farewell,” "Mulhaire's Reel," “New Town Bridge,” "Reynold's Reel," "The Rough Road," "The Sailor's Farewell." Irish, Reel. G Major. Standard tuning. AABB.

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Sailor’s Return, The [2]

T:Belharbour Reel, The

T:Sailor’s Farewell, The

T:Rough Road, The

R:reel

C:Chris Droney

Z:id:hn-reel-193

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

M:C
L:1/8

K:G

DG~G2 DGBd|~g3d egdB|A2GB A2BA|GBAF GFEF|

DG~G2 DGBd|g2 gd egdB|G2 (3Bcd gedc|1 BGAF G2GE:|2 BGAF G2AB||

|:dggf gGBd|g2 af gfed|eaag abag|e2ag edBc|

dggf gGBd|g2af gedB|GA (3Bcd gedc|1 BGAF G2AB:|2 BGAF G2GE||
”Variations:”

dG~G2 DG (3Bcd|g2 dg egdB|~A3G AdBA|G2AG FAEA|

dG~G2 DG (3Bcd|d2 dg eBdB|GA (3Bcd gedc|BGAF ~G3B:|

|:dggf gG (3Bcd|gbaf gfed|eaag abag|eaag edBc|

dgga gdBd|g2af gedB|GA (3Bcd gedc|BGAF ~G3B:|

 

SAILORS SET ON SHORE. AKA and see "Sailors on Shore."

              

SAILOR’S TRIP TO LIVERPOOL, THE. AKA and see “The Boyne Hunt [1],” “The Perthshire Hunt” “The Popcorn.” Irish, Reel. Ireland, County Donegal. The tune, a version of “The Boyne Hunt,” was collected in 1903 from Proinseas Mac Suibhne, a farmer and schoolmaster from Fawans, Kilmacrennan, Donegal by Padraig Mac Aodh O’Neill, who published it in his Songs of Uladh. Mac Suibhne learned it from an old fiddler by the name of Aodh Gordon of Ceis Lionain. Caoimhin Mac Aoidh (1994) states he only heard the title used one other time, on a private recording by Donegal fiddler Mickey Doherty.

 


SAILOR'S WIFE [1]. AKA and see “Leith County Dance.” Scottish, Jig. D Minor (Glen, Gow, Phillips, Songer): E Minor (Kerr, Silberberg). Standard tuning. AB (Gow/Carlin, Silberberg): AABB (Gow/Repository, Kerr, Phillips). It was reportedly popular in Scotland in the early 18th century, however, John Glen (1891) finds the earliest appearance of the tune in print in Robert Ross's 1780 collection. Cape Breton fiddler Winston ‘Scotty’ Fitzgerald recorded this tune on a 78 RPM recording, paired with “The Chorus Jig.” Sources for notated versions: Kerry Elkin with Tradition Today (New England) [Phillips]; Laurie Andres [Silberberg]. Carlin (The Gow Collection), 1986; No. 512. Cranford (Jerry Holland’s), 1995; No. 242, pg. 70. Glen (The Glen Collection of Scottish Fiddle Music), vol. 1, 1891; pg. 20. Gow (Complete Repository), Part 2, 1802; pgs. 32-33. Kerr (Merry Melodies), vol. 1; No. 29, pg. 33. Kerr (Merry Melodies), vol. 2; No. 296, pg. 32. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 378. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 137. Songer (Portland Collection), 1997; pg. 171. Culburnie Records CUL 121D, Alasdair Fraser & Natalie Haas – “Fire and Grace” (2004). The Pacific Yews - “Fog on the Sound” (1993). Kerry Elkin – “Tradition Today.”

X:1

T:Sailor’s Wife, The [1]

L:1/8

M:6/8

S:Glen Collection

Z:AK/Fiddler’s Companion

K:D Minor

DEF (E2D)|d2e f2g|agf edc|(A/=B/cA) GEC|DEF (E2D)|d2e f2g|agf ed^c|d3 D3:|

|:fga fga|fga agf|ecg ecg|ecg (g2e)|fga agf efg gfe|def ed^c|d3 D3:|

X:2

T:Sailor's Wife, The

S:Rosa's Session, 30/12/00

Z:Nigel Gatherer

R:jig

M:6/8

L:1/8

K:Em

EFG F2 E|e2 f g2 a|bag fed|BdB AFD|EFG F2 E|

e2 f g2 a|bag fe^d|e3 e3::gab gab|gab bga|fda fda|

fda agf|gab bag|fga agf|efg fe^d|e3 e3:|]

 

SAILOR'S WIFE [2]. Shetland, Shetland Reel. From the island of Whalsay, Shetland.

              

S(P)AILPIN FANACH. AKA and see "The Girl I Left Behind Me [1]."

 

SAILS WERE UNFURLED. AKA and see "Colleen Rue [1]," "As I Roved Out on a Summer Morning," "I'd Roam Through Asia," "Kind Sir, Be 'Aisy,'" "Red‑haired Maiden."

 

SAINT... See "St. ...".

 


SAIR FYEL'D, HINNY (Sin I Ken'd Thou). English, Air (3/4 time). England, Northumberland. C Minor. Standard tuning. AAB. Title appears in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800.

***

Sair fyel'd, hinny, Sair fyel'd now;

Sair fyel'd, hinny, Sin' I ken'd thou.

Aw was young and lusty,

Aw was fair and clear;

Aw was young and lusty,

Mony a lang year. (Bruce & Stokoe)

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 92.

X:1

T:Sair Feyl’d, Hinny

L:1/8

M:3/4
S:Bruce & Stokoe – Northumbrian Minstelsy

Z:AK/Fiddler’s Companion

K:C Minor

E2 ED CC|B2 BA Ge|E2 DE CC|ef dB c2:|

Gd ef dB|Gd ef d2|Gd ef dB|ce d=B c2||

 

SAITH NOS OLAU (Seven Light Nights). Welsh, Jig. D Minor. Standard tuning. One part. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 42.

 

SAITHEADH A' BHÁID (The Launching of the Boat). Irish, Reel. Ireland, County Donegal. D Major. Standard tuning. AABB. Caoimhin Mac Aoidh (1994) lists this as one of the droning Donegal tunes (from fiddler Francie Dearg (‘red-haired’) O’Byrne of Cashel, Kilcar, who composed it) played with long bowed double stops, reminiscent of piping. Mac Aoidh records O’Byrne’s story that at one time all the fishing boats in the Kilcar area were made at a carpenter’s house on a mountainside in the townland of Churchtown. It was the local ritual that, once completed the boat would be shoulder by the local men of the parish and carried down to the quay for its first sea-trial. Before being hoisted, however, a keg of poitin was placed in the middle of the boat and a fiddler would sit upon it. The men then carried boat, keg and fiddler all the way down to the sea, where the boat was given a trial which, if successful, was followed by a quayside dance accompanied by the fiddler and the poitin. Source for notated version: Altan [Taylor/Tweed]. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 20.  Dervish – “Live in Palma” (appears in “Drag Her Round the Boat” set). Paul O'Shaughnessy and Paul McGrattan – “Within a Mile of Dublin."

X:1

T:Launching The Boat

C:Francie Byrne

M:C|

K:D

c|:d2fd AGFA|BE~E2 BAFA|d2fd AGFD|EFGA BABc|\

defd AGFA|BE~E2 BAFG|A2FA dAFD|EFDE FDFA::\

fd~d2 fdad|fadf a3f|ge~e2 (3gfe be|gbeg beag|\

fadf edBc|defd AGFG|(3ABA FA dAFD|EFDE FDFA:|

 

SAKKADG MO DHEIREADH DO TEARLACH, AN. AKA and see "Prince Charles's Last View of Scotland."

 

SÄKKIJÄRVEN POLKKA. Scandinavian, Polka. A Minor. Standard tuning. AABBCCAA. Private Collection, A. Kuntz.

X:1

T:Säkkijärven polka

M:2/4

L:1/8

R:Polka

K:Amin

{e}ae d/d/c/c/|cB B/B/A/B/|ed c/c/B/B/|cA A(c/e/)|ae d/d/c/c/|cB B/B/A/B/|

ed/d/ c/c/B|A z az::A/B/c/d/ ea|a^g (g/a/)b|e/^f/^g/a/ bc’|ba (a/^g/)a|

A/B/c/d/ ea|a^g g/a/b|ee/e/ ^f^g|a z a z::e(e/c/ A/A/A/c/|e(e/c/) A/A/A/c/|

ee fe|d/e/d/c/ BB/c/|dd/c/ B/B/B/c/|dd/c/ B/B/B/c/|dd ed|c/d/c/B/ AA/c/|ee/c/ A/A/A/c/|

ee/c/ A/A/A/c/|ee ag|f/g/f/e/ d>e|ff ed|c/d/c/B/ Ac|B/c/B/A/ ^GB|Az (A>c):||

 

SAL GOT A MEATSKIN. Old‑Time, Song tune. AKA and see "Little Girl Goin to the Country."

 

SAL LET ME CHEW YOUR ROSIN (SOME). Old‑Time. Decca 5137 (78 RPM), Curly Fox (Ga.) {1935}. Recorded for Gennet (GE 16637) by the Tweedy Brothers (W.Va. brothers Henry, George, and Charles playing two fiddles and a piano) in 1930, but unissued.

 

SAL WENT DOWN TO THE CIDER MILL. AKA ‑ "Sal's Gone Down to the Cider Mill." Old‑Time, Breakdown. USA, north Georgia. D Major. Standard tuning. AABB. The ditty sung to the melody has to do with alcoholic beverages. Source for notated version: Jay Ungar (N.Y.) who had the tune from the Skillet Lickers (Ga.) [Kuntz].

***

Sal went down to the cider mill,

The one that's up on the top of the hill.

***

Sal went down to the mill one day,

Drank each drink till she couldn't get away.

***

I asked that gal to marry me,

She said no just as quick as you please.

***

Sal went down to the cider mill,

Drank each drink till she got her fill.

***

Sal went down to the cider mill,

Drank each drink and she couldn't sit still.

***

Sal and the boys went huckleberry pickin',

They all fell down and Sal got a lickin'. (Kuntz)

***

Kuntz (Ragged but Right), 1987; pg. 328. County 506, The Skillet Lickers‑ "Old Time Tunes (Vol. 1)."  Philo 1040, Jay Ungar and Lyn Hardy‑ "Catskill Mountain Goose Chase" (1977).

X:1

T:Sal Went Down to the Cider Mill

L:1/8

M:2/4

B:Kuntz – Ragged but Right

K:D

{c}dd/B/ d>d|e/d/c/B/ A>A|B/A/B/c/ e/B/A/G/|F/D/E D2:|

|:de/c/ de/c/|de/c/ de/c/|d/e/f/d/ B/A/B/c/|e/B/A/F/ [D2D2]:|

 

SAL WILL YOU MARRY ME?  See “Sal, Won’t You Marry Me.”

 

SAL WITH THE RUN DOWN SHOES. See “Sally with the Run Down Shoes.”

 

SAL, WON'T YOU MARRY ME. AKA – “Sal Will You Marry Me.” Old‑Time, Breakdown. USA, West Virginia.  G Major. Standard tuning. AABB. The tune is ultimately sourced to West Virginia fiddler Melvin Wine’s repertoire. Source for notated version: Pete Sutherland (Vt.) [Phillips]. Phillips (Traditional American Fiddle Tunes), 1994; pg. 213. Silberberg (93 Fiddle Tunes I Didn’t Learn at the Tractor Tavern), 2004; pg. 38. Heritage XXXIII, Judy Hyman ‑ "Visits" (1981). Marimac AHS 2, Melvin Wine – “Hannah at the Springhouse” (1989). Rounder 1133/1134, Ed Haley – “Grey Eagle, vol. 2” (1997. Reissue).

 

SALAMANCA {REEL} [1] (Seisd/Cor Salamanca). AKA and see "Boyle's Reel," "The Coronation Reel,” "The Maigue's Tide," "Salamander," "The Tartan Plaid," "The Wild Salamanca." Irish, Scottish, English; Reel or Hornpipe. D Major. Standard tuning. AB (Breathnach CRÉ 2, O'Neill {all versions}): AABB (most versions): AABBCCDD (Breathnach, CRÉ 1).  Bayard (1981) says it is "probably no older" than the early 19th century, and, though apparently once‑popular (inferred from the number of printings) it is of unknown origin. Breathnach (1976) gives that the tune is named after Wellington’s victory of the Peninsular Campaign in Spain in 1812 and not for the Irish college (or, for that matter, the famous 19th century racehorse of the same name), however, there reportedly is a seminary in Salamanca, Spain, where many Irish priests have studied. Salamanca lies 107 miles northwest of Madrid, and there Wellington won a spectacular victory over the imperial French forces, commanded by one of Napoleon’s Marshalls, Auguste Marmont, who was wounded in the battle. Wellington promptly marched for Madrid and forced the French puppet King Joseph Bonaparte (the older brother of Napoleon) to flee with his government. The tune was collected, with parts reversed, by Samuel Bayard in southwestern Pa. under the title "Boyle's Reel." It is a popular reel in County Donegal, although the 19th century collector and Anglican cleric James Goodman (1828-1896) claimed it is a Connacht reel. Brendan Breathnach (1963) says that he heard that it is played as a hornpipe, although he himself never heard it being played so ‘sluggishly’. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). Dublin Piper Tommy Reck recorded the tune as a pipe solo on his first commercial effort, for the Copley label, paired with “The Scholar” and “Tom Steele.” Sources for notated versions: Tommy Peoples (Ireland) [Phillips]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]; piper Seamus Ennis, 1959 (Dublin, Ireland) [Breathnach vol. 2]; piper Tommy Reck/Tomas Riabhach (Dublin, Ireland) [Breathnach]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 30. Allan's Irish Fiddler, No. 39, pg. 10. Breathnach (CRÉ I), 1963; No. 146, pg. 58. Breathnach (CRÉ II), 1976; No. 209, pgs. 108‑109. Cole (1000 Fiddle Tunes), 1940; pg. 6. Giblin (Collection of Traditional Irish Dance Music), 1928; 38. Harker (300 Tunes from Mike Rafferty), 2005; No. 94, pg. 30. Kennedy (Fiddler’s Tune Book), vol. 2, 1954; pg. 8. Kerr (Merry Melodies), vol. 1; No. 26, pg. 45 and vol. 4, pg. 8. Mallinson (Essential), 1995; No. 8, pg. 3. O'Neill (1915 ed.), 1987; No. 239, pg. 126 (appears as "The Salamanca Reel"). O'Neill (Krassen), 1976; pg. 123. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1348, pg. 252. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 603, pg. 110. Peoples (Fifty Irish Fiddle Tunes), 1986; 28. Phillips (Fiddlecase Tunebook), 1989; pg. 42. Raven (English Country Dance Tunes), 1984; pg. 165. Robbins, 1933; No. 142. Roche Collection, 1982, vol. 1; No. 134, pg. 54. Ryan’s Mammoth Collection, 1883; pg. 29. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 47, pg. 42. Claddagh Atlantic 832812, Tommy Reck (originally recorded 1971). Comhaltas Ceoltoiri CL13, Tommy Peoples. Copley 9-191, Tommy Reck. Green Linnet SIF‑1110, Seamus Connolly & Brendan Mulvihill ‑ "My Love is in America: The Boston College Irish Fiddle Festival" (1991). Kicking Mule KM216, Arm and Hammer String Band ‑ "New England Contra Dance Music" (1977). Shamrock 1235 (78 RPM), Michael Gallagher (uilleann pipes) {c. 1920’s}.

See also listings at:

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

Alan Ng’s Irishtune.info

X:1

T:Salamanca Reel, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 603

Z:AK/Fiddler’s Companion

K:D

dB|A>D (3FED A>D (3FED|Adcd fdcd|B<E (3GFE B>E (3GFE|Beed cdeg|

fddg fdcA|Bdce dfag|fdec dBAG|FGEF D2||fg|afdg bgeg|fdec dcBA|Bdce dfeg|

fagb a2 fg|abaf gfeg|fdec dfag|fdec dBAG|FGEF D2||

X:2

T:Salamanca Reel, The

R:Reel

D:Bothy Band 1975

Z:id:hn-reel-73

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

M:C|

L:1/8

K:D

AD (3FED AD (3FED|Adcd fdcd|BE~E2 BE~E2|Beed cdeg|

fB~B2 fB~B2|fgfe dfag|fdec dBAG|1 FGEF D2dB:|2 FGEF D2fg||

|: afdg bgeg|fdec dcBc|Addc defg|(3aba gb a2fg|

~a3f ~g3e|~f3e dfag|fdec dBAG|1 FGEF D2fg:|2 FGEF D2dB||

 

SALAMANCA [2]. AKA and see "Miss Thornton's {Reel},” "The Maid of the Forest," "Down the Street," "Spike Island Lasses [2]," "O'Loughlin's Reel," "The Creeping Mouse," "Lady Ann Hope [1]," "Thro the Fields [1]," "The Boat Street Lasses," "Coming Thro' the Field(s)," "Bashful Bachelor."

 


SALAMANCA [3]. AKA and see "Tie the Ribbons [1]," "Jimmy the Creelmaker," "The Pigeon House," "The Dandy Reel," "The Hills of Clady," "The Clady Reel," "O'Connell's Trip to Parliament [2]," "Big Pat's (Dandy) Reel," "Trim the Bonnet."

 

SALAMANCA WALTZ.  English (?), Waltz. G Major. Standard tuning. AAB. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 142.

X:1

T:Salamance Waltz

M:3/8

L:1/8

R:Waltz

S:O’Farrell – Pocket Companion, vol. IV  (c. 1810)

Z:AK/Fiddler’s Companion

K:G

D | G/F/G/A/B/c/ | dBB | cAA | BGD | G/F/G/A/B/c/ | dBB | cAA | G2 :|

|: G/B/ | d2 B/G/ | e2 g/e/ | d d/B/c/A/ | BG G/B/ | d2 B/G/ | e2 g/e/ | d d/B/c/A/ | G2 :|

|: d | add | ggg | add | g2 G/B/ | d2 B/G/ | e2 g/e/ | d d/B/c/A/ | G2 :|

              

SALAMANDER, THE. AKA and see "Salamanca {Reel} [1].”

 

SALEM HORNPIPE. American, Hornpipe. G Major. Standard tuning. AABB (Cole): AA'AA'BB (Phillips). Composition credited to one P.S. Gilmore in Ryan’s Mammoth Collection (1883). Patrick Sarsfield Gilmore was a musician, a cornet virtuoso and brass band leader in the New York and Boston, Massachusetts, areas in the mid- and latter-19th century. Gilmore’s Band is one of the bands listed by The Boston Directory as headquartered at 103 Court Street, Boston, in 1865—the same address as Elias Howe’s music store (Sky, 2001). The title refers to the town of Salem, Massachusetts, where Gilmore was the leader of the Salem Brass Band, attached to the Salem Light Infantry, a militia unit. As young man he had been a blackface minstrel, after leaving the British army in Canada. Edward Le Roy Rice, in his book Monarchs of Minstrelsy (New York, 1911), gives this brief bio:

***

P.S. Gilmore, who organized and led for many years the famous band bearing his name,

was a member of Ordway’s Aeolians in Boston, 1851, where he sat on the end and

played the tambourine. June 24, 1851, he began an engagement in Hartford, Conn.,

with the above company. P.S. Gilmore was born near Dublin, Ireland, December 25,

1829; he died at St. Louis, Mo., September 24, 1892.   (pg. 62).

***

Gilmore came to the United States at the age of 20, and, rather than having been born “near Dublin” as Rice says, he was born in Ballygar, County Galway. His most famous composition, according to many, was his band arrangement of “When Johnny Comes Marching Home” (published under the pen name of Lewis Lambert), which first appeared as part of “The Soldier’s Return March.” At one time in his life Gilmore was famed as the impresario who led an orchestra of 1000, a choir of 10,000, and six bands in a huge 50,000 seat auditorium as part of the 1872 World Peach Jubilee and International Music Festival in Boston. Source for notated version: Armin Barnett [Phillips]. Cole (1000 Fiddle Tunes), 1940; pg. 87. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 223. Ryan’s Mammoth Collection, 1883; pg. 120. White’s Unique Collection, 1896; No. 134, pg. 24.

X:1

T:Salem Hornpipe

M:2/4

L:1/8

R:Hornpipe

S:White’s Unique Collection (1896), No. 134

Z:AK/Fiddler’s Companion

K:G

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

F/d/f/e/ d/c/B/A/ | G(G/A/) G/d/G/B/ | c/d/e/c/ d/g/G/B/ | c/d/e/f/ g/d/e/c/ | B[B,G][B,G] :|

|: (B/c/) | (d/<g/)B/d/ (G/B/)d/g/ | (f/<a/)g/e/ (d/f/)a/c’/ | b/>g/a/>f/ g/e/d/B/ |

(c/<e/)(A A)B/c/ | (d/<g/)B/d/ (G/B/)d/g/ | (f/<a/)g/e/ (d/f/)a/c’/ | b/>g/a/>f/ g/e/d/c/ | (B/d/)G G :|

 

SALEM ROAD. Canadian, Reel. Canada, Cape Breton. D Major. Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). Cameron (Trip to Windsor), 1994; pg. 21.

 

SALES TAX TODDLE. Old-Time, Breakdown. USA, Mississippi. G Major. Standard tuning. AB. Not a real breakdown, but a 'noodling' kind of ‘irregular’ tune. Source for notated version: Shelton Nations [Phillips]. Phillips Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 121.

 

SALFORD LASSIES. England, Jig. D Major. Standard tuning. AB. The melody originally appears in the J. Townsend Manuscript, Manchester, 1821. Knowles (A Northern Lass), 1995; pg. 2.  

 

SALIMONY WALTZ. American, Waltz. D Major (Matthiesen): G Major. Standard tuning. AABB. The “Salimony/Salimonie Waltz” was composed by fiddler and retired schoolteacher Fred Weaver, of Gas City, Indiana, a contemporary and friend of the more famous Indiana fiddler John W. Summers, according to Joel Shimberg. The tune has been “folk-processed” from Weaver’s simple original melody. The tune was named for a river in northern Indiana, although there is also a Salimony Lake in the state. Source for notated version: probably from West Virginia fiddler Franklin George via Rodney Miller (Antrim, N.H.) [Matthiesen]. Matthiesen (Waltz Book II), 1995; pg. 51. Rounder 0193, Rodney Miller ‑ "Airplang" (1984).

X:1

T:Salimony Waltz

M:3/4

L:1/8

S:Eric Robertson

Z:Transcribed by Ethan Hack

R:Waltz

K:D

FA3 A>B | A>F E2 D2 | B3A B>c | B4 A2 | FA3 A>B | A>F E2 D2 | E3 D E>F |

G2 F2 E2 | FA3 A>B | A>F E2 D2 | B3A B>c | d4 d>e | f4 f>d | A4 F>A |

G2 F2 E2 |1 D6 :|2 D4 A2 |: f3e f>g | a2 f2 d2 | c3d (3cBA | E6 |

c3B c> d | e4 e>f | g2 f2 e>d | Bd3 A2 | d3e f>g | a4 f2 | g3a (3gfe |

B4 d>e | f4 f>d | A4 F>A | G2 F2 E2 |1 D4 A2 :|2 D6 ||

X:2

T:Salamonie Waltz

M:3/4

L:1/8

C:Fred Weaver

S:Fred Weaver, Gas City, IN

I:Fred named this tune after the Salamonie River,

I:which ran abouut 20 miles from his home.

Z:transcribed by Joel Shimberg

R:Waltz

K:D

F2A2 A>B|A2F2D2|B2 G2 D2|G,4 DE|FA3 A>B|A2 F2 D2|

E4 EF|E2-(3E F ED2|F2A2 A>B|A2 F2 D2|B2 G2 D2|G,4zf|

f3 edB|A2F2A2|G2F2E2|D6::f3 efg|a2f2d2|

c3 d c B|A3zAB|c3 Bcd|e2f2g2|f2d2B2|A4z2|

d3 efg|a2f2d2|g4b2|b4z2|a3fdB|A2F2A2|

G2F2E2|D6:|

 

SALLIE... See "Sally..."

 

SALLIE COOPER. See “Sally Cooper.”

 

SALLIE GOODEN. See "Sally Gooden."

 

SALLIE IN THE WILDWOOD. See "Sally in the Wildwood."

 

SALLIE JOHNSON. See "Sally Johnson."

 

SALLOW OLD WOMAN, THE. See "Caillich/Cailleach Odhar [1]."

[COMMENT1] [COMMENT2] [COMMENT3] [COMMENT4] [COMMENT5] [COMMENT6] [COMMENT7] [COMMENT8]               

SALL’S DELIGHT. Irish (?), Reel. D Major. Standard tuning. AABB. Given as “Sally’s Delight” in the index of O’Farrell’s volume. O’Farrell (Pocket Companion, vol. II), c. 1806; pg. 84. Jerry O’Sullivan – “O’Sullivan meets O’Farrell” (2005).

X:1

T:Sall’s Delight

M:

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:D

F2 AF dFAF | F2 AF BEEG | F2 AF dFAF | BGEA FD D2 :|

d2 eg fdec | d2 eg fd B2 | d2 eg fdec | dBAG FA D2 |

d2 eg fdec | dfeg fd B>f | agfe dcBA | Bcde fd d2 :|

 

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