The Fiddler’s Companion

ƒD 1996-2010 Andrew Kuntz

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Notation Note: The tunes below are recorded in what is called ?abc notation.? They can easily be converted to standard musical notation via highlighting with your cursor starting at “X:1? through to the end of the abc’s, then “cutting-and-pasting? the highlighted notation into one of the many abc conversion programs available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic? at

http://www.concertina.net/tunes_convert.html ?

**Please note that the abc’s in the Fiddler’s Companion work fine in most abc conversion programs. For example, I use abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s into the concertina.net converter results in double-spacing. For concertina.net’s conversion program to work you must remove the spaces between all the lines of abc notation after pasting, so that they are single-spaced, with no intervening blank lines. This being done, the F/C abc’s will convert to standard notation nicely. Or, get a copy of abcNavigator 2 ? its well worth it.?? [AK]

SWAGGERING BONEY . AKA and see "The Old Frog Dance." English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AABBB (x4), AACCC (x4), AA. The morris dance version was collected from the village of Longborough, Gloucestershire, in England's Cotswolds, but "the tune was apparently popular all over England, as a number of different songs were written to it" (Williamson, 1976). The title refers to Napoleon Bonaparte, dating the tune from the late 1700's to early 1800's. Bacon (The Morris Ring), 1974; pg. 256. Mallinson (Mally’s Cotswold Morris Book), 1976; No. 12, pg. 12. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 21.

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SWAGGERING JIG [1] , THE (“An Port Bagarac? or “Port na Buaiceála?). AKA and see ?Drunken Gauger [1],? "Girls take care how you marry," ?Give Us a Drink of Water [2],? “In debt in the public house,? ?Jockey has gotten a wife,? "Just at/in the height of her bloom," ?McDonnell’s Rant? (O’Farrell), "The Noggin of Cream," "Oh! The Marriage;," “Pol ruadh,? ?An Seanduine Coileáilte? (Breathnach - CRƒm II, 98), "The Silly Old Man," ?Taim in Arrears,? "Taim in Arreir dTigh an Oil," "Tiggit along the Room," “The Virgin Queen,? "Welcome the Piper.? Irish, Slip Jig. G Major. Standard. AAB (most versions): AABB (Kennedy). There are several jigs with the title “Swaggering Jig.? Words have been set to the tune, these from the band Dervish:

***

I went to the fair of Bellaghy,

I bought a wee swag of a pig,

I gathered it up in my arms,

and danced the swaggering jig.

And it's high to the top of the heather,

and high to the but of the sprig,

and high to the bonnie wee lassie

who danced the swaggering jig.

***

As I went to the fair of Bellaghy,

I bought a wee slip of a pig,

and being down by the poor house,

I whistled the swaggering jig.

And it's high to the cups and the saucers,

and high to the butter and bread,

and high to the bonnie wee lassie

who danced the swaggering jig.

***

I being down by the poor house,

I whistled so loud and so shrill,

I made all the fairies to tremble

that lived around Corcoran's hill.

And it's high to the top of the heather

and high to the but of the sprig,

and high to the bonnie wee lassie

who danced the swaggering jig.

***

Sources for notated versions: “From Mrs. Close? [Stanford/Petrie]; Bothy Band [Sullivan]. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 81, pg. 19. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 220, pg. 117. O'Neill (Krassen), 1976; pg. 79. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1118, pg. 211. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 413, pg. 82. Roche Collection, 1982, Vol. 2; No. 269, pg. 28. Stanford/Petrie (Complete Collection), 1905; No. 961, pg. 245. Sullivan (Session Tunes), Vol. 3; No. 10, pg. 5. Tubridy (Irish Traditional Music, Book Two), 1999; pg. 41. Vallely (Learn to Play the Fiddle with Armagh Pipers Club), 197?; No. 29, pg. 29. Green Linnet Records SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Kells Music 9502, Dervish ? “Harmony Hill.?

X:1

T:Swaggering Jig, The [1]

M:9/8

L:1/8

R:Slip Jig

K:G

Bdd dge dBG|Bdd dBG A2d|gfe ded cBA|cBA BGE D2||

SWAGGERING JIG [2] , THE (Port na Buaiceála). Irish, Slip Jig. E Minor. Standard tuning. AABB. Breathnach points out the name was often used for jigs, although he does not think this particular tune is the same as he found printed in other collections. It is related in the first part to ?Rakes of Drumlish [1].? Breathnach (CRƒm IV), 1996; No. 39, pg. 21.

SWAGGERING JIG [3].? Irish, Slip Jig. Giblin (Collection of Traditional Irish Dance Tunes), 1928; 78.

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"SWALLOW," SLOOP OF WAR . AKA and see ?The Swallow [1].? American, Reel. D Major. Standard tuning. AB. Cole (1000 Fiddle Tunes), 1940; pg. 48. Ryan’s Mammoth Collection, 1883; pg. 75.

X:1

T:”Swallow,? Sloop of War

M:C|

L:1/8

R:Reel

R:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

(FD)FA d2 de | (fa)ef d<d d2 || fdfd afdf | egfe dBAg | fdfd afdf | (eg)fe d<d d2 |

fdfd afdf | egfe dBAG | FDFA dfag | (fd)ef d<d d2 ||

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SWALLOW [1] , THE. AKA and see “Swallow, Sloop of War.? Scottish, Reel. D Major. Standard tuning. AAB (Gow, Skye): AABB' (Athole). John Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 36). Carlin (The Gow Collection), 1986; No. 527. Gow (Complete Repository), Part 2, 1802; pg. 37. MacDonald (The Skye Collection), 1887; pg. 63. Stewart-Robertson (The Athole Collection), 1884; pg. 84. Green Linnet GLCD 1127, “Martin Hayes? (1993).

X:1

T:Swallow, The

M:C|

L:1/8

R:Reel

B:The Athole Collection

Z:AK/Fiddler’s Companion

K:D

|:g|fefg aeeg|fdgf e>EE>g|1 fefg aeeg fdec dDD:|2 fefg abag|fdec dDD||

SWALLOW [2] , THE. AKA and see "Ballyket Courthouse," "Barry's Fancy," "Kathleen's Fiddle," "Micho Russell's Favorite," "Rattigan's,"? " St. Andrew's." Irish, Reel. Irish, Reel. G Major (also played in F Major). Standard tuning. AABB. Cl? Iar-Chonnachta CICD 167, Peter Horan & Gerry Harrington ? “The Merry Love to Play? (2007). Green Linnet GLCD 1127, “Martin Hayes? (1993). Three Men and a Dog - "Shifting Gravel." Moher - "Out on the Ocean."

SWALLOW [3] , THE. American, Country Dance Tune. May be the tune in version #1. Printed by John Carr in his American-published First Book of Cotillions (1801). Maggie’s Music MMCD216, Hesperus - “Early American Roots? (1997).

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SWALLOWTAIL COAT , THE. AKA and see "The Family Estate," "The Girl with the Handsome Face,? "Joshua Gray," "McKenna's Reel," "Miss Wright's Reel," "Mollie's Bonnet," "Molloy's Night Cap," "Pigeon on the Gate [1]," "The Pride of the Ball," "The Queen's Wedding," "Steeple Chase [1]," ?The Swallow’s Tail Reel,? “The Swallowtail Coat,? "Take your Hand Away," "The Village Reel."

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SWALLOWTAIL JIG [1] , THE. Irish, American; Jig. USA, western Pennsylvainia. A Dorian. Standard tuning. AB (Bayard): AABB (Carlin, Phillips). See Bayard's (1944) note for "Red Brick House in Georgia Town" for extensive notes on this tune family. Source for notated version: fiddler Tom McCreesh with Fennig's All Star String Band (N.Y.) [Phillips]. Bayard (Hill Country Tunes), 1944; No. 45. (appears as "Swallow Tail"). Carlin (Master Collection), 1984; No. 238, pg. 138. Phillips (Traditional American Fiddle Tunes) Vol. 2, 1995; pg. 381.

SWALLOWTAIL JIG [2] , THE (Drioball na Fáinleoige). AKA and see "The Dancing Master," ?Dromey’s Fancy,? ?From the New Country,? "Swallow's Nest [1]." Irish, English, Canadian, American; Double Jig. USA; New England, southwestern Pa. E Dorian (most versions): A Dorian (Allan's): B Minor (Shears). Standard tuning. AB (Bayard): AABB (most versions). A popular tune in Ireland, Britain and North America, especially with beginners, although often considered too hackneyed for session play. The title (in conjunction with the alternate title in O’Neill’s, “The Dancing Master?) may possibly refer to the type of coat typically worn the by early 19^th century dancing master. Bayard (1981) identifies as another member of the "protean" "Welcome Home" tune family. Ken Perlman (1979) dates “Swallowtail Jig? to the mid‑nineteenth century (perhaps on the strength of its appearance in Kerr’s c. 1880’s collection), and says it is often used as the vehicle for Northumbrian sword dancing (for five dancers with two‑handled swords). See also O’Neill’s related tune ?Dromey’s Fancy.? Source for notated versions: Hiram Horner (fifer from Westmoreland and Fayette Counties, Pa., 1960); Thomas Hoge (fiddler and fifer from Greene County, Pa., 1948); Amasiah Thomas (elderly fiddler from Jefferson County, Pa., 1952) [Bayard]; Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Allan's Irish Fiddler, No. 21, pg. 6 (appears as "Swallow's Nest"). Bayard (Dance to the Fiddle), 1981; No. 594A‑C, pgs. 522‑523. Brody, 1983; pg. 270. Carlin (Master Collection), 1984; No. 239, pg. 139 (appears as "Swallowtail Jig #2"). Cole (1000 Fiddle Tunes), 1940; pg. 69. Cranford (Winston Fitzgerald), 1997; No. 193, pg. 76. DeVille, 1905; No. 52. Jarman (Old Time Fiddlin' Tunes); No. or pg. 17. S. Johnson (The Kitchen Musician No. 6: Jigs), 1982 (revised 1989, 2001); pg. 8. Kerr (Merry Melodies), vol. 2; No. 271, pg. 29. Miller & Perron (New England Fiddlers Repertoire), 1983; No. 51. Reavy (The Collected Compositions of Ed Reavy), 1979; No. 28. Reiner (Anthology of Fiddle Styles), 1979; pg. 50. Robbins, 1933; No. 143. Ryan’s Mammoth Collection, 1883; pg. 100. Shears (The Gathering of the Clans Collection, vol. 1), 1986; pg. 65 (pipe setting). Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 155. Spandaro (10 Cents a Dance), 1980; pg. 22. Sweet (Fifer’s Delight), 1965/1981; pg. 31. White's Unique Collection, 1896; No. 42. White's Excelsior Collection, 1907; pg. 22. Fretless 101, "The Campbell Family: Champion Fiddlers" (1977). Front Hall 05, Fennigs All Stars‑ "Saturday Night in the Provinces" (1975). Gael-Linn CEF 045, “Paddy Keenan? (1975). Kicking Mule KM-228, Bonnie Phipps ? “Autoharpin? (1982). Living Folk LFR-100, MacArthur Family ? “On the Mountains High? (1971). Transatlantic 341, Dave Swarbrick‑ "Swarbrick 2."

See also listing at:

Alan Ng’s Irishtune.info

X:1

T:Swans Among the Rushes

M:6/8

L:1/8

C:Ed Reavy

R:Jig

K:G

gfg agf | gdB e2d | cBc EFG | AGE DB,C, |

D2B BAB | dcB c2e | fed cAF |1 AGF GBd :| AGF G2A ||

Bcd efg | f2f ecA | GBd eag | fef g2g |

Bcd efg | f2f ecA | fef agf |1 gba g2d :| gba gef ||

X: 2

T:Swans Among The Rushes

R:Jig

C:Ed Reavy

M:6/8

L:1/8

Z:Joe Reavy

N:Ed loved to watch their flight and see them

N:"paddle in the cold companionable streams or

N:climb the air." He watched them, too, when

N:they laid their eggs among the rushes in the lake

N:waters near the family farm in Barnagrove.

K:G

f | gfg agf | gdB e2 d | cBc EFG | AGE D2 B, | DGB BAB | dcB cBc | fed cAF | GBA G3 :||

Bcd efg | fdf ecA | GBd eag | fdf g3 | Bcd efg | fdf ece | fef agf | gba g2 :||

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SWAN’S HORNPIPE .? AKA and see ?Cooper’s Hornpipe,? ?Fox in the Dumps.?

SWANSEA/SWANSY HORNPIPE . AKA and see ?The Gloucester Hornpipe,? ?The Man from Newry.? English, Scottish; Hornpipe. England, Shrophsire. G Major. Standard tuning. AABB (Ashman): AA'BB' (Kerr). Fiddler Stephen Baldwin (1873-1955), of Upton Bishop, Herefordshire, called the tune “Gloucester Hornpipe,? although that title seemed idiosyncratic to him. O’Neill printed a version under the title “Man from Newry.? The “Swansea Hornpipe? also appears in the c. 1780-1804 John Fife manuscript (pg. 117—the ms. is on microfilm with the National Library of Canada, Music Div.). Fife was a Scottish musician, perhaps from Perthshire. The Swansea Hornpipe is recorded as having been a type of dance in Wales around 1830, performed at parish dances held every quarter on Monday evenings (M.E. Hartland, “Breconshire Village Folklore,? Folklore, vol. 24, No. 4, Dec. 1913). Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 115, pg. 48. Kerr (Merry Melodies), vol. 2; No. 353, pg. 39. Menteith & Burgess (The Coleford Jig: Tradtional Tunes from Goucestershire). Lapwing 106, Wallochmor Ceilidh Band ? “Full Throttle!? (1982). Robin Huw Bowen ? “Hunting the Hedgehog? (1994).

X:1

T:Swansea Hornpipe

M:C

L:1/8

R:Hornpipe

S:Kerr ? Merry Melodies, vol. 2, No. 353? (c. 1880’s)

Z:AK/Fiddler’s Companion

K:G

c2e2e2g2|dBdB ecAF|G2B2G2z2::BGBG Bd d2|ecec eg g2|

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SWEAT HOUSE , THE. Irish, Reel. G Major. Standard tuning. AA’BB. Composed by Joe Liddy of County Leitrim. Dervish ? “Midsummer Night.?

X:1

T:Sweat House, The

R:Reel

D:Dervish

Z:Adrian Scahill

M:4/4

L:1/8

K:G

E2FD E2FA|BdAB defd|edfe dAAd|BdAF DEFD|\

EBAF E2FA|BdAB defd|edfe dBAF|1 DEFD E3D:|2 DEFD E3A||\

Bee2 fded|BdAB dAFA|Beef dAde|fdaf gefd|\

Beeg fded|BdAB defd|edfe dBAF|DEFD E3A:||

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SWEDE SAW JIG . Canadian, Jig. G Major ('A' part) & D Major ('B' part). Standard tuning. AA'BB'. Source for notated version: learned by fiddler Vic Kibler (Hamilton County, N.Y.) from a recording by Canadian fiddler Rod Dorman [Bohrer]. Bohrer (Vic Kibler), 1992; No. 28, pg. 28.

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SWEDEN'S MARCH. AKA and see "The King of Sweden's March." Scottish, March (4/4 time). A Major. Standard tuning. AABBCCDDEEFFGGHH. The tune which appears in the Shiels MS also was printed by Bremner in his Airs and Marches (c. 1756‑61, pg. 94) and from whom the variations are derived, states Johnson (1984), who also says the Bremner text shows the tune was originally in Baroque‑trumpet style. The tune is based on a passamezzo‑moderno chord sequence (through strain 3, at which time it changes to double‑tonic style), which was a 16th century Italian import to the British Isles, though the variations were in the latest 18th century style. Sweden March was also the name of a Scottish dance similar to a hornpipe, and is mentioned in an account as being taught at a country dancing master's school (probably in Kirkcudbright) in MacTaggart's Scottish Gallovidian Encyclopedia (1824). Source for notated version: The Shiels Manuscript, Crieff, 1820‑21 [Johnson]. Johnson (Scottish Fiddle Music in the 18^th Century), 1984; No. 40, pgs. 98‑99.

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SWEDISH DANCE . English, Country Dance Tune (4/4 time). England, North‑West. A Major. Standard tuning. AABB. Knowles (Northern Frisk), 1988; No. 84.

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SWEDISH JIG , THE. AKA and see ?Arthur Darley’s,? ?The Bruckless Shore.? Irish, Air. Ireland, County Donegal. See note for “Bruckless Shore.? Aly Bain & Phil Cunningham ? “The Pearl? (1994).

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SWEDISH MASQUERADE , THE.

X:1

T:Swedish Masquerade

M:4/4

L:1/4

K:G

D|G2GG|G2Ac|B2BB|B2ce|edBd|dcBA|G2G2|G3:|

M:3/4

|:B/2c/2|dBg/2e/2|dBd|cA B/2A/2|G/2F/2 G/2A/2 B/2c/2|dBg/2e/2|dBd|cAF|G2:|

M:2/4

L:1/8

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SWEDISH WALTZ [1] . Old‑Time, Waltz. USA; Nebraska, Missouri. C Major. Standard tuning. ABB (Christeson): AA'AA'BB (Phillips). Sources for notated versions: Bob Walters (Burt County, Nebraska) [Christeson]; Doug Phillips [Phillips]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; No. 244, pg. 203. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 314. Marimac 9017, Vesta Johnson (Mo.) ‑ "Down Home Rag." Caney Mountain Records CLP, Lonnie Robertson (Mo.) ‑ "Fiddle Favorites." James Bryan ? “The First of May.?

X:1

T:Swedish Waltz [1]

M:3/4

L:1/8

R:Waltz

B:Christeson ? Old Time Fiddler’s Repertory, vol. 1

S:Bob Walters (Burt County, Neb., 1950)

K:C

ef|g2e2c2|G2E2C2|FE FG AB|A3 ABA|GA Bc de|d2B2G2|cB cd ef|g4 ef|

g2e2c2|G2E2C2|FE FG AB|A3 ABA|GA Bc de|f2A2B2|c3 Bcd|c4||

ef|gf ed cB|cB AG AB|c2 E3F|G4 ef|gf ed cB|c2B2c2|d3 ^cde|d4 ef|

g2e2c2|f4 e2|e2d2c2|A3 Bcd|e3 fec|d3 BdB|c3 Bcd|c4:|

SWEDISH (WALTZ) [2] .? English, Waltz. D Major. Standard tuning. AABB. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 180, pg. 48.

X:1

T:Swedish Waltz [2]

M:3/4

L:1/8

K:D

FG|A2 AF dB|{G}F4 DF|G2 GF GB|B2 A2 FG|?

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SWEDISH WEDDING WALTZ . Old-Time, Waltz. D Major ('A' and 'C' parts) & A Major ('B' part). Standard tuning. AA'BB'C. Source for notated version: Stuart Williams and Wayne Holmes [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 315.

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SWEENEY’S See ?Sweeney’s Polka.?

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SWEENEY'S BUTTERMILK . AKA and see "Charlie Lennon's No. 2," "Buttermilk Mary [2]," "Charlie's Buttermilk Mary," ?Scarce o? Taties [2]." Irish, Reel. A Dorian. Standard tuning. AABB. A modern composition by fiddler Brendan McGlinchey (though sometimes mistakenly attributed to Charlie Lennon). The story (as told by Juergen Gier) goes that McGlinchey was attending a fleadh, tionol or similar event and found accommodations in the caravan of a man named Sweeney, with whom he shared his stay. Sweeney, as it happens, like McGlinchey was quite fond of buttermilk. The tune is usually played in the key of B Minor/B Dorian. It appears in Bulmer & Sharpley’s collection (Music from Ireland), vol. 4, No. 14 (1974) under the title “Charlie Lennon’s,? meaning the source was Charlie Lennon and at the time the tune’s title was unknown at the time.

***

Sharon Goldwasser tells this story:

***

I was at Gaelic Roots in 1998, and Brendan McGlinchey taught fiddle
classes that year. On the first day, he asked all of us to play a tune for
him (to assess the class, I suppose). There were a few very talented young
fiddlers (teens) and Brendan looked at one of them with a bit of a twinkle
in his eye as the boy completed a reel. Brendan leaned forward and asked
the young man "Do you know the name of that chune?". The boy replied
"Sweeney's Buttermilk". And then Brendan leaned in a little closer and
asked -"And do you know who wrote it?" The boy shook his head, and
Brendan said "I did". The look on the boy's face was priceless!

***

See also the related ?Margaret Stuart’s Reel.? Taylor (Through the Half-door), 1992; No. 29, pg. 22. Green Linnet SIF 1040, Touchstone ? “The New Land.? Green Linnet SIF 3037, Silly Wizard - "Golden, Golden" (1984). Shanachie 79016, Silly Wizard - “So Many Partings.? Shaskeen - "Atlantic Breeze." Kevin Burke ? “Sweeney’s Dream? (c. 1970’s).

X:1

T:Sweeney's Buttermilk

M:4/4

L:1/8

R:Reel

K:Bdor

FB~B2 FB~B2|dcBc AE~E2|FB~B2 ABce|afec Bage|

f2ec fcec|~B3c BAFE|FB~B2 ABce|afec B2BA:|

Bcde fB~B2|afec ABce|~f3a bf~f2|afec B2BA:|

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SWEENEY'S DREAM . AKA and see "The Girl with the Laughing Eyes," ?The Lame Fisherman,? "Paddy Killoran's [1].? Irish, Reel. D Major. Standard tuning. AAB (Breathnach, Vallely): AABB (Treoir). The title refers to the renowned south County Sligo fiddler Paddy Sweeney (1894-1974), with whom Ballymote (also south Sligo) fiddler Paddy Killoran (1905-1965) recorded the tune as a duet in the early 1930's in New York City. See also the ?Rising Sun [2]?/Brightest Eyes?/?Jolly Clam-Digger's? family of tunes. Breathnach (CRƒm III), 1985; No. 108, pg. 54 (appears as “Gan ainm/No title?). Treoir, vol. 35, No. 1, 2003; pg. 29. Vallely (Armagh Pipers Club Play 50 Reels), 1982; No. 35, pg. 18. Noel Hill & Tony Linnane (1979).

X:1

T:Sweeney’s Dream

M:C|

L:1/8

R:Reel

K:D

d~D3 ABdf | gfed fdBc | d~F3 ABdB | AFDF EF D2 :|

afeg fdBc | d~F3 ABdf | (3agf eg fd d2 ||

X:2

T:Sweeney’s Dream

M:C

L:1/8

R:Reel

S:Treoir ? vol. 35, No. 1, 2003

K:D

dF F2 ABdf | gfeg fdBc | dF F2 ABdB | AFdF EFDA |

dF F2 ABdf | gfeg fdBc | dF F2 ABdB | AFdF EF D2 :|

fa a2 bf f2 | afeg fdBc | dF F2 ABde | (3fga eg f2 fe :|

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SWEENEY'S EYES (Suile Shuibhne). Irish. Composed by concertina player Niall Vallely. Nomos ? “Set You Free.?

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SWEENEY'S HORNPIPE [1] . AKA and see "Sweep's Hornpipe [2]."

SWEENEY’S HORNPIPE [2] .Irish, Hornpipe. A Major. Standard tuning. AABB. The tune was recorded by the melodeon playing Wyper Brothers in the early part of the 20^th century.? Allan's Irish Fiddler, No. 81, pg. 21.

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SWEENEY'S (POLKA) [1] . AKA and see ?Ballydesmond Polka? [4], ?Denis Murphy’s.? Irish, Polka. Ireland, west Kerry. A Major (most versions): G Major (Taylor/Tweed, Tubridy). Standard tuning. AABB. One of the most widely known Sliabh Luachra (Kerry) polkas. The Chieftains have recorded this tune under this title. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), who associates the tune with John Clifford [Moylan]. Mac Amhlaoibh & Durham (An Pota St?ir: Ceol Seite Corca Duibne/The Set Dance Music of West Kerry), No. 8, pg. 15 (appears as “Gan Ainm? {untitled}). Bulmer & Sharpley (Music from Ireland), vol. 2, No. 70. Mallinson (100 Polkas), 1997; No. 61, pg. 23. Moylan (Johnny O’Leary), 1994; No. 282, pgs. 161-162. Mulvihill (1^st Collection), 1986; No. 13, pg. 114 (appears as untitled polka in wrong mode). Sullivan (Session Tunes), vol. 2; No. 23, pg. 10. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 34. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 8.

X:1

T:Sweeney’s Polka [1]

L:1/8

M:2/4

K:A

e2 ce|Ae ce|f/g/a/f/ ec|BA F2|ef/e/ ce|Ae ce|f/g/a/f/ ec|1 BA A2:|2 BA A>B||

|:ce f/g/a/f/|ec BA|ce a>f|ec B2|ce f/g/a/f/|ec BA|ef/e/ cB|1 BA A>B:|2 BA A2||

SWEENEY'S (POLKA) [2] . New England, Polka. G Major. Standard tuning. AAB. A different tune than "Sweeney's" [1]. Miller & Perron (101 Polkas), 1978; No. 1.

SWEENEY’S POLKA [3] . AKA and see ?Denis Murphy’s Polka [1].?

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SWEENEY'S REEL . AKA and see "Cailini Deasa Mhuigheo," "Life of man,? ?Music in the Forge,? ?My Sweetheart Jane,? "Peigin Leitir Mor," ?The Pretty Girls of Mayo.? Irish, Reel. See note for “Pretty Girls of Mayo.? The ‘A? part of "Sweet Biddy of Ballyvourney" is also the same.

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SWEENEY’S WHEEL . Irish, Reel. D Major. Standard tuning. AABBCCDDEEFFGG. Paul de Grae identifies this tune as a composition of County Cork accordion player Jackie Daly, composed for a ‘character? named Sweeney who resides in Gort, County Galway. A man of eccentric pursuits, one of Sweeney’s interests is trying to design a perpetual motion machine, which Daly’s reflects in his tune by having the melody go round and round without ever coming to an end (on the album it simply fades out). Green Linnet SIF 1088, Patrick Street ? “No. 2 Patrick Street.? Jackie Daly & Patrick Street (et al) ? “The Big Squeeze.?

X:1

T:Sweeney’s Wheel

L:1/8

M:4/4

K:D

B2dB FBdB|GBdB cdec|B2dB FBdB|cBAB cde2:|

Ad (3ddd adfd|adfd cde2|Ad (3ddd adfd|cBAB cdeg:|

B2 dB FBdB|GBdB cdec| B2 dB FBdB|cBAB cd e2:|

ge (3eee geaf|ge (3eee g3 f|geaf gfed|cdef g3 a:|

c'a (3aaa fd (3ddd|cdef g3 a|c'a (3aaa fedB|ABcd efga:|

fdBd FdAd|fdAd cdeg|fdAd FdAd|cBAB cd e2:|

Ad (3ddd adfd|adfd cd e2|Ad (3ddd adfd|cBAB cdeg:||

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

SWEEPING THE TOWN . AKA and see ?The Good One.? Old‑Time, Breakdown. D Major. Standard tuning. AB (Silberberg): AABB (Johnson): AA'BB (Phillips). Phillips (1994) remarks this is a new name for an old tune (without naming the original). In fact it appears to be a modern breakdown conversion of a British jig called ?The Queen’s Jig.? It has similar melodic material to "Goodbye Liza Jane" and Kirk Sutphin’s “Virginia Reel,? and some think it also bears resemblance in the beginning to ?Spotted Pony.? Seattle fiddler Armin Barnet is credited with the title from an off-hand remark he made about the tune, something to the effect that “that tune sure has gotten popular all of a sudden. It’s sweeping the town.? Sources for notated versions: fiddler Greg Canote [Phillips]; Warren Argo [Silberberg]. Johnson (The Kitchen Musician: Occasional Collection of Old‑Timey Fiddle Tunes for Hammer Dulcimer, Fiddle, etc.), 1982 (revised 1988 & 2003); pg. 15. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 235. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 154.

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SWEEP'S HORNPIPE [1] , THE (Crannciuil an Sguabadoir/Sguabadora). AKA and see ?Gray’s Opera House,? "The Great Eastern (Hornpipe)," "Great Western (Lancashire) Clog," "Belfast Hornpipe [1]," "Royal Belfast," "Millicent's Hornpipe," "Millicen's Favourite." Irish, Hornpipe. D Major. Standard tuning. ABC (Mitchell): AABBCC (O’Malley, O’Neill): AA’BB’CC (Moylan). Button-accordion player Joe Derrane’s signature tune. Source for notated version: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; piper Willie Clancy (1918-1973, Miltown Malbay, west Clare) [Mitchell]. Mitchell (Dance Music of Willie Clancy), 1993; No. 108, pgs. 92-93. Moylan (Johnny O’Leary), 1994; No. 240, pg. 139. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 119, pg. 60. O'Neill (Krassen), 1976; pg. 177. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1613, pg. 299. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 852, pg. 147.

X:1

T:Sweep’s Hornpipe [1]

M:C|

L:1/8

R:Hornpipe

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1903), No. 852

Z:AK/Fiddler’s Companion

K:D

(3faf d>f A>dF>A|D>FA>d f2 e>f|g>fe>d c>AB>c|d2f2d2:|

G>FG>A B>cd>e|f>gf>e d>cd>B|A>fe>d c>AB>c|d>fe>c d2:|

|:a>g|(3fgf (3efe (3ded (3cec|(3BcB (3ABA G2 b>a|

(3gag (3fgf (3efe (3ded|(3cdc (3BcB A2 a>g|(3fgf (3efe (3ded (3cBc|

(3BcB (3ABA (3GAG (3FGF|E>ge>d c>AB>c|d2f2d2:||

SWEEP'S HORNPIPE [2] , THE (An Scuabaire). AKA and see ?Jack O’Neill’s Fancy,? ?Jim Coleman’s [2],? "Sweeney's Hornpipe [1]." G Major. Standard tuning. AA'BB. Source for notated version: flute player John Joe Gardiner (Ireland) [Breathnach]. Breathnach (CRƒm III), 1985; No. 216, pg. 99. Comhaltas Ceoltoiri Eireann CL21, John Joe Gardiner & the Kincora Ceili Band ‑ "Ceol Tire" (1976).

SWEEP'S HORNPIPE [3] , THE. English, Hornpipe. England, Shropshire. G Major. Standard tuning. AABB. No apparent relation to versions #1 or #2.

***

Chimney sweep. The Warder Collection.

***

Source for notated version: a c. 1837-1840 MS by Ironbridge, Shropshire, musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 59, pg. 23. Callaghan (Hardcore English), 2007; pg. 26. EFDSS CD13, Bursledon Village Band ? “Hardcore English? (2007. Various artists). MFY014, “The Bursledon Village Band.?

X:1

T:Sweep's Hornpipe, The

M:4/4

L:1/8

H:1837

S:John Moore of Shropshire

Z:vmp.John Adams

K:G

cdef | gfgd ecAF | G2G2G2 :|| Bc| dBdB g2 Bc| dedB G2 Bd | dcAc cBGB |

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SWEERIE BOX , DA. Shetland, Reel. G Major. Standard tuning. AABB. "The 'Sweerie Box' is a recepticle for holding two reels of wollen thread so that they can both be fed into the spinning wheel together. This is called 'twinin' in Shetland. The tune tries to give the rhythm of the reels when they are twinin" (Anderson). Anderson (Ringing Strings), 1983; pg. 77.

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SWEET (ALA)'BAMA. Old‑Time, Breakdown. A Major. AEae tuning. AABB. Source? for notated version: Liz Slade (Yorktown, New York) [Kuntz]. Kuntz, Private Collection. Voyager VRCD-354, Hart & Blech ? “Build Me a Boat.?

X:1

T:Sweet ‘Bama

M:2/4

L:1/8

N:AEae tuning

N:Notated as fingered, not as sounded

Z:Transcribed by Andrew Kuntz

K:A

A(f f)f/f/|e/A/c f>(f|e)(c c/)A/c/A/|B/A/B/(B/ A/B/A/)e/:|

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

SWEET BARROW , THE. Irish, Air (3/4 time). B Flat Major. Standard tuning. AB. Stanford/Petrie (Complete Collection), 1905; No. 339, pg. 86.

X:1

T:Sweet Barrow, The

M:3/4

L:1/8

R:Air

B:Stanford/Petrie, No. 339? (1905)

Z:AK/Fiddler’s Companion

K:Bb

fgfe dc/B/|G2 FF/G/ BB|B3||Bde|f2 ed gf|fg fe dc|

d2 Bc/d/ ee|e3 f/e/ d/c/B/A/|G2 FFFf|f>g fe dc/B/|G2 FF/G/ BB|B3||

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SWEET BEAULIEU GROVE . Irish, Air (4/4 time). E Flat Major. Standard tuning. AB. See note for ?The Enniskillen Dragoon(s) [1]? for brief discussion of the structure of this tune and partial list of others in this class. O'Neill (O’Neill’s Irish Music), 1915; No. 34, pg. 25.

X:1

T:Sweet Beaulieu Grove

M:C

L:1/8

R:Air

S:O’Neill’s Irish Music (1915)

Z:AK/Fiddler’s Companion

K:Eb

FEFG B2G2 | G2 cB G2=B2 | c4z2 || CD | EDEF G2 FE | FEFG B2 GG |

G2 cB G2 =B2 | c4z2 ec | BcBG F2 EF | ECB,G, B,2 CD | E2 GF E2C2 | C6 ||

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SWEET BETSY FROM PIKE . See "Villikens and his Dinah." American, Song Air. The vehicle for the American song “Sweet Betsy from Pike? is derived from the English air to “Villikens and his Dinah.?

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SWEET BIDDY DALY (Brigidin Deas N? Dalaig). AKA and see ?Buttermilk Mary [3],? ?Coleman’s Favourite,? ?Fond of the Ladies? (‘A? part only), ?The Frolicksome Dame,? “Haley’s,? ?A Health to the Ladies,? "The Irish Miller," ?The Irish Rover,? ?Irishman’s Heart to the Ladies,? ?Irishman’s Love [1],? ?The M?in?n Jig,? ?The Mountain Road [2],? ?The Mountainy Boy,? ?The Night of the Wedding,? ?O’Mahony’s Jig,? ?Over the Callows,? ?Paddy Clancy’s,? ?Pat Beirne’s Favourite,? “The Runner,? ?The Queenstown Jig,? "Saddle the Pony [2]" (Roche), “To the Ladies.? Irish, Double Jig. A Major. Standard tuning. AA’B (Moylan): AABB (O’Malley, O’Neill). Caoimhin Mac Aoidh states the ‘B? part is similar to that of “Saddle the Pony? and identical with that of the Donegal jig ?The Pet in the Kitchen.? Sources for notated versions: accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border) [Moylan]; fiddler and accordion player John McGrath (d. 1955, New York) [O’Malley]. Moylan (Johnny O’Leary), 1994; No. 326, pg. 186. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 83, pg. 42. O'Neill (Krassen), 1976; pg. 67. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1084, pg. 204. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 278, pg. 61. Shanachie 79093, Paddy Glackin & Robbie Hannan ? “The Whirlwind? (1995).

X:1

T:Sweet Biddy Daly

M:6/8

L:1/8

R:Jig

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1907), No. 278

Z:AK/Fiddler’s Companion

K:A

AFE EFA|Bdc BAB|cAA A2:||:A|cee dff|cee ecA|

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SWEET BIDDY OF BALLYVOURNEY (Brigidin Milis/Deas ui/ua Baile-Muirne).? Irish, Reel. G Major. Standard tuning. AAB. See also the ‘A? parts of? ?Pretty Girls of Mayo,? ?Sweeney’s Reel.? Breathnach (1963) is of the opinion that the second part of this tune in O’Neill does not go with the first part. Paul de Grae finds variants as ?The Music of/in the Forge,? Breathnach’s ?Tameen’s Reel,? Clancy's "Ceol na gCeartan" and ?Irishman’s Love [2]? in Ryan’s Mammoth Collection (1883). O'Neill (Krassen), 1976. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1301, pg. 244. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 566, pg. 104.

X:1

T:Sweet Biddy of Ballyvourney

M:C|

L:1/8

R:Reel

S:O’Neill ? Dance Music of Ireland: 1001 Gems (1907), No. 566

Z:AK/Fiddler’s Companion

g2 dg gbag|fdcA AG G2|g2 dg g2 de|fgag fdef|dfga b2 ag|fdcA AG G2||

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SWEET BUNCH OF DAISIES [1] . Old‑Time, Bluegrass; Breakdown. USA; West Virginia, Texas. C Major (Brody): B Flat Major (Phillips). Standard tuning. AA. Source for notated version: Kenny Baker [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 271. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 139. County 744, Kenny Baker‑ "Dry and Dusty." County 2705, Kenny Baker - "Master Fiddler." Document 8040, “The Hill Billies/Al Hopkins and His Buckle Busters: Complete Recorded Works in Chronological Order, Vol. 2? (reissue). Rebel 1545, Curly Ray Cline‑ "Why Me Ralph?" County 747, Clark Kessinger‑ "Sweet Bunch of Daisies." CMH 9006, Benny Martin‑ "The Fiddle Collection." Stoneway 104, Chubby Wise‑ "Chubby Wise and His Fiddle."

SWEET BUNCH OF DAISIES [2] . Old‑Time, Waltz. USA; Alabama, Mississippi, Georgia, Missouri, Arizona. G Major. Standard tuning. AB. The earliest citation for this tune is from Arizona fiddler Kenner C. Kartchner who learned it as one of his first, in 1898 (Shumway). It was remembered by north Georgia fiddler Lowe Stokes (1898-1982) as having been fiddled by his father. “Sweet Bunch of Daisies? was recorded in 1924 for Gennett and in 1929 for Columbia by fiddler Jess Young (Chattanooga, Tenn.), and apparently popularized by him among fiddlers (C. Wolfe, The Devil's Box, Dec. 1981, vol. 15, #4). It appears in the repertoires of both the Stripling Brothers (Ala.) {who recorded it in 1934 for Decca although it was not issued}, and Freeny's Barn Dance Band (twin fiddle band from Leake County, Mississippi), 1930. Tommy Magness (1911-1972), born in north Georgia near the southeastern Tennessee border, knew the tune and recorded it for Roy Acuff on a home recorder in 1948. Source for notated version: Hillis Taylor and Vivian Williams [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 316. Ruth (Pioneer Western Folk Tunes), 1948; No. 131, pg. 46. Heritage 048, Gordon Tanner ‑ "Georgia Fiddle Bands" (Brandywine 1982).

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SWEET BUNDY . Old-Time, Breakdown. D Major. Standard tuning. AABB'. Source for notated version: fiddler Lotus Dickey (Indiana) [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 236.

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SWEET CASTLE HILL . Irish, Air (3/4 time). G Major. Standard tuning. AB. Source for notated version: P.J. Healy, San Francisco [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922.

X:1

T:Sweet Castle Hill

M:3/4

L:1/8

S:P.J.Healy, San Francisco

Z:Paul Kinder

R:Air

K:G

D4 DE|G3 F E2|D2 d3 B|A3 G A2|G4||

DE|G3 A B2|GA B2 AG|E G3 DE|G2 A B3|

D4 DE|G3 F E2|D2 d3 B|A3 G A2|G4||

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SWEET CASTLE HYDE . AKA and see ?One night I dreamt.?

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SWEET CASTLEWON BERE . Irish, March. D Major. Standard tuning. AABB. Roche Collection, 1982, vol. 2; No. 351, pg. 62.

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SWEET CHILD . AKA‑ "Honey," "The Crawdad Song." Old‑Time; Breakdown and song. USA; Missouri, Oklahoma, Louisiana. A Major. AEae tuning. One part tune.

***

Standin' on a corner and I meant no harm my honey,

Standin' on a corner and I meant no harm my sweet child;

Standin' on a corner and I meant no harm

A big policeman took me by the arm my sweet child.

***

Rared and I kicked and I tried to get loose my honey,

Rared and I kicked and I tried to get loose my sweet child;

Rared and I kicked and I tried to get loose,

But he took me off to the calaboose my sweet child.

***

A little bit cloudy but it ain't a‑gonna rain my honey,

A little bit cloudy but it ain't a‑gonna rain my sweet Child;

A little bit cloudy but it ain't a‑gonna rain,

We'll take a trip on the north bound train my sweet child.

***

When I die don't bury me a‑tall my honey,

When I die don't bury me a‑tall my sweet child;

When I die don't bury me a‑tall,

Just lay me away in alcohol (al‑ky hol) my sweet child.

(Missouri words from Thede, who also prints the Louisiana version of the lyrics).

***

Thede (The Fiddle Book), 1967; pg. 72‑73.

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SWEET COLLEEN RUE . Irish, Slow Air (4/4 time). D Mixolydian. Standard tuning. One part. "I learned this air from hearing it often sung at home when I was a child. I find an almost identical setting in Forde's Collection, given to him by Mr. Deasy of Clonakilty Co. Cork.

***

One evening fresh and fair as I roved to take the air,

Down by the pleasant water my way I did pursue

Advancing by its side where the stream did gently glide,

‘Twas there I first espied my sweet Colleen Rue." (Joyce).

***

Joyce (Old Irish Folk Music and Song), 1909; No. 12, pg. 9.

X:1

T:Sweet Colleen Rue

M:C

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:Dmix

cBAG E2 GA|c>d e/d/c/B/|A>G E/D/C/D/|E2 D>D D2||

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SWEET CONCLUSION , THE. English, Jig. England, Dorset. D Major. Standard tuning. AABB. Trim (Thomas Hardy), 1990; No. 38.

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SWEET COOTEHILL TOWN . AKA and see "The Peacock [1]." Irish, Air (4/4 time, "slow and with expresseion"). Ireland, Munster. G Major. Standard tuning. AB. "This song comes from Cootehill in the County Cavan. How it got to Limerick, where I heard it, is more than I can tell; and indeed I know nothing whatever about it save that I learned it when a mere child from the inimitable singing of Dave Dwane of Glenosheen, the best local singer we had. I heard him sing it for the last time at an 'American Wake,' i.e. a meeting of friends on the evening before the departure of several young people for America, as a farewell celebration. The song was very suitable for the occasion: and poor Dave‑‑who was himself going away with the others‑‑sang it with such intense feeling and power, that the whole company‑‑men, women, and children‑‑were in tears. That is now more than sixty years ago; and to this hour I find it hard to restrain tears when I recall the scene. The air belongs I think to Munster; for I heard it played and sung everywhere, and quite often with other words besides 'Sweet Cootehill Town'. It is sometimes called 'The Peacock', which is certainly not its original name. Versions of it have been published in Smith's Vocal Melodies of Ireland and elsewhere. In Cork and Limerick the people often sang to it Burns's song, 'Adieu, a heart‑warm fond adieu,' so that it was commonly known by the name of 'Burns's Farewell'. Mr. Patrick O'Leary of Graignamanagh‑‑an excellent authority on the folk music and song of that neighbourhood‑‑has informed me that, in his part of the country‑‑Kilkenny and Carlow‑‑this song is usually sung at the little gatherings of friends on the evening before the departure of emigrants for America: as I heard it sung in Limerick. The air seems to have been used indeed as a general farewell tune, so that‑‑from the words of another song of the same class‑‑it is often called 'Good Night and Joy Be With You All'. The Cootehill words are now published for the first time. The last verse presents a pleasing picture: but alas, how seldom we see it realised!" (Joyce, 1909).

***

Now fare you well, sweet Cootehill town,

The place where I was born and bred?

Thro? shady groves and flowery hills,

My youthful fancy did serenade.

But now I’m bound for Amerikay,

A country that I never saw,

Those pleasant scenes I’ll always mind,

When I am roving far awa.

***

Joyce (Old Irish Folk Music and Songs), 1909; No. 384, pg. 191‑192.

X:1

T:Sweet Cootehill Town

M:C

L:1/8

R:Air

N:”Slow and with expression?

B:P.W. Joyce ? Old Irish Folk Music and Songs? (1909)

Z:AK/Fiddler’s Companion

K:E Minor

B/A/|GF EE/F/ GG AG/A/|BB B/A/ G/A/ BD D2 B/A/|G F/>E/ E>F|

G>B AG/A/|Be d/B/ A/B/ GE E||B/c/|d>e dB/d/ e/d B/c/ d e/d/|

CB AG/A/|BD DB/A/|G F/>E/ E E/F/|G>B AG/A/|Be d/B/ AB GE E||

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SWEET CREAM AND PEACHES . Old-Time, Breakdown.

X:1

T:Sweet Cream and Peaches

C:from John W. Summers

M:C

Z:Transcribed by Joel Shimberg

L:1/8

Q:385

K:D

a2b2a2 fe | defd edBd | AFAB dBde | fdec d2::A2 ||

A6dA | BAFD EFDE | FAAF ABde | fedf edBd |

A6dA | BAFD EFDE | FAAF ABde | fdec d2:|

X:2

T:The tune formerly know as Sweet Cream and Peaches

M:6/8

L:1/8

S:John W. Summers

Z:Transcribed by Paul Tyler

K:D

dAd faa|Add fga|aba gfe|{fg}fed {cd}cBA|

2bag fed|cAc d2B|:

A2F EDE|AFD A,CE|D2F/2G/2 A2A|def {fg}fef|edB {Bc}BAB|

A2F {EF}EDE|AFD EDE|D2F A2A|def {fg}fed|Ace d3:|

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

SWEET CUP OF TEA , THE. Irish. The tune was often played by Seamus Ennis, who said the phrase was a code-word for tea spiked with whiskey or poitin.

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SWEET ELLEN [1] . AKA ‑ "Figure Eight." American, Reel. D Major. Standard tuning. AAB (Howe): AABBCCDD (Cole/Ryan). Contra dance directions to the tune are printed in the Ryan/Cole editions. Cole (1000 Fiddle Tunes), 1940; pg. 26. Howe (1000 Jigs and Reels), c. 1867; pg. 70. Ryan’s Mammoth Collection, 1883; pg. 171.

X:1

T:Sweet Ellen [1]

M:4/4

L:1/8

N:Howe calls it “A Slide?

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

Z:AK/Fiddler’s Companion

K:D

D2 FA fedB | AFFD E2E2 | D2 (FA) fedB | AFEF D2D2 :|

DAFA B2E2 | DAFA DAFA | BABc d2d2 | f2 df e2 cA |

d2 Bd c2 AA | BAFA BcdB | AGFE D2D2 ||

SWEET ELLEN/ELLUM [2] . AKA and see "Post-Oak Grove," "The Gem of Ireland," "Billy Howard's Tune" (Pa.), "Hopple's Hornpipe" (Pa.), "Village Hornpipe." American, Reel. USA, Pennsylvania. D Major. Standard tuning. AB. Bayard (1981) finds the tune with many different titles and variations in the United States, but cannot trace it satisfactorily in British tradition. See also note for ?Village Hornpipe,? and Lymon Enloe’s ?, 1928; No. 27. Howe (Diamond School for the Violin), 1861; pg. 52. Ryan’s Mammoth Collection, 1883. Thede (The Fiddle Book), 1967; pg. 49 ("Last of Callahan"). White's Unique Collection, 1896; No. 108. White's Excelsior Collection, 1907; pg. 48 (3rd tune).

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SWEET EVELINA . American, Waltz and Song Tune. USA, Arkansas. D Major. Standard tuning. ABB. The title appears in a list of traditional Ozark Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954.

***

Way down in the meadow, where the lily first blows,

Where the wind from the mountain ne'er ruffles the rose

Lived fond Evelina, the sweet little dove,

The pride of the valley, the girl that I love.

Cho: Sweet Evelina, dear Evelina,

My love for thee shall never, never die. (Ford)

***

Ford (Traditional Music in America), 1940; pg. 142 (additional lyrics on page 403).

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SWEET FLORA . Irish, Double Jig. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. 4; No. 226, pg. 25.

X:1

T:Sweet Flora

M:6/8

L:1/8

R:Jig

S:Kerr ? Merry Melodies, vol. 4, No. 226? (c. 1880’s)

Z:AK/Fiddler’s Companion

K:A

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

SWEET FLOWERS OF MILLTOWN . AKA ? “Tom Morrison’s Reel.? Irish, Schottische. D Major. Standard tuning. AA’B. Recorded in New York in 1927 by White Park, near Glanmaddy, Co. Galway, flute player Tom Morrison (born c. 1888) for Columbia Records. Morrison, writes Reg Hall (1995), was the son of a blacksmith and emigrated to the United States in 1909, where he became an associate of fiddler Michael Coleman and accordion player Peter Conlon. The melody is a variant of the ?Off/Going to California [1]? family of tunes. It was recorded by Kevin Burke as a reel on “Portland? (appears as “Tom Morrison’s?). Topic TSCD602, (Ed. by Reg Hall) Tom Morrison ? “Irish Dance Music? (1995. A reissue of the 1927 original). Conal O’Grada ? “The Top of Coom.?

X:1

T:Sweet Flowers of Milltown, The

M:C|

L:1/8

D:Conal O'Grada:The Top of Coom

S:Sean Ryan, Minstrel's Fancy

R:Schottische

K:D

~G3B AGEF|GFGB d3d|edge dBAG|GAFG EFDE|

G2GB AGEF|GFGB dGBd|e2ge dBAG|AGFA GDEF:|2 AGFA G2Bd||

~g3z abaf|gage d2Bd|edge dBAG|GAFG EFD2|

~g3z ~a3f|~g3e dGBd|e2ge dBAG|AGFA G2Bd|

~g3z abaf|gage dGBd|edge dBAG|GAFG EFD2|

~G3B AGEF|GFGB d3d|edge dBAG|A2F2 G2z2|

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

SWEET HEART YOU KNOW MY MIND . AKA - “I have a little trade.? Irish, Air (4/4 time). Ireland, Connaught. F Major. Standard tuning. AB. Similar to ?The Girl I Left Behind Me [1].? Stanford/Petrie (Complete Collection), 1905; No. 758, pg. 190.

X:1

T:Sweet heart you know my mind

T:I have a little trade

N:”A Connaght tune.?

M:C
L:1/8

S:Stanford/Petrie (1905), No. 758

Z:AK/Fiddler’s Companion

K:F

Ac de f2 ef | de cA GA GF | F6 || AG | FA cd/e/ f2 ef | ge fd cA F>G |

Ac df ec dc | c6 f>e | eB AF DE FG | Ac de f2 fe | d>e cA GA GF | F6 ||

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

SWEET INNISFALLEN . AKA and see ?Widow Machree,? ?(My) Ain Kind Dearie (O),? ?Have you seen or have you heard.? Irish, Air (4/4 time). D Major. Standard tuning. One part. Howe (1000 Jigs and Reels), c. 1867; pg. 114.

X:1

T:Sweet Innisfallen

M:4/4

L:1/8

R:Air

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

Z:AK/Fiddler’s Companion

K:D

(d>edc) (B2A2) | d>cde f3A | d3c {c}B2A2 | (B2c2d3)F | G2 (BG)F2 A>F |

(D>EFA) {c}B2AA | (d>ef)A (B>cd)G | (F>G) E2 D4 ||

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

SWEET INNISMORE . Irish, Air (3/4 time). E Flat Major. Standard tuning. One part. “As sung in Connemara? (Petrie). Source for notated version: “From Mary O’Malley, Arran-More, 7th Sept., 1857" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 376, pg. 95.

X:1

T:Sweet Innismore

M:3/4

L:1/8

R:Air

N:”Andante?

S:Stanford/Petrie (1905), No. 376

Z:AK/Fiddler’s Companion

K:Eb

(3Bcd | e2B2 AG | AB c2 BA | F2E2E2 | E4 FG | A2B2 cd | e2e2 fe |

e2_d2B2 {d/c/}| B4 AG | A2B2 cd | e2e2 fe | e2_d2 Bc | B4 (3Bcd |

e2B2 A/F/E/F/ | AB c2 BA | {A}F2E2E2 | E4 ||

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

SWEET IS THE LASS THAT DWELLS AMONG THE HEATHER . Scottish, Slow Strathspey. A Major. Standard tuning. AAB. Carlin (The Gow Collection), 1986; No. 223. Gow (Complete Repository), Part 2, 1802; pg. 5. McGlashan (A Collection of Reels), c. 1786; pg. 31.

X:1

T:Sweet is the Lass that Dwells Among the Heather

M:C

L:1/8

R:Strathspey

S:McGlashan ? Reels (c. 1786)

Z:AK/Fiddler’s Companion

K:A

C>AE>F E/C/E/F/ A>c|e/d/B/A/ B/A/B/c/ AFFA|A2 E>F E/C/B/A/ E/F/A/B/|e/c/B/A/ B/A/B/c/ AA A:|

||A/4B4/c|de g/f/e/d/ c>d f/e/d/c/|B/A/B/c/ d/c/B/A/ BFFB/c/|d>e g/f/e/d/ c>d f/e/d/c/|e/c/B/A/ B/A/B/c/ AA AB/c/|

dB, g/f/e/d/ cA, g/e/d/c/|B/A/B/c/ d/c/B/A/ BFFB|c>e d>f ef/g/ ac|e/c/B/A/ B/A/B/c/ AA A2||

|:CE E>F E/C/E/F/ A>c|e/c/B/A/ B/A/B/c/ B/c/B/A/ F/A/E/A/|

A,/C/E/A/ E/F/E/D/ E/C/B,/A,/ E/F/A/c/| e/c/B/A/ B/A/B/c/ A/B/c/B/ A2:|

||A/4B/4c/|~d>e g/f/e/d/ ~c>d f/e/d/c/|B/A/B/c/ d/c/B/A/ B/c/B/A/ F/A/B/c/|

d/c/d/e/ d/e/4f/4 e/d/ c/B/c/d/ c/d/4e/4 d/c/|e/c/B/A/ B/A/B/c/ A2 A, A/B/4c/4|

d/c/d/B/ d/f/b/d/ c/B/c/A/ c/d/a/c/|B/A/B/c/ d/c/B/A/ B/c/B/A/ FE>D|CeDf? Ef/g/ ac|e/c/B/A/ B/A/B/c/ AE A,||

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

SWEET JENNY JONES . AKA and see ?Cader Idris,? “Grace Darling,? "Jenny Jones," "How Paddy Was Fooled," "Widow on the Train." AKA ? “Lighearted I Stroll Through the Vale of Llangollen.? Welsh (originally), English; Waltz, Morris Dance Tune (3/4 time). D Major (Mallinson): G Major (Barnes): C Major (Bacon, Johnson). Standard tuning. ABA {x6} (Bacon, Mallinson): AABB (Johnson): AABC (Barnes). As “Cader Idris? this melody was an 1804 composition of the 19^th century harper John Parry, ‘Bardd Alaw?, and named by him after the mountain in Meirionnydd, Wales. Parry did much to promote and popularize Welsh music in England in both music hall and fashionable society settings, and he was very successful with this air which was immensely popular in 19^th century England. It was first published by him in The Welsh Harper, being an Extensive Collection of Welsh Airs (1839). There is a special dance associated with the tune (“Cader Idris?) in Wales.

***

The Jenny Jones of the title was said to have been a dairymaid at Pontblyddin Farm, who fell in love with a ploughman named Edward Morgan. Edward went to sea and spent twenty years in the Navy, however, he returned to marry Jenny.? The story entranced actor Charles James Mathews, who visited Wales around 1825 and actually met the Morgans and heard their story first-hand. During his trip he heard a harper play Parry’s melody in the hotel he was staying at in Llangollen, and memorized it, not knowing who composed it. He was inspired to write a song about the Morgans to the melody, called “Song of Jenny Jones and Ned Morgan,? and performed it for friends in London when he returned. At the end of the evening’s entertainment an elderly gentleman approached him and claimed it was he who originally wrote the tune. It was called “Cader Idris,? the old man—Bardd Alaw himself—said, and it had won him a prize at the 1804 Eisteddfod. Mathews continued to perform the song which caught on immediately. It struck a romantic chord, and was popular for nearly two decades, enough to generate other ‘Jenny Jones? songs and parodies. Figures of Jenny Jones were fashioned in chinaware, horse-brasses, and other items.

***

There was another real-life Jenny Jones from Llangollen. Born Jane Drumley (sometimes Browne) in Granard, County Longford, Ireland in June, 1789. There she met and fell in love with Lewis Griffiths, a soldier who had been posted to Granard, and he began courting her, walking her home from church for many months. Jane was aged fourteen. Griffiiths had been a farm worker in Wales and came of age just at the time that conscription for the armed services was effected by the government, which was sore in need of men to fight in the Napoleonic wars. Each parish was required to send a man, and, while Lewis was not initially chosen, the man whose lot it fell to was unsuited to the service and Griffiths volunteered to take his place. He was in training for the army in Dubin when they met, and was a serviceman in the 23^rd Royal Welch Fusiliers. After some months she left school, about the time that Lewis’s unit received orders for duty abroad; the couple hurriedly married in Granard. Lewis’s service did not stop them from starting a family and Jane and he had a daughter.? When she was about six months old Lewis was ordered to Ostend, Belgium, with his unit and managed to bring his family along with him—Jane, like many soldier’s wives, became a laundress for the unit, and also acted as nurse. After a few weeks Griffith’s unit was ordered to march toward the French in the prelude to Waterloo, and again Jane managed to accompany the army, although no provision had been made for camp followers, and there were little enough provisions for the army itself. Still, Jane persevered and foraged for food, bringing what she could back to Lewis. Finally the Welsh Fusiliers were ordered into battle, and once again Jane accompanied her husband, staying with him during the initial hostilities until ordered to the rear. She took refuge in a chapel, but it came under cannon fire from the French, and was abandoned when it was hit. Jane was on the field for three days, and after the battle Jane searched for Lewis. Hearing that he had been wounded she began searching the field aid stations with no success. Finally she met a soldier from the Fusiliers who informed her that her husband had been taken to a hospital in Brussels. There she finally located and found his wounds serious but survivable. Six cannon ball splinters removed from his shoulder, but Lewis made a recovery and rejoined his unit a month later. He finished his service and was discharged, after which the family went to his home town of Talyllyn, Wales. There he worked in a slate quarry until his accidental death in 1837, when he was killed by falling rock.

***

Jane—Jenny—later (in 1853) married John Jones, also of Talyllyn, and with him had more children, to a total of nine, although he too predeceased her. She found work as a hotel laundress until age prevented her, and in the end received a meagre pension from Guardians of the Golgellau rate payers. Jenny Jones died in April, 1884, and is buried in Talyllyn Churchyard.

***

“Sweet Jenny Jones? was used as the vehicle for morris dances in several village traditions, but it is particularly associated with the village of Adderbury, Oxfordshire, in England's Cotswolds, where it was always the first dance of the season. Adderbury men sang often during their performances and tended to use song tunes more than other teams. During this number dancers sang the following:

***

My sweet Jenny Jones is the pride of Llangollen,

My sweet Jenny Jones is the girl I love best.

***

John Kirkpatrick (1976) notes that the 3/4 time morris step is different from the normal one used, and that the pause in the stepping coincides with the pause in the musical phrase. “The stepping in the cinquepace (meaning five steps), or galliard, of Elizabethan times is exactly the same rhythm as this,? he says. The song tune was later converted into a broadside ballad called "The Widow on the Train," from which it found its way into American old-time repertoire as a waltz. Northumbrian musicians picked up the tune and renamed it after a local heroine, Grace Darling. Bacon (The Morris Ring), 1974; pg. 6. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 88 (appears as “Morsel Circle?, the name of a dance by Philippe Callens set to the tune). Johnson (The Kitchen Musician, No. 1, 1991; pg. 6. Mallinson (Mally’s Cotswold Morris Book), 1988; No. 41, pg. 26. North Star NS0038, "The Village Green: Dance Music of Old Sturbridge Village." Topic TSCD458, John Kirkpatrick - “Plain Capers? (1976/1992).

X:1

T:Sweet Jenny Jones

M:3/4

L:1/8

R:Waltz, Air

A2|d2A2F2|D3E F2|G2B2e2|d2A2c2|d2A2F2|G3AB2|

A2d2c2|d4:||de|f2d2f2|e2c2A2|d2B2d2|c2A2 de|

f2d2f2|e2c2A2|d2c2B2|A4 Bc|d2A2F2|D3E F2|

G2B2e2|c2A2c2|d2A2F2|G3A B2|A2d2c2|d4||

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

SWEET JENNY LEE . Old-Time. Bee Balm 302, “The Corndrinkers.?

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

SWEET JOURNEYS . American, Waltz. A Major. Standard tuning. AABB (Cranford): AA'BB' (Matthiesen). Composed in 1990 by fiddler George Wilson (Hudson Falls, NY). Cranford (Jerry Holland’s), 1994; No. 277, pg. 81. Matthiesen (Waltz Book I), 1992; pg. 49. Boot Records, Jerry Holland - “Master Cape Breton Fiddler? (1982). Fiddlesticks cass., Jerry Holland - “Fathers and Sons? (1992). Green Linnett, Jerry Holland - “The Fiddlesticks Collection? (1995).

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

SWEET KATE . English, Country Dance Tune (6/8 time). G Major. Standard tuning. ABB. There are modal elements in the tonality of the ‘B? part. Sharp (Country Dance Tunes), 1909/1994; pg. 39.

X:1

T:Sweet Kate

M:6/8

L:1/8

S:Sharp ? Country Dance Tunes (1909)

Z:AK/Fiddler’s Companion

K:G

(d>cB) (c>BA) | ddd (d2 B/c/ | d>cB) (c>BA) | BGG G3 |

(d>cB) (c>BA) | ddd (d2 B/c/ | d>cB) (c>BA) | (BGG) G3 ||

(e>dc) (d>cB) | (c>BA d2)(c | BGG) G3 :|

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

SWEET KATHLEEN MACHREE (Caitilin Dileas Mo Croide). Irish, Air (6/8 time). B Flat Major (Joyce): C Major (O'Neill). Standard tuning. One part (O'Neill): AB (Joyce). Source for notated version: "copied by Mr. Pigot from a MS. lent to him by Miss O'Connell of Grena, Killarney" (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 802, pg. 390. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 558, pg. 98.

X:1

T:Sweet Kathleen Machree

M:6/8

L:1/8

R:Air

N:”With spirit?

S:O’Neill ? Music of Ireland (1903), No. 558

Z:AK/Fiddler’s Companion

K:C

ece egf|ece ege|f>dd d2e|f>dd d2f|ege fdf|edc cAG|GEG c2d|ece g2f|e>cc c2d|e>cc c2||

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

SWEET KILLALOE . AKA ‑ "Cill‑Dalua Dileas." AKA and see ?Fare Thee Well, Sweet Killaloe.? Irish, March (2/4 time). D Major/Mixolydian. Standard tuning. AAB (O'Neill {1850}): AABB (O'Neill's {1915}). A member of the "Oro, Welcome Home" tune family {see Bayard's (1944) note for "Bonaparte Crossing the Rhine [1]"}, as are the tunes "The Oyster Wife’s/Wives' Rant," "The Haughs o? Cromdale," "The Hillside [2]," "Wate You How the Play Began," and others. Killaloe is in County Clare at Kincora, and home of the eleventh-century Irish King of Munster Brian Boru. Ruins of his fort can still be seen there. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 100, pg. 56. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1809, pg. 339.

X:1

T:Sweet Killaloe

M:2/4

L:1/8

R:March

S:O’Neill ? Music of Ireland (1903), No. 1809

Z:AK/Fiddler’s Companion

K:D

AD FE/D/ | A/B/A/G/ EE/F/ | GE =cE | D2 D :|

|| G | AB/c/ dc | AB =c2 | EF G>F | EF G2 | AB/c/ dc | AB =cA |

GE =cE | D2 DG | AB/c/ dc | AB =c2 | EF G>F | EF G2 |

AB/c/ dc/d/ | ed cA | GE =cE | D2 D ||

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

SWEET LITTLE CUCKOO , THE (An Cuicin bInn). Irish, Air (cut time). D Major/B Minor. Standard tuning. AAB. Roche Collection, 1982, vol. 1; No. 63, pg. 30.

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

SWEET LITTLE JULIE . Old-Time, Breakdown. USA; western North Carolina, southwestern Virginia. D Major. Standard tuning. The melody is known as a Surry County, North Carolina, regional tune but was also in the repertoire fiddlers across the state line like Uncle Norman Edmonds (Hillside, Virginia). County CO-CD-2711, Kirk Sutphin - "Old Roots and New Branches" (1994). Heritage Records HR23, Harold Hausenfluck and Abe Horton ‑ "Cornbread, Molassees, and Sassafras Tea."

X:1

T:Sweet Little Julie

M:C|
L:1/8

R:Reel

S:Kirk Sutphin

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

Z:AK/Fiddler’s Companion

K:D

a)baf ed B2|d4B A2 B(d||d)B d2 dB A2|f3e f2 e(f|f)fe d2B2|d3 B A2 B(d|

d)B d2 dB A2|f3e f2 f(e|e)d B2A2B2|d3B A4 ||

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

SWEET LOVELY JOAN . Irish, Air (4/4 time). F Major. Standard tuning. One part. Source for notated version: “From Mr. F.J. Southwell? [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 721, pg. 181.

X:1

T:Sweet Lovely Joan

M:C
L:1/8

R:Air

N:”Andantino?

S:Stanford/Petrie (1905), No. 721

Z:AK/Fiddler’s Companion

K:F

D3c d2f2 | A2 AG F3G | A=B c2E2G2 | F2D2D2 :|

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

SWEET MAID OF GLENDAUREL . Scottish, March (2/4 time). A Mixolydian. Standard tuning. AAB. The Scots Guards Standard Pipe Settings suggests that “The Sweet Maid of Glendaruel? follow ?Campbell's Farewell to Redcastle.? Christine Martin (2002) prints the tune along with “Terribus? and “Corriechoillies Welcome to the Northern Meeting? as a medley for the dance The Gay Gordons. Glendaruel is on the way to Tighnabruaich from Glencoe and is nearly as far to the south from Glencoe as Redcastle is to the north. Martin (Ceol na Fidhle), vol. 1, 1991; pg. 35. Martin (Traditional Scottish Fiddling), 2002; pg. 73.

SWEET MAID OF MULL , THE.? Scottish, Jig. A Major. Standard tuning. AABB. Composed by A.C. Beaton. Miller (Fiddler’s Throne), 2004; No. 107, pg. 73. Temple TP022, Battlefield Band ? “Music in Trust? (1986).

SWEET MALLY .? AKA and see ?Bonnet Makers of Dundee,? ?Burnt Leg.? See “Sweet Molly [2].?

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

SWEET MARIE . Old-Time, Breakdown. A Major. AEae tuning.

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

SWEET MAY MORNING (Madainn chiuin cheitein). Scottish, Slow Air (6/8 time). E Minor. Standard tuning. AABB. "This is the air associated with the pensive soliloquy of a peasant of the district of Ardnamurchan, toiling with an unpropitious season at the ordinary labours of the field, and hesitating whether he should emigrate or pay his landlord, Sir James Riddell, triple rent, or at least a large increase, offered by others for his farm. His local attachment on one side, and his inability on the other, generating fresh and contending sensations which, in the editor's opinion, the air fairly conveys" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No. 113, pg. 45.

X:1

T:Sweet May morning

T:Madainn chiuin cheitein

M:6/8

L:1/8

R:Air

S:Fraser Collection? (1874)

Z:AK/Fiddler’s Companion

K:G

G>AG e2 (3g/f/e/|d<BA G>AB|G>AF E2:|

g>ab edc|B>AB e2 (3g/f/e/|d<BA G>AB|G>AF E2:|

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

SWEET MILK AND PEACHES . Old‑Time, Breakdown. USA; Mississippi, Alabama. D Major. Standard tuning. AA'BB'C. Played by Rock Ridge, Alabama, fiddlers around 1920 (Bailey). Source for notated version: c. 1930’s recording of fiddler Willie Narmour (1889-1961, Carroll County, Mississippi) [Phillips]. Phillips (Traditional American Fiddle Tunes, vol. 1), 1994; pg. 236.

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

SWEET MISS JULIE . Old‑Time, Breakdown. USA, southwestern Va. According to Tom Carter and Blanton Owen, this is a "band tune" characteristically associated with Patrick County, southwestern Va.

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

SWEET MOLLY [1] . AKA and see "Hopetoun House," ?Life of Man [2],? ?The Youngest Daughter [1].? AKA ? “Sweet Mally.? Scottish, Reel. E Minor. Standard tuning. AAB. John Glen (1891) finds the earliest printing of the tune in Neil Stewart's 1761 collection (pg. 11), and later by the Gows. It appears in Northumbrian musician William Vickers? 1770 music manuscript under the title “Life of Man.? The melody has many variants in Ireland as well (see note for “Youngest Daughter [1]?). Source for notated version: copied from O’Farrell’s Pocket Companion (1804-10) [O’Neill]. Gow (Complete Repository), Part 1, 1799; pg. 17. Kerr (Merry Melodies), vol. 1; Set 7, No. 4, pg. 6. MacDonald (The Skye Collection), 1887; pg. 91. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 240. Stewart-Robertson (The Athole Collection), 1884; pg. 248. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 66.

X:1

T:Sweet Molly [1]

M:C|

L:1/8

R:Reel

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

Z:AK/Fiddler’s Companion

K:Emin

BdAF DEFf|afge fde^c|dBAF BBE||

X:2

T:Sweet Molly [1]

M:4/4

L:1/8

S:O'Farrell's Pocket Companion 1804-10

Z:Paul Kinder

R:Reel

K:G

EEBE dEBe|dBAF DEFD|EEGE dEBe|dBAF BE E2:||

Beef gfed|(3Bcd AF DEFD|Beef gfed|BdFA BE E2|

Beef gfed|(3Bcd Af defa|"tr"afge fde^c|dBAF BE E2||

SWEET MOLLY [2] . AKA and see ?Bonnet Makers of Dundee,? ?The Corby and the Pyett.? Scottish, Reel and Strathspey. E Minor. Standard tuning. AABB. James Oswald printed the tune under the “Corby and the Pyett? title in his Caledonian Pocket Companion (1743-48), while Robert Bremner gives it as “Bonnett Makers of Dundee? in his 1757 collection. It is probably the reel "Sweet Mally" contained in the Gillespie Manuscript of Perth, 1768. Aird (Selection of Scots, English, Irish and Foreign Airs), c. 1782. Scottish (?), Reel. D Major. Standard. AAB. Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants), 1997; No. 188, pg. 44. Kerr (Merry Melodies), vol. 4; Nos. 125 & 126, pg. 15.

X:1

T:Sweet Molly [2]

M:C

L:1/8

R:Strathspey

S:Kerr ? Merry Melodies, vol. 4, No. 125

Z:AK/Fiddler’s Companion

K:Emin

E<e e>f e2 ed>B | d>ef>d e>Bd>A | B<e e>f e2 d>B | A>Bd>F E/E/E E2 :|

X:2

T:Sweet Molly [2]

M:C

L:1/8

R:Reel

S:Kerr ? Merry Melodies, vol. 4, No. 126

Z:AK/Fiddler’s Companion

K:Emin

Eeef e2 (dB) | defd eBdA | Beef e2 (dB) | ABdF E/E/E E2 :|

SWEET MOLLY [3] (Mairin Deas). Irish, Air (6/8 time, "with feeling"). D Major. Standard tuning. One part. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 377, pg. 66.

X:1

T:Sweet Molly [3]

M:6/8

L:1/8

R:Air

N:”With feeling?

S:O’Neill ? Music of Ireland (1903), No. 377

Z:AK/Fiddler’s Companion

K:A

A|d>ed c>BA|d>ed f>ac|d<dd {d}c>BA|d>ed f>aa|aggg gff|e>fg b/a/g/f/g/e/|

d>ed {d}c>BA|Bdc d2a|a/g/gg gff|e>fg b/a/g/f/g/e/|d>ed {d}c>BA|Bd>c d2||

SWEET MOLLY [4] . AKA and see "B(h)aintreach na Radaireacht," "The Youngest Daughter [1]," "Cock your pistol, Charley/Charlie [2]," "Polly's Reel," "Captain Murray's Reel," "The Tap Room," "Hopetoun House."

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

SWEET MOLLY MALONE (Maire Maiseac Ni Maeleoin). AKA "Cockles and Mussels." Irish, Air (3/4 time). G Major. Standard tuning. One part (O’Neill): AB (Tubridy). A famous song having its origins in street balladry, popularized on the Music Hall stage. The words are credited in one old publication to a Martin Corrigan, by what authority is not known, but are most often simply said to be anonymous. Sean Murphy explored the song in his 1992 booklet "The Mystery of Molly Malone? (Divelina Publications, ISBN 0 9512611 2 6), and found that it was actually written by Scottish-based James Yorkston in the latter part of the 19^th century. The song has been associated with Dublin for many years, and has become almost an anthem of the city. It begins:

***

In Dublin's fair city, where the girls are so pretty...

***

A somewhat similar melody was used by Mozart for the last movement of his Piano Concerto no. 22 in E Flat, K.482, composed at a time when Mozart was often in the company of the Dublin-born operatic tenor Michael Kelly. The connection with “Molly Malone,? if any, is not known. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 483, pg. 84. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 1.

X:1

T:Sweet Molly Malone

T:Molly Malone

M:3/4

L:1/8

R:Air

N:”Moderate?

S:O’Neill ? Music of Ireland (1903), No. 483

Z:AK/Fiddler’s Companion

K:G

D2|G2G2G2|GB3G2|A2A2A2|Ac3 c2|B2d2d2|d2B2G2|F2A2A2|A4D2|G3G G2|

GB3G|A2A2A2|Ac3 A2|Bd3 G2|Bd3 F2|A3G G2|G4||

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

SWEET MOLLY ROE . AKA and see "Moll Roe{'s} [1]."

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

SWEET NELLY MY HEART'S DELIGHT . English, Air (6/8 time). G Major. Standard tuning. AB. The song appears in "The Merry Musician; or, A Cure for the Spleen," Watts' Musical Miscellany (1729), and broadsides.

***

Sweet Nelly, my heart’s delight,
Be loving and no not slight

The proffer I make, for modesty’s sake;

I honour your beauty bright.

For love I profess, I can do no less,

Thou has my favour won;

And since I see your modesty,

I pray you agree, And fancy me,

Tho? I’m but a farmer’s son.?

***

Chappell (Popular Music of the Olden Times), vol. 2, 1859; pgs. 125‑126.

X:1

T:Sweet Nelly My Heart’s Delight

L:1/8

M:6/8

R:Air

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

Z:AK/Fiddler’s Companion

K:G

D|G>AG B2c|(d3 d2)e|d>cB ABG|(E3 E2)D|G>FE A2A|

B>AG c2B|ABG G2F|(G3G2)||D|G>AG G2G|A>BA A2A|

ABG G2F|(G3G2)||

SWEET PEGGY .? AKA ? “Sweet’s the Name of Peggy.? Canadian, Reel. E Mixolydian. Standard tuning. AB. Recorded on 78RPM disc by Cape Breton fiddler Joe MacLean. Cranford (Jerry Holland: The Second Collection), 2000; No. 149, pg. 56.

R:Slow Air

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

Z:AK/Fiddler’s Companion

K:Dmix

FG | A>FAd gfed | (Bc/d/) AF {F}E3B | AFAd gfed | (Bc/d/) AF D>E D :| f |

gfed B2 cd | A>ddf f2 e>f | ecBA ^G/F/d/c/ e/d/c/B/ | A2 Be A3F |

G>AGB AF d>c | BAGF F2 EF/G/ | AFAd fg {f}a3A | (Bc/d/) AF DE D F |

E/D/E/F/ D>E D/F/A/d/ A/d/f/a/ | af e/d/e/f/ d2 ||

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SWEET WILLIAM'S FAREWELL (TO BLACK-EYE'D SUSAN) . AKA and see "All in the Downs," "Thus when the swallow, seeking prey," "Black& Eyed Susan [2]." English, Air (3/4 time). C Dorian. Standard tuning. AB. The music to this ballad is by Richard Leveridge while the words are by John Gay, based on the popular story of the courtship of William Whitcraft and Susan Cole, of Plymouth, commonly known as "Sweet William" and "Black-Eyed Susan" (from a c. 1775 chapbook, perhaps from Newcastle, called “A Western Garland? where it gives the story in verse). A version of this ballad was frequently reprinted in the late 18th-century as “William and Susan's Garland.? The lyric was first published by Gay in 1720, but was set to music by Leveridge and appeared in Watts' Musical Miscellany (1730), then ballad operas and broadsides from 1730 and later. Chappell and Scott note that Leveridge was "a genial and popular personage, possessed of a fine (bass) voice..," who was in the habit of challenging people to singing contests. In general, however (and despite his popular tune "Roast Beef of Old England"), he was thought a rather dull and mediocre composer; Chappel thinks the original tune for "Sweet William" was improved by time and the alterations of other performers. Gay also used the tune in his opera The Beggar's Opera (1729) under the title "Thus when the swallow, seeking prey." When Vauxhall Gardens was re-opened to the public in 1736, Peter Monamy was one of the artists commissioned to paint scenes of the creations and recreations of English life. One of the subjects he chose to illustrate was Gay’s song “Sweet William’s Farewell to Black-Eyed Susan.? Rod Stradling and Mike Yates (in a 2000 Musical Traditions article on singer Walter Pardon) note that “the song became extremely popular for 100 years or more - so much so that a number of sequels sprang up to trade on the original's popularity. Sweet William's Return to his Dear Susan was followed by Sweet Susan's Constancy and The True Answer to Black-Ey'd Susan ? there may have been others (vague rumours of Son of Black-Eyed Susan and Black-Eyed Susan Goes Line-Dancing have been heard ?) Even a stage play resulted, Black-Eyed Susan or All in the Downs (1829), involving the imagined melodramatic consequences of Sweet William's return.? Frank McHugh, writing on the London theatre season of 1812-1813, records: “David Mayer notes that the character Black-Eyed Susan appeared in pantomime soon after Jerrold's melodrama of 1829, but that she had appeared much earlier--in fact in the Sans Pareil pantomime of 1812-13, Davy Jones's Locker; or, Black-Eyed Susan. Mayer says, "A summary of the pantomime in the playbill of the 1813 Davy Jones suggests how extensively the character of Black Ey'd Susan belonged to the theatre, equally suitable to pantomime arrangers and to such serious dramatists as Jerrold" (Harlequin in His Element, 82-3).?? Gay’s lyric begins:

***

All in the Downs the Fleet was moor'd

The streamers waving in the wind,

When Balck-eyed Susan came on board

"O where shall I my true love find?

Tell me, jovial sailoers, tell me true,

If my Sweet William sails among the crew??

***

The song’s popularity waned greatly after the mid-19^th century, although there were occasional survivals to modern times in tradition. Stradling and Yates cite its appearance in Bob Hart’s, of Snape, Suffolk, repertoire in the 1970’s, and Walter Pardon’s sound recording. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 144. Scott, 1926; pg. 4.

X:1

T:Sweet Williams Farewell to Black-Ey’d Susan

M:3/4

L:1/8

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

Z:AK/Fiddler’s Companion

K:Cdor

G2c2d2|e2d2c2|=B2c2d2|G4c2|BA G2F2|E4D2|C2D2F2|G6|G2c2d2|e4d2|e4f2|

G6|f6|d2c2B2|c2d2e2|f2d4|e6||g2f2e2|f2e2d2|=B2c2d2|G6|E2F2G2|F>G A2G2|

G2A2=B2|c>d e2d2|e2d2c2|B2c2=B2|c6||

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SWEET WILLY . English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

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SWEET WILLY-O . English, Jig. England, Northumberland. D Major. Standard tuning. AABB. An irregular tune—the ‘B? part is six measures long, the ‘A? part is eight measures. The melody is one of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript, and presumably different than his "Sweet Willy" as it appears in the contents with a different page number. Aird (Selection of Scotch, English, Irish and Foreign Airs), vol. II, 1782; No. 184, pg. 68.

X:1

T:Sweet Willy O

M:6/8

L:1/8

S:Aird, vol. II (1782)

Z:AK/Fiddler’s Companion

K:D

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SWEETEST FLOWER WALTZ . American, Waltz. The tune was recorded by the East Texas Serenaders around 1930, though it was learned by the group's fiddler, Daniel H. Williams, from a northern fiddler named Mr. Brigsley. Williams recorded the tune for Columbia in 1927. County 410, "The East Texas Serenaders, 1927‑1936" (1977).

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SWEETEST LASSIE . Scottish, Country Dance Tune (2/4 time). D Major. Standard tuning. AABB. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II, 1785; No. 141, pg. 52.

X:1

T:Sweetest Lassie

M:2/4

L:1/8

S:Aird, vol. II (1785)

Z:AK/Fiddler’s Companion

K:D

ff/d/ | gg/e/ | af d2 | efgf | e/f/e/d/ {d}cB/A/ | ff/d/ gg/e/ | afdA | B/e/g/e/ dc dd d2 :|

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SWEETHEART REEL , THE. Irish, Reel. A Dorian. Standard tuning. AAB. Source for notated version: “From my mother? [Mulvihill]. Mulvihill (1^st Collection), 1986; No. 145, pg. 39. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 203.

X:1

T:Sweetheart Reel, The

M:4/4

L:1/8

S:Capt. F. O'Neill

Z:Paul Kinder

R:Reel

K:Ador

eaac' "tr"b2 ag|(3efg dg egdg|eaac' "tr"b2 ag|(3efg "tr"dB "tr"BA A2|

eaac' "tr"b2 ag|(3efg dg egdg|bgaf "tr"gfed|(3efg dB "tr"BA A2||

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SWEETHEART’S WALTZ . Scottish, Watlz. The melody was composed by Charles D’Albert (1864-1932), a Glasgow-born pianist and composer who was a student of Franz Liszt. D’Albert became a naturalized German citizen (he was the son of a French/Italian father and an English mother, never spoke English fluently, and considered himself to be German) and composed 21 operas, a symphony, two piano concerti, and numerous lesser works. See also his ?King Pippin Polka.?

SWEETNESS OF MARY , THE. Canadian, Slow Air or Slow Strathspey. Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AA’BB?. Composed by Joan MacDonald Bowes, born in Foot Cape, Inverness County, Cape Breton, who played piano for the Detroit-based The Five MacDonald Fiddlers on many of their 1960's recordings (the group included the famous Cape Breton composer Dan R. MacDonald). She composed the melody in honor of St. Mary. It has become popular at Scottish, and lately, even English sessions, in part from its inclusion in the repertoire of the English Country Dance Band (Stroud, Gloucestershire). The Gaelic language Cape Breton newspaper Am Braighe also published a version of the tune. Source for notated version: Kenny Chaisson (b. c. 1947, Bear River, North-East Kings County, Prince Edward Island; now resident of Rollo Bay) [Perlman]. Cranford (Jerry Holland: The Second Collection), 2000; No. 3, pg. 2. Harp String House (Horo Gheallaidh, vol. 2/Session Tunes for Scottish Fiddlers). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 207. Culburnie COL 113D, Aladair Fraser & Tony McManus ? “Return to Kintail? (1999). Jerry Holland ? “Master Cape Breton Fiddler? (1982).

C4 DCFE | E4 FEAG | G3G A2B2 | c2 C>C C2 c>d | e2 e>e e2 (3gfe |

d2 d>d d2c2 | (3Bcd (3edc B2A2 | G2 G>G G2 :: G/A/B/c/ |

d2 d>d d2 (3edc | d2 d>d d2 e>f | ggef g>gf>e | d2 d>d d2 z2 |

C4 DCFE | E4 FEAG | G3f edcB | c2 c>c c2 :|

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SWISS WALTZ [1] . Switzerland, New England, England; Waltz (3/8 time). England, Yorkshire. B Flat Major (Linscott, Merryweather & Seattle): D Major (Merryweather & Seattle). Standard tuning. ABB (Linscott): AABBCCDD (Merryweather & Seattle). Linscott (1939) identifies this as a 18th century melody. Source for notated version: an MS collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather & Seattle]. Linscott (Folk Songs of Old New England), 1939; pg. 119‑120. Merryweather & Seattle (The Fiddler of Helperby), 1994; Nos. 87-88, pg. 51.

SWISS WALTZ [2] . English, Scottish, American; Waltz. D Major (Howe/Diamond, Kennedy, Kerr): C Major (Howe/Accordeon). Standard tuning. AABB. Although the tune appears in collections in Britain and the US, it is presumably Swiss in origin. Howe (Complete Preceptor for the Accordeon), 1843; pg. 23. Howe (Diamond School for the Violin), c. 1861. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 181, pg. 48.

X:1

T:Swiss Waltz [2]

M:3/8

L:1/8

R:Waltz

S:Elias Howe ? Diamond School for the Violin? (v. 1861)

Z:AK/Fiddler’s Companion

K:D

A/>f/|dd A/>f/|dd A/>f/|eaa|fd A/>f/|dd A/>f/|dd A/>f/|eaa|d2 :|

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SWORD DANCE . AKA and see "Tail Toddle," "G(h)illie Callum." Scottish, Sword Dance. A Mixolydian. Standard tuning. AB. The famous Scottish sword dance is a solo dance performed over crossed swords laid on the ground. The is a colourful legend that the sword dance was created in mediaeval times by Malcolm Canmore, who after killing one of Macbeth's chieftains, crossed his sword over that of the vanquished and danced about them in celebration. Unfortunately, there is no direct evidence that a dance was performed over crossed swords until the 17th century or so. Hardie (Caledonian Companion), 1992; pg. 51. Skinner (The Scottish Violinist), pg. 21.

X:1

T:Sword Dance

M:C

L:1/8

S:Skinner ? The Scottish Violinist

Z:AK/Fiddler’s Companion

K:A Major

E || A<A c>A d2 B<=G | A<A c>A e2 c<A | B<E E<e d2 B<=G |

A<A c>e d<B e>E | (3Ace (3Ace d2 B<=G | (3Ace (3Ace (3Ace (3Ace |

(3Adf (3Ace d2 B<=G | (3Ace (3Ace d<B e || E | A<A c>e =g2 B<=G |

A<A c>e a>ba>f | =g>g a/g/f/e/ d<g B<=G | A<A c<e d<B e>E |

(3Ace (3Ace =g2 B<=G | (3Ace (3Ace a>b af | =g>g a/g/f/e/ d<=g B<=G | A<A c>e d>B e ||

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SWORD DANCER'S SONG , THE. English, Air (4/4 time). England, Northumberland. G Mixolydian. Standard tuning. One part. "The sword dancers' song and interlude is virtually a drama, which Brand supposed to be a composition made up of the gleaning of several obsolete customs anciently followed in England and other countries. Sir Cuthbert Sharp, in The Bishoprick Garland, gives a version of the drama, but the action and speeches have varied from time to time; and even at this day parties of from six to ten pitmen‑‑decorated with ribbons, and each having a sword‑‑make their appearence about Christmas time, and perform this descriptive play, which one of the party chants to the tune above. At the termination of the play the whole party dance the sword dance to the following tune, commonly called 'Kitty Bo‑Bo'" (Bruce & Stokoe). Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 137.

X:1

T:Sword Dancers? Song, The

M:C

L:1/8

R:Air

S:Bruce & Stokoe ? Northumbrian Minstrelsy? (1882)

Z:AK/Fiddler’s Companion

N:”Adantino?

K:G

d2|e2c2d2B2|G6 G2|B2d2=f2f2|c6B2|c3d eg3|d6B2|G2B2c2A2|G6||

SWORD IN (THE) HAND , THE (An Cla?omh i Láimh). AKA and see ?(A)round the World for Sport [2],? ?The Cork Lasses,? ?Conlon’s Dream,? ?Conolon’s Dream,? "The Little Pig Lamenting the Empty Trough," "Sally on the Shore." Irish, Reel. E Dorian (Alewine): E Minor (Breathnach). Standard tuning. AABB (Breathnach): AA'BB' (Alewine). Source Brogan also called the tune “The Little Pig Lamenting the Empty Trough.? “The Cork Lasses? title is from the Goodman Manuscript in the Library of Trinity College, Dublin. Bulmer & Sharpley print it under the title “Conolon’s Dream,? from fiddler Sean McGuire. ?The Kerry Reel [3]," from Breathnach’s Ceol Rince na hƒmireann IV (No. 112) is a version of “The Sword in Hand.? See also the related ?Rambler in Cork.? Finally, “The Breast Knots? shows similarities with this tune. Source for notated version: accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]. Alewine (Maid that Cut Off the Chicken’s Lips), 1987; pg. 32. Breathnach (CRƒm I), 1963; No. 144, pg. 57. Green Linnet Reocrds SIF 1058, Matt Molloy & Sean Keane ‑ "Contentment is Wealth" (1985). Green Linnet SIF 3013, The Bothy Band - “Out of the Wind, Into the Sun.?

X:1

T:Sword in Hand, The

R:Reel

Z:Yuval

D:Bothy Band: Out of the Wind, Into the Sun

M:C|

K:Edor

G2BG FGAF|EBBA BGEF|G2BG FGAc|1 d2AG FDEF:|2 d2AG FDDg||

|:f2ec dBAF|EBBA BGEg|f2ec dBAF|1 G2AG FDDg:|2 G2AG FDEF||

X:2

T:Sword in Hand, The

R:reel

M:4/4

L:1/8

K:D

G2BG FGA=c|B2BA BGEF|G2BG FABc|dBAG FDEF|\

GB,EG FA,DF|EBBA BGEF|G2BG FABc|dBAd BEE2:||\

(3gag fg edBA|G2BG Bdef|(3gag fg edBc|dBAG FDD2|\

(3gag fg edBA|G2BG Bdef|gfed efge|dBAF DFAF:||

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SWORD OF ST. COLUMBA .?AKA and see ?"Sord Colmcille.? Irish, Polka. D Major. Standard. AABB. The tune was recorded by the Gallowglass Ceili Band as “Sord Comcille.? Paul de Grae says the tune is commonly played in Sliabh Luachra (by Jackie Daly, among others), despite some thought by others that it may have originated in the north of Ireland. He notes that a lilting version, slightly altered, called ?Sonny Sweeney’s Polka? appears on Tommy Hayes’s album “A Room in the North? lilted by his elderly aunt Meta Costelloe.

X:1

T:Sword of St. Columba, The

M:2/4

L:1/8

R:polka

S:Donegal/Glasgow fiddler Eddie Marley

Z:Ted Hastings

K:D

DF AB/c/|dd c/B/A|A,C E>F|GG F/G/F/E/|!

DF AB/c/|dd c/B/A|A,>C E/G/F/E/|D2 D z:|!

fA fA|ff/g/ f/e/d|eA eA|e(e/f/) e/c/d/e/|!

fA fA|ff/g/ f/e/d|e/d/c/B/ A/G/F/E/|D2 D2:||

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SWOWER CREEK [1] . AKA and see "Harlequin Hornpipe [1]," "Constitution Hornpipe [2]." American, Hronpipe. USA, southwestern Pa. G Major. Standard. AA'B. Bayard (1981) speculates the title could be a corruption of the Pennsylvania Dutch for "Schwaber." He also thinks "The Men From Ulster" could be a related tune." Source for notated version: Samuel Losch (fiddler from Juniata County, Pa., 1930's) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 306, pg. 259.

SWOWER CREEK [2] . American, Reel. USA, southwestern Pa. D Major. Standard. AB. The second part is that of "Soldier's Joy [1]." Source for notated version: Samuel Losch (fiddler from Juniata County, Pa., 1947; learned from his father and Christ Hopple) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 307, pg. 259.

SYDNEY FIDDLERS , THE. Canadian, Jig. Canada, Cape Breton. C Major. Standard tuning. AA’BB?. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976). The city of Sydney lies in the northeast part of Cape Breton island. Cameron (Trip to Windsor), 1994; pg. 50.

SYLPH , THE. AKA and see "Plymouth Lasses," ?The Self [2].? English, Jig. D Major (Hardings): C Major (Ashman). Standard tuning. AABB. A sylph was a kind of fairy; winged, kindly disposed to humans, often depicted as tiny cherubs. The title, however, is probably derived from a pantomime called The Sylphs; or, Harlequin’s Gambols, staged at Covent Garden in 1774. The music for the production was by John Abraham Fisher (1744-1806), an English violinist and composer who began his career playing in London theatre orchestras, but who rose quickly to lead the Covent Garden orchestra (from c. 1769-1778). He wrote for the theatre, composed violin pieces, six symphonies and an oratorio, and also penned popular pleasure-garden songs. For a time he led the Vauxhall Garden orchestra.

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A Sylph. From a sketch by Howard Wookey.

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The melody appears in a number of 19^th century English musician’s manuscripts under titles such as “The Self? (Joshua Gibbons), “The Sylph? (John Clare, John Moore), “The Cylph Dance,? etc. Moore gives the alternate title “Plymouth Lasses.? The jig also appears in the music manuscripts of Lionel Winship (Wark, Northumberland, 1833), Rev. Robert Harrison (Brampton, Cumbria, 1820), John Moore (Tyneside, 1841), the Hardy family (Dorset), William Calvert (Leyburn, north Yorkshire, 1812), John Baty (Bethel, Northumberland, 1840-60), Thomas Lambert (Ferrybridge, Yorkshire) and C.J. Surtees (Northumberland). In America the tune was published in Willig’s Collection of Popular Country Dances, No. 3 (Philadelphia, Pa., 1812), and dance instructions were given in a few other publications. Source for notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No. 2a, pg. 1. Callaghan (Hardcore English), 2007; pg. 64. Hardings All Round Collection, 1905; No. 46, pg. 14. Topic 12TS283. Topic TSCD 669, Billy Ballentine (et al) ? “Ranting and Reeling: Dance Music of the north of England? (1998. Billy Ballentine (born c. 1890’s) was a shepherd, and a piccolo and concertina player from Simmonburn Common, near Wark, Northumberland).

X:1

T:Sylph, The

M:6/8

L:1/8

S:Harding’s All-Round Collection (1905)

Z:AK/Fiddler’s Companion

K:D

faf gec | edd d2 :||: D | DFA dcB | BAG F2D | FAD FAD |

SYMMONDSBURY MUMMER'S MARCH . English, Morris tune? (4/4 time). A Major. Standard tuning. AABB. Symmondsbury is in West Dorset, where a famous Mummers? Play was kept alive in oral tradition, first written down by Bert Legg in the 1920’s or 1930’s when he was age 80 or more. As is typical with mumming tradition, the play is performed in public at the year-end holidays: New Year’s eve in the village pub, and by arrangement at other local places. In 1975 it was discoved that in the late 19^th century there were two rival groups of mummers, one group from Symondsbury and one from neighboring Burton Bradstock, that vied for local attention with each competing for a bigger audience (and a bigger gate) through innovations in both music and words. Evidently a fight between the two groups held at Ryberry Hill, Symondsbury, resulted in the Symondsbury group retaining a sword that became the discovered artefact. Spandaro (10 Cents a Dance), 1980; pg. 36.

SYMPHONY, THE. AKA and see ?Ay(e) Me .?

SYMON BRODIE . See "Simon Brodie ."

SYMPHONY, THE. AKA and see "Ay(e) Me."

SYNTHA . American, Reel. D Major. Standard tuning. AABB. Composition credited to one Jas. Hand in Ryan’s Mammoth Collection (1883). It is one of the more American vernacular sounding tunes in the volume. Cole (1000 Fiddle Tunes), 1940; pg. 19. Ryan’s Mammoth Collection, 1883; pg. 44.

X:1

T:Syntha

M:2/4

L:1/8

R:Reel

S:Ryan’s Mammoth Collection (1883)

Z:AK/Fiddler’s Companion

K:D

d>f e/d/f/d/ | B/d/A/F/ .E(f/g/) | a/f/g/e/ f/d/e/c/ | d/e/f/d/ e/d/B/A/ | {e}d/c/d/A/ B/d/A/F/ | G/B/A/F/ D :|

SYRIACUS . AKA and see ?The Jew Jig,? ?Sackow’s,? ?Tripping Upstairs [2].? Irish, Double Jig. D Major. Standard tuning. AABB. McNulty (Dance Music of Ireland), 1965; pg. 22.

SYRON . Northumbrian. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

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