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1996-2009 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] |
W. SCOTT COLLINS. Scottish, Hornpipe. C Major. Standard
tuning. AABB. Composed by the great Scottish fiddler-composer J.
Scott Skinner (1843-1927). Skinner (Harp and Claymore), 1904; pg. 128.
X:1
T:W.
Scott Collins
M:2/4
L:1/8
R:Hornpipe
C:J.
Scott Skinner (1843-1927)
S:Skinner
– Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:C
(G/>F/)
| E/>F/^F/>G/ (3A/G/F/ G/>c/ | A/>B/c/>^c/ (ee/d/c/ d/>=c/ |
(B/>c/^c/>d ^d/>e/f/>^f/) |
(3a/g/^f/
g/>c’/ e’G/>=F/ | E/>F/^F/>G/ (3A/G/F/ G/>c/ | A/>B/c/>^c/
(ee/d/c/ d/>=c/ | (B/>c/^c/>d ^d/>e/f/>^f/) |
g/
z/ B c :: e/>f/ | g (3b/a/g/ f (3a/g/f/ | e (3g/f/e d (3.f/.e/(.d/ |
c/>)(B/ c/>)(G/ A/>)(c/f/>)(a/ | g/>)(e/c/>)(e/ d).e/>.f/
|
(3.g/.^f/.g/
(3.b/.a/.g/ (3.=f/.e/.f/ (3.a/.g/.f/ | (3.e/.^d/.e/ (3.g/.f/.e/ (3.=d/.^c/.d/
(3.f/.e/(.d/ |
=c/>)(B/c/>)(G/
A/>)(c/>f/>)(a/ | g/>)(c’>b/>)(d’ c’) :|
WA’ IS ME, WHAT MUN I DO?
AKA and see “Epsom Wells.” English, Country Dance Tune (3/4 time). F Major.
Standard tuning. AAB. “Wa’ is me, what mun I do?”
appears in Henry Playford’s Dancing Master, supplement to the 9th
edition (London, 1698) and in subsequent editions through the 13th,
published in 1706. The title “Epsom Wells” (the first title in the 9th
edition) is the name of a 1676 stage production by Thomas Shadwell, with music
by English composer Henry Purcell. Barnes (English Country Dance Tunes,
vol. 2), 2005; pg. 138.
X:1
T:Epson
Wells or, Wa’ is Me, What Mun I Do?
M:3/4
L:1/8
S:Playford
– Dancing Master, supplement to the 9th edition (1696)
K:F
c3
fcA|c2A2F2|d3 fdB|d2B2G2|c f2 agf|g2c2A2|
B>cdcBA|GFfe
f2:||afcagf|g2c2A2|fdAfdA|=B2 (B/c/d) G2|
gecgec|d=BdB2G2g|dgegdg|ed/e/
f/e/d/c/ c2|f>e fgfe|
f3g
f2|g>fgagf|g3 a g2|a>gabag|a>bag f2|f>g f/g/a gf|fgfc f2||
WADDLING
X: 1
T: Waddling
S: Jack & Charlie
Coen / "The Branch Line" (Topic 12TS337)
M: 6/8
L: 1/8
Q: 320
Z: Transcribed by Bill Black
R: jig
K: G
B/c/ |: BGG dGG | BGG ded | cAA eAA | cAc edc |
BGG dGG | BGG ded | c2 d e2 f | ged B2 G :|
g2 d B2 d | ged BAG | Aee ede | gee e2 d |
g2 d B2 d | ged BAG | c2 d e2 f | ged BGA |
Bdd dBG | Bdd d2 e | gee ede | gee e2 d |
Bdd
dBG | Bdd d2 e | c2 d e2 f | ged B2 G ||[COMMENT1][COMMENT2]
WADE HAMPTON'S HORNPIPE. American, Hornpipe. B Flat major. Standard tuning. AABB. The composition is attributed to Frank Livingston in Ryan’s Mammoth Collection, whose name is attached to several tunes in the collection—most having Southern titles. The title honors Wade Hampton, born in Charleston on March 28, 1818, into one of the richest families of the antebellum South. They owned and operated plantations not only in South Carolina but Mississippi as well. Hampton, who was married twice, had five children by his first wife, and when she died he wed again and had four more children. He was a politician before the war, rising to become a state senator in the years just prior to the hostilities. When war broke out he resigned and accepted a Colonel’s commission in the Confederate army. Hampton proved to be an able soldier and received several promotions. He replaced Jeb Stuart as Lee's cavalry commander after the latter was slain, and was only the second cavalryman to rise to the rank of Lieutenant General (in 1865). After the war Hampton re-entered politics and in 1876 narrowly defeated Daniel Chamberlain by 1,134 votes. Chamberlain protested the results and took the oath of office, but the South Carolina Supreme Court ruled in favor of Hampton (although Hampton was barred from the Statehouse by federal troops until April 10, 1877. He was re-elected in 1878 as Governor but resigned to become a United States Senator and served two terms. He died in 1902.
***
Wade Hampton (1818-1902)
***
Cole (1000 Fiddle Tunes), 1940; pg. 101. Kerr (Merry Melodies), vol. 2; No. 381, pg. 42. Ryan’s Mammoth Collection, 1883; pg. 138. Copley
Records EP9-20 (45 RPM), Paddy O’Brien (195?).
X:1
T:Wade Hampton’s Hornpipe
L:1/8
M:2/4
C:Frank Livingston
S:Ryan’s Mammoth Collection
K:B_
(3f/g/a/|ba/g/ f/e/d/c/|B/A/B/c/ d/B/F/D/|F/B/A/B/ G/B/A/B/|d/Be/d/ c/f/g/a/|
ba/g/ f/e/d/c/|B/A/B/c/ d/B/F/D/|E/G/c/d/ e/c/a/g/|f/e/d/c/ B:|
|:f/e/|d/D/F/B/ d/f/b/a/|g/E/G/B/ e/g/b/g/|f/=e/f/g/ f/d/B/d/|e/d/c/=B/ c/f/=e/_e/|
d/D/F/B/|
d/f/b/a/|g/E/G/B/ e/g/b/g/|f/=e/f/g/ f/_e/d/c/|B/b/f/d/ B:|
WADE’S WELCOME TO GLASGOW. AKA and see “Lily Long.” Scottish, March (6/8 time). A
Major. Standard tuning. AABB. Martin (Ceol
na Fidhle), vol. 4, 1991; pg. 16.
WAES ME FOR CHARLIE (Och a's ochan mo charadh). Scottish, Slow Air (3/8 time). F
Minor. Standard tuning. AAB. "This is an air to which the editor's father
used to repeat sterling Gaelic words, lamenting the fate of Prince Charles,
after the battle of Culloden, and acquired from the gentlemen mintioned in the
prospectus,‑‑the burning of MacDonell's collection of the Jacobite
songs, is an event now to be regretted, when they can no longer affect the
public mind" (Fraser). Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 97, pg. 37.
X:1
T:Waes me for Charlie
T:Och a’s ochan mo chàradh
M:3/8
L:1/8
R:Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:F Minor
C|FAc|B>AG|B/A/G/F/ c|F>EC|c>BA|c/>B/A/>G/F/>=E/|FAc|F2 z/C/|
FAc|B>AG|B/A/G/F/ c|F>EC|c>BA| c/>B/A/>G/F/>=E/|FAc|F2:|
A/B/|cc c/4=B/4c/4=d/4|eA G/A/|BB _d/4c/4d/4e/4|dcB|AGF|a>g/f/=e/|
f/c/ a/>g/f/>=e/|f2 f/g/|a/g/f/=e/f|_e>dc|B/A/G/F/c|F>EC|c>BA|
c/>B/A/>G/F/>=E/|FAc|F2||
WAE'S ME FOR PRINCE CHARLIE. AKA and see "A Wee Bird Cam' To Our Ha' Door," "Lady Cassilis'/Callilies Lilt." Scottish, Air (4/4 time). A Major. Standard tuning. AA. “Wae’s Me for Prince Charlie” is a version of "Lady Cassilis Lilt" and "Johnnie Faa," with lyrics by William Glen (1789‑1826). Taylor (1924) says the melody is “an early eighteenth-century version of a rather less organized tune, ‘Lady Cassilis’ Lilt’, that is found in the Skene MS. Of some hundred years earlier date—a collection of songs and dances (written in lute tablature) that is the oldest extent trustworthy authority for Scottish music, though it contains English tunes as well.” "Wae's Me" was included by special request of Queen Victoria in the program of a concert arranged in her honor during her 1842 visit to Taymouth Castle; the singer was John Wilson, a famous interpreter of Scots songs of the time. Her selection was politically reparative, for Glen's lyrics relate the Jacobites' sorrow at the plight of Prince Charles Edward Stuart who became a fugitive from the English after being soundly defeated at the battle of Culloden one hundred years before.
***
A wee bird cam' to our ha door He warbled sweet and clearly, An' aye the o'ercome o' his sang Was "Wae's me for Prince
Charlie". On hills that are by right his ain He roams a lonely strangerOn ilka hand he's press'd by want, On ilka side by danger; Yestreen I met him in a glen, My heart maist burstit fairly; For sairly changed indeed was he— Oh! Wae's me for Prince Charlie.
|
Prince Charles Edward Stuart, by Maurice Quentin de la Tour |
***
Neil (The Scots Fiddle), 1991; No. 163, pg. 210. Taylor (History of Music in England), 1924; No. 118, pg. 328.
X:1
T:Wae’s Me for Prince Charlie
L:1/8
M:C
S:Taylor (1924)
Z:AK/Fiddler’s Companion
K:D Mixolydian
D|D2 DE G3F|E>D EG A3 B|D3 E GB AG|E4 D2 zG|
A2 AB d3 e|d>B AB G3 B|A3 B d2e2|B4 A3 G|
A2 AB d3 e|dB AG A3 B|D3 E GBAG|E4 D2 z||
WAFUS TWO-STEP. AKA - "Waffle Two-Step." AKA and see "Pancake Two-Step." Cajun,
Two-Step (4/4 time). D Major. Standard tuning. AA(Vocal)AAAABB(Vocal)BA. Editor
Raymond Francois (1990) had no explanation for the origin of the name 'Wafus.'
A related song is Austin Pitre's and Milton Molitor's "Midway Two-Step." Source for
notated version: Aldus Roger and Phillip Alleman (La.) [Francois]. Francois (Yé Yaille, Chère!), 1990; pgs. 490-491. La Louisiane Records LL-LP122, Aldus Roger.
WAG O' THE KILT, THE. Scottish, March‑Strathspey. A Major.
Standard tuning. One part. Composed by McKenzie Murdoch (1871‑1923) of
Glasgow, the "Scotch Paganini." A "brilliant violinist,"
known for his emotive playing in general and execution of harmonics in
particular, he studied with the Dutch musicain Herr Sons, leader of the
Scottish Orchestra, and toured extensively with his friend Harry Lauder,
perhaps the most famous Scottish vocalist of the 20th century (Hunter, 1979).
Hunter (Fiddle Music of Scotland),
1988; No. 153.
WAGGONER, OR GE HO
DOBBIN, THE. AKA adn see "Ge(e) Ho, Dobbin [1]."
WAGNER. AKA and see "Wagoner."
WAGNER'S HORNPIPE. Old‑Time, Breakdown. USA, Texas (Of
local Texas origin according to Red Williams). C Major. Standard tuning.
AABBCCDD. Bears unmistakable resemblance to the
"Wagoner” family of tunes (i.e. “Johnny
Wagoner,” “Tennessee Wagoner,” “Texas
Wagoner” etc. Source for notated version: Red Williams (Dallas, Texas)
[Christeson]. R.P. Christeson (Old Time
Fiddlers Repertory, vol. 1), 1973; pg. 39.
WAG'NER ONE STEP. AKA‑ "Crazy Wag'ner."
Old‑Time, Breakdown. USA, Oklahoma. C Major. Standard tuning. AABB.
Related to "Wagoner [1]." Source for notated
version: Old Man Langford (
WAGON TIRE TIGHTENER. Old-Time, Breakdown. Marimac AHS #3, Glen
Smith – “Say Old Man” (1990. Learned from Richard Farmer).
WAGON TRAIN. American, Schottische. USA, Arizona. G Major. In the repertory of
Arizona fiddler Kenner C. Kartchner who said the name was not the real name of
the tune which was "lost to antiquity." He learned the tune from fellow
Arizona fiddler Pete Marker.
WAGONER [1]. AKA and see “French
Jig,” "Wild Wagoner," "Tennessee Wagon," "Tennessee Wagoner (Wagoneer)," "Texas Wagoner," "Georgia Wagoner," “Oklahoma
Wagoner,” "Wagner," "Wag'ner,"
"Jolly Wagoner Reel,"
"Miss Brown's Reel,"
"The Hero." Old‑Time, Texas
Style, Bluegrass; Breakdown. USA, Widely known. C Major (most versions): G
Major (Shaw). Standard tuning. ABCDEFGHIJK (Reiner & Anick): AABB (Bayard,
Brody, Christeson, Krassen, Ruth, Shaw, Titon): AA'BB' (Krassen): AABBAAB'B'
(Phillips). This American melody is commonly played in the Midwest among
fiddlers today, although it has been popular throughout the South. It is
thought by Bayard (1981) and Christeson (1973) to have been derived from the
"Belle of Claremont Hornpipe," though Bayard, digging deeper, finds
antecedents to "Claremont" also (see note for "Tennessee
Wagoner"). The title is to be found in a number of variations, usually
with a different place (state) name before "Wagoner," such as
"Tennessee Wagoner," "Georgia Wagoner," "Texas Wagoner,"
etc. However, it also appears under non-Wagoner titles as, for example,
"The Hero" in George P. Knauff's 1839 publication Virginia Reels, volume II (Baltimore),
and in some later mid-nineteenth century publications where it can be found as
"Miss Brown's Reel." The
tune is derived from "The
Belle of Claremont Hornpipe," according to both Christeson and Bayard,
though Bayard further believes it to be composite in nature and traceable to
older tunes. The first part he thinks derived from "Billy in the
Lowland/Lowground," while the second is a strain from an old Scottish air
"The Gaberlunzie‑Man"
(the earliest version of which can be found in Thompson's Orpheus Caledonius, 1725, pg. 23). This second strain has an old
and venerable history in folk‑process; the second half of both
"Wagonner" and "Gaberlunzie" greatly resemble the Scots
tune "Johnny Cope" and
"Keep Off the Grass," states Bayard. Even the second half of the well‑known
"Mississippi Sawyer [1]"
may be derived from this element. It
was in repertoires of Uncle Jimmy Thompson 1848‑1931 (Texas, Va.) under
above title and as "Wagner," and the John Lusk Band (Black string
band from the Cumberland Plateau region of Ky.) as "Rolling
River." In fact, it was supposed
to have been the first tune Uncle Jimmy played on Nashville’s WSM in November,
1923, in what was to become the very beginning of the Grand Old Opry (Wolfe,
1997).
***
Arizona fiddler Kenner C. Kartchner maintained that it was written "in honor of (Texas cattleman) Dan Wagner years earlier, maybe one hundred years ago," (suggesting the Texas appellation to the title was correct) though he acknowledged that "some call it 'Tennessee Wagonner,' reason not known" (Shumway, 1990). In fact, the title honors a Tennessee thoroughbred horse that competed in a hugely popular Louisville, Kentucky, horserace in 1839 (see note for “Grey Eagle”). See also additional information in the alternate titles given above.
***
"Wagoner" (along with "Wagoner in B‑Flat") 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 by Herbert Halpert in 1939 from the playing of Lee County, Mississippi, fiddler W.E. Claunch. “Wagoner” was Kentucky fiddler John M. Salyer’s (1882-1952) favorite tune, according to his son Grover. Guthrie Meade lists 24 early recordings of various “Wagoner”-titled tunes on 78 RPM, including Uncle Am Stuart (1924), Doc Roberts & Dick Parman (1927), Reaves’ White County Ramblers (1928), Eck Robertson (1929), Gid Tanner & His Skillet Lickers (1930), and Fiddlin’ John Carson (1934).
***
Sources
for notated versions: The Dillards with Byron Berline [Brody]; Tony Gilmore
(Jefferson City, Missouri) [Christeson]; Charlie Higgins (Galax, Va.) [Krassen,
1973]; Jilson Setters {AKA J.W. Day} (Ashland, Kentucky) [Krassen, 1983]; Uncle
Am Stuart (Morristown, Tennessee) [Krassen, 1983]; S.A. McReynolds (Oklahoma
City, Oklahoma) [Thede]; Eddie Hulsey (Osage County, Oklahoma) [Thede]; Martin
Thomas (Major County, Oklahoma) [Thede]; Marr (elderly fiddler from Missouri,
1949) [Bayard]; Mark O'Connor [Reiner & Anick]; Walter McNew (Mt. Vernon,
Rockcastle County, Ky., 1990) [Titon]; John M. Salyer (Salyersville, Magoffin
County, Ky., 1941-42) [Titon]; Stuart Williams (Seattle) [Silberberg]. Bayard (Dance to the Fiddle), 1981; Appendix No.
21, pgs. 580‑581. Brody (Fiddler’s
Fakebook), 1983; pg. 283. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 40. Ford (Traditional Music in America), 1940; pg.
28 (two versions). Krassen (Appalachian
Fiddle), 1973; pg. 76. Krassen (Masters
of Old-Time Fiddle), 1983; pg. 26
and pgs.17‑18 (two versions). Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 250. Reiner
& Anick (Old Time Fiddling Across
America), 1989; pgs. 144‑146 (includes variations). Ruth (Pioneer
Western Folk Tunes), 1948; No. 14, pg. 7. Shaw (Cowboy Dances), 1943; pg. 387. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 162. Thede
(The Fiddle Book), 1967; pg. 34‑35
(three versions). Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 163A
& B, pgs. 188-189. Caney Mountain Records CEP 210
(privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965‑66.
Conqueror 7975 (78 RPM), Doc Roberts (Ky.). County 202, “Eck Robertson: Famous
Cowboy Fiddler” (1991). County 527, Eck Robertson (
X:1
T:Wagoner [1]
M:2/4
L:1/8
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:C
CE/F/ GA/B/|c/B/A/B/ c/B/c|D>D
Dd|d/c/B/c/ d/c/B/A/|
CE/F/ GA/B/|c/B/A/B/
c/d/e/f/|g>^f g/a/g/=f/|ec c:|
|:(g/f/)|eccc|c/d/e/f/ g/a/g/e/|dGGG|G/A/B/c/ d(g/f/)|
eccc|c/d/e/f/ ge|a>g a/b/a/g/|ec c:|
X:2
T:Wagner [1]
M:2/4
L:1/8
R:Reel
Z:AK/Fiddler’s Companion
K:C
[G,D][CE] [CE]>G | c/B/A/B/ c/B/A/G/ | G,[B,D] [B,D]>A | d/c/B/c/ d/c/B/A/ | [G,D][CE] [CE]>G |
c/B/A/B/ [Ec]c/d/ | [A/e/][Bg][B/g/] [Ba]g/f/ | [A/e/][Ec][E/c/] [E2c2] || g/f/ | [Ae][Ec] [E/c/][E/B/][E/c/][E/d/] |
e/f/g/a/ [Bg]d/c/ | B[G,G] [G,/G/]F/G/A/ | B/c/d/e/ dg/f/ | [Ae][Ec] [E/c/][E/B/][E/c/][E/d/] | e/f/g/a/ gf/g/ | aa/b/ a/g/e/d/ | [Ec][Ec] [Ec] ||
WAGONER [2]. AKA and see "Tom Wagner."
WAGONER HORNPIPE. American, Hornpipe. C Major. Standard tuning. AABBCC. Source for
notated version: Mark O'Connor [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 232.
WAGONER'S LAD, THE. AKA and see "Rye Whiskey," "The Drunken Hiccups," "The Cuckoo [5]," "Jack of Diamonds [3]," "Robie Donua Gorach," "Tod(d)lin' Hame," "Johnnie Armstrong,"
"Bacach," "Clinch Mountain." Old‑Time, Air. USA,
Kentucky. C Major. The song was first printed by the English collector Cecil
Sharp, who toured the Appalachians in 1908. Biograph
RC6007, Ebenezer ‑ "Tell it to Me." Rounder CD0421, Bruce
Molsky - “Big Hoedown” (1997. Learned from recordings of Mr. & Mrs. John
Sams of Combs, Kentucky, and also Buell Kazee).
WAILING OF THE SEA. AKA and see "Iargain Cuain."
WAIST RIBBON. AKA and see "Lady's
Waist Ribbon."
WAIT AWHILE (Fan Go Foil). AKA and see "Lady Wemyss." Irish, Jig. A
Mixolydian. Standard tuning. AABB. Source for notated version: Chicago Police
Sergeant James O’Neill, a fiddler originally from County Down and Francis
O’Neill’s collaborator [O’Neill]. O'Neill (Krassen), 1976; pg. 43. O'Neill (Music
of Ireland: 1850 Melodies), 1979; No. 932, pg. 173.
X:1
T:Wait Awhile
M:6/8
L:1/8
R:Jig
S:O’Neill – Music of Ireland (1903), No. 932
Z:AK/Fiddler’s Companion
K:A
B | cde eca | cAc e2d | cde ef=g |
BGB d2B | cde efg | agf edc | dfd cac | BGB d2 :|
|: B | acA ecA | acA efg | acA ecA |
BGB d2B | acA ecA | acA efg | agf edc | BGB d2 :|
WAIT FOR ME, BROWN
HAIRED MAIDEN. See “Nionag a chuil duinn nach fhan
thu.”
WAIT FOR THE WAGON. AKA – “On the Wagon,” “Waiting for the Wagon.” American, Song and Dance
Tune; English, March. F Major ('A' part) & C Major ('B' part) (Ford): D
Major (Callaghan). Standard tuning. AB (Ford): AABB (Callaghan). An American
song tune composed by R. Buckley & George P. Knaupf in 1851. It was adopted
(tongue-in-cheek) in
X:1
T:Wait for the Wagon
M:2/4
L:1/8
B:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:F
F|f>f F>F|A c2c|c>d
B>c|A3 c|f>f F>F|A c2 c|d>f e>d|e3 e|
f>f F>F|A c2 c|c>d
B>c|A3c|a2 ag|f d2c|df eg|(f2 f)z||
K:C
e2 e>d|c A3|B2 B>A|G E3|e2
e>d|cA GG|Ac Bd|[E2c2] [E2c2]||
WAIT
IN THE KITCHEN (TILL THE COOK COMES IN). AKA and see "Duck's Eyeball [1]," "Richmond Cotillion," "Old Richmond," "Hanging
Around the Kitchen (Till the Cook Comes Home)," "Run Them Coons in the Ground,"
"Jackson's Breakdown."
Old-Time. Silly verses are sung to the tune, one of which explains the
alternate title. For example, Charlie Acuff sang:
***
Wait in the kitchen till the cook comes in,
The cook comes in, the cook comes in.
Wait in the kitchen till the cook comes in.
***
Stuck my finger in the ducks eyeball,
The ducks eyeball, the ducks eyeball.
Stuck my finger in the ducks eyeball.
***
See also the related "Sally Put a Bug on Me" and
Lymon Enloe’s “Hanging Around the Kitchen (Till the Cook Comes In).” CA-01, Charlie Acuff - "Left Handed Fiddler"
(1990. A privately issued cassette of 70 year old fiddler Charlie Acuff of
Alcoa, Tennessee).
WAIT TILL YOU HEAR
THIS ONE, BOY. Old‑Time, Country Rag. USA,
Missouri. G Major ('A' part) & C Major ('B' part). Standard tuning. ABB.
The title may simply have been a routine statement made by Christeson's source,
Tony Gilmore, prior to each time he played the piece. Gilmore was the only
central Missouri fiddler Christeson ever heard play this piece. Sources for
notated versions: Tony Gilmore (Jefferson City, Missouri) [Christeson]; Greg
Canote (Seattle) [Silberberg]. R.P. Christeson (Old Time Fiddlers Repertory, Vol. 1), 1973; pgs. 167‑170.
Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 163. Missouri State Old
Time Fiddlers' Association, Tony Gilmore - "Old Time Fiddler's
Repertory" (1976).
WAITING FOR NANCY. Old-Time, Breakdown. D Major. Standard tuning. AABB. Susan Songer (The Portland Collection) says the tune
was composed by Curt Bouterse of
WAITING FOR THE
FEDERALS. AKA and see “Running from the Federals,”
"Seneca Squaredance."
Old‑Time, Breakdown. G Major. Standard tuning. AA'BB'. Bain (50 Fiddle Solos), 1989; pg. 22. WHR 01, Aly Bain – “First Album” (learned either from
fiddler Jay Ungar or singer/songwriter Jim Ringer, Ungar’s source. Ringer would
sing or play on the harmonica the melodies of fiddle tunes he had learned when
growing up in Arkansas).
X:1
T:Waiting for the Federals
T:Seneca Square Dance
L:1/8
M:C|
K:G
B4 B2AB|d2B2 BAG2|B4 d3B|ABAG E2D2|
B4 B2AB|d2B2 BAG2|ABAG E2F2|1 G3A
G2DG:|2 G3A G2Bd||
|:g4 gage|d2B2 BAG2|g4 gfga|b(ee)f
e3f|gaba g2 ge|dged BAG2|
ABAG E2F2|1 G3A G2Bd:|2 G4G4||
WAITING FOR THE WAGON. See “Wait for the Wagon.”
WAITING FOR SNOW. American, Waltz. E Minor. Standard tuning. AA'BB'. Composed in 1990 by
Julie King (Seattle, Washington), frustrated by the lack of snow when she went
skiing in the Cascades. Matthiesen (Waltz
Book II), 1995; pg. 72. Julie King & Claude
Ginsburg - "Contra & Blue."
WAITING IN THE KITCHEN. AKA and see “Hanging
Around the Kitchen (Till the Cook Comes Home),” "Wait in the Kitchen (Till the
Cook Comes In)," "Richmond
Cotillion."
WAKE JIG, THE. AKA and see "My Love in the Morning,"
"Jemmie the Gom," "Sorry to Part," "Happy to Meet {and Sorry
to Part}," "You'll go a hunting no more." Irish, Jig. Music
was an integral part of many old Irish wakes, as were other activities. This
passage is from Reverend James Hall’s “Tour Through Ireland” (1813):
***
On enquiring what they did at the
wakes? A girl told me, while she
lay abed, that some go there with
their faces blacked, and men in
women’s clothes; that various
amusements are introduced, even
where they have no whiskey. At one
of these amusements, which
they call mending the old coat, a girl told
me that a coat is spread
on the floor, and that two persons,
a young man and woman, sit down
and pretend to mend it, while the
rest are dancing in a ring around
them, wheeling sometimes one way,
and sometimes another. At
length, the young man and woman get
up, then kiss, and join in the
dance; that another couple sit down
and do the same; and so on, till
all have mended the old coat.
***
dead person, young people, she tolk
me, sometimes comes a dozen
miles to a wake. The priest, having
given to the dead the extreme-
unction, and prayed for the repose
of the soul; they think that all
will be well with their departed
friend, and that grief would be im-
proper. Hunt the slipper, and
blind-man’s-bluff, are also common
amusements. On some occasions, where
there is plenty of whiskey,
the singing and music stop, and the
old women set up a howling
for the dead in general; at which,
if they please, young women may
learn to howl.
WAKE ROBIN. Old-Time. DDad tuning. From western North Carolina fiddler Marcus
Martin.
WAKE SNAKES. Old‑Time. The title appears in a list of traditional Ozark
Mountain fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.
WAKE SUSAN. See "Wake Up Susan."
WAKE UP, CHICKEN. Old-Time, Breakdown. D Major. From the playing of Roscoe Parish, Coal
Creek, Virginia.
WAKE UP FARMER. Old‑Time, Breakdown. Marimac 9008, The
Lazy Aces String Band ‑ "Still Lazy after all These Years"
(1986).
WAKE UP JACOB. AKA and see “Wild Horse.” Old‑Time,
Breakdown. Harry Smith (Folkways FA2951) writes: “An even more elaborate
complex of accent variations occur in this
WAKE UP SUSAN [1]. AKA‑ "Wake Susan." AKA and see "Belcher's Reel," "The Breakdown," "Hell on the Potomac [1]" (Pa.), "Hell on the Wabash [1]," "Hell on the Rappahanock" (Pa.), "Hop Up, Susan," "Up Jumped Susie." Old‑Time, Breakdown. USA; Tennessee, Kentucky, West Virginia, Missouri, Texas, northern N.Y. A Major. Standard tuning. AB (Bayard, Silberberg): AABB (Christeson, White): AABBCC (Brody): AABBAAB'B" (Phillips). R.P. Christeson (1973) states that "Wake Up Susan" is in most of the older American collections in two-part settings, and Tommy Thompson (1974) states it is a "fairly common American fiddle tune." Samuel Bayard (1981) thinks "Wake Up Susan" to be of American black‑face minstrel origin using strains from the British Isles, but he is unable to find it in any old‑country sources. This is curious and perhaps a rare lapse for Bayard, for Alan Jabbour (1971) has associated this family of tunes (there are several related airs in American fiddle tradition) with the very popular Irish reel "Mason's Apron," while Hans Nathan thinks the Irish reel "The Night We Made the Match" has contributed melodic material to the tune family.
***
In
addition to melody appearing under the alternate titles listed above, melodic
themes from "Wake Up Susan" appear in other American fiddle
tunes. For example, Howe (1864) published
"Mountain Dew" (also in the key of A but having four parts), and
Christeson says he heard mixtures of the two over the years. Similarly, the
first part of Picnic Romp" in Ira
Ford matches the first part of "Wake Up Susan." Guthrie Meade and
Mark Wilson contrast two versions of the tune, calling Tommy Jackson's
rendition typical of Southern versions which emphasize the chordal basis of the
melody, while Ed Hayley's
version has modal qualities which characterize
X:1
T:Wake Up Susan
L:1/8
M:C|
S:Bud Snow
Z:AK/Fiddler’s Companion
K:A
eg|a2 A2 ABcA|E2 GB ABcA|d2 B2 BcBA|GABc defg|a2 A2 ABcA|
E2 GB ABcA|Bcde gfed|cABG A2:|
|:A,2 E2 C2 E2|A,EAc BAGA|B2 B2 GBGB|EBGB edcB|
A,2
E2 C2 E2|A,EAc BAGA|B2 BB GBGB|edcB A4:|
X:2
T:Wake Up Susan
M:C
L:1/8
R:Reel
N:From a transcription by John Lamancusa, by permission http://www.mne.psu.edu/lamancusa/tunes.htm
Z:AK/Fiddler’s Companion
K:A
(3efg|”A”a2 A2 AcBA|E2A2 AcBA|”Bm”d2 Bc (dc)BA|”E”(GA)Bc (de)fg|
“A”a2A2 AcBA|E2 A2 AcBA|”E”GABc defg|”A”(ag)ab a2 (3efg|
“A”a2 AA (Ac)BA|E2 AA (Ac)BA|”Bm”(dc)BA (Bc)BA|”E”(GAB)(c de)fg|
“A”({g}a2) AA (Ac)BA|E2 AA (Ac)BA|”E”(GAB)(c de)fg|”A”(af)ec A3 (F||
“A”E2) (EF) E(D E2)|”D”F2 FE (F(A A2))|”E”E3A G2B2|”A”Ac)BA ((c(e e2))|
“A”E2 (EF) E(D E2)|”D”(FG)FE (FA2) (A|”E”ABc)(A Bc)AB|”A”(cA)”E”BG A2 “A”(AF|
“A”E2) EF (ED)EE|”D”F2 FE ((F(A A2))|”E”(B3A) (GA)B(B|”A”Ac)BA c(e e2)|
“A”E2 (EF) E(D E2)|”D”(FG)FE ((F(A A2))|”E”e4 (e=g2)(g|”A”ef)ed “E7”(ce)eg||
WAKE UP SUSAN [2]. Old-Time, Breakdown. A Major. Standard tuning. AABBCCBB. No relation to
the melody usually going by the name “Wake Up Susan.” Source for notated
version: Armin Barnett [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 2, 1995; pg. 159.
WAKE UP TO CAPE BRETON. Canadian, Canada, Cape Breton. E
Mixolydian (‘A’ part) & E Dorian (‘B’ part). Standard tuning. AA’BB. The
tune was composed by Cape Breton fiddler Brenda Stubbert, and has gathered some
currency in modern Cape Breton sessions. Cranford (Jerry Holland: The Second
Collection), 2000; No. 150, pg. 57. Songer (Portland Collection, vol. 2),
2005; pg. 217. Jerry
Holland – “Fiddler’s Choice” (1998).
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Snyder’s Cape Breton Fiddle
Recording Index |
WAKEFIELD JIGG. English, Jig. England, North‑West. G Minor. Standard tuning. AB.
The melody was published in Walsh’s third collection of Lancashire tunes (Lancashire Jiggs, Hornpipes, Joaks, etc.)
published around the year 1730. Knowles (Northern
Frisk), 1988; No. 12.
X:1
T:Wakefield Jigg
B:Walsh
M:6/8
L:1/8
K:Gm
d| g2 a bag|^fga dcB|ABc BAG|^F2 G AFD|g2 a bag|^fga dcB|ABc BAG|G2 ^F G3::\
f
g2 fed|cde dcB|ABc def|c3 B3| bag ^f2 g| a3 ABG| b g2 b g2|dg^f g3:|
WAKEFIELD HUNT. English. The melody appears in the South
Riding Tune Book, vol. II.
WAKING
O' THE FAULD, THE. See "Waulkin' o' the Fauld."
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[COMMENT1]This was Font/Pitch 1,10 - Off.
[COMMENT2]This was Font/Pitch 1,10 - On.
[COMMENT3]This was Font/Pitch 1,10 - Off.
[COMMENT4]Note: The change to pitch (12) and font (1) must be converted manually.