Sylvia’s Serenade three-two

There is 1 recording of this tune.

Sylvia’s Serenade has been added to 2 tune sets.

Sylvia's Serenade has been added to 10 tunebooks.

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Two settings

1
X: 1
T: Sylvia's Serenade
R: three-two
M: 3/2
L: 1/8
K: Dmin
D2AG F2A2 F2D2|A2dc =B2e2 ^c2A2|f4 e4 d4|e2gf efed ^c2A2|
D2AG F2A2 F2D2|A2dc =B2e2 ^c2A2|f4 e4 d4|e2gf efed d4:|
|:A2cB A2c2 A2F2|Acfc Acfc A2F2|G2BA G2B2 G2E2|
F2AG F2A2 G2E2|f2ef gfed ^c2e2|a3g f2e2 d4|BAGF EFED D4:|
2
X: 2
T: Sylvia's Serenade
R: three-two
M: 3/2
L: 1/8
K: Dmin
F2AG F2A2 F2D2|A2dc =B2e2 ^c2A2|f4 e4 d4|a2gf efed ^c2A2|
F2AG F2A2 F2D2|A2dc =B2e2 ^c2A2|f4 e4 d4|a2gf efed d4:|
|:A2cB A2c2 A2F2|Acfc Acfc A2F2|G2BA G2B2 G2E2|EGcG EGcG E2C2|
F2AG F2A2 F2D2|f2ef gfed ^c2e2|a2g2 f2e2 d4|BAGF EFED D4:|

Four comments

Sylvia’s Serenade, X:2

From Playford’s Dancing Master Vol 2 1713-28.
Repeats are not in the original but have been added to match dance instructions.

Re: Sylvia’s Serenade

Thanks very much to DonaldK for the two versions of this tune, and the information about it, and the link to Leveret’s performance on YouTube. I first heard this tune, in the Leveret version, played at a session by an unaccompanied Northumbrian piper, played in E minor.

Leveret’s alterations to the Playford tune are a massive improvement, in my opinion. They play it five times through. A bass line is heard, starting the third time, and a more chromatic variation of it occurs the fifth time (shown in Bar 7 here).

I have combined the various bass (lowercase letters) and chord patterns they play (or imply) into one chord chart:

Dm / / |Dm E7 A7 | Dm c bb | Gm6 / A7 |
Dm / / |Dm E7 A7 | Dm c b | Gm/bb A7 Dm |

F / / |F / / |Gm / / |Dm / A7 |
Dm Gm A7|A7 tac Dm |Gm A7 Dm |

Hugh Barwell

Re: Sylvia’s Serenade

I agree with you Hugh. It’s amazing how changing a few notes (Starting F to D and high a to e in the A part), missing out a bar in the B part and putting in a slight rhythmic change can make such a difference.
I guess it now feels properly in Dm especially with the removal of the C major bar in the B part. Now, even only seven bars long, it feels just right.

For accompanying chords I’n playing something like:
Dm / / |Dm G A7|Dm /C /B|G / A7|
Dm / / |Dm G A7|Dm /C /B|G A7 Dm:|
F / / |F / / |Gm / / |Bb / A7|
Dm Gm A7|Dm -/C Bb|Gm A7 Dm:|
As you say, it changes with each pass so that bars 3&4 one time become |Dm /C /B|- /Bb A7|