The Fiddler’s Companion

ƒD 1996-2010 Andrew Kuntz

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Home ??????????? Alphabetical Files ?????????? References

SO CLOSE QUICKSTEP . Scottish, Quickstep (6/8 time). C Major ('A' part), G Major ('B' part) & A Minor ('C' part). Standard tuning (fiddle). AABC. Carlin (Master Collection), 1984; No. 172, p. 100.

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SO EARLY IN THE MORNING. English, Polka ? B Flat Major. Standard tuning (fiddle). AABB. Raven (English Country Dance Tunes), 1984; p. 154.

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SO I'M OFF WITH THE GOOD ST. NICHOLAS BOAT. Scottish, Jig (6/8 time). A Major. Standard tuning. AB (Skinner): AA’B (Cranford). From the Hirn Collection, composed by J. Scott Skinner (1843-1927), who labelled the tune “For Flirtation.? The real St. Nicholas was Archbishop of Myra in Lycia, renowned for his good and generous deeds, and for his power to calm wind and wave and to deliver ships from peril. Source for notated version: fiddler Brenda Stubbert (b. 1959, Point Aconi, Cape Breton) who learned it from a recording by the influential fiddler Winston Fitzgerald [Cranford].

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St. Nicholas, Help of Sailors

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Cranford (Brenda Stubbert’s), 1994; No. 88, pg. 33. Skinner (The Scottish Violinist), pg. 46. Breton Books and Records BOC 1HO, Winston “Scotty? Fitzgerald - “Classic Cuts? (reissue of Celtic Records CX 17).

X:1

T:So I’m Off with the Good St. Nicholas Boat

M:6/8

L:1/8
R:Jig

N:”For Flirtation.?

S:Skinner ? The Scottish Violinist

Z:AK/Fiddler’s Companion

K:A

A | A>ce e^de | fe^d e2c | {c}d>cd (B<e)d | (c3c2)A | A>ce e>^de | fe^d e2c |

{c}d>cd B<ec | (A3A2) || c | c<fg a>gf | d>ed c2c | cfg agf | (g3g2)g |

a>gf e2 e | f>ed c2c | Bef gaf | eee e2e | f2f f>ed | (g3g2) c | d2d d>cB |

(e3e2)G | A>ce e^de | fe^d e2c | {e}dcd EFG | (A3A) ||

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SO NOW COME AWAY . Irish, Air (4/4 time). A Dorian. Standard. One part. "Taken down from a ballad‑singer while she was in the act of singing at the fair of Trim fifty years ago (c. 1859)" {Joyce}. Joyce (Old Irish Folk Music and Songs), 1909; No. 5, pg. 5.

X:1

T:So now come away

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

N:”Mod.?

N:the chorus begins at the double bar.

K:A Dorian

dc|AAAA d2 cA/>F/|G2 A>A A2 cd|e2 ee edcd|edd>d d2 cd|eaag =f2 ed|

dedA A2 cd|e2 ee edcd|efge d2 ||cA/>F/|G2 A>A A2||

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SO NOW MY DEAR JOHNNY . AKA and see "Tatter Jack Walsh" (An t‑Athair J. W.). American, Irish; Air and Jig. USA, Massachusetts. G Mixolydian. Standard. AB. The air was well‑known as a vocal air in southwestern Pa. and the title derives from words set to the tune, the fragments of this Bayard's source gave as "So now, my dear Johnny, your cash is all out‑‑" and "So now, my dear Johnny, your coat is all torn‑‑." Source for notated version: Mrs. Anastasia Corkery (Cambridge, Mass., 1930's; originally from County Cork, Ireland) [Bayard]. Bayard (Dance to the Fiddle), 1981; Appendix No. 38, pg. 588.

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SOAP FAT MAN , THE. AKA and see "Old Dan Tucker." Old‑Time, Breakdown. USA, southwestern Pa. C Major. Standard. AAB. A local southwestern Pa. title for this well‑known American tune. Source for notated version: John Tustin (Greene County, Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 189B, pg. 145.

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SOAP('S) IN THE WASHPAN. AKA and see "Hot Corn." Old‑Time, Breakdown. USA, Kentucky. Recorded by Andy Palmer (b. 1881, Anderson County, Ky., the featured fiddler and vocalist for the north-central Kentucky Jimmie Johnson String Band. The tune is played in Franklin County as "Hot Corn," and is related to the Stripling Brothers' "Horse Shoe Bend," according to Guthrie Meade (1980). Morning Star 45003, Jimmie Johnson's String Band ‑ "Wink the Other Eye: Old Time Fiddle Band Music from Kentucky" (1980. Originally recorded for Gennett in 1932).

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SOAPSUDS OVER THE FENCE [1] . AKA ? “Pouring Soapsuds Over the Fence,? “Soap Suds,? “Throw the Soap Suds in the Corner of the Fence.? Old‑Time, Breakdown. USA; West Virginia, north Georgia, Alabama, Arkansas, Missouri, Texas. D Major. Standard tuning. AB (Silberberg): AABB (Phillips). Both parts of the Blalock/Bryan version are irregular. Tune mentioned in accounts as having been played in a fiddlers' contest in Atlanta, Ga. in 1914, and as having been played by Rock Ridge, Alabama, fiddlers around 1920 (Bailey). The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. Texas fiddler Captain McKinney recorded the tune in 1929 for Okeh Records, and Georgia fiddlers Lowe Stokes and Clayton McMichen recorded it in 1930. Sources for notated versions: James Bryan [Phillips]; Scott Marckx [Silberberg]; Lyman Enloe (1906-1997, Missouri), learned in 1948 from John Journagan (Kansas City) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 31 (appears as “Soap Suds?). Phillips (Traditional American Fiddle Tunes, vol.1), 1994; pg. 227. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 147. Heritage XXXIII, Mose Coffman ‑ "Visits" (1981. Learned from Ed Price of Arden's Cave, West Virginia). Old Homestead OHSC‑145, Skillet Lickers‑‑"A Day at the Country Fair" (appears in skit "Jeremiah Hopkin's Store on Sand Mountain"). Rounder 0175, James Bryan ‑ "Lookout Blues" (1983. Learned from Mack Blalock, Mentone, Alabama). SPBGMA Bluegrass Records SRS-7602, Lyman Enloe ? “Rugged Road? (c. 1976).

SOAPSUDS OVER THE FENCE [2] . Old-Time, Breakdown. G Major. Standard tuning. AABBA'A'BB. Source for notated version: Jimmy Wheeler [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 227.

SOAPSUDS OVER THE FENCE [3] .AKA and see "Buffalo Nickel [1]," ?Cat Ate the Handsaw,? "Chinky Pin," ?Crooked Stovepipe [2],? "Darling Child," ?Eber Atkins Tune,? "Farmer Had a Dog," "Fourth of July," ?Grey-Eyed Cat,? "Hair in the Butter," "I'm My Momma's Darling (Child)," ?Lead Out,? ?Liesel,? ?Love Somebody [2],? "Midnight Serenade [1]," "My Love Is/She's But a Lassie Yet [1],? ?Old Mose,? ?Raymondville,? "Richmond Blues," "Sweet Sixteen," "Ten Nights in a Bar Room," “Too Young to Marry [1],? "Yellow Eyed Cat." Old‑Time, Breakdown.? From North Carolina fiddler Tommy Jarrell.

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SOAPSUDS SPLASH . See "Rabbit in the Grass."

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SOCIABLE , THE. English, Jig. G Major (‘A? & ‘B? parts) & D Major (‘C? part). Standard tuning. AABBCC. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 171, pg. 40.

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SOCIAL BOWL , THE. English, Jig. England, North‑West. D Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 57.

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SOD OF TURF , THE (An Fod Mona). AKA and see "Croosting Cap." Irish, Double Jig. D Major. Standard tuning. AABB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 928, pg. 173. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 161, pg. 41.

X:1

T:Sod of Turf, The

M:6/8

L:1/8

R:Jig

S:O’Neill ? Dance Music of Ireland: 1001 Gems (161), No. 161

Z:AK/Fiddler’s Companion

K:D

d|dcA AGE|c2A ABc|dcA AGF|DGG GBc|dcA AGE|c2A ABc|dcA fga|g2G G2:|

|:d|dcA f2g|aag f2d|dcA fga|g2G GBc|dcA f2g|aqag f2d|dcA fga|g2G G2:|

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SOD OF TURF WE TOOK TO SCHOOL , THE. AKA and see ?Dan Sweeney’s,? “Johnny Leary’s,? ?Mick Howard’s,? ?Munster Bank,? ?Tarrant’s [3].? Irish, Polka.

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SODA BREAD MAKING .? Irish, Hornpipe. Composed by County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Sean Ryán’s Dream), 34.

SODGER LAD(DIE). AKA and see "Sailor Lad(die)." Scottish, Jig. G Major. Standard tuning. AABB. The melody appears in the Gillespie Manuscript of Perth (1768), but John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1757 collection. Bremner (A Collection of Scots Reels), 1757; pg. 22. Gow (Complete Repository), Part 1, 1799; pg. 14. Kerr (Merry Melodies), vol. 3; No. 267, pg. 29. O’Farrell (Pocket Companion, vol. III), c. 1808; pg. 13 (appears as “Soldier Laddie?). Stewart-Robertson (The Athole Collection), 1884; pg. 139.

X:1

T:Sodger Laddie

M:6/8

L:1/8

R:Jig

B:Bremner ? Scots Reels (1757)

Z:AK/Fiddler’s Companion

K:G

g |: (B>AG) GDE | A>BA ABd | e/f/g(G G)DE | G>AG B2G | cAc BGB | ABA ABd |

(e/f/g)(G G)DE|1 G>AG G2g :|2 G2G G2 |: e/f/ | g>ag gdB | Aaa “tr”a2g | def gdB |

g(a/g/f/e/) gdB | (c/B/c/d/e/f/ g)dB | aAA ABd | (e/f/g)(G G)DE | G>AG G2 :|

X:2

T:Sodger Lad

M:6/8

L:1/8

R:Jig

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

Z:AK/Fiddler’s Companion

K:G

g| BAG GDE | ABA ABd | e/f/gG GDE | GAG B2G | cAc BGB |

ABA ABd| e/f/gG GDE | GAG G2:: f | gag gdB | Aaa a2b | def gdB |

gag gdB | cac BgB | aAA ABd | e/f/gG GDE | GAG G2 :|

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SOET ROOSIE ROOT (Sweet Rosie Red).? Dutch, Country Dance Tune (cut time). C Major. Standard tuning. AABCCD. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 125.

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SOETE MEERIMIN , DE.? Dutch, Country Dance Tune. E Minor. Standard tuning. AABB. Barnes (English Country Dance Tunes, vol. 2). 2005; pg. 6 (appears as “At Rainbow’s End?, the name of a dance by Fried de Metz Herman).

SOEURS , LES. AKA and see ?(Le) Reel ? Neuf.? French-Canadian, Reel. G Major. Standard tuning. ABAB?. The ‘B? parts are ‘crooked?, with a measure of 3/2 time at the end. Guy Bouchard notes that this tune is quite common in the older repertoire of Québecois fiddlers, though the versions are sometimes so different they sound like different tunes. Source for notated version: Andr? Alain (St-Basile de Porteuf, Quebec) [Remon & Bouchard]. Remon & Bouchard (25 Crooked Tunes, vol. 2: Québec Fiddle Tunes), vol. 2, 1997; No. 5. Andr? Marchand & Jean-Paul Loyer - “Détournement majeur.? Les Têtes de violon - “Le talencourt.? 30 Below TB 001CD, Les têtes de violon (Bouchard et al) ? “Airs Tordus/Crooked Tunes? (1998).

SOFT DEAL BED , THE. Irish, Air (3/4 time). Ireland, Munster. A Minor. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 582, pg. 147.?

X:1

T:Soft Deal Bed, The

M:3/4
L:1/8

N:”A Munster air.?

S:Stanford/Petrie (1905), No. 582

Z:AK/Fiddler’s Companion

K:A Minor

a>g | f2 ed cA | fg ed cA | G4 AA | A4 AG | E2A2 AB | c3 dcA | d3 efd | e4 AG |

E2A2 AB | c3 e/d/ {d}cA | dc defd | e4 a>g | f2 ed cA | fg ed cA | G4 AA | A4 ||

SOFT DEAL BOARD , THE (An Clar Bog Del/Deil). AKA ‑ "Claur Bug Dale."AKA and see ?Caiseal Mhumhan ? (Cashel in Munster), ?Cois na Brighde,? ?The Bog-Deal Board.? Irish, Slow Air (3/4 time). A Minor (Joyce): A Mixolydian (O Canainn): F Dorian (Stanford/Petrie). Standard tuning. One part. "Also called by two other names‑‑Caiseal Mhumhan, 'Cashel of Munster;' and Cois na Brighde (Cush na Breeda), 'Beside the river Bride' (the Bride is a river in Cork and Waterford). In the Stanford‑Petrie collection there are six settings of this beautiful air, scattered through the book; but the one I give here fidders from all. It is the characteristic Munster version, as I heard it scores of times in my youth, played by the best fiddlers and pipers, and sung by the accomplished traditional singers. The original Irish song of Clar bog del, better known in Munster by the name of Caiseal mhumhan, will be found in Edward Walsh's Irish Popular Songs, p. 168. It was a universal favourite sixty or seventy years ago. Another song to the same air, which held as high a place in popular estimation, was one composed by a well‑known Gaelic poet, the Rev. William English, beginning with‑‑'Cois na Brighde, seal do bhiossa, go sugach samh'‑‑'While I dwelt by the (river) Bride, pleasantly and tranquilly.' This will be found in O'Daly's Poets and Poetry of Munster, second series, p. 120.? I once heard 'Cashel of Munster' sung under peculiarly pleasant and characteristic circumstances, when I was a mere child. The people of the village had turned out on a sunny day in June to 'foot' the half‑dry turf in the bog at the back of Seefin mountain which rises straight over Glenosheen: always a joyuous occasion for us children. Dinner time came‑‑about 1 o'clock: each family spread the white cloth on a chosen spot on the dry clean bog‑surface. There might have been half a dozen groups in that part of the bog, all near each other, and all sat down to dinner at the same time: glorious smoking‑hot floury savoury potatoes, salt herrings (hot like the potatoes), and good wholesome blathach, i.e. skimmed thick milk slightly and pleasantly sour‑‑a dinner fit for a hungry king. After dinner there was always a short interval for rest and diversion‑‑generally rough joyous romping. On this occasion the people, with one accord, asken Peggy Moynahan to sing them a song. Peggy was a splendid girl, noted for her singing: and down she sat willingly on a turf bank. In a moment the people clustered round; all play and noise and conversation ceased; and she gave us the Clar bog del in Irish with intense passion, while the people‑‑old and young, including myself and my little brother Robert‑‑sat and listened, mute and spellbound. I have good reason to fear that the taste for intellectual and refined amusements‑‑singing, music, dancing, story‑telling, small informal literary clubs and meetings, etc.‑‑once so prevalent among the people of my native district, which often expressed itself in scenes such as I describe here, is all gone; and we shall never witness the like again. Is muar an truagh e: more's the pity!" (Joyce). A Donegal version was recorded by Mairead Ni Mhaonaigh and Frankie Kennedy in 1983 (Green Linnett 3090). Source for notated version: “From Father Walsh? [Stanford/Petrie]. Joyce (Old Irish Folk Music and Song), 1909; No. 127, pgs. 64‑65. Stanford/Petrie (Complete Collection), 1905; No. 581, pg. 147.

X:1

T:Soft Deal Board, The

M:3/4

L:1/8

R:Air

S:Joyce ? Old Irish Folk Music and Song (1909)

Z:AK/Fiddler’s Companion

N:”Slowly and tenderly?

K:A Minor

fd|e>d cA AA|d>c AG (3^FEF|G4 A2|A3B cA|G2A2 AB|c2A2 (A/B/c/d/e/)|

f3a gf|e3g (6f/d/c/A/G/^F/|G2A2 AB|c2A2 de|f4g2|a3g fg|e>d cA {G}AA|

d>c AG (3^FEF| G4 A2|A4||

X:1

T:Soft Deal Board, The

M:3/4
L:1/8

S:Stanford/Petrie (1905), No. 581

Z:AK/Fiddler’s Companion

K:B_

F/G/(3A/4B/4c/4 | dd e2 dB | AF {A}B2 A (3F/E/D/ | E4F2 | F4 BA/F/ |

EE E2 FG | FF F2 F/G/(3A/4B/4c/4 | d4 e>d | {d}c4 | BA/F/ | EE E2 FG |

FF F2 F/G/(3A/4B/4c/4 | d4e2 | {d}f4 (3g/f/e/ | dd e2 cB | AF {A}B2A F/E/D/ | E4? F2 | F4 :|

SOFT HORSE REEL . AKA and see ?The Rottweiler.? Scottish, Reel. A modern composition by accordion player Phil Cunningham. In an interesting twist, the tune was picked up by Irish musicians, although the original title was lost somewhere in the transition. At some point the title “The Rottweiler? became attached, and under the new title was re-introduced to Edinburgh session musicians. Green Linnet GLCD 1059, “Relativity.?

SOFTLY GOOD TUMMAS .? English, Country Dance Tune (cut time). D Minor. Standard tuning. AA’BB. The melody was composed by dancing master Nathaniel Kynaston (1683-1757). Although very little is known about him, Kynaston appears to have been active from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and dances over several publications; this tune from a 1718. The Selattyn parish register in Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of Oswestry? married on August 25^th, 1719—although whether this was the dancing master is unknown. Kynaston appears to have been a not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16^th century highwayman and Robin Hood figure, who preyed on the wool merchants of Shrewsbury. The melody can be heard in the soundtrack of the 2007 historical film Becoming Jane. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 120. Wild Goose Records WGS 314, Belshazzar’s Feast ? “Mr. Kynaston’s Famous Dance? (2003). Wild Goose Records WGS 353, Balshazzar’s Feast ? “The Food of Love.?

X:1

T:Softly Good Tummas

M:4/4

L:1/8

Q:360

K:F

FE |: "Dm" DEFD "A" EFGE | "Dm" F2 D2 "A" E2 ^C2 |"Dm" D2 A,2 "C" E2 A,2 | "Bb" F2 A,2 "C" E2 A,2 |

"Dm" DEFD "A" EFGE | "Gm" F2 D2 "A" E2 ^C2 |"Bb" D2 A,2 "C" E2 A,2 |1 "Dm" F2 D4 ^C2 :|2 "Dm" F2 D4

|:"Dm" d^c|"Dm" defd "A" efge|"Gm" f2 d2 "A" e2 ^c2|"Dm"d2 A2 "A" e2 A2|"Gm" f2 A2 "A" e2 ^c2|

"Dm" defd "A" efge|"Dm" fgaf "A" efge| "Gm" defd "A" ^cdec|"Dm" d6 :|

SOFTLY ROBIN . English, Country Dance Tune (2/2 time). G Major. Standard tuning. AABB. Published before 1730. Raven (English Country Dance Tunes), 1984; pg. 19.

X:1

T:Softly Robin

M:2/2

L:1/8

K:G

G2G2B4|A2A2c2e2|G2G2B4|d2d2e2g2:|

|:gfed BcdB|A2A2c2e2|gfed BcdB|d2d2e2g2|

gfed BcdB|A2A2c2e2|G2G2B4|d2d2e2g2:|

SOGGARTH SHAMUS O'FINN . Irish, Slow Air or Lament (3/4 time). D Minor/Dorian. Standard tuning (fiddle). AB. This lament is a variant of "Gallagher's Lament." Stanford/Petrie (Complete Collection), 1905; No. 1024, p. 260.

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SOHO . Scottish, Hornpipe. D Major. Standard tuning (fiddle). AABB. So-ho was the cry of the sportsman in Britain when a hare appeared in sight. Kerr (Merry Melodies), vol. 4; No. 284, p. 30.

X:1

T:Soho

M:C|

L:1/8

R:Hornpipe

S:Kerr ? Merry Melodies, vol. 4, No. 284? (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(FG) | A2d2 dedc | B2e2 efed | cdcB ABAG | FGAB A2 (FG) | A2d2 dedc |

B2e2 efed | cdcB Agfe | d2f2d2 :: (ed) | cdcB A2 (ag) | fgfe d2 (d’c?) | bagf gfed |

cdBc A2 (ed) | cdcB A2 (ag) | fgfe d2 (d’c?) | bagf efga | f2d2d2 :|

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SOIR , UN. French, Valse (3/4 time). D Major. Standard tuning. AA'B. Stevens (Massif Central), 1987, vol. 1; No. 59.

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SOIR ET MATIN . French, Waltz. D Major. Standard timomg. AABB. Composed by French guitarist Gilles Le Bigot (Douarnenez, France) in 1987 while on tour in the United States with accordionist Serge Desaunay, and dedicated to touring musicians "who go to bed very late and must get up very early." Matthiesen, 1995; pg. 56. Kerry Elkin - "Soir et Matin." Gilles Le Bigot - "Tunes for America." David Surette - "Back Roads."

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SOIRƒmE ƒ^ LAMECQUE (Party at Lamecque).? French-Canadian,?? A traditional tune in the repertoire of Gaspésie fiddler Yvon Mimeault (b. 1928, Mont-Louis), who learned it a party in Lamecque, New Brunswick. Yvon Mimeault ? “Y? était temps!/It’s About Time.?

SOLANUS CASEY’S . Irish, Jig. D Major. Standard tuning (fiddle). AABB. Composed by Falmouth, Massachusetts, musician and writer Bill Black for Father Solanus Casey, an Irish-American fiddler. Black (Music’s the Very Best Thing), 1996; No. 314, p. 168.

X:1

T: Solanus Casey's

C: ƒD B.Black

Q: 325

R: jig

M: 6/8

L: 1/8

K: D

B | AFD DFA | Bee dcB | AFF dFF | BAF E2 B |

AFD DFA | Bee def | afe dBA | Bdc d2 :|

e | f2 d ecA | BGB ABc | dff aff | baf e2 d |

f2 d ecA | BGB ABc | dcd Bee | cAc d2 :|

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SOLDIER AND A SAILOR , A. English, Air. The air appears in John Gay's The Beggar's Opera (1729) under the title "A fox may steal your hens, sir." It also appears in Pills to Purge Melancholy, vol. III. Raven (English Country Dance Tunes), 1984; pg. 53.

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SOLDIER AND SAILOR , THE (An Saigeadoir Agus An Mairnealac). Irish, Air (3/4 time). A Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 151, pg. 26.

X:1

T:Soldier and Sailor, The

M:3/4

L:1/8

R:Air

N:”Moderate?

S:O’Neill ? Music of Ireland (1903), No. 151

Z:AK/Fiddler’s Companion

K:A

E>G | A2A2 BA | G2 A2 B2 | c2d2c2 | B4 EG | A2A2 BA |

G2 A2 Bd | e2B2G2 | A4 || cd | e2e2c2 | d2c2B2 | A2A3c | B4 cd |

ec dB cA | BG E2 EG | A2 c2 B2 | A4 ||

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SOLDIER HIS EYES SO BLUE (THERE WAS A) . American, Waltz. USA, Arizona. G Major. Standard tuning. In the repertory of Arizona fiddler Kenner C. Kartchner, who said it was from the 1890's.

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SOLDIER LADDIE . See "Sodger Lad(die)."

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SOLDIER'S CLOAK . Scottish, English, Canadian, American; Jig. Canada, Cape Breton. USA, New England. England, Lincolnshire. D Major. Standard tuning. AABB (Cole, Lerwick): AA'BB' (Cranford, Miller & Perron). Joshua Gibbons (1778-1871) was a papermaker and musician who lived in Tealby, near Market Rasen in the Lincolnshire Wolds. Sources for notated versions: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]; Joshua Gibbons manuscript (1823-26, Lincolnshire) [Sumner]. Cole (1000 Fiddle Tunes), 1940; pg. 57. Cranford (Winston Fitzgerald), 1997; No. 192, pg. 75. Lerwick (Kilted Fiddler), 1985; pg. 41. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 49. Ryan’s Mammoth Collection, 1883; pg. 87. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 2. Rounder CD7018, Frank Ferrel - “Boston Fiddle: The Dudley Street Tradition.?

X:1

T:Soldier’s Cloak, The

M:6/8

L:1/8

R:Jig

K:D

ABA AFA|d2e f2d|ecA AGF|G3 F2G|ABA AFA|d2e f2d|ecA ABc|1 d3 dcB:|2 d3 d2g||

|:fef def|g3 f/g/af|ecA AGF|G3 F2G|ABA AFA|d2e f2d|ecA ABc|1 d3 d2g:|2 d3 dcB||

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SOLDIER'S DANCE . AKA and see "The Marchioness," "The Guard House," "The Hullichan Jig," "Chelmsford Races." American, Scottish; Jig or Quadrille. USA, southwestern Pa. A Major (Ford): G Major (Bayard). Standard tuning. AABB. Bayard dates the tune to the 18th century; it appears in The Scottish Country Dance Book from a Skillern collection of 1776. Source for notated version: Hoge MS (a fife MS from southwestern Pa., 1944) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 587, pg. 517. Ford (Traditional Music in America), 1940; pg. 90. The Scottish Country Dance Book, 1930‑1957, Pt. 16, No. 3 (tune 2).

X:1

T:Soldier’s Dance

M:6/8

L:1/8

R:Jig

S:Ford ? Traditional Music in America (1940)

Z:AK/Fiddler’s Companion

K:A

E|A2A AGA|B2B e2d|c2A AGA|GBG EFG|A2A AGA|B2B e2d|

cBA BAG|A2A A2::c|e2e cde|f2f f2z|G2G EFG|A2 A A2z|

e2e cde|f2f f2z|edc BAG|A2A A2:|

???????????

SOLDIER’S DREAM , THE.? American, Waltz. G Major. Standard tuning. One part. Source for notated version: 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]. Miller (Fiddler’s Throne), 2004; No. 373, pg. 220. New Hampshire Fiddlers Union, Miller & Peery ? “The Music of John Taggart? (1989).

SOLDIER'S GLORY , THE. AKA and see "Old Amzi Eccles Tune," "Voulez Vous Danser{, Mademoiselle?}" " The Life of a Soldier," "Nine-pins (Ninepins) [2]." Cole's Pocket Companion for the Flute, 18‑‑, No. 206 (part 5, pg. 5).

???????????

SOLDIER'S HORNPIPE . English, Hornpipe. England, Northumberland. G Major. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 2; No. 478.

???????????

SOLDIER'S JOY [1] (Lutgair An Sigeadoir/t-Saigdiura). AKA and see "French Four" [2], "I Am My Mamma's Darlin' Child," “John White,? "The King's Head," "The King's Hornpipe [1]," "(I) Love Somebody [1]," "Payday in the Army,"? "Rock the Cradle Lucy." Old‑Time, Bluegrass, American, Canadian, English, Irish, Scottish; Breakdown, Scottish Measure, Hornpipe, Reel, Country Dance and Morris Dance Tune. D Major (almost all versions): G Major (Bacon, Bayard‑Simmons). Standard or ADae (Edden Hammons) tunings. AB (Athole, Bayard‑Simmons, Shaw): AABB (most versions): ABCDE (Cooke {Ex. 54}). One of, if not the most popular fiddle tune in history, widely disseminated in North America and Europe in nearly every tradition; as Bronner (1987) perhaps understatedly remarks, it has enjoyed a "vigorous" life. There is quite a bit of speculation on just what the name ‘soldier’s joy? refers to. Proffered thoughts seem to gravitate toward money and drugs. In support of the latter is the 1920’s vintage Georgia band the Skillet Lickers, who sang to the melody:

***

Well twenty-five cents for the morphine,

and fifteen cents for the beer.

Twenty-five cents for the old morphine

now carry me away from here.

***

Bayard (1981) dates it to "at least" the latter part of the 18th century, citing a version that has become standard in James Aird's 1778 collection (vol. 1, No. 109) and Skillern's 1780 collection (pg. 21). London publishers Longman and Broderip included it in their Entire New and Compleat Instructions for the Fife in 1785. Kate Van Winkler Keller (1992) says that the hornpipe “Soldier’s Joy? appeared with a song in London in about 1760. John Glen (1891) and Francis Collinson (1966) maintain the first appearance in print of this tune is in Joshua Campbell's 1778 A Collection of the Newest and Best Reels and Minuets with improvements.? It has been attributed to Campbell himself but Collinson notes it is hardly likely as it is a well known folk dance tune in other countries of Europe. There is also a dance by the same name which is "one of the earliest dances recorded in England, but no date of origin has been established. It is still done in Girton Village as part of a festival dance. The tune is also well known in Ireland" (Linscott, 1939). The melody was used in North‑West England morris dance tradition for a polka step, and also is to be found in the Cotswold morris tradition where it appears as "The Morris Reel," collected from the village of Headington, Oxfordshire. Scots national poet Robert Burns set some verses to the tune which were published in his Merry Muses of Caledonia. In the first song of Burns' cantata, The Jolly Beggars, by the soldier, is to the tune of “Soldier's Joy.? Early versions of "Soldier's Joy" can be traced to a Scottish source as far back as 1781; variants can be found in Scandinavia, the French Alps, and Newfoundland (Linda Burman‑Hall, "Southern American Folk Fiddle Styles," Ethnomusicology, vol. 19, #1, Jan. 1975). Jean-Paul Carton identifies a version of “Soldier’s Joy? in the tablature manuscript of French fiddler Pierre Martin, dating from around 1880. He says: “I find (Martin’s) version of Soldier’s Joy—simply referred to as ƒmt? [a type of dance], tab #132—surprisingly close to some of the American versions, including the bowing, which is indicated in the tab.? [Reference: Claude Ribouillault, Violon du Poitou, Répertoire de danses en tablatures (Cahier de Pierre Martin, vers 1880), UPCP-Métive, Les Cahiers du CERDO No. 1, CPCP-Métive: 2003].

***

Swedish folklorist Jonas Liljestrom writes to say that Danish folk dance researcher Per S?rensen has traced the history of “Soldier’s Joy? in Denmark and Scandinavia, and has written that it can be found in the third volume of Rutherford's Compleat Collection of two hundred of the most Celebrated Country Dances, Both Old and New, published in Scotland circa 1756. S?rensen’s article includes a transcription of the Rutherford version, nearly identical to the usual melody, and indicates the “Soldier’s Joy? title was used by Rutherford and that it was published with dance directions. Liljestrom cites: S?rensen, Per: "Dansens og musikkens r?dder 42: Hornfiffen fra Randers 2.del" ("The Roots of the dance and music part 42: The Randers Hornpipe part 2"), (Published in "Hjemstavnsliv" issue nr. 11, 1999. The magazine is issued by "Landsforeningen Danske Folkedansere" ["National Association of Danish Folk Dancers"] in association with Danske Folkedanseres Spillemandskreds ["Danish Folkdancers' Association of Fiddlers"].)

***

In America the melody is ubiquitous. Early printings of the melody are in Benjamin and Joseph Carr’s Evening Amusement (Philadelphia, 1796), Joshua Cushing’s Fifer’s Companion (Salem, Mass., 1804) and Daniel Steele’s New and Compleat Preceptor for the Flute (Albany, 1815). It 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), and Bronner (1987) confirms it was a popular piece at New York square dances in the early 20th century. The title appears in a repertoire list of Norway, Maine, fiddler Mellie Dunham (the elderly Dunahm {b. 1853} was Henry Ford's champion fiddler in the late 1920's). Musicologist Charles Wolfe (1982) says it was popular with Kentucky fiddlers. The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph, from the playing of Ozark Mountain fiddlers in the early 1940's, and, for the same institution by Herbert Halpert in 1939 from the playing of Mississippi fiddlers John Hatcher, W.E. Claunch and Stephen B. Tucker. Fiddler and outdoorsman Leizime Brusoe (Rhinelander, Wisconsin), born in Canada around 1870, recorded it on 78 RPM under the title “French Four,? which was actually the name of the dance he usually played it for. “Soldier’s Joy? is one of ?100 essential Missouri tunes? listed by Missouri fiddler Charlie Walden. It was also recorded by legendary Galax fiddler Emmett Lundy, and is listed as one of the tunes played at a fiddlers' convention at the Pike County Fairgrounds, Alabama (as recorded in the Troy Herald of July 6, 1926) {Cauthen, 1990}. Arizona fiddler Kenner C. Kartchner said: "Every fiddler plays this. Some not so good" (Shumway). Howe (c. 1867) and Burchenal (1918) print a New England contra dances of the same name with the tune. Tommy Jarrell, the influential fiddler from Mt. Airy, North Carolina, told Peter Anick in 1982 that it was a tune he learned in the early 1920's when he first began learning the fiddle, at which time it was known as "I Love Somebody" in his region. Soon after it was known in Mt. Airy as "Soldier's Joy" and, after World War II, as "Payday in the Army." Another North Carolina fiddler, African-American Joe Thompson, played the tune in CFgd tuning. Gerald Milnes (1999, pg. 12) remarks that tune origins were of significant value to West Virginia musicians who often tried to trace tunes to original sources. It was the first tune learned by Randolph County, W.Va., fiddler Woody Simmons (b. 1911). Braxton County fiddler Melvin Wine (1909-1999), says Milnes, used family lore to attribute the tune to his great-grandfather, Smithy Wine, of Civil War era. Smithy, it seems, had been detained by the Confederates in Richmond under charges of aiding Union soldiers. Although imprisoned, his captors found out he was a fiddler and made him play for a dance, and Smithy later associated the tune with this incident, calling it “Soldier’s Joy.? For further information see Bayard's (1944) extensive note on this tune and tune family under "The King's Head." During a Senate campaign in the 1960's the piece was played to crowds by Albert Gore Sr., the fiddling father of the Vice President during the Clinton administration (Wolfe, 1997).?

***

In England, 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. The novelist Thomas Hardy, himself an accordionist and fiddler, mentions the tune in his Far From the Madding Crowd:

***

'Then,' said the fiddler, 'I'll venture to name that the right

and proper thing is 'The Soldier's Joy' ‑ there being a

gallant soldier married into the farm ‑ hey, my sonnies,

and gentlemen all?' So the dance begins. As to the merits

of 'The Soldier's Joy', there cannot be, and never were,

two options. It has been observed in the musical circles

of Weatherbury and its vacinity that this melody, at the

end of three‑quarters of an hour of thunderous footing,

still possesses more stimulative properties for the heel

and toe than the majority of other dances at their first opening.

***

At the turn into the 20th century the melody was in the repertoire of fiddler William Tilbury (who lived at Pitch Place, midway between Churt and Thursley, Surrey), the last of a family of village fiddlers who had learned his repertoire from an uncle, Fiddler Hammond (died c. 1870), who had taught him to play and who had been the village musician before him. The author of English Folk-Song and Dance concludes that “Soldier’s Joy? was enjoyed in the tradition of this southwest Surry village about 1870, and was one of a number of country dances which survived well into the second half of the 19th century (pg. 144).

***

Some of the lyrics which have been sung to the tune are:

***

Chicken in the bread tray scratchin' out dough,

Granny will your dog bite? No, child, no.

Ladies to the center and gents to the bar,

Hold on you don't go too far.

***

Grasshopper sittin on a sweet potato vine, (x3)

Along come a chicken and says she's mine.

***

I'm a‑gonna get a drink, don't you wanna go? (x3)

Hold on Soldier's Joy.

***

Twenty‑five cents for the malteen,

Fifteen cents for the beer;

Twenty-five cents for the malteen,

I'm gonna take me away from here.

***

Love somebody, yes I do, (x3)

Love somebody but I won't say who.

***

I am my mama's darling child (x3)

And I don't care for you.

***

Refrain

Dance all night, fiddle all day,

That's a Soldier's Joy.? (Kuntz)

***

The Holy Modal Rounders sang:

***

Bold General Washington and old Rochambeau

Buggering the hessians while the fire light's aglow

Spending all their money, drinking all their pay

They're never going to end the war this a way.

***

In Newfoundland, it is sometimes known as “John White? and sung accompanied by the fiddle or accordion:

***

Did you see, did you see, did you see John White?

Did you see, did you see, did you see John White?

Did you see, did you see, did you see John White?

He's gone around the harbour for to stay all night.

He's gone around the harbour for to get a dozen beer.

He's gone around the harbour and he won't be coming here.

He's gone around the harbour for to get a cup of tea.

If you sees him will you tell him that I wants he?

***

Sources for notated versions: John Carson and The Skillet Lickers (North Georgia) [Kuntz]; J.S. Price (Pottawatomie County, Oklahoma) [Thede]; Ben Smith (Dixon, Missouri) [Christeson]; Willie Woodward (Bristol, N.H.) [Linscott]: Floyd Woodhull (1976), Woodhull's Old Tyme Masters (1941), Pop Weir (c. 1960) {three versions from central New York State} [Bronner]; Bobbie Jamieson (Cullivoe, Yell, Shetland) [Cooke]; George Sutherland (Bressay/Vidlin, Shetland) [Cooke]; Lorin Simmons (Prince Edward Island, Canada, 1930's), James Marr (elderly fiddler from Missouri, 1949), twenty southwestern Pa. fifers and fiddlers [Bayard]; Richard Greene with Bill Monroe and the Blue Grass Boys [Phillips]; a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]; the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]; Elliot Wright (b. 1935, Flat River, Queens County, Prince Edward Island) [Perlman]; fiddler Dawson Girdwood (Perth, Ottawa Valley, Ontario) [Begin]; Isham Monday (Tompkinsville, Monroe County, Ky., 1959) [Titon]. Adam, 1928; No. 2. Ashman (The Ironbridge Hornpipe), 1991; No. 86b, pg. 35. Bacon (The Morris Ring), 1974; pg. 197. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 121. Bayard (Dance to the Fiddle), 1981; Appendix No. 1A‑B, pgs. 571‑572, and No. 332A‑S, pgs. 303‑310. Begin (Fiddle Music from the Ottawa Valley: Dawson Girdwood), 1985; No. 47, pg. 56. Breathnach (CRƒm V), 1999; 11. Brody (Fiddler’s Fakebook), 1983; pg. 262. R.P. Bronner (Old-Time Music Makers of New York State), 1987; No. 12, pgs. 71‑72 and No. 25, pg. 110. Burchenal (American Country Dances, vol. 1), 1918; pg. 6. Carlin (English Concertina), 1977; pgs. 40‑411. Cazden (Dances from Woodland), 1945; pg. 19. Christeson (Old Time Fiddlers? Repertory, vol. 2), 1984; pg. 61. Cole (1000 Fiddle Tunes), 1940; pg. 24. Cooke (The Fiddle Tradition of the Shetland Isles), 1986; Ex. 54, pg. 112 and Ex. 55, pg. 113. DeVille, 1905; No. 76. Ford (Traditional Music in America), 1940; pg. 49. Harding Collection (1915) and Harding's Original Collection (1928), No. 20. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 9. Howe (Complete Preceptor for the Accordeon), 1843; pg. 39. Howe (School for the Violin), 1851; pg. 37. Howe (Diamond School for the Violin), pg. 41. Howe (1000 Jigs and Reels), c. 1867; pg. 75. Jarman (Old Time Fiddlin' Tunes), No. or pg. 23. Kaufman (Beginning Old Time Fiddle), 1977; pg. 40. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 7. Keller (Fiddle Tunes from the American Revolution), 1992; pg. 14. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No. 4, pg. 2. Kerr (Merry Melodies), vol. 1; Set 1, No. 6, pg. 3. Krassen (Appalachian Fiddle), 1973; pg. 15 and 45 (latter includes a 'A' part variation by Charlie Higgins {Galax, Va}). Kuntz (Ragged but Right), 1987; pg. 295‑296 (two versions). Lerwick (Kilted Fiddler), 1985; pg. 21. Linscott (Folk Songs of Old New England), 1939; pg. 110‑111. Lowinger (Bluegrass Fiddle), 1974; pg. 22. McGlashan (Collection of Scots Measures), c. 1780; pg. 32. MacDonald (The Skye Collection), 1887; pg. 38. Martin (Traditional Scottish Fiddling), 2002; pg. 95. Mattson & Walz (Old Fort Snelling Book for the Fife), 1974; pg. 83. O'Neill (Krassen), 1976; pg. 183. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1642, pg. 305. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 868, pg. 150. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 71. Phillips (Fiddlecase Tunebook), 1989{A}; pg. 38. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 227 (two versions). Raven (English Country Dance Tunes), 1984; pg. 166 (appears as "King's Head"). Reiner (Anthology of Fiddle Styles), 1979; pg. 37 (includes several variations). Robbins, No. 56. Roche Collection, 1982, vol. 2; No. 216, pg. 12 (appears as a hornpipe). Ruth (Pioneer Western Folk Tunes), 1948; No. 7, pg. 4 (an alternate title is given as “King’s Head?). Ryan’s Mammoth Collection, 1883; pg. 174. Shaw (Cowboy Dances), 1943; pg. 383. Stewart-Robertson (The Athole Collection), 1884; pg. 150. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 22. Sweet (Fifer's Delight), 1964; No. or pg. 43. Sym, 1930; pg. 13. Thede (The Fiddle Book), 1967; pg. 118. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 153, pg. 178. Trim (Thomas Hardy), 1990; No. 43. Wade (Mally’s North West Morris Book), 1988; pg. 17. White's Excelsior Collection, 1907; pg. 72. Anachronsitic 001, John Hilt ? “Swope’s Knobs? (1977). BEJOCD-28, The Mellstock Band ? “The Dance at the Phoenix: Village Band Music from Hardy’s Wessex and Beyond.? Bluebird 5658‑B (78 RPM), Gid Tanner and His Skillet Lickers (North Ga.) {1934}. Caney Mountain Records CEP 210 (extended play LP, privately issued), Lonnie Robertson (Mo.), c. 1965‑66. Columbia 191‑D (78 RPM), Samantha Bumgarner {recorded as "I Am My Momma's Darlin' Child"). Columbia15538 (78 RPM), Gid Tanner and His Skillet Lickers. County 405, "The Hillbillies." County 506, The Skillet Lickers‑ "Old‑Time Tunes. County 514, Gid Tanner's Skillet Lickers‑ "Hell Broke Loo"se in Georgia" (Originally recorded in 1934). County 756, Tommy Jarrell‑ "Sail Away Ladies." Document 5167, The Booker Brothers. Edison 52370 (78 RPM), 1928, John Baltzell (appears as "Soldier's Joy Hornpipe") {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}. Flying Fish 102, New Lost City Ramblers ‑ "20 Years/Concert Performances" (1978). Folk Legacy Records FSA‑17, Hobart Smith ‑ "America's Greatest Folk Instrumentalist." Folkways 2317, Marion Sumner ? “Mountain Music of Kentucky? (1968). Folkways FA 2381, "The Hammered Dulcimer as played by Chet Parker" (1966). Folkways FA 2492, New Lost City Ramblers ‑ "String Band Instrumentals" (1964. Learned from Hobart Smith). Fretless 132, "Ron West: Vermont Fiddler." Heritage 32, Rafe Brady ? “Cherokee Rose? (1981). Ivy Creek 201, Tommy Hunter ? “Say Old Man Can You Play the Fiddle? (1992). June Appal 007, Tommy Hunter ‑ "Deep in Tradition" (1976. Learned from his grandfather, fiddler James W. Hunter, Madison County, N.C.). Library of Congress (2738-B-2), 1939, recording by Herbert Halpert of the Houston Bald Knob String Band (Franklin County, Va.). Maggie’s Music MM220, Hesperus ? “Celtic Roots.? Mississippi Department of Archives and History AH‑002, Stephen B. Tucker ‑ "Great Big Yam Potatoes: Anglo‑American Fiddle Music from Mississippi" (1985). Morning Star 45003, Taylor's Kentucky Boys (with fiddler Jim Booker) ‑ "Wink the Other Eye: Old Time Fiddle Band Music from Kentucky" (1980. Originally recorded in 1927). Revonah RS‑924, "The West Orrtanna String Band" (1976). Rounder 0070, The Kentucky Colonels‑ "1965‑1967." Rounder 0073, The White Brothers‑ "Live in Sweden." Rounder 1003, Fiddlin' John Carson‑ "The Old Hen Cackled and the Rooster's Goin' to Crow." Rounder CD1518, Various Performers ? “American Fiddle Tunes? (1971. Played by Leizime Brusoe as “French Four?). Smithsonian Folkways SFW 40411, Fred Allery ? “Plains Chippewa/Mets Music from Turtle Mountain? (1992. A Metis version). Tradition TLP 1007, Lacey Phillips ‑ "Instrumental Music of the Southern Appalachians," 1956. United Artists 9801, "Will the Circle Be Unbroken." Voyager VRCD 344, Howard Marshall & John Williams ? “Fiddling Missouri? (1999). Wild Goose WGS 320, Old Swan Band ? “Swan-Upmanship? (2004). Yazoo 2045, The Booker Brothers. Bob Smith’s Ideal Band ? “Ideal Music? (1977). “Fiddlers Three Plus Two.? “The Caledonian Companion? (1975). Edden Hammons Collection II, Disc 1.

X:1

T:Soldiers? Joy [1]

M:C|

L:1/8

R:Country Dances

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

K:D

dB|AFDF AFDF|A2d2d2cB|AFDF AFDF|G2E2E2FG|AFDF AFDF|

A2d2d2fg|afdf gece|d2D2D2||

ag|fdfg a2gf|ecef g2ag|fdfg a2 gf|edcB A2ag|fdfg a2gf|ecef g2fg|

afdf gece|d2D2D2||

X:2

T:Soldier’s Joy

M:C|

L:1/8

S:Kuntz ? Ragged but Right

N:From the playing of Fiddlin? John Carson (north Georgia)

K:D

(3dcB|A2 FF D2 FF|A2 BA d2 dB|ABAG FGFD|E2 E4 (#G|

A2) FF DEFD|A2 BA d3 (e|f2) ff efec|d2 d4 (3dcB|A2 FF D2 FF|

ABAF dBAF|ABAG FGFD|E2 E4 (^G|A2) FE DEFD|A2 BA d3e|

f2 ff efdc|d2 d4||

|:A2|d2 f2 abaf|e2 ef g2 ge|d2 df abaf|edcB A3A|

d2f2 abaf|edef g2 ge|fafd egec|d2 d4:|

X: 3
T:Soldier's Joy
M:2/4
L:1/8
S:Remembered from the playing of Katie Howson 25th Jan. 2003
R:reel
A:East Anglia UK
N:This is the bare bones. Listen to the East Anglian style to flesh it
N:out appropriately
Z:Johnny Adams
K:D
A>G F>G| A>G F>G | A>d c>d | B2 A2 | A>G F>G | A>G F>A | (3GAG (3FGF | E4 |
A>G F>G| A>G F>G | A>d d>c | d3 e | f2 d>f | e>c B>c | d3 e||
f2 d2 | f2 d2 | e>d c>B | A4 | f2 d2 | f2 d2 | e>d c>d | e4 |
f2 d2 | f2 d2 | e>d c>B | A2 d>e | f2 d>f | e>d B>c | d3 z||

SOLDIER'S JOY [2] . American, Quadrille (6/8 time). USA, Arizona. D Major. Standard tuning. AABB. Simply a jig setting of “Soldier’s Joy? [1]. Ruth (Pioneer Western Folk Tunes), 1948; No. 9, pg. 5.

X:1

T:Soldier’s Joy [2]

M:6/8

L:1/8

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

Z:AK/Fiddler’s Companion

K:D

(A/B/)|:[DA][DA][FA] [DA][DA][FA]|[F2A2] [Fd] [F2d2] (A/B/)|

[DA][DA][FA] [DA][DA][FA]|[E2A2] [EA] [E2A2] (A/B/)|

[DA][DA][FA] [DA][DA][FA]|[F2A2] [Fd] [F2d2] e|[Af][Ag][Aa] [Ae][Ag][Ae]|1

[A2f2] [Fd] [F2d2] (A/B/):|2 [A2f2] [Fd] [F2d2] z||

|:[Af][Ae][Af] [Aa][Ag][Af]|[ce][ce][ce] [B2f2][df]|[Af][Ae][Af] [Aa][Ag][Af]|

dcB [F2A2] [Af]| [Af][Ae][Af] [Aa][Ag] [Af]|[ce][ce][ce] [B2f2][Bg]|

[Af][Ag][Aa] [Ae][Ag][Ae]|[F3d3] [F2d2] z:|

SOLDIER’S JOY [3] , THE (Aoibhneas an tSaighdi?ra).? Irish, Jig. G Major. Standard tuning. AA’BB?. Unrelated to other “Soldier’s Joy? tunes. Breathnach (CRƒm V), 1999; No. 11, pg. 8.

X:1

T:Soldier’s Joy, The [3]

M:6/8

L:1/8

K:G

D | G2A BcA | BGG GBc | dBG FGA | FDC DEF |?.

SOLDIER’S JOY [4] .? Old-Time, Breakdown. USA, Arkansas. C Major (‘A? part) & G Major/Mixolydian (‘B? part). GCgd tuning. An unusual version (in an unusual tuning) of the familiar “Soldier’s Joy? that is distantly related to the usual tune (“Soldier’s Joy [1]?) in the second part only, unique to Arkansas fiddler Skeeter Walden (recorded in the field in 1951). While the tonal center shifts, it is reminiscent of the variety of schottische that changes key from strain to strain. Source for notated version: Jim ‘Skeeter? Walden (1879-1956, Busch, northern Arkansas) [Beisswenger & McCann]. Beisswenger & McCann (Ozark Fiddle Music), 2008; pg. 154.

SOLDIER'S LADY . AKA and see "Mount Your Baggage [2]," "Mount and Go."

SOLDIER'S LAMENT , THE. The first part is the first of "Paddy Whack." American Veteran Fifer, 1927, No. 70.

SOLDIER'S LIFE . English, Country Dance Tune. Published by Playford in his English Dancing Master (1651). Raven (English Country Dance Tunes), 1984; pg. 43.

SOLDIER'S RETURN [1] . AKA and see ?The Mill Oh.? English?, Scottish; Reel. C Major (Harding’s, Howe): D Major (Kerr, Morison). Standard tuning. AB (Harding’s, Morison): AAB (Howe, Kerr). Hardings All-Round, 1905; No. 61, pg. 18‑19. Howe (Complete Preceptor for the Accordeon), 1843; pg. 18. Kerr (Merry Melodies), vol. 4; No. 35, pg. 7. Morison (Highland Airs and Quicksteps, vol. 2), c. 1882; No. 35, pg. 20. Shanachie Shan‑79017, John & Phill Cunningham ‑ "Against the Storm" (1980).

X:1

T:Soldier’s Return, The? [1]

M:4/4

L:1/8

R:March

S:Howe ? Complete Preceptor for the Accordeon (1843), pg. 18.

Z:AK/Fiddler’s Companion

K:C

cd | e2 G>A G3c | AGAc d2 cd | e2G2 fedc | A3B c2 :|

G | cdef g3g | agfe d3G | cdef gagf | e3f g2G2 | cdef g3g |

agfe d2 cd | e2G2 fedc | A3B c2 ||

X:2

T:Soldier’s Return [1]

M:2/4

L:1/8

R:March

S:Morison ? Highland Airs and Quicksteps, vol. II, No. 35? (c. 1882)

Z:AK/Fiddler’s Companion

K:D

d/e/ | fA Ad | B/A/ B/d/ ed/e/ | fa g/f/e/d/ | B2 B/d/ e/f/ | fA Ad |

B/A/ B/d/ ed/e/ | fa g/f/ e/d/ B2d2 || d/e/ f/g/ af | a>f {f}eA | d/e/ f/g/ af |

af e2 | d/e/ f/g/ af | b/a/ g/f/ ed/e/ | fA g/f/ e/d/ | B2 d2 ||

SOLDIER'S RETURN [2] . English, Air (2/4 time). England, Shropshire. C Major. Standard tuning. AABB. No relation to version #1. The 'A' part has six bars, the 'B' part seven. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 98b, pg. 40.

SOLDIER'S SONG , THE (Amran Na N-Oglac). Irish, March. D Major. Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 217, pg. 82 (appears as "Amran Na N‑Oglac").

???????????

SOLE-LEATHER QUICKSTEP . American, Quickstep March (2/4 time). D Major. Standard tuning. AABA. In 1862 Bruce and Emmett’s Drummers? and Fifers? Guide was published to help codify and train the hordes of new musicians in Union Army service early in the American Civil War. George Bruce was a drum major in the New York National Guard, 7^th Regiment, and had served in the United States Army as principal drum instructor at the installation at Governor’s Island in New York harbor. Emmett was none-other than Daniel Decatur Emmett, a principal figure in the mid-19^th century minstrel craze and composer of “Dixie? (ironically turned into a Confederate anthem during the war) and “Old Dan Tucker,? among other favorites. Emmett had been a fifer for the 6^th U.S. Infantry in the mid-1850’s. Bruce & Emmett’s Drummers? and Fifers? Guide, 1862; pg. 58, No. 25.

X:1

T:Sole-Leather

M:2/4

L:1/8

R:Quickstep March

S:Bruce & Emmett’s Drummers & Fifers Guide? (1862)

Z:AK/Fiddler’s Companion

K:D

(3A/B/c/ | d”tr”f/>d/ BA | (3B/c/d/ A/F/ D/F/A/F/ | G/E/B/A/ F/D/A/F/ | E/A/c/e/ d :|

(3A/B/c/ | dz .ez | fz gz | fz ez | d/A/F/A/ D(3A/B/c/ | dz .ez | fz ^.gz | “tr?(a4 | a4) ||

???????????????????????

SOLOMAN'S TEMPLE. Irish, Air (6/8 time). C Major. Standard tuning. ABB. Source for notated version: "Patrick MacDowell, the distinguished sculptor: born in Belfast in 1799: died 1870," via Forde (Joyce). Joyce (Old Irish Folk Music and Song), 1909; No. 511, pg. 278.

???????????

SOL’S LITTLE FAVORITE . Old Time. AEad tuning.

???????????

SOLUS LILLIS'S REEL (R?l Sholais U? Laighléis). Irish, Reel. C Major/D Mixolydian. Standard tuning. AB. Source for notated version: flute player Micahel Tubridy/Michael O Tiobraide (Ireland) [Breathnach]. Breathnach (CRƒm I), 1963; No. 165, pg. 65.

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SOME DISTANCE FROM PRUSSIA . American (?), March (2/4 time). B Minor. Standard tuning. AABB. Sweet (Fifer’s Delight), 1964; pg. 4.

X:1

T:Some Distance from Prussia

M:2/4

L:1/8

R:March

Z:AK/Fiddler’s Companion

K:B Minor

f/e/ | dB/B/ B/^A/B/c/ | d/c/d/e/ fe/d/ | cA/A/ A/^G/A/B/ | c/B/c/d/ ef/e/ | dB/B/ B/^A/B/c/ |

d/c/d/e/ f2 | Bf f/e/d/c/ | BfB :: F | B>c d/c/d/e/ | ff “tr”F2 | ff “tr”f2 | “tr”AF “tr”AF |

B>c d/c/d/e/ | ff F>F | Bf f/e/d/c/ | Bf [Bb] :|

???????????????????????

SOME SAY I’M FOOLISH AND SOME SAY I’M WISE . Irish, Air (3/4 time). B Flat Major. Standard tuning. ABB. Source for notated version: “From Mr. Pigot’s MS? [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 793, pg. 198.

X:1

T:Some say I’m foolish and some say I’m wise

M:3/4
L:1/8

R:Air

N:”Andante?

S:Stanford/Petrie (1905), No. 793

Z:AK/Fiddler’s Companion

K:B_

FG | B2 Bcdc | df g2 fd | c2 BG B>G | F4 FG | B2 Bcdc | df g2 fd | cd B2B2 | B4 ||

|: df | g2g2 fd | cd fgfd | c2 BG B>G | F4 FG | BcdcBc | df g2 fd | cd B2B2 | B4 :|

???????????

SOME SAY THE DEVIL'S DEAD. AKA ‑ "Braes of Mar [1]," "Love Won't You Marry Me." Irish, English; Fling, Jig or Strathspey. D Major (Kennedy, Raven): G Major (Sullivan). Standard tuning. AABB (Kennedy, Raven): AABB? (Sullivan). The title appears (as "Some Say the Diel's Dead and Buried in Kirka'dy") in Henry Robson's list of popular Northumbrian song and dance tunes ("The Northern Minstrel's Budget"), which he published c. 1800. Variants of the following ditties are frequently sung to the melody:

***

Some say the Devil's dead

And buried in Kilarney.

***

Some say the deil's dead, the deil's dead, the deil's dead,

Some say the deil's dead and buried in Kirkaldy.

And others say he rose again, he rose again, he rose again,

And others say he rose again and danced the Hielan Laddie.

***

or, as the last two lines have sometimes been heard in Ireland:

***

More say he rose again, rose again, rose again,

More say he rose again and joined the British army!

***

Percy Sherrell (1873-1958) mentions hearing a version of the ditty sung, in his reminiscences of his boyhood in Eastdean, Sussex, England:

***

Harvest and Hay making were very busy times, also hoeing times. Great numbers of men

and women too would be working in the fields hoeing the Turnips, etc., even old men. Old

men over 70 would be seen working hard on the roadsides breaking up stones. I remember

one old man whose name was Button Hewson, he was a very energetic man and would

break up the stones very small, and sing whilst he was working,

***

Some say the devil’s dead and buried in Gold Arbour;

Some say he’s risen—and tidily winks the barber

***

This old man could be heard singing this song very often.

***

Kennedy (Fiddler’s Fakebook), vol. 2, 1954; pg. 18. Raven (English Country Dance Tunes), 1984; pg. 160. Sullivan (Session Tunes), vol. 3; No. 31. Pg. 12.

X:1

T:Some Say the Devil’s Dead

M:4/4

L:1/8

K:D

B|A2 A>B d>e fe|d<B B>A d<B B2|A2 A>B d>e f>a|b>f a>f e2d:|

|:z|a2 a>g f>g a2|b2 b>a g>a b2|a2 a>f d>e f>a|b>f a>f e2d:|

???????????

SOMEBODY [1]. Scottish, Slow Strathspey. B Flat Major (Gow): D Major (Kerr). Standard tuning. AB (Gow): AABB (Kerr). “Old? remarks Gow (1809). Carlin (The Gow Collection), 1986; No. 219. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 35. Kerr (Merry Melodies), vol. 4; No. 40, pg. 7.

X:1

T:Somebody [1]

M:C

L:1/8

R:Strathspey

S:Kerr ? Merry Melodies, vol. 4, No. 40? (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

d>fa>f e>de>f|d>d f<a b2 (a<f)|d>fa>f e>de>f|d>B B<A a2 (f<d):|

|:b2 g>b a2 (f<d)|g2 f>d e2 (c<A)|d>fe>g f>b a2|d>B B<A a2 (f<d):|

X:2

T:Some Body [1]

M:C

L:1/8

R:Strathspey

N:”Old?

N:”Slow with Expression?

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

Z:AK/Fiddler’s Companion

K:Bb

F|B>d fd {d}”tr”c>B c>d|B<B d>f (g2 f>)d|B>d fd? {d}”tr”c>Bcd|(B<G) G>F f2 d<B||

g<e e>g {g}f2 d<B|e>c d>B “tr?(c2 A)F|B>d c>e dg f2|B<G “tr”G>F (f2 d<)B||

SOMEBODY [2] . Scottish, Air (6/8 time). F Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 152.

X:1

T:Somebody [2]

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:F

c | d2d d>ef | c2c c2B | A2A A>=Bc | G2G Gzc | {c}d2d d>ef | {d}c2c c2B |

A>Bc f2A | {A}G>FG F2A | B3G3 | A2c F2A | B3G3 |

(A2 c/A/ F2)c | d2d d>ef | {f}c2c c2B | A>Bc f2A | G>FG F2 ||

???????????

SOMEBODY ELSE IS GETTING IT WHERE THE CHICKEN GOT THE A-X-E . Old-Time, Breakdown. D Major. In the repertoire of Glen Lyn, Virginia, fiddler Henry Reed. A different tune that Marion Thede’s “Where the Chicken Got the Ax.? Reed’s tune is from a popular song written in 1892, words by Harry Mayo, music by William B. Glenroy.

???????????????????????

SOMEBODY’S ROCKIN? MY SUGER LUMP .AKA and see ?Boil Them Cabbage Down.?

???????????

SOMEBODY'S WATCHING . AKA and see "Pull Down the Blind." Irish, Waltz. G Major. Standard tuning. AABB'. Carlin (Master Collection), 1984; No. 294, pg. 165.

???????????

SOMEONE'S AT THE DOOR . Old‑Time, Breakdown. USA, Missouri. C Major. Standard tuning. AABB. Source for notated version: August Merrill (St. James, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory, vol. 2), 1984; pg. 35.

SOMERSET . English, Jig (9/8 time). C Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 129.

X:1

T:Somerset

M:9/8

L:1/8

K:C

e2 c cBc edc|f2d dec BAG|e2c cBc edc|def G2B c2z:|

|:g2G GAF EGc|A2d de^c def|g2G GAF EGc|def G2B c2z:|

SOMETHING .? English, Jig. G Major. Standard tuning. AABB. A somewhat irregular tune in that each part only has seven measures, against the usual eight. Source for notated version: the 1823-26 music mss of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 71.

SOMETHING NEW [1] . English (?), Reel. A Dorian. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 182, pg. 42.

SOMETHING NEW [2] .? English, Slip Jig. B Flat Major. Standard tuning. AABB. Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 137.

X:1

T:Something New? [2]

M:9/8

L:1/8

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

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

Z:abc’s:AK/Fiddler’s Companion

K:Bb

B3 BFD E3|B3 BFD EFG|B3 BFD E2E|DEF GAB ABc:|
|:B3 fdf F3|B3 fdf gab|B3 fdf F3|DEF GAB ABc:||

SOMETHING SWEET TO TELL . Old-Time, Jig. USA, Kentucky. A rare old-time jig from the northern Kentucky/southern Ohio region. Rounder CD0380, Roger Cooper (Lewis County, Ky.) - “Going Back to Old Kentucky? (1996).

???????????????????????

SON AR CHISTR (Song of Cider). French or Breton?, Country Dance Tune (2/4 time with irregular measures). E Minor. Standard tuning. AABB. Source for the tune from the playing of Martin Carthy and Alan Stivell. Raven (English Country Dance Tunes), 1984; pg. 213.

X:1
T:Son ar Chistr (Cider Song
M:2/4
L:1/8
Q:1/4=50
N:said to have been written by an unknown Breton piper
N:in Paris in the 1930s

Z:Paul de Grae
K:Em
B AF|G2 E>E|EA AG|FA GF|G2 EG|FD E2-|EB AF|
G2 E>E|EA AG|FA GF|G2 EG|FD E2-||E3 E/F/|
GA B2-|BB cA|B3 B|A B/A/ G2|EE EA|AG FA|GF G2| EG FD|E4:||

???????????????????????

SON OF A BEAR .? French-Canadian, Reel. In the repertoire of fiddler Louis Beaudoin (1921-1980, Burlington, Vt.). The tune gets its title from the spontaneous exclamation of Louis’s father, upon having been shown by Louis how to shift position on the violin fingerboard to play the high strain. A-L 001, Lisa Ornstein & Andr? Marchand ? “One Fine Summer’s Day/Par un beau Samedi d? été” (2009).

SON OF O’REILLY , THE. Irish, Air (3/4 time). F Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 486, pg. 123.

X:2

T:Son of O’Reilly, The

M:3/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 486

Z:AK/Fiddler’s Companion

K:F

AB/c/ | de f2 ef/e/ | d2 G3G | Ac B2A2 | A G2 ABc | dg fe fe | d2G2 c>B |

A2 FA GE | F F3 || E>F | GA/=B/ cd eg | fe g2 f>e | ed cB AF | A2 G2 Ac |

de f2 ef/e/ | d2 G2 (3dcB | A2 FA G>F | F4 ||?

???????????????????????

SON OF PROSPERITY , THE (An Mac-Rata). Irish, Hornpipe. D Major. Standard tuning. AABB. O'Neill (Krassen), 1976; pg. 170. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1581, pg. 293.

X:1

T:Son of Prosperity, The

M:C|

L:1/8

R:Hornpipe

S:O’Neill ? Music of Ireland (1903), No. 1581

Z:AK/Fiddler’s Companion

K:D

AG | FDFA dABG | F<A D2 D2 AG | FDFA dABG | E<G C2 C2 AG |

FDFA dABG | F<A D2 D2 AG | FDAD (3EFG CE | F2 D2 D2 :|

|: (3ABc | dedc AGAB | cdcA d2 (3ABc | dedc AGEF | E<G C2 C2 (3ABc |

dedc ABAG | FEFG ABAG | FDAD (3EFG CE | F2 D2 D2 :|

???????????????????????????????????

SONG FOR JULIE . Scottish, Air (4/4 time). G Major. Standard tuning. One part. Composed by David A. Gordon. Martin (Ceol na Fidhle), vol.3, 1988; pg. 37.

???????????????????????

SONG OF CROSSMOLINA . Irish, County Mayo.? AKA and see "Nelly Bawn."

???????????????????????

SONG OF HOME , THE (Mo Dhachaidh). Scottish, Slow Air (3/4 time). G Major. Standard tuning. AA. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 10.

???????????????????????

SONG OF HOPE . AKA and see ?Amhran Dochais.?

???????????????????????

SONG OF JENNY WARD . AKA and see "The Morning Star [4]."

???????????????????????

SONG OF THE BLACKBIRD . Irish, Air (4/4 time). A Dorian. Standard tuning. AAB. In Irish folklore the melodious blackbird was the harbinger of good tidings, a good omen, unlike the crow, raven or rook which often portended misfortune. "Mr. MacGowan traced the history of this air for at least a hundred years" (Joyce). Source for notated version: "Sent to me in 1873 by Mr. J.C. MacGowan of Newtownards, a good amateur musician" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 316, pg. 148.

X:1

T:Song of the Blackbird

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Ador

E2|A3G A2B2|e3d e2f2|g3f g2d2|B3A GABc|A4 AB d2|e3f gedc|B3c A2A2|A6:|

e2|a3g a2b2|a3g e3f|g3f g2a2|g3e d3d|e4 a2b2|c?3b aged|e4 a2 ab|a4 z2 (e2 {g/e/})|

b3a gabg|a3g e2d2|e3f gedc|B3A GABc|A4 AB d2|e3f gfed|B3c A2A2|A6||

???????????

SONG OF THE BOOKS . AKA and see ?Amhran na Leabhar.?

???????????

SONG OF THE CHANTER . See ?Chanter’s Tune.?

???????????

SONG OF THE GHOST , THE. Irish, Air (3/4 time). A Minor. Standard tuning. One part. Stanford/Petrie (Complete Collection), 1905; No. 580, pg. 146.

X:1

T:Song of the ghost, The

M:3/4
L:1/8

S:Stanford/Petrie (1905), No. 580

Z:AK/Fiddler’s Companion

K:Amin

EAB | c2 BA ^GF | E3 E cd | c B A^G Ac | B3E ed |

c2 BA GE | G3 AAG | E2 ^GA Bc A3 ||

???????????

SONG OF THE KELPIE (Arrane Ghelby). English, Air. England, Isle of Mann. A traditional Manx air from a book of Manx songs and dances, Kiauall yn Theay. A kelpie is a water sprite, sometimes in the form of a horse or an enchanted seal, that can also take on the form of a young adult. They are also known in Gaelic as "Each Uisge" (Water Horse). Kelpies are the guardian spirits of certain rivers, lochs and pools.

***

Kelpie—A treacherous Scottish water-devil who lurks in lakes and rivers

***

Herbert Draper. “The Kelpie.?

***

Shanachie SH-78010, Solas - “Sunny Spells and Scattered Showers? (1997). Elke Baker ? “Over the Border.?

X:1

T:Song of the Kelpy (Arrane Ghelby)

M:3/4

L:1/4

R:Air

D:Elke Baker: Over the Border

Z:Transcribed by Michael Reid

K:D

"G"B2 B|"A"A>B c|"Bm"d>e d|"A"c B A|

"G"B2 B|"A"A G F|"F#m"F G A|"Bm"B3:|

"D"d>e f|"Bm"d>e f|"G"d>e f|"Bm"f e d|

"A"c>d e|"F#m"c>d e|"Bm"d c B|"A"f2 e|

"Bm"d>c B|"F#m"A G F|"Bm"d>c B|"F#m"A G F|

"Bm"d>c B|"A"A G F|"F#m"F G A|"Bm"B3|]

SONG OF THE TEA . AKA and see "Amhran Na Tae."

SONG OF THE STREAMS , THE. Irish, Air (2/4 time). E Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 552, pg. 140.

X:1

T:Song of the Streams, The

M:2/4

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 552

Z:AK/Fiddler’s Companion

K:Eb

E/G/ | B>c de | ed {d}cB | ec BA | GE/G/ FE | C3 E/F/ | GB c>_d | dc B>A |

GE/G/ F>E | (E4 | E3) || G | AB cB | AG FE | GB cd/e/ | ed cB | B3 c/d/ |

Ec BA | GE/G/ FE | (E4 | E3) ||

SONG OF THE SWAN . Canadian, Air (4/4 time). F Major. Standard tuning. AB. Source for notated version: adapted from Helen Creighton & Calvin MacLeod’s Gaelic Songs from Nova Scotia (1964). Heymann (Secrets of the Gaelic Harp), 1988; pgs. 102-103.?

SONG OF UNA [1] , THE. Irish, Air (4/4 time). E Flat Major. Standard tuning. AB. Petrie thought the tune “very ancient.? Stanford/Petrie (Complete Collection), 1905; No. 550, pg. 139.

X:1

T:Song of Una, The [1]

M:C

L:1/8

R:Air

S:Stanford/Petrie (1905), No. 550

Z:AK/Fiddler’s Companion

K:E_

G/A/ | B2 EB cB GA | BG eB cB Gc | B>A GF EF GA | B3A G3F | EF GA B=A BG |

Bc ef g2 fg | ed cB cG BG | “tr”F4 {E}E3 || B | gg ga g2 fe | cf fg f2 ef | gf ed ec BG |

B2 cB G3F | E>F GA BB GB | Bc ef ga? fg/f/ | ed {d}cB cG BG | “tr”F4 {E/G/F/E/}E2 ||

SONG OF UNA [2] , THE. Irish, Air (4/4 time). E Flat Major. Standard tuning. AB. Source for notated version: “From old MS given me by J. Hardiman? [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 551, pg. 140.

X:1

T:Song of Una, The [2]

M:C

L:1/8

S:Stanford/Petrie (1905), No. 551

Z:AK/Fiddler’s Companion

K:E_

G/A/ | B2B2B2 GA | B2B2B2 ec | BAGF EFGA | B3A G2B2 | c2 cd e2e2 |

F2 fg bagf | edcB BAGA | “tr”F4 {E}E2 || ef | g2g2g2 fe | f2f2f2gf |

EdcB BAGA | B3A G2B2 | c2cd e2e2 | f2 fg bagf | edcB BAGA | “tr”F4 {E/F/}E2 ||

SONG OF VICTORY (Abhran Buadha). AKA and see "Planxty O'Rourke [1]." Irish, Air (6/8 time). D Minor. Standard tuning. AB (Joyce): ABC (Complete Collection). "This tune‑‑which Mr. Hogan copied from a MS.‑‑is a very beautiful Planxty, evidently composed by Carolan. I do not believe it has ever seen the light before now" (Joyce). The tune is not related, apparently, to "Owen O'Rourke" or "Planxty O'Rourke" [2]. Complete Collection of Carolan's Irish Tunes, 1984; No. 145, pg. 101. Joyce (Old Irish Folk Music and Songs), 1909; No. 279, pgs. 132‑133.

X:1

T:Song of Victory

T:Abhran Buadha

T:Planxty O’Rourke [1]

M:6/8

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

N:”Not so fast as jig time?

K:D Minor

D|Ddc d2e|fag fed|cAG F/G/AG|{G}FEF D2C|D2B {d}cBc|D2d d2e|

Aag a2g|fed d2||f|edc def|{B}AGF EDC|C2c {d}c=Bc|Ddd dc/A/G/E/|

D/E/FD D/E/FD|C/D/EC C/D/EC|E/A/AG FED|CA,A, A,2C|D/D/Dd D/D/Dd|

D/D/DG EDC|D/D/Da fed|c/B/A/G/ A/2B/2d/2e/2 f2a|f>ed/c/ e>dc/A/|

DcA GEC|D/D/Dd D/D/Dd|ECE D2||

SONNY BROGAN . See "Sonny's Mazurka."

SONNY BROGAN'S [1] . AKA and see ?Bill Harte’s (Jig) [1],? ?The Rookery [2].? Irish, Jig. E Dorian (Miller & Perron, O’Malley). Standard tuning. AABB. Named after the late County Dublin accordion player Sonny Brogan (d. 1966), originally from Prosperous, County Kildare. Brogan made records in the 1930’s with The Lough Gill Quartet and was a member of Ceolt?ir? Chualann under the direction of Seán ƒ‚ Riada. However, the tune has several alternate titles, many stemming from influential players who rendered it, including Bill Harte, also a Dublin accordion player. Chicago fiddler Liz Carroll called it “The Rookery? on her recording. Source for notated version: the 1965 recording of the late New York fiddler Andy McGann [Miller & Perron]. Miller & Perron (Traditional Irish Fiddle Music), 1977; vol. 3, No. 34. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 36. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 110, pg. 55. Shaskeen Records OS‑360, Andy McGann, Felix Dolan, Joe Burke ‑ "A Tribute to Michael Coleman" (c. 1965).

X:1

T:Rookery, the

T:Sonny Brogan's [1]

T:Bill Harte's

R:jig

S:Mike Rafferty

Z:Lesl

M:6/8

K:Dmix

DED A~A2|BAG A2z|DED A~A2|BAG EGE|

DAD A2z|BAG ABc|ded czA|1 BAG EDB:||2 BAG ED^c||

|ded czA|BAG ABc|ded czA|BAG ED^c|

ded czA|BAG ABc|ded czA|BAG EDB|D6||

X:2

T:Sonny Brogan’s [1]

M:6/8

L:1/8

K:E Dorian

|: E2(E B)A(B | c)BA B2e | EFE BA(B | c)BA FED | E2E BAB |

cBA Bc(d | e)dc c/d/f(B | c)BA FEF :: Eec d2(B | c)BA Bcd |

edc d/e/f(B | c)BA FEF | Eec d2(B | c)BA Bcd | efc d/e/f(B | c)BA FEF :|

SONNY BROGAN’S [2] . AKA and see ?The Monk’s Jig,? ?The Reverend Brother’s Jig.? AKA ? “Sonny Brogan’s Fancy.? Irish, Jig. A Dorian. Standard tuning. AABB (Black): AA’BB? (Harker/Rafferty). No relation to “Sonny Brogan’s? [1]. Sources for notated versions: an English group called Floating Crowbar [Black]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker]. Black (Music’s the Very Best Thing), 1996; No. 85, pg. 44. Harker (300 Tunes from Mike Rafferty), 2005; No. 168, pg. 52.? Shanachie SH78041, Solas ? “The Hour Before Dawn? (2000).

X:1

T: Sonny Brogan's

S: "Floating Crowbar"

Z: transcribed by B.Black

Q: 300

R: jig

M: 6/8

L: 1/8

K: Ador

E | AGA cBc | dcd e3 | AGA cde | dcA GED |

AGA cBc | dcd e3 | age ged | cAG A2 :|

d | eaa aba | gef g3 | eaa aba | ged cAA |

eaa aba | gef g3 | age ged | cAG A2 :|

???????????????????????

SONNY BROGAN’S FANCY . AKA and see ?Monk’s Jig,? ?The Reverend Brother’s Jig.?

???????????????????????

SONNY BROGAN’S FAVORITE . AKA and see ?Knocknagree Reel,? ?Miss Lyon’s Fancy,? ?Up Against the Boughalauns.? Shanachie 79044, Tommy Peoples ? “The Iron Man.?

???????????????????????????????????

SONNY DAN .AKA and see "The Bottle of Brandy," "She is/She’s the Girl that can do it," "Bully for you," "Nelly's Jig," "Thady you Gander," "The Bonny Highlander," "The Buck(e)y Highlander," "The Leg of (a) Duck," "Petticoat Loose [1]," "O My Dear Judy," "Daniel of the Sun," "From the Court to the Cottage," "Girls of the West," "I gave to my Nelly," "'Tis sweet to think."

???????????????????????

SONNY MARTIN . AKA and see ?Glen Allen,? ?The Kilmaley (Reel).? Irish, Reel. G Major. Standard tuning. AA’BB?. Jordan (Whistle and Sing).

X:1

T:Sonny Martin's

T:Kilmaley Reel, The

T:Glen Allen

R:reel

Z:id:hn-reel-231

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

M:C|

L:1/8

K:G

G2DG EGDE | G2BG AGEG | A2EA FAEG | ABcd edBA | G2DG EGDE|

G2BG AGEG | cBcd efge |1 dBAB G3D :|2 dBAB G3d ||

|: g2dg egde | g2bg ageg | a2ea faeg | a2bg age f| g2dg egde |

g2bg aged | cBcd efge|1 dBAB G3d :|2 dBAB G3D ||

???????????????????????

SONNY MURRAY'S. AKA and see "Delahunty's Hornpipe," “Delahanty’s Hornpipe,? "The Home Brew," ?The Iron Gate,? ?John Quinn’s [1],? ?A Kerry Hornpipe [1],? "The Road to Boyle,? "Wicklow Hornpipe.? Irish, Hornpipe. D Major. Standard tuning. AABB. The title honors Clare concertina player Sonny Murry, with whom the tune is associated in modern times, although it is an older tune called “Delahunty’s.? Geraldine Cotter (whistle tutor). Treoir, vol. 39, No. 4, 2007.

X:1

T:Sonny Murray’s

M:4/4

L:1/8

R:Hornpipe

K:D

FG|ABAF DEFG|AG (3FED =c2 (3AB^c|dcde fdAF|G2 GF G2 FG|ABAF DEFG|

AG (3FED =c2 (3AB^c|dcde fdAG|F2D2D2::de|f2 fd ecAF|Gggf g2 fg|a2 ab agec|

dcAF G2 FG|ABAF DEFG|AG (3FED =c2 (3AB^c|dcde fdAG|F2D2D2:||

???????????????????????

SONNY REARDEN’S . Irish, Polka. A Mixolydian. Standard tuning. AABB. Green Linnet SIF 1184, Patrick Street - “Made in Cork? (1997).

X:1

T:Sonny Rearden’s

M:2/4

L:1/16

R:Polka

D:Patrick Street

Z:Bud Burroughs

K:AMix

B|c2c2 d2cd|e2a2 d2cd|e2a2 aged|c2A2 B4|

c2Bc d2cd|e2a2 d2cd|e2a2 aged|c2A2 A4:|

a2a2 f2ef|a2e2 d2cd|e2a2 aged|c2A2 B4|

a2a2 f2ef|a2e2 d2cd|e2a2 aged|c2A2 A4:|

???????????????????????

SONNY SWEENEY’S . AKA and see ?The Glencollins Polka.? Irish, Polka. Ireland, Sliabh Luachra region of the Cork-Kerry border. G Major. Standard tuning. AA’B. Source O’Leary identified Sweeney as a carpenter, “a small little man that used to play a fiddle along with Denis Murphy.? Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region) [Moylan]. Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 135. Moylan (Johnny O’Leary), 1994; No. 70, pg. 40. Topic 12T357, Johnny O’Leary - “Music for the Set? (1977).

X:1

T:Sonny Sweeney’s

M:2/4

L:1/8

R:Polka

K:G

D>E G>A|Bd BG/A/|BA/B/ d>B|AG E/F/G/E/|D>E G>A|Bd BG/A/|

BA/B/ B>A|G2 G2:||g2 e/f/g/e/|dB (3d/e/d/ BB/A/|G>B AB|AG EG|

g>f e/f/g/e/|dB (3d/e/d/ B/A/|G>B AB|AG G2|g2 e/f/g/e/|dB d>B|

G>B AB|AG E/F/G/E/|D>E G>A|Bd BG/A/|BA/B/ B>A|G2G2||

???????????????????????

SONNY'S MAZURKA . AKA ‑ "Sonny Brogan." Irish, Mazurka (3/4 time). D Major. Standard. AABB (Johnson, Mallinson): AA'BB' (Brody): AABBC (Miller). Perhaps the most well-known Irish mazurka. Named for the late County Dublin accordion player Sonny Brogan (d. 1966), originally from Prosperous, County Kildare. Brogan made records in the 1930’s with The Lough Gill Quartet and was a member of Ceolt?ir? Chualann under the direction of Seán ƒ‚ Riada. On “The Pipering of Willie Clancy? the tune is called ?Garret Barry’s Mazurka,? after the blind 19^th century piper from Inagh, County Clare. Johnson (1991) notes it makes a good vehicle for the Scandinavian couples dance called the hambo. Caoimhin Mac Aoidh, quoted in Miller & Perron’s Irish Traditional Fiddle Music (2006), says: “The beat in a mazurka falls on the second and third elements of the bar unlike other forms of Irish music. This can be confirmed by watching the old traditional dancers, as they actually take off on those lead-in notes and batter the second and third beats. In this way, the first two notes (of “Sonny’s Mazurka?) are not introductory but actually part of the melody line.? Sources for notated versions: Delaware Water Gap (Brody) & Chieftains (Miller). Brody (Fiddler’s Fakebook), 1983; pg. 263. Bulmer & Sharpley (Music from Ireland), vol. 4, No. 90. Johnson (The Kitchen Musician’s Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 1. Mallinson (Enduring), 1995; No. 92, pg. 38. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 1, No. 8 (appears as "Sonny Brogan"). Miller & Perron (Irish Traditional Fiddle Music), 2^nd Edition, 2006; pg. 153. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 3. Boys of the Lough ‑ "Live at Passim." CCF2, Cape Cod Fiddlers ? “Concert Collection II? (1999). Claddagh 4CC 32, Willie Clancy ? “The Pipering of Willie Clancy, vol. 1? (1980. Appears as “Garret Barry’s Mazurka?). Coleman Music Center CHC 009, fiddler Verona Ryan ? “The Coleman Archive, vol. 2: The Home Place? (2005. Various artists). Flying Clouds Music FCM 3, Sam Rizzetta ‑ "Bucks and Does." Island 9379, Chieftains‑ "Chieftains 3". GN1, Joe Thoma ‑ "Up the Track: Traditional Music from Kenmare." Kicking Mule 205, Delaware Water Gap‑ "From the Rivers of Babylon to the Land of Jazz" (1979). Philo 1026, Boys of the Lough‑ "Live." RCA 09026-61490-2, The Chieftains - "The Celtic Harp" (1993). Shanachie 79023, "Chieftains 3" (1971/1982).

X:1

T:Sonny's Mazurka

R:Mazurka

Z:htkeays@syr.edu

O:Ireland

M:3/4

K:D

P:D

FG|\

A2 AG FA|d2 dA BA|G2 GB AG|FG EF DF|\

A2 AG FA|d2 dA BA|G2 Gg fe|d4:|

de|\f2 fa gf|e2 eg fe|d2 df ed|cd Bc Ad|\

f2 fa gf|e2 eg fe|dc df ec|d4:|

???????????????????????

SONS OF FINGAL , THE. Irish, Air (6/8 time). B Flat Major. Standard. AB. Stanford/Petrie (Complete Collection), 1905; No. 602, pg. 151.

X:1

T:Sons of Fingal, The

M:6/8

L:1/8

R:Air

S:Stanford/Petire (1905), No. 602

Z:AK/Fiddler’s Companion

K:B_

F | Bcd e>de | fBc def | b>ag fed | cde f2 e/c/ | Bcd ede | fBc def |

b>ag f2 d/f/ | edc B2 || d/e/ | fga bag | fBc def | bag fed | cde f2 e/4d/4e/4c/4 |

Bcd e>de | fBc def | bag f>df | e>dc B2 ||

???????????????????????

SONYA WADDEN . Canadian, Jig. Canada, Cape Breton. E Major (1^st setting): A Major (2^nd setting). Standard. AABB'. Composed by pianist Matthew Cook, editor of The Night in the Kitchen Collection. Cook (Night in the Kitchen Collection), 1996; pg. 19.

???????????????????????

SOOK PIED . See note for ?Finger Ring,? ?New Five Cents [2],? tunes linked, not musically, but by floating lyric.

???????????????????????

SOOKA FLANAGAN . AKA and see ?Old Mother Flanagan.? Old‑Time, Breakdown. USA, Kentucky. G Major. Standard. AABB. A version of "Old Mother Flanagan" (sometimes “Old Granny Flanagan?) and one strain of "Shipping Port" (and perhaps derived from the Irish tune ?Greenfields of America [1]?).? Known as a Kentucky tune. Source for notated version: John M. Salyer (Salyersville, Magoffin County, Kentucky, 1941-42) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 154, pg. 179. Berea College Appalachian Center AC003, “John M. Salyer: Home Recordings 1941-42, Vol. 1? (1993). Leatherwood (cassette), Bruce Greene ? “Vintage Fiddle Tunes? (1986). Marimac AHS 6, Melvin Wine ? “Vintage Wine? (1993). Rounder 0010, The Fuzzy Mountain String Band ? “Summer Oaks and Porch? (1973). Rounder 0047, Wilson Douglas ? “The Right-Hand Fork of Rush’s Creek? (1974). Yodel-Ay-Hee 003, “Dirk Powell and John Hermann? (1992).

???????????????????????

SOONER IN THE MORNING . American, Air and March (2/4 or 4/4 time). USA, southwestern Pa. G Major. Standard. AABB. Bayard (1981) identifies the tune as that of a camp‑meeting spiritual "once well‑known on the Pennsylvania‑West Virginia border." Sources for notated versions: The Hoge MS (a fife MS from southwestern Pa., 1944) and George Strosnider (elderly fiddler from Greene County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 209A‑B, pgs. 163‑164.

???????????????????????

SOOR/SOUR PLOOMS (OF GALASHIELS) . AKA and see "Squire Wood's Lamentation on the Refusal of His Halfpence." Scottish, Irish; Air (4/4 time). G Major/Mixolydian (Johnson, McGibbon, Neil): D Major (Gatherer). Standard. AAB (Gatherer): AABB (McGibbon): AABBCC (Neil): AABBCCDD (Johnson). Galashiels is a town in the Border region of Scotland, on the River Tweed. Robin Williamson observes it is "virtually" the same tune attributed to harper Turlough O'Carolan and called in Ireland "Squire Wood's Lamentation on the Refusal of His Halfpence" (though he points out the earliest ascription of the tune to that master was by Petrie, the Victorian collector). "Perhaps it was that O'Carolan wrote, to an existing tune, a song in which he satirized the scandal of 1722 involving the minting of excessive amounts of copper money by the aforementioned William Wood, a conniving copper mine owner" (Williamson). Gatherer identifies the air as a composition from the early 1700's by the Laird of Galashiels' piper. It was popular in the early years of the 19th century in the Borders. Scottish versions were printed by Oswald in the 1740's, and by Munro, who composed a variation sonata (air‑allemand‑largo‑giga) on the tune (which appears in his Collection of Scots Tunes, 1732). It also appears in the Gillespie Manuscript of Perth (1768). Collinson says the tune was referred to as early as 1700 and was associated with the Border pipes, while Johnson (1984) dates the tune to 1710, on stylistic criteria. Neil (1991) remarks that thetitle is thought to originate from an episode in 1337 when an English army was retreating down the Gala Water from Edinburgh. The troop had thought to rest themselves in an area where wild plums grew in profusion on the riverbank, when, taken by surprise, they were nearly wiped out by the Scottish forces. A site called "The Englishman's Syke" or "Laid Stane" marks the location where the fight was fiercest."

***

Galashiels became a Burgh of Barony in 1599, when the Baron and

his baillie administered justice and where a number of privilages,

including the holding of markets and fairs were conferred. On

those occasions, a herald would make a proclamation from the

foot of the town cross. One of the most famous criers was Wattie

Blaikie, who made the proclamation holding any old piece of

'paper' in his hands and he would declare the fair open on behalf

of the Scott of Gala and his deputy the Baillie but 'prohibiting all

Egyptians, randy beggars and cutters of purses' from being present

and that no one was to be 'molestit for auld or new debt, auld feud

or new feud!' The cry was concluded by 'God Save the King' and a

roll of drums by the town drummer. (Neil)

***

?Source for notated version: James Gillespie Manuscript (Perth, 1768) [Johnson]. Emmerson, 1971; No. 101, pg. 197. Gatherer (Gatherer’s Musical Museum), 1987; pg. 28. G.F. Graham, Songs of Scotland, 1848. Johnson, 1984; No. 8, pg. 25. McGibbon (Scots Tunes, book III), 1762; pg. 86. Neil (The Scots Fiddle), 1991; No. 43, pg. 57. Wood, Songs of Scotland (1848‑49). Flying Fish FF358, Robin Williamson ‑ "Legacy of the Scottish Harpers, Vol. 1."

X:1

T:Sour Plumbs

M:C
L:1/8

R:Air

N:”Slow?

S:McGibbon ? Scots Tunes, book III, pg. 86? (1762)

Z:AK/Fiddler’s Companion

K:G

GA | ({A}B3)c B3g? | (d<B) “tr?(A>G) A3B | G3A “tr?(B>AB)d | ({d}e3)d B2g2 |

(e>d)(B>e) (d>B)(A>d) | (B>A)(G>B) A3B | G>AB>c (d>B)(g>B) | “tr”A4G2 :: g2 |

(e>f)(g>a) g2G2 | g2 (d/e/=f) ({f}e3)d | B2 de =fagf | “tr”e4d3g | e>fg>a g2G2 |

g>ba>g “tr”e3d | B2 d>e =fagf | “tr”e4d3g | e>fg>a g2G2 | g2 (de/=f/) ({f}e3)d |

(BA) B2 (dB) d2 | ed e2=f3a | (g>e) g2 (e>d) e2 | (d>B) d2 B>A B2 |

({e/f/}g3f/e/ d>gB>g | “tr”A4G2 :|

???????????????????????

SOO'S LAMENT FOR (RAW) TATTIES . AKA - "Sow's Lament for Potatoes."? Shetland. The Shetland name for "The Sow's Tail (to Geordie)? (see note on that tune for most information). The tune has been printed in British collections from as early as the mid‑18th century.

???????????????????????

SOOTH END , DA. Shetland, Jig. A Major. Standard. AAB. A relatively modern tune composed by Shetland fiddler Willie Hunter, Jr. Also published in Dance Music From Shetland and the North East, Vol. 1 (Lerwick, 1975). Anderson & Georgeson (Da Mirrie Dancers), 1970; pg. 37.

???????????????????????

SOP AIR AN LOCHDA (A wisp on the loft). Irish, Jig. D Mixolydian (G Major). Standard tuning. AABB. Source for notated version: a manuscript collection dated 1851 compiled by Anglican cleric and uilleann piper James Goodman (1828-1896), who collected primarily in County Cork [Shields]. Shields (Tunes of the Munster Pipers), 1998; No. 39, pg. 18.

???????????

SOPHIE , LA.? French, Country Dance (2/4 time). A Major. Standard tuning. AABB. From the contradance book (tunes with dance instructions) of Robert Daubat (who styled himself Robert d’Aubat de Saint-Flour), born in Saint-Flour, Cantal, France, in 1714, dying in Gent, Belgium, in 1782. According to Belgian fiddler Luc De Cat, at the time of the publication of his collection (1757) Daubat was a dancing master in Gent and taught at several schools and theaters.? He also was the leader of a choir and was a violin player in a theater. Mr. De Cat identifies a list of subscribers of the original publication, numbering 132 individuals, of the higher level of society and the nobility, but also including musicians and dance-masters (including the ballet-master from the Italian opera in London). Many of the tunes are written with parts for various instruments, and include a numbered bass. Daubat (Cent Contredanses en Rond), 1757; No. 58.

X:1

T:Sophie, La

M:2/4

L:1/8

S:Daubat ? Cent Contredanses en Rond (1757), No. 58

Z:AK/Fiddler’s Companion

K:A

e2 cd | e3f | edcB | c2 BA | e2 cd | e2 {b}a2 | e2 dc | B4 :|

|: BA GA | Bc df | ed cB | c2 BA | {B}a2 ec | f2 dB | ecdB | A2 A,2 :|

???????????????????????????????????

SOPPING THE GRAVY [1] . AKA ? “Soppin? Up the Gravy.? Old‑Time, Breakdown. USA; Missouri, Texas. D Major. Standard tuning. One part (Phillips/1989). See also the related ?Acorn Hill (Breakdown).? Source for notated version: Bartow Riley [Phillips/1989]; Art Stamper (Mo.) [Phillips/1994]. Phillips (Fiddlecase Tunebook), 1989; Pg. 39. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 228. Arhoolie C‑334, Alison Krauss ‑ "Masters of the Folk Violin" (1989). Kanawha 315, Bartow Riley. Voyager 309, Benny & Jerry Thomasson - "The Weiser Reunion" (1993).

SOPPING THE GRAVY [2] . Old-Time, Breakdown. USA, Texas. D Major. Standard tuning. AB (Silberberg): AABB (Phillips). Some similarities to version #1. Sources for notated versions: Bob Wills (Texas) [Phillips]; Mel Durham [Silberberg]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 228. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 147.?

SOPPING THE GRAVY [3] . Old-Time, Breakdown. D Major. Standard tuning. AABBCC. Source for notated version: Floyd Engstrom [Silberberg]. Silberberg (93 Fiddle Tunes I Didn’t Learn? at the Tractor Tavern), 2004; pg. 42.

???????????????????????

SORAIDH LEIS AN T'SEANA BHLIADHNA. AKA and see "Hogmanay [1]."

???????????????????????

SORAIDH SLAN DO'N AILLEAGAN . AKA and see "Farewell, Darling Youth."

???????????????????????

SORAIDH SLAN LE FIONNAIRIDH . AKA and see "Farewell to Fuinary."

???????????????????????

SORE FAILD SINCE I KEND THEE . Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

???????????????????????

SORE FOOT , THE (An Chois Tinn). Irish, Reel. A Dorian. Standard tuning. AB. Source for notated version: accordionist Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Breathnach (CRƒm I), 1963; No. 92, pg. 40.

???????????????????????

SORREL MOUNTAIN . Old-Time, Breakdown. A Major. From the fiddling of Roscoe Parish, Coal Creek, Virginia.

???????????????????????

SORROW WALTZ . See "Valse de Coeur Casse."

SORROWFUL MAIDEN , THE (An Aindear Bronac). Irish, Air (6/8 time). G Dorian. Standard tuning. One part. Cazden (et al, 1982) finds this air a relative of "The Mermaid" as printed in Joyce (1909) and his own Catskill Mountain (New York) collected "The Maid on the Shore [1]." Further, he notes the original tune strain was derived from the Irish air "Drumindown," variously translated as "Dear Black Cow [1]," "Dear Brown Cow" or "Dear Brown Fair-Backed Cow." O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 461, pg. 80.

X:1

T:Sorrowful Maiden, The

M:6/8

L:1/8

R:Air

N:”Moderate?

S:O’Neill ? Music of Ireland (1903), No. 461

Z:AK/Fiddler’s Companion

K:G Minor

G/F/|DGG/A/ G2 A/B/|cAG/A/ F2G|AGG Ace|d3 d2 d/=e/|fgg/=e/ fdd/c/|

DBB A2 (3d/c/A/|GGA/G/ Acd/=e/|f_ed g2 d/c/|B>BA/G/ Adc/A/|AGG G2||

???????????????????????

SORRY I AM . Irish, Jig. G Major. Standard tuning. AABB. Carlin (Master Collection), 1984; No. 236, pg. 137.

???????????????????????

SORRY TO PART . AKA and see "Happy to Meet {and Sorry to Part}," "The Wake Jig," "My Love in the Morning," "Jemmie the Gom," "You'll go a hunting no more." Irish, Jig. A Major. Standard tuning. AB. Kerr (Merry Melodies), vol. 1; No. 2, pg. 36.

X:1

T:Sorry to Part

M:6/8

L:1/8

R:Jig

B:Kerr ? Merry Melodies, vol. 1, pg. 36 (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

af|edB cAF|EAA A2B|cff ecA|cBB Baf|ecB cAF|

EAA A2B|cff ecB|cAA A2||e|a3 gfe|cee efg|

a3 gfe|cff f2g|agb agf|cee efg|a2f b2a|gfg agf||

???????????????????????

SORRY, TOO LATE (Aitreac Romall). Irish, Hornpipe. G Major. Standard tuning. AABB. Source for notated version: John McFadden [O’Neill]. O'Neill (Krassen), 1976; pg. 199. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1706, pg. 317.

X:1

T:Sorry, Too Late

M:C|

L:1/8

R:Hornpipe

S:O’Neill ? Music of Ireland (1903), No. 1706

Z:AK/Fiddler’s Companion

K:G

d>c | (3Bcd A>B? G>DB,>D | G>B (3def g2 b>f | (3gfe d>B c>de>a |

(3gfe (3dcB A>dc>d | B>dA>B G>DB,>D | G>B (3def g2 b>f |

(3gfe (3dcB c>ed>c | B>GA>F G2 :: B>d | (3gag e>g (3faf d>f |

g>fe>g f2d2 | g>ba>f (3gab (3agf | (3gfe (3dcB A>dc>d |
(3Bcd A>B G>DB,>D | G>B (3def g2 b>f | (3gfe (3dcB c>ed>c | B>GA>F G2 :|

???????????????????????

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