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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] |
WALACE MARCH. See “Wallace March."
WALBURN STOMP. Old-Time. Recorded for OKeh
Records in
WALDO. Old‑Time.
See also listing at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
WALDORF REEL. Old-Time, Breakdown. G Major. Standard tuning. AB. Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 164.
WALK A MILE. See “Ride a Mile.”
WALK ALONG JOHN [1]. AKA and see “Come Along John,”
"Johnny
Walk Along With Your Paper Collar On." Old‑Time, Breakdown.
***
All de way from ole Car-li-na,
For to see my old Aunt Di-nah;
Says I ole lady how’s de goose,
De Jay bird jump on the Martin’s
roost.
***
Refrain:
Walk Along John, the fifer’s son,
Ain’t you glad your day’s work’s
done.
***
It was popular enough to be employed
in the 1844 Presidential race between Henry Clay (Kentucky) and James K. Polk
(Tennessee), with each side sculpting the lyric:
***
Walk along John, you can't stay,
The people's choice is Harry Clay [Whig]
or
Walk along John, you can't stay,
The people's choice is Jimmy K. [Democrat]
***
The music is reproduced in abc
format below. According to Beisswenger & McCann (2008) this song was
absorbed into play-party tradition (collected in Indiana [Wolford, 1919]), and
in the Ozarks in 1942 (where it had been learned in the 1880’s), although it
was not musically related to the old-time breakdown called “Walk Along John.”
However, a second song that developed in tradition, called “Walk Along John
with your paper collar on,” which does have a melody that is similar to the
breakdown “Walk Along John [1].” It has the lyric:
***
Johnny walk along with your paper
collar on,
Ain’t you mighty glad your day’s
work’s done.
***
Sources for notated versions:
African American fiddler Bill Driver (
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:Walk Along John (Song version)
C:J.P. Carter
S:Songs of the Virginia
Serenaders (Boston, 1844)
M:2/4
L:1/8
K:G
“verse”
A>B A>B|A>A AF|AA GG|DD
FA/A/|
A>B A>B|A>A AF|AA G G/G/|DD
(FA)||
“Chorus”
A/A/ B c>c|cA G2|BB G>B|DF
G2||
“Instrumental fill”
d/>B/G/>B/
d/>B/G/>B/|d/>B/G/>B/ d2|c/>A/F/>A/
c/>A/F/>A/|c/>A/F/>A/ c2|
GABc|dcB z|c/>A/B/>G/
Ec|B/>G/A/>F/ G2||
WALK ALONG
JOHN (WITH YOUR PAPER COLLAR ON) [2]. Old-Time, Breakdown. D Major.
Standard tuning. AABB. A variant, not as well known as “Walk Along John” [1].
Seattle fiddler Stuart Williams had this tune from Earl Willis of
WALK ALONG JOHN TO
WALK HOME, THE. American, Jig. D Major. Standard tuning.
AA’BB’. Composed by
WALK IN THE PARLOR. See "Walking in the Parlor."
WALK JAW BONE [1]. See "Uncle Joe," "Did You Ever See
the/a Devil, Uncle Joe," "Miss
McLeod's/MacLeod's Reel [1]."
***
I started off from
My old horse wouldn't pull for me.
***
He began to fret and slip,
And I began to cuss and whip;
Walk Jawbone from
***
I fed my horse in de poplar trof,
It made him catch the whooping cough.
My old horse died in
And hill'd his jawbone here to me.
Walk Jawbone etc.
***
Lyrics from: Sketches and Eccentricities of Colonel David Crockett of
WALK JAWBONE [2]. AKA and see "Alex Dice,"
"Jacket Trimmed in Blue,"
“Din Tarrant’s” “I Have a
Bonnet Trimmed with Blue [1],” “I have a donkey, he wouldn’t go,”
“Jawbone,” "Krakoviak" (Boehme), “Old Joe Bone,” “Tá Boinéad agam,” “Tarrant’s.” Old‑Time,
Breakdown. F Major. Standard tuning. AABB. Apparently adapted by American black‑face
minstrels from an Irish melody. The title is derived from an instrument used in
minstrel bands as a rhythmic accompaniment: the jawbone of a horse, mule or ox
was held in one hand while a key or other piece of mental was pulled across the
teeth, resulting in an odd sound. This practice may have its origins in slave
communities, and may ultimately stem from African practice. See Irish version
in Roche Collection, vol. 2, No. 302
(appears as "Set Dance"). Early country music recordings are by
Pope’s Arkansas Mountaineers (1928) and the
***
Walk, jawbone, Jenny, come along.
In come Sally with her bootees on.
Walk, jawbone, Jenny, come along.
In come Sally with her bootees on.
***
Ford (Traditional Music in
X:1
T:Walk
Jawbone [2]
M:2/4
L:1/8
B:Ford – Traditional Music in
Z:AK/Fiddler’s Companion
K:F
F|(EGB)d|cAAc|cd/c/
BG/G/|FAAF|EG Bd/d/|cA Ac/c/|
cd/c/ BG|GG
A2::Bdfd|c/c/A/A/ F2|cd/c/ B/B/G/G/|
FAAF|Bdfd|c/c/A/A/
F2|cd/c/ B/B/G/G/|GF F2:|
WALK OF THE TWOPENNY
POSTMAN, THE. AKA and see "Garryowen." English, Morris Dance Tune
(6/8 time). G Major. Standard tuning. AB. The tune is the famous Irish jig
"Garry Owen," collected from the Cotswold
WALK ON WATER REEL, THE. Canadian, Reel.
WALK OUT OF IT, HOGAN (Siubal Amac As Ua T-Ogain/h-Ogain). AKA and see “Helvic Head.” Irish, Double Jig. G Major.
Standard tuning. ABCDE (O'Neill/1850): AABBCCDDEE (O'Neill/Krassen & 1001).
O'Neill (Krassen), 1976; pg. 65. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1072, pg. 202. O'Neill (Dance Music of
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Walk out of it, Hogan
M:6/8
L:1/8
R:Air
S:O’Neill – Dance Music of
Z:AK/Fiddler’s Companion
K:G
~G3 AGE|B2A AGE|~G3 AGE|GAB GED|~G3
AGE|GAB cde|dBG AGE|GAB GED:|
|:BGG AGG|BGG AGE|BGG AGE|GAG GED|
BGG cAA|dBB cAA|BGG AGE|GAB GED:|
|:dge dBG|ABA ABd|e/f/ge dBG|Bgf
g2a|bag agf|gfe dcB|cBA BAG|AGE FED:|
|:G2d BGd|BGd AGE|G2d BGd|Afd
FED|G2d BGd|BGd ABc|BAG AGE|GAB GED:|
|:D/E/FD D/E/FD|A2 (3c/B/A/
BGE|D/E/FD D/E/FD|G2 (3A/G/F/ GFE|D/E/FD D/E/FD|ABA ABc|BAG AGE|GAB GED:|
WALK, TALK CHICKEN. Old-Time. A cross-tuned (AEae)
version of “Farewell to Whiskey,”
from the playing of
WALK UP
X:1
T:
M:C|
L:1/8
R:Reel or Hornpipe
K:G
G2 BG dG BG|AB cd cB AG|Bd gd eg dB|cB AG FA DF|
G2 BG dG BG|AB cd cB AG|Bd gd eg dB|cA FA G4:|
|:g2 dg Bg dg|ga bg ag ef|g2 dg Bg dg|cB AG FA D2|
g2
dg Bg dg|ga bg ag ef|gf ga gf ed|eg fa g4:|
X:1
T:
M:4/4
L:1/8
R:Reel
S:Howe – 1000 Jigs and Reels (c. 1867)
Z:AK/Fiddler’s Companion
K:D Minor
D2 | F2A2 AGAB | c2 Ac A2d | f2 fd
e2 ec | d2 AB A2G2 | F2A2 AGAB |
c2 Ac A2d2 | e2 fd e2 ec | d3d2 :: de
| f2a2f2a2 | gfed c2 de | f2 fd e2 ec |
d2 AB A2G2 | f2a2f2a2 | gfed c2 de |
f2 fd e2 ec | d4 d2 :|
WALKING BY MOONLIGHT. Irish, Air (6/8 time). D Major. Standard tuning. AB. Learned by Joyce
as a child in
X:1
T:Walking by Moonlight
M:6/8
L:1/8
R:Air
S:Joyce – Old Irish Folk Music and Songs
(1909)
Z:AK/Fiddler’s Companion
K:D
ABc d2d|d2d dec/>A/|ABc d2d|edc
BcA|ABc d2d|fef gfg|agf edc|d3d3||
a2f gfg|a3d3|e2e efd|B3A3|Bcd
ede|fef gfg|agf edc|d3d3||
WALKING CANE STOMP. American, Country Blues. The tune
is from the Kentucky Jug Band.
WALKING DOWN THE
WALKING IN A
WALKING IN MY SLEEP
[1]. Old-Time, Breakdown.
***
Pain in my fingers, pain in my toes;
Pain in my ankle bone, I ain't a-gonna work no more.
Walkin' in my sleep, baby, walkin' in my sleep;
Just down the
When you see that gal of mine, just tell her if you can,
..............pick up bread, and wash those dirty hands.
When you see that gal of mine, just tell her if you please,
Its whener'd you go to make up dough, roll those dirty sleeves. (Tommy Jarrell,
1981)
***
Composition of “Walking in My Sleep”
has been credited to Tennessee’s Fiddlin’ Arthur Smith (e.g. S. Songer), who
recorded it in 1930, but the song was recorded by several performers in the 78
RPM era. Mark Wilson is of the opinion “Walking in My Sleep” may have been derived
from a Missouri tune called “Brown Leaf
Rag.” Other related melodies (listed by Jane Keefer) include Snuffy Jenkins
& Pappy Shirrell’s “Boggy Road to Texas,” Ohio musician Cecil Plum’s
“Trumpey’s Hornpipe,” Tommy Jackson’s “When the Leaves Begin to Turn Brown,”
and Herman Johnson’s generically-titled “Just an Old Rag in G.” Source for
notated version: Dudley Spangler (
See also listings at: Jane Keefer’s Folk Music Index: An Index to
Recorded Sources |
X:1
T:Walking in My Sleep [1]
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:G
GE|:”G”DGED EF G2|B3c B3A|BABc dc B2|”D”A3B A3(F|F)A B2 AB d2|
f3a f3e|fafe dB A2|1 “G”G3A G2 GE:|2 “G”G3A G3f||:”G”[Bg]agf gagf|
[B3g3\a
g3f|ga g2 ed B2|”D”[F3A3]B A3(f|f)gaf agfg|a3b a3(f|f)afe dBAF|1
”G”[G3B3][Gc] [G3B3]f:|2 “G”[G3B3][Gc] [G4B4]||
WALKING IN MY SLEEP
[2]. Old‑Time,
WALKING IN THE PARLOR
[1]. See related tune "Trude
Evans." Old‑Time, Breakdown.
***
A lady composed that. She was a fiddler and a top square
dancer. She lived during Carpenter's time, but she was old.
French said she played that tune and nobody could beat her.
That's where he learned it. Her name was Trod Evans. She
was a lady fiddler.
***
Indeed, the tune is sometimes called
“Trude Evans.” It took five years,
according to
X:1
T:Walkin’ in the Parlour
M:4/4
L:1/8
K:D
|:f2a2e4|f2a2e3e|f2a2 abaf|gfe2 d4:|
|:fdfd A2d2|fdfd e2d2|fdfd A2d2| fee2 d4:|
WALKING IN THE PARLOR
[2]. AKA and see "Rochester Schottische [1]."
Old‑Time, Breakdown.
WALKING IN THE PARLOR
[3]. Old-Time, Breakdown. G Major.
Standard tuning. ABB'. Similar to version #1, albeit a ‘crooked’ (irregular
metre) version. Source for notated version: D. Dix Hollis (N.C.) [Phillips].
Phillips (Traditional American Fiddle
Tunes, vol. 1), 1994; pg. 252. Document DOCD 8032,
D. Dix Hollis (et al) – “Alabama Stringbands.”
WALKING IN THE PARLOR
[4]. A fourth version??? Old‑Time,
Breakdown.
WALKING JAYBIRD. Old-Time, Breakdown. From Stella
WALKING LOVER. American, Jig.
WALKING OF THE
PLAIDING, THE. Scottish, Slow Strathspey. F Major.
Standard tuning. AABB'. See note for “Waulkin’ o’ the Fauld” for
explanation of ‘walking’. Carlin (The Gow
Collection), 1986; No. 228. Gow (The
First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 18. Stewart-Robertson (The Athole Collection), 1884; pg. 243.
X:1
T:Walking of the Plaiding, The
M:C
L:1/8
R:Strathspey
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:F
A|F>CC>D F>CC>D|F>CC>D G2 G>A|~F<C C>D F>GA>d|
c>AG>A F2F::e|~f>c d/c/B/A/ ~f>cf>a|f>c f/g/a/f/ g2 d>e|1 f<af<c d<fd<c|
A>cG>A F2F:|2 f/e/f/a/ f>c d/c/d/f/ d>c|A<cG>A F2F||
WALKING ON THE MOON. Scottish, Reel. A Major. Standard
tuning. AA’BB. Composed by Addie Harper of
X:1
T:Walking on The Moon
C:Addie Harper
I:Sco
Q:1/4=150
M:4/4
K:A
ef|:”A”a2 a2 “E”fe ec |”A/F#”e2 e2
“E7/G#”cB Bc |”A”A2 A2 “Bbdim”ce ee |
“Bm7”fe ee “E7”ce fg |a2 a2 fe ec
|e2 a2 cB Bc |A2 A2 ce ec |1
Bc cB A3/2e :|2Bc cB A3/2|:=c|c2 c2 BA Ac |
e2 e2 fe ef |a2 a2 fe ec |fe ec B2 e2
|c2 c2 BA Ac |
e2 e2 fe ef |a2 [a2A2] fe ec |Bc cB
A3 :|
WALKIN' OWER DA RIVER. Shetland, Shetland Reel. Shetland,
Whalsay.
WALKING PLOW REEL. American, Reel.
WALKING THAT PRETTY
GIRL HOME. Old-Time, Breakdown. G Major.
WALKING THE FLOOR. AKA – “Close to the Floor [2].” Scottish,
Jig or Pipe March. The tune was composed by Cape Breton fiddler John Chisholm. Master Method for
WALKING
THE PUPS. Irish, Jig. G Major. Standard tuning. AABB. Composed
by
X: 1
T: Walkin' the Pups
M: 6/8
L: 1/8
R: jig
C: © B. Black
N: “You get a lot of time to think up tunes when
you're following
N: a curious young pup or two around!”
K: G
D | GBd gfg | edB d2 B | cBc EFG | AGE D2 D |
GBd gfg | efg a^ga | gdB cAF | G3 G2 :|
A | dfa afd | cec B2 c | d2 B GAB | ABA FED |
GAB
ABc | Bcd c2 e | dBG FGA | G3 G2 :|
WALKING TO THE PASTURE. Old‑Time. The title appears in a list of traditional
WALKING UP TOWN. Canadian, American; Breakdown.
X:1
T:Walkin’ Up Town
M:2/4
L:1/8
S:Viola “Mom” Ruth – Pioneer Western Folk Tunes (1948)
Z:AK/Fiddler’s Companion
K:C
(G/F/)|EG cf|e>^d e/=d/c|A^G/A/ d/c/A|G3 (G/F/)|EGcf|
e>^d e/=d/c|d/^c/d/e/ ^f/d/e/f/|g3 (G/F/)|EGcf|e>^d e/=d/c|
A/^G/A d/c/A|G3 (G/F/)|EGcf|e>^d e/=d/c|d/e/d/c/ B/G/A/B/|c3||
g/^f/g a/g/e|c2e2|A/^G/A d/cA/|G3z|g>^f/g/ a/ge/|c2e2|
d/^c/d/e/ ^f/d/e/f/|(g2g2)|g>^f/g/ a/g/e|c2e2|A/^G/A d/cA/|
G3
(G/F/)|EGcf|e>^d e/=d/c|d/e/d/c/ B/G/A/B/|c3||
WALKING WITH THE
YELLOW GAL. Old‑Time, Breakdown.
WALL FLOWERS POLKA. Scottish, Polka. D Major. Standard tuning.
AABBAACC(Trio)AA. Kerr (Merry Melodies),
vol. 2; No. 441, pg. 51.
X:1
T:Wall Flowers Polka
M:2/4
L:1/8
R:Polka
S:Kerr – Merry Melodies, vol. 3, No. 441 (c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
ff d2|ee B2|dc Bc|BA A2|ff
d2|eeB2|dc Bc|dd d2:|
|:ce e2|ed d2|df f2|fe e2|ce e2|ed
d2|cAB^G|AAA:|
ff d2|ee B2|dc Bc|BA A2|ff
d2|eeB2|dc Bc|dd d2:|
“Trio”
B2 G>e|d4|c2 A>e|d4|e2
f>e|d4|c2 A>e|d4|B2 G>e|d4|c2 A>e|d4|e2 f>g|B4|d2 A>B|GGGz:|
ff d2|ee B2|dc Bc|BA A2|ff
d2|eeB2|dc Bc|dd d2:|
WALLACE. Scottish, Slow Air. A
Major. Standard tuning.
X:1
T:Wallace
M:C
L:1/8
R:Air – “Patriotic Pastoral”
N:”Slow”
N:Play
S:Skinner – Harp and Claymore (1904)
Z:AK/Fiddler’s Companion
K:A
C2 {D/4C/4B,/4}CD EF/G/ Ae | dcBA (G/A/G/F/) E/.D/.C/.B,/ |
FDD f eEE A |1 (B/d/)(c/e/) (d/c/)(B/A/) (c2 {d/c/}B) ||2 (B/d/)(c/e/) (d/c/)(B/A/) (c2B2) |
{A/}A8 || e | (a/g/).f/.e/ {g}a.A .e.A. c.A. | {B,/4A,/4G,/4}A>C EF/G/ ABce |
(a/g/).f/.e/ {g}.a.A .e.A .c.A | {D/A/}fedc (c2 {d/c/}B) e | (a/g/).f/.e/ {g}aA ec cA |
{B,/4A,/4G,/4}A>C EF/G/ ABce | {D/A/}(f/e/f/g/ a/g/f/e/) (d/c/d/e/ f/e/d/c/) |
(B/>c/)(A/>B/) (G/>A/)(F/>G/) (E/>F/)(D/>E/) (C/>D/)(B,/>C/) ||
WALLACE MARCH. Scottish,
March (cut time). G Major. Standard tuning. AABB. The tune was published
in Ireland in Burk Thumoth’s Twelve Scotch and Twelve Irish Airs
(1743-4). John Purser believes it refers to the Scottish freedom fighter
William Wallace (of Braveheart cinema fame). Redwing
Music RWMCD 5410, Abby Newton – “Castles, Kirks and Caves” (2001).
X:1
T:Walace March (sic)
S:Alexander Munro
S:Recueil des Meilleurs Airs
Ecossais pour la Flute Traversiere
S:Dumont, Paris 1732
% variations and bass line omitted
M:C|
L:1/8
K:G
"Allegro"
G2g2 d2BA | TG4 D4 | G2 g2 d2cB | fga2 TA3B |
G2g2 d2cB | cBcd e2dc| B2TAG FGAB |
G4 D4 :|
B2AG c2BA | TG4 D4
|B2 AG c2BA | fga2 A3c |
B2AG c2cB | cBcd e2dc | B2 AG FGAB |
TG4 D4 :|
WALLACE TOWER. Scottish, Reel. E Major. Standard. AAB. Composed by Alexander Walker.
Walker (A Collection of Strathspeys,
Reels, Marches, &c.), 1866; No. 127, pg. 43.
WALLACE TWINS, THE. AKA and see "The Flowers of Limerick [3],”
"Miss Wallace [1],"
"The Moving Bog(s) [5],"
"An Seomra in Uachtar."
Irish, Reel. G Major. Standard tuning. AA’B. Source for notated version: the
Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah
Breen, a blind fiddler from North Kerry, notated by his student [O’Neill].
O’Neill (Waifs and Strays of Gaelic
Melody), 1922; No. 281.
X:1
T:Wallace Twins, The
M:4/4
L:1/8
S:Rice-Walsh manuscript
Z:Paul Kinder
R:Reel
K:G
BGAF G2 AF|DEFG AGGF|1DGGF GABc|d2 eg fdcA:|2DGGF GABg |fdcA BG G2||
g2 ag fgag | fdde fdcA | Gggf g2 fg | agfg agga |
bgaf
gbag | fdde f2 fg | afge (3fga ge | dcde fdcA ||
WALLACE'S CROSS (Crosaire de Bhailís). AKA and see “Back of the Haggard
(2), “The Gullane (Polka) [3],” “Tony Lowe’s Polka [2],” “Toormore Polka [2],” “The Tournmore,” “Tuar Mór Polka [1].” Irish, Polka. D Major. Standard tuning.
AABB. Source for notated version: accordion player Martin Mulvihill (New York)
[Breathnach]. Breathnach (CRÉ III), 1985;
No. 69, pg. 35. Green Linnet Records SIF 1012,
"Martin Mulvihill" (1978).
WALLET OF SILK. AKA and see "The Silken
Wallet."
WALLEY HONEY. AKA and see “Wully Honey.”
WALLINGTON BRIDGE. English, Schottische (?). England, Northumberland. B Flat Major.
Standard tuning. AABB. Composed by musician, teacher, composer, dancing master
and fiddler Robert Whinham (1814-1893), originally from Morpeth. Wallington
Hall is one of the ‘Great Houses’ of Northumberland, now maintained by the
National Trust. Dixon informs that the building had associations with Sir John
Fenwick (see “Sir
John Fenwick’s (the) Flower Among Them All”), and afterward, the Trevelyan
Family. Wallington Bridge is an elegant Georgian structure spanning the River
Wansbeck on the approach to the Hall and was built by James Paine in 1760. The
melody was printed in 1882 in John Stoke’s weekly column in the Newcastle Courant. Source for notated
version: C. “Kit” Liddell’s 19th century manuscript [Dixon]. Dixon (Remember Me), 1995; pg. 39.
WALLINGTON LADY, THE. English. England, Northumberland. Title
appears in Henry Robson's list of popular Northumbrian song and dance tunes
("The Northern Minstrel's Budget"), which he published c. 1800.
WALLIS' HUMOUR IN
TAPPING THE ALE. Scottish. Tune appears in Henry
Playford's 1700 collection of Scottish dance tunes.
WALLOP AWAY THE WATTLE
O!.
Irish, Polka. A version of “The
Lancers [1].” Sean & Kevin Moloney – “Bridging
the Gap.”
WALLOP THE CAT. Irish. The tune is a variant of "Whish, Cat from under the
Table." O'Sullivan (1983) reports that a field recording of the tune
was made from the singing and playing of Co. Cork accordion player Conchubhar Ó
Laoghaire in 1979, with the following verse learned from his father and
grandmother:
***
Wallop the cat, he's fine and he's fat,
Wallop the cat from under the table.
Wallop the cat, he's fine and fat,
Wallop the cat from under the table.
WALLOP THE POTLID (Slacair an Faircill). Irish, Double Jig. D Major. Standard
tuning. AABBCCDDEE' (O'Neill/Krassen): AABBCCDDEEFF (O'Neill/1850 & 1001).
See also “Wollop the Potlid.” O'Neill (Krassen), 1976; pg. 77. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1048, pg. 197. O'Neill (Dance
Music of Ireland: 1001 Gems), 1907/1986; No. 258, pg. 57.
X:1
T:Wallop the Potlid
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 258
Z:AK/Fiddler’s Companion
K:D
F2D DED|E2D DED|F2D DED|DFA BGE|F2D
DED|E2D DED|E2C CEC|CEF GFE:|
|:DFA dcd|edc d2B|ABc d2e|fed
edc|d2e fda|gec d2 (3A/B/c/|d/e/fd cAG|F/G/AF GED:|
|:f2d dfd|e2d dfd|f2d dfd|dfa
bge|f2d dfd|d/e/fd d/e/fd|e2c cec|cef gfe:|
|:d/e/fd dfd|c/d/ec cec|d/e/fd
dfd|dfa bge|d/e/fd dfed|c/d/ec cef|ged cde/f/|gea gec:|
|:ABc d2 c/d/|edc d2c|ABc deg|fed edc|d2e
fda|gec d2(3A/B/c/|dad cAG|F/G/AF GFE:|
|:DFA d2 c/d/|edc d2c|ABc deg|fed
efg|f/e/df e/d/cA|
d/c/AB cAG|c/d/ed cAG|F/G/AF GFE:|
WALLOP THE SPOT (“Buail an Bal{l} Sin” or “Tabhair Leadradh don
Spota”). AKA –
“Jackson’s Wallop the Spot,” “Spot the Wallop.” Irish, Double Jig. D Major.
Standard tuning. AABBCC (Breathnach): AABBCCDD (O’Neill). Flaherty sees some
resemblance between this tune and his "Larry the Beer Drinker.” Jackie
Small, editor of Breathnach’s CRÉ V,
remarks that the setting in that volume is closer to the one generally played
today than is O’Neill’s version. Sources for notated versions: a recording of
Paddy Mullin (Longford town) [Breathnach/CRÉ
V]; whistler Joe Kilmurry [Breathnach/CICD].
Breathnach (An Cnuasacht Iomlán den Cheol
Damhsa), 1977. Breathnach (CRÉ V),
1999; No. 24, pg. 14. O'Neill (Krassen), 1976; pg. 68. O'Neill (Music of
Ireland: 1850 Melodies), 1903/1979; No. 1087, pg. 205. O'Neill (Dance
Music of Ireland: 1001 Gems),
1907/1986; No. 281, pg. 61. Cló Iar-Chonnachta CICD
123, Seán Hernon – “An Nóra Beag.” Coleman Heritage Center CD CC 001, Colm
O’Donnell, Tommie Finn, Shane McGovern – “The Sound of Coleman Country.”
Mulligan LUN CD 052, piper Tommy Keane – “The Piper’s Apron” (appears as “Spot
the Wallop”).
X:1
T:Wallop the Spot
B:O'Neill's DMI no. 281, and MOI no.
1087
S:John McFadden
R:double jig
M:6/8
L:1/8
K:D
d2 B cAF|FEF dAF|d2 B cAF|B2 d AFD|
d2 B cAF|FEF dAF|dfd cec|B2 d AFE:|
|:c2 d ecA|eaf ecA|c2 d ecA|B2 F
AFE|
c2 d ecA|eaf ef^g|agf ecA|~B2 A
AFE:|
|:DFA dfd|dfd dAF|DFA dAF|B2 d AFE|
DFA dfd|dfd d2 g|f/g/af d2 A|B2 d
AFE:|
|:~F2 E D2 D|DED D2 E|{G}FEF DFA|B2
d AFE|
~F2 E D2 D|DED D2 c|dcB {d}cBA|B2 d
AFE:|
WALLS OF ENNISCORTHY. AKA and see "Merry Old Woman [1]," "The Walls of Liscarroll [2]," "The Mouse in the Cupboard," "Tumble the Tinker," "Repeal of the Union [2]," "Wollop the Potlid," "Ballai Lios Chearbhaill," "The Rakes of Newcastle West." Irish, Jig. G Major. Standard tuning. AABB. O’Neill (1922) remarks: “An excellent setting of a Double Jig as played by Delaney, Early, and McFadden, and of which the above is a popular variant that was printed for the first time in the O'Neill Collections 1902-09 and named ‘The Merry Old Woman’”. Source for notated version: Patrick Stack (Chicago) [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 135.
X:1
T:Walls of Enniscorthy
M:6/8
L:1/8
S:Patrick Stack, Chicago
Z:Paul Kinder
K:G
B3 Bdc|B3 AGF|DGG AGF|AGG Adc|
B3 BdB|B3 AGF|FGA/2B/2 cAA|FDE FGA:|
|:"tr"B3 "tr"c3|BGG ABd|g3 gdB|dgg fdc|
"tr"B3 "tr"c3|BGG ABd|fef gdB|EDE FGA:||
WALLS OF JERICHO [1]. Old‑Time, Breakdown. USA; southwestern Va., western North
Carolina. A Major. AEac# tuning. According to Tom Carter and Blanton Owen
(1976) the sections of the tune were considered by source Munsey Gaulney to
represent scenes from Joshua's struggle at the walls of Jericho. A tune by this
name was recorded for the Library of Congress by musicologist/folklorist Vance
Randolph from the playing of Ozark Mountain fiddlers in the early 1940's.
Arkansas fiddler Violet Hensley’s family played a tune called “Jericho” in the same cross-tuning, and Mark
Wilson suggests both are versions of a common ancestor. Rounder 0057, Sam MacNeil (Pilot, Montgomery County, Va.) ‑
"Old Originals, vol. 1" (1978. Learned from influential Franklin
County, Va. fiddler Fountain Kingrea). Rounder 0058, Munsey Gaultney (Va.,
originally from Ashe County, N.C.) ‑ "Old Originals, vol. 2"
(1978).
WALLS OF JERICHO [2].
AKA and see “Bear Creek
Sally Goodin'.”
WALLS OF LIMERICK [1], THE.
Irish, Set Dance (3 parts, consisting of the tunes "The White Cockade [1]," "Soldier's Joy [1]," and "Rakes of Mallow"). G Major, D
Major, G Major. Standard tuning. AABBCCDDEEFF. The Walls of Limerick is
the name of a céilí dance, to which,
in modern times, reels are the preferred vehicle (though polkas appear in older
collections). The tunes printed in Allan’s under the “Walls of Limerick” title
(which refers to the dance) are "The White Cockade", "The
Soldier's Joy" and "The Rakes of Mallow/Rigs of Marlow.”
***
One elderly Sliabh Luachra (a
Kerry/Cork border region) resident, Tom Jim Healy of Knocknaboul, Ballydesmond,
was interviewed in the 1960’s about life in the region (quoted in Donal
Hickey’s Stone Mad for Music, 1999). He
was asked people there ever worried, and replied:
***
Not on your life. Our only trouble was to find
out where was the next pattern or house dance.
they were jolly times and the people were much
more sociable and loyal. This coupled with hard
work and plain food kept them alive. We used
to dance ‘The Jenny Lind’ and ‘The Walls of Limerick’
at weddings and patterns. All they have nowadays is
this jig-jog of a foreign dance which shouldn’t be
allowed at all!
***
Allan's Irish Fiddler,
No. 119, pg. 31.
WALLS OF LIMERICK [2],
THE. AKA and
see “The Dublin Lasses [2],”
"Eight and Forty Sisters,”
“Maids of Galway” [2], “Murtough Molloy.” Irish, Long Dance. E
Minor. Standard tuning. AAB. Similar to "Cooley's Reel [1]." Roche Collection, 1982, vol. 2; No. 294,
pg. 38.
WALLS OF LIMERICK [3],
THE. Irish,
Long Dance. D Major ('A' and 'B' parts) & A Mixolydian ('C' part). Standard
tuning. ABC. Roche Collection, 1982,
vol. 3; No. 137, pg. 42.
WALLS OF LISCARROLL [1] (Ballaide
Lios-Cearbaill). AKA and see "Ballaí Lios
Chearbhaill," "Lads on the
Mountain,.”Irish, Double Jig. D Mixolydian (most versions): E Dorian
(Roche). Standard tuning. AABC (Miller & Perron): AABB (O'Neill {all
versions}, Roche, Taylor): AABB’ (Harker/Rafferty). The town of Liscarrol,
meaning ‘Fort of Cearull’, is located in the county of Cork, near the border
with Limerick about halfway between the cities of Limerick and Cork, and
dates.from the early Middle Ages. There is a ruined castle there to which the
title may refer, or it may perhaps reference a battle which occurred at
Liscarroll in the 17th century. Williamson (1976) reports that one of the lords
of the castle, Sir John Purcell of Hightort, “is remembered for his feat of
slaying, when armed only with a carving knife, eight armed robbers as they
forced their way into his bedroom.” There is a 4/4 time version of the tune in
the American old‑time tradition call "Muddy Water [1]" (AKA and see). It
has been suggested (by, for one, Louie W. Attebery in his article "The
Fiddle Tune: An American Artifact" {1979}) that the name change from
"Walls of Liscarroll" to "Muddy Water" came about in a
process of naturalization due to anti-British sentiments during the War of
1812. Caoimhin Mac Aoidh, writing in the liner notes of Glackin & Hannan’s
CD “Whirlwind” (1995) states the tune has a Munster provenance. Towards the end
of the 20th century, he says, musicians frequently played the tune
in higher pitched keys than was formerly the custom. John Kelly, for one,
always preferred the older, lower version. See also the related “Little Black Pig” and the second part
of “Matt Teahan’s Delight.”
Sources for notated versions: Chieftains (Ireland) [Miller & Perron]; John Carey, a native of Limerick
[O’Neill]; set dance music recorded live at Na Píobairí Uilleann, mid-1980’s
[Taylor]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co.
Galway, in 1926 [Harker]. Harker (300
Tunes from Mike Rafferty), 2005; No. 185, pg. 58. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 1, No. 24. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 41. O'Neill (O’Neill’s Irish Music), 1915/1987; No. 149, pg. 85. O'Neill
(Krassen), 1976; pg. 18. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 704, pg. 131. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 8, pg. 18. Roche Collection, 1982, vol. 1; No. 89,
pg. 40. Taylor (Music for the Sets:
Yellow Book), 1995; pg. 25. Vallely (Learn
to Play the Tin Whistle with the Armagh Pipers Club), vol. 2; 9. Williamson
(English, Welsh, Scottish and Irish
Fiddle Tunes), 1976; pg. 79. Gael-Linn CEF 068, Martin Hayes – “An Fhidil, Vol. 1” (1976). Shanachie 79021, “The Chieftains I.” Shanachie 79093, Paddy
Glackin & Robbie Hannan – “The Whirlwind” (1995).
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan
Ng’s Irishtune.info |
X:1
T:Walls of
Liscarroll [1]
M:6/8
L:1/8
R:Jig
S:O’Neill –
Dance Music of Ireland: 1001 Gems
(1907), No. 8
Z:AK/Fiddler’s Companion
K:D
A|d>cA A>GE|G>EE D2E|G>EE =c>EE|GAB =c2e|
d>cA
A>GE|G>EE D2E|G>EE =c>EE|D>ED D2:|
|:A|d>cd
ecA|d>cd ecA|=c>dc cBA|G>AB =cGE|
A>de fed|e>dc dcA|G>EE =c>EE|D>ED D2:|
WALLS OF LISCARROLL [2] (Ballaí Lios Chearbhaill). AKA and see "The Merry Old Woman [1]," "The Mouse in the Cupboard," "The Rakes of Newcastle West," “Old Walls of Liscarroll.” "Repeal of the Union [2]," "The Walls of Enniscorthy," “Wallop the Potlid,” "Wollop the Potlid." Irish, Set Dance (6/8 time). G Major. Standard tuning. AAB. No relation to “Walls of Liscarroll [1].” Source for notated version: tin whistle player Sean Potts [Breathnach]. Breathnach (CRE I), 1963; No. 10, pg 6 (appears as “Ballaí Lios Chearbhaill”).
X:1
T:Walls of Liscarroll [2]
M:6/8
L:1/8
S:Breathnach – CRE I (1963), No. 10
K:G
G/A/ | BAG AGF | DGG FGA | BAB cBc |
dgg fdc | BAG AGF | DGG FGA |
BdB cAF | AGG G2 :| A | BAB cBc |
dgg fdc | BAB cBc | dBG FGA |
BAB cBc | dgg fdc | BdB cAF | AGG
G2A | BAB cBc | dgg fd^c |
def {a}gfg | eag fd^c | dgg bgg |
{b}a2g fdc | BdB cAF | AGG G2 ||
WALMER CASTLE. English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning.
AABA. The tune dates to 1801. Barnes (English
Country Dance Tunes), 1986.
WALPOLE. AKA and see "One
Evening Having Lost My Way," "Happy
Clown," "Do You
Fancy a Seamstress," "I'm like a skiff on the
ocean tossed." English, Air. The tune appears in the second volume of
Playford’s Dancing Master (1718).
WALPOLE COTTAGE. English, March (cut time). D Major. Standard tuning. ABC. Composed by
English collector, composer and researcher Pat Shuldham-Shaw. Page, Northern Junket, vol. 10, No. 7, March
1971; pg. 26. Front Hall FHR‑010, Bill Spence
and Fennig's All Stars ‑ "The Hammered Dulcimer Strikes Again"
(1977).
X:1
T:Walpole Cottage
M:C|
L:1/8
R:March
S:Page – Northern Junket, vol. 10, No. 7
(1971)
Z:AK/Fiddler’s Companion
K:D
e3f g2f2|e2d2c2B2|A2 z2 e2 z2|a2 z2
A3G|F2A2F2A2|
F2A2 d3c|B3d c2B2|A6 A2|B3d
c2B2|A2d2f2a2|a2 g4f2|e6 AG|
F2A2F2A2|F2A2 d3c|B3d c2B2|A6A2|B3d
c2B2|A2d2f2a2|f2d2 e2c2|
d6||F2|B3c d2 dB|c2f4e2|d2B2
c2^A2|B6B2|c3d e2d2|c2A2B2d2|
c2A2 B2^G2|A6 A2|B3c d2 cB|A2 F4
A2|B3c d2e2|f6e2|d3e f2 ed|
e2a2f2d2|c2A2 B2^G2|A4 a3g|f3e
f2d2|e2c2A2 Bc|d3c d2B2|A6 A2|
B3AB2G2|F2A2d2e2|f2a2g2f2|e6 A2|f3e
f2d2|e2c2A2 Bc|
d3c d2B2|A6 A2|B3 cd B2|A2d2f2a2|f2
de c2|d8||
WALSHE'S POLKA [1]. Irish, Polka. A Major. Standard tuning. AABB. Mallinson (100 Polkas), 1997; No. 6, pg. 3 (appears
as “Walsh’s Polka”). Green Linnet SIF‑1105,
Patrick Street ‑ "Irish Times" (1989. Appears as 1st tune of
"The Newmarket Polkas").
WALSHE’S POLKA [2]. AKA and see “John Walsh’s
[1]," “The Newmarket Polka [1].”
WALSH'S FAVOURITE. AKA and see "Fairy Hurlers,"
"The Galway Rambler," "Lord Wellington [1]," "Tiarna Wellington," "Paddy Finlay's Favourite."
WALSH'S
FROLICS. Irish, Jig. G Major. Standard
tuning. One part. Source for notated version: Francis E. Walsh (San Francisco)
[O’Neill]. O’Neill (Waifs and Strays of
Gaelic Melody), 1922; No. 89.
X:1
T:Walsh's Frolics
M:6/8
L:1/8
S:Francis E. Walsh,
Z:Paul Kinder
K:G
d/2c/2|B2 G BdB|"tr"B2 G Bdg|e2 A Aag|f2 d def|
g2 d gfe|d2 c Bcd|edB d2 A|GBA G2 d|
b2 g {b}agf|"tr"g2 f efg|e2 d efg|"tr"d2 c Bcd|
e2
A Adc|B2 G BdB|"tr"B2 G Bdg|ed^c d2 B|GBA G2||
WALSH'S HORNPIPE (Cornuphiopa an Bhreathnaigh). AKA – “Willy Walshe’s Hornpipe.”
Irish, Hornpipe. A Mixolydian. Standard tuning. AABB. Jackie Daly says the tune
was a great favourite of Sliabh Luachra fiddler Denis Murphy's and came from
the playing of Philip Walsh, a fiddle player from Maol Mountain in the Sliabh
Luachra region of Cork/Kerry. Sources for notated versions: fiddler Denis
Murphy, 1970 (Co. Kerry, Ireland) [Breathnach]; accordion player Johnny O’Leary
(Sliabh Luachra region of the Cork-Kerry border) [Moylan]. Breathnach (CRÉ II), 1976; No. 312, pg. 159. Cotter
(Traditional Irish Tin Whistle Tutor),
1989; 83. Cranitch (Irish Fiddle Book),
1996; No. 90, pg. 161. Moylan (Johnny
O’Leary), 1994; No. 119, pg. 69. Gael-Linn CEF092,
Julia and Billy Clifford - “Ceol as Sliabh Luachra.” Gael-Linn CEF132, Johnny
O’Leary - “An Calmfhear/The Trooper” (1989). Globestyle Irish CDORBD 085,
Jackie Daly - “The Rushy Mountain” (1994. Reissue of Topic recordings). Topic
12T358, “Jackie Daly.” Kevin Burke & Micháel O’Domhnaill – “Promenade” (the
order of the parts is reversed from the abc’s below). “Kevin Burke in Concert.”
X:1
T:Walsh's Hornpipe
B:Ceol Rince na hE/ireann II, Breanda/n Breathnach
S:Denis Murphy, fiddle, Gneeveguilla, November 1970
R:hornpipe
M:4/4
L:1/8
K:A
E2|(3ABc EF Acec|(3def Bd de {e}f2|{a}fece aecA|
BecA {d}BA F2|(3ABc EF Acec|(3def Bc de {e}f2|
{a}fece aecA|BecB A2:|:
(3ABc|aece {fg}fece|aece {fg}fece|Aece aecA|
BecA {d}BA F2|(3ABc EF Acec|(3def Bc de {e}f2|
{a}fece aecB|(3ABc Bc A2:||
WALSH’S JIG. See “Merry Maiden [1],” “Willy Walsh’s Jig.”
WALSH’S JIG [2].
AKA and see “Castletown
Conners [1],” “Condon’s Frolics,”
“Digging for Gold,” “Paddy Carty’s Jig,” “The Thatcher.”
WALSH’S POLKA [1]. See “Walshe’s Polka.”
WALSH’S (POLKA) [2]. AKA and see “Bill the
Waiver’s,” “Bill the
Weaver’s” [3], “Din Tarrant’s,”
“Lackagh Cross [2].”
WALSH'S REEL (Ríl an Bhreathnaigh). Irish, Reel. G Major. Standard
tuning. AB. Source for notated version: fiddler Denis Cronin/Donncha Ó Croinin
(Ireland) [Breathnach]. Breathnach (CRÉ I),
1963; No. 70, pg. 33.
WALSINGHAM. English, Ballad Air (3/2 time). A Minor. Standard tuning. AB. The air
appears in the Fitzwilliam Virginal Book,
Lady Neville's Virginal Book, Dorothy
Welde's Lute Book, Barley's New Book
of Tabliture (1596), and Holborne's Cithren
Schole (1597). Chappell (1859) states that, although the ballad and air in
its earliest versions date from the latter 16th century, it is probable
"they originally were composed before 1538, the years in which the Priory
of Walsingham was disolved." Our
Lady of Walshingham was a once famous shrine in England, and attracted pilgrims
from throughout the land from the reign of Henry III on. Chappell goes on to
say that the tune is frequently mentioned in 16th and 17th century accounts,
and, curiously, was commonly taught to singing birds.
***
As I went to Walsingham, to the shrine with
speed,
Met I with a jolly palmer, In a pilgrim’s weed.
***
Chappell (Popular Music of the Olden Times), vol.
1, 1859; pg. 69.
X:1
T:Walsingham
M:3/2
L:1/8
S:Chappell
– Popular Music of the Olden Times
Z:AK/Fiddler’s Companion
K:Amin
c2d2
e4 d4|c4 A4 E4|c2d2 e4 d4|c6||B3 c d2d2 e2 d2|c4 A4 E4|B2 ^c2 d4 ^c2 B2| A6||
WALT
THE FIDDLER. Irish, Reel. D Major. Standard
tuning. AABB’. Composed by Boston, Massachusetts, musician Brendan Tonra. Black
(Music’s the Very Best Thing), 1996;
No. 253.
X:1
T: Walt the Fiddler
C: Brendan Tonra
Q: 350
R: reel
Z:Transcribed by Bill Black
M: 4/4
L: 1/8
K: D
BcdB AFDE | FEDB, A,DFA | BcdB AFAB | defd efdA |
BcdB AFDE | FEDB, A,DFA | defd efdB | AFEG FD D2 :|
fdef dfbf | afdf edBd | BAFB AFAB |1 defd efde |
fdef dfbf afdf edBA | defd efdB | AFEG FD D2 :|
|2 defd edfb | bddd addd | gece dAFA | defd efdB |AFEF FD D2 ||
WALTER BULWER'S POLKA
[1]. English, Polka. G Major ('A' part)
& D Major ('B' part). Standard tuning. AABB. The tune was recorded from the
playing of fiddler Walter Bulwer (1888-1968, Shipdham, Norfolk) in 1962 by Bill
Leader. Callaghan (Hardcore English),
2007; pg. 53. Carlin (Master Collection),
1984; No. 11, pg. 20. EFDSS CD13, Mark Bazeley &
Jason Rice – “Hardcore English” (2007. Various artists). Free Reed Records, The
Old Swan Band – “No Reels” (1976). Free Reed FRDC31, The Old Swan Band – “Still
Swanning.” Topic Records TSCD 607, Walter Bulwer – “English Country Music”
(2000. Originally recorded 1962 and appears as untitled polka). Topic TSCD 752,
The Old Swan Band – “Stepping Up” (2004. Originally recorded 1976). Veteran VT139CD, Mark Bazeley & Jason Rice – “Moor
Music.”
X:1
T:Walter Bulwer’s Polka [1]
M:4/4
L:1/8
K:G
|:Bc|dcBd g3f|e2A2A3B|cB
A2f2e2|d2B2B3c|
dcB g3f|e2A2A2G2|FGAB cdef|g2 gg
g2:|
K:D
|:fg|a2 fg a2 fg|ag fg e4|e2a2 gf
e2|dcde fefg|
a2 fg a2 fg|agfg e4|e2a2 gf e2|d4
d2:|
WALTER BULWER'S POLKA
[2]. English; Polka, Morris Dance Tune.
G Major ('A' part) & D Major ('B' part): F Major. Standard tuning. AABB.
This polka first surfaced in a solo fiddle recording made by Bill Leader in
1959 of the playing of Walter
Bulwer, first released in 1965. It is the most played of the several polkas
associated with his name. Bulwer (1888-1968) was a multi-instrumentalist from
the village of Shipdham, Norfolk, who had a life-long career playing for
dances, pub events and weddings, along with his wife Daisy (b. 1892) and
friends. Reg Hall notes that Daisy Bulwer’s mother’s relatives were musical and
that she remembered this tune being played by her uncle. He was aged around 80
at the time, while she was young. The tune has been employed for a polka step
in the North‑West (England) morris dance tradition. Bulwer played the
tune on the fiddle in three parts in the keys of ‘F’, ‘C’ and ‘B Flat’major on
the recording, AABBAABBAACAABB. In sessions the tune (often paired in a set
with “Walter Bulwer’s Polka [1]”) is sometimes played nowadays in D major, A
major and G major (to accommodate melodeon players). Two part versions, rather
than Bulwer’s original three-part version, seem to be the rule, and, indeed,
some believe Bulwer’s ‘C’ part (which belongs to a tune called “On the Green”)
may have been a mistake or a playful or stray wandering in his particular
rendition at the time of the recording. To confuse matters more, Bulwer’s
second part shares the first three notes with the second part of a tune called
“The Quaker [1],” with the result that the
latter is sometimes substituted for Bulwer’s part; thus creating a hybrid tune.
Callaghan (Hardcore English), 2007;
pg. 53. Carlin (Master Collection),
1986; No. 12, pg. 20. Wade (Mally's North‑West
Morris Book), 1988; pg. 29. Free Reed Records, The Old Swan Band – “No Reels” (1976).
Free Reed FRDC31, The Old Swan Band – “Still Swanning.” Topic TSCD607, Billy Cooper,
Walter & Daisy Bulwer – “English Country Music” (2000. Originally recorded
1962). Topic TSCD 752, The Old Swan Band – “Stepping Up” (2004. Compilation CD.
Originally recorded 1976. Omits the ‘C’ part).
X:1
T:Walter Bulwer’s Polka [2]
M:2/4
L:1/8
R:Polka
N:Played AABBAABBAACAABB
Z:AK/Fiddler’s Companion
K:G
DG GF/G/ | AE E2 | F/G/A F/G/A | BG
G2 | D/E/G GF/G/ |
AE E2 | F/G/A DE/F/ |1 GG GF/E/ :|2
GG G2 ||
K:D
|: AA B2 | AA F2 | GG E/F/G | AA
F/G/A/B/ | AA B>B |
AA F2 | GG E/G/F/E/ | DD D2 :|
K:C
E3F | G3A | G3E | GF F2 | D3E | F3G
| F3D | FE E2 |
E3F | G3E | G2 c2 | cA A2 | AA
c>A | GG B>G | GE FB, | CC C2 ||
X:2
T:Walter Bulwer’s Polka [2]
M:2/4
L:1/8
K:G
DG GF/G/|AE E2|F/G/A A/B/A|BG GF/E/|
DG GF/G/|AE E2|F/G/A DE/F/|GG G2:|
K:D
AA B2|AA F2|GG E/F/G|AA F/G/A|
AA B2|AA F2|GG E/G/F/E/|1 DF D2:|2
D4||
WALTER BULWER’S POLKA
[3].
English, Polka. G Major. Standard tuning. AB. The tune was recorded from
the playing of fiddler Walter Bulwer (1888-1968, Shipdham, Norfolk) in 1962 by
Bill Leader. Callaghan (Hardcore English),
2007; pg. 54.
WALTER BULWER’S POLKA
[4].
English, Polka. G Major. Standard tuning. AABB. The tune was recorded
from the playing of fiddler Walter Bulwer (1888-1968, Shipdham, Norfolk) in
1959 by Mervyn Plunkett. Callaghan (Hardcore
English), 2007; pg. 54.
WALTER DOUGLAS. Scottish, March (4/4 time). A Dorian. Standard tuning. ABCD.
WALTER SAMMON’S REEL. AKA and see “Mary Staunton’s.”
WALTER'S FANCY. AKA and see "Topsfield
Hornpipe."
WALTHAM ABBEY. See “Walton Abbey.”
WALTON ABBEY. AKA – “Waltom Abbey,” “Waltham Abbey.” AKA and see “My Lady’s Courant.” English, Country
Dance Tune (2/2 time). F Major. Standard tuning. AABB. The melody appears first
in print in Henry Playford’s Dancing Master, second part, 9th
edition (1698) and in all subsequent editions of the long-running series until
the end, with the 18th edition of 1728. It was also published by
John Walsh in the first and subsequent editions of his Complete Country
Dancing Master (London, 1718, 1731 & 1754). London musician Thomas
Hammersley included it in his 1790 copybook, giving the title as “Devil in the Bush,” with “Walton
Abbey” as an alternate title. Waltham Abbey, Essex, dates from pre-Norman
times, having been founded by King Harold Godwinson (Harold II). It was a
favorite stopping-place for the gentry who hunted Waltham Forest, and was the
last abbey to be dissolved in England, in 1540. Barlow (The Complete Country
Dance Tunes from Playford’s Dancing Master), 1985; No. 391, pg. 91. Barnes
(English Country Dance Tunes, vol. 2), 2005; pg. 139 (appears as
“Waltham Abbey”).
X:1
T:Waltham Abbey
M:C|
L:1/8
S:Playford – Dancing Master,
Part II, 9th edition (1698)
K:F
f2g2a2
ga|bagf e2c2|d2B2G2c2|A2F2c4|f2g2a2 ga|
bagf
e2c2|d2B2G2c2|A2 F6::G2E2 GEGE|c2G2A2F2|
c2B2
dBdB|g2d2e2c2|ag f2 g2 fe|defg e2c2|dcBA G2c2|A2 F6:|
WALTZ… The date of the appearance of this dance form
is given as 1781 by the Oxford English Dictionary. Paul Gifford believes the
dance did not become popular for rural dances until around the 1870’s, and
communicates that he has seen a 1909 interview with a upper Midwest fiddler,
born in 1824, who said he had quit playing for dances because he had gotten
disgusted with waltzes. Captain Gronow, a Guards officer stationed nearby
Almack’s Assembly Rooms, King Street, St. James, London, attended dances during
the 1814 season and remembered:
***
The “mazy waltz” was also brought to us about this time [ed. at the same
time the
quadrille was introduced]; but there were comparatively few who at first
ventured
to whirl round the salons of Almack’s; in course of time Lord Palmerston
might,
however, have been seen describing and infinite number of circles with
Madame
de Lieven. Baron de Neumann was frequently seen perpetually turning with
the
Princess Esterhazy; and, in course of time, the waltzing mania, having
turned the
heads of the society generally, descended to their feet, and the waltz
was practiced
in the morning in certain noble mansions of London with unparalleled
assiduity.
[Grego, Joseph – The Reminiscences and Recollections of
Captain Gronow 1810-1860 (London, 1889)]
WALTZ, A. English, Waltz. G Major. Standard tuning.
AA'BB'CC'. A very early waltz, circe 1800, when the new form was considered, in
some circles, inappropriately intimate. It is generally accepted that the waltz
was introduced in English society circles around the year 1812. The Prince
Regent danced it at a ball in London in 1816, when it was still relatively new,
making it acceptable for society recreation. As Matthiesen (1995) and others
have pointed out, the popularity of the waltz as a couple dance shifted the
emphasis away from the larger social group and the community-type round and
line dances. Source for notated version: English country dance leader Christine
Helwig (Conn.) [Matthiesen]. Matthiesen (Waltz
Book II), 1995; pg. 73.
WALTZ ABER-NANT. See “The Aber-nant Waltz.”
WALTZ CLOG. American, French-Canadian; Dance Tune. The waltz clog was a late 19th
century variety stage dance form that, according to Edward B. Marks (They All Sang, 1934, pgs. 64-65), grew
out of American clog dancing style.
***
Minstrel men had conventions, traditions. All passed through the same
species
of apprenticeship. They went with the minstrels as boys, for eight or
ten dollars a
week. Under the unrelenting
taskmastership of the Gormans, or Fagan himself,
they learned the minstrel dance technique. A man danced clog or
“song-and-dance”
(soft shoe). If clog, he specialized in either Lancashire, American, or
trick. Waltz
clog grew out of American clog, statue out of the Lancashire style.
“Buck and wing,”
says old Tom Barrett, as he reclines on the N.V.A. club mezzanine,
“started all the
trouble. Buck-and-wing is a bastard dance, made of clogs and jigs and song-and-
dance together, and it makes for faking. In a clog, or a sand jig like
the one Paddy
Hughes did you can spot faking in a minute. Well, now they’ve got no
dancing at
all, only acrobatics.”
***
Green Linnet SIF-1051,
Jackie Daly, Seamus and Manus McGuire - "Buttons and Bows" (1984).
WALTZ
COUNTRY DANCE - THREE 'WALTZ - ONS.' English, Waltz. G Major ('A' and
'B' parts) & D Major ('C' part). Standard tuning. ABC. Kennedy (Fiddler’s Tune Book), vol. 1, 1951; No.
75; pg. 37.
WALTZ DINEFWR. See “The Dinefwr Waltz.”
WALTZ FOR A GLASS
ARMONICA.
American, Waltz. A Minor. Standard tuning. AA’BB’. Composed by Alstead,
New Hampshire, fiddler and composer Randy Miller. The glass armonica was
perfected by Benjamin Franklin in 1761. The instrument is a series of glass
bowls or goblets of graduated size, arranged end to end, which when spun are
touched by dampened fingers, which friction produces a tone. Mozart, Beethoven,
Donizetti and Richard Strauss all wrote pieces for the instrument, although its
popularity dropped off in the 19th century as concert venues became
larger and instruments louder. Franz Mesmer played the instrument, whose sounds
he used pursuant to Mesmerism, and Marie Antoinette took lessons on it as a
child. It was rumoured that the tones of the glass armonica led to insanity,
and that those prone to melancholy should avoid it. Miller (Fiddler’s Throne), 2004; No. 375, pg.
221.
WALTZ FOR EARL. Old-Time, Waltz. D
Major. Standard tuning. AA’BB’.
X:1
T:Waltz for Earl
M:3/4
L:1/8
Q:144
Z:transcribed by David Marcus
R:Waltz
K:D
c de |: "D"f2 e2 d2 |
"A(F#m)"c2 A3 A | "G(G6)"Bd3 G2 | "D(A)"A3 GFE |
"G(Gmaj7)"D2 G2 F2 |
"A(Bm7)"E2 A3 B | "A7(D)"A3 "(Dsus4)"G
"D"FG |"A(Asus4)"E4
(3FGA |
"G"B2 A2 G2 |
"Bm"F2 B,2 d>c | "D"de fe "(Dmaj7)"cA |
"G"B3 def |"Em"g2 f2 e2
| "D"d2 A3 A
|1 "G(Bm)"B d3 f2 |
"A"e4 (3cde :||2 "G(Bm)"B d3 {ed}"A(A7)"c2 |
"D"d2 z.d.d.c | |:
"D(Bm)"B2 F2 B2 | "G"B2
G2 B2 | "D(Em7)"BAGF "G"DE | "Bm"F2 z.F.B.d |
"F#m"c2 F2 cd |
"G(A7)"c2 G2 cd | "Em(D)"fedc "G(Bm)"Bc
|"D(F#m)"dcAF"Bm(G)"Bd |
"D(Bm)"B2 F2 (3Bcd |
"G"B2 G2 Bd | "F#m"cBAFGA | "G"B3 cde
|"Em" g2 f2 e2 | "D"d2 A3 A |!
|1 "G(Bm)"Bc de fg |
"A"e2 z."Bm"d.d.c :||2 "G(Bm)"B d3
{ed}"A(7)"c2 | "D"d4 (3"da capo"cde ||
"G"Bc "Em"de
"C#dim"f"(A7)"a | "D"d'6 ||
WALTZ FOR JANE. American, Waltz. Composed by New Hampshire fiddler Rodney Miller for
his wife. Smithsonian Folkways SFW CD 40126, Rodney
Miller – “Choose Your Partners!: Contra Dance & Square Dance Music of New
Hampshire” (1999).
WALTZ FOR MARY KAY, A. American, Waltz. F Major. Standard tuning. AB. Composed in 1989 by
country dance musician Liz Donaldson (Bethesda, MD), dedicated to Mary Kay
Friday, in thanks "for all her contributions to the Washington, D.C. dance
community, especially as FSGW Dance Chair 1987-89." Matthiesen (Waltz Book II), 1995; pg. 75. Elke Baker & Liz
Donaldson - "Terpsichore."
WALTZ FOR THE LITTLE
GIRLS, THE. AKA and see "(La) Valse Pour Les Petites
Juenes Filles."
WALTZ FOR THE VALETA. English, Waltz. C Major. Standard
tuning. AA’BB. From the playing of melodeon player Percy Brown. Topic 12TS229, “English Country Music from East Anglia.”
X: 1
T: Waltz for the Valeta
S: Percy Brown
M: 3/4
L: 1/4
K: C
C E G | G2 A | A3 | G3 | C E G | G2 A | A3 | G3 |
c G c | B3 | A F A | G3 |1 C2 E | D2 C | G A G | F E D :|2 F E A | E2 D | CE G
| c3 ||
|: c/c/ c c | B/B/ B B | A/A/ A A | G3 | F/F/ F F | E/E/ E E | D d c | B A G |
c/c/ c c | B/B/ B B | A/A/ A A | G3 | F E A | E2 D | C E G | c3 :|]
WALTZ FROM BODA. AKA – “Bada Waltz,” “Bodavalsen.” Swedish,
Waltz. E Minor. Standard tuning. AABB. The tune is called “Waltz after Soling
Anders” in Sweden, but the “Waltz from Boda” title is the one it is generally
known by in the United States, Boda being a town in the Dalarna region of
western Sweden. Matthiesen (Waltz Book),
1992; pg. 17. Front Hall Records, "Fourgone
Conclusions." Sonet SLP‑2047, "Bodalatar i Laggar Anders
Kok" (Boda Tunes in Lager Ander's Kitchen). Vandy, Cammy & Edward Kaynor ‑
"Contrablessings."
X: 1
T: Waltz from Boda
M: 3/4
L: 1/8
R:Waltz
N: ?Bob Cuda, as played around the Bay Area (SF) c. 1980
Z: Lani Herrmann
K:E Minor
B3 cBA | B3 cBA | B4 e2 | B3 Bef | g4 g2 | f4 e2 | f3 gf2 | B5 z |
e4 e2 | d4 c2 | B3 cBA | G3 FGA | B3 AGB | A3 GF2 | E6 | E6 :|
|: e4 e2 | g3 fe2 | d6 | B6 | A3 Bc2 | D2 E2 F2 | G3 FGA | B5 z |
e4 e2 | g3 fd2 | d6 | B6 | A3 Bc2 | D2 D2 F2 | G3 FGA | G5 :|
WALTZ FROM MILLER
COUNTY MISSOURI. Old‑Time, Waltz. USA,
Missouri. C Major. Standard tuning. ABB. Source for notated version: black
fiddler Bill Driver (Miller County, Missouri) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2),
1984; pg. 153.
WALTZ FROM ORSA. Scandinavian, Waltz. Green Linnet SIF 1051,
Seamus & Manus McGuire ‑ "Buttons & Bows" (1984). Green
Linnet SIF 1101, Seamus & Manus McGuire ‑ "Playing with Fire:
the Celtic Fiddle Collection" (1989).
WALTZ I LIKE, THE (La Valse Que J'aime). See "Chere Petite."
WALTZ IN DER FRIESHUTZ (sic.). English, Waltz. England, Shropshire. G Major
('A' part) & D Major ('B' part). Standard tuning. AABB. The 'B' part is a
repeat of the first strain, transposed to the key of D Major. Source for
notated version: a c. 1837-1840 MS by Shropshire musician John Moore [Ashman].
Ashman (The Ironbridge Hornpipe),
1991; No. 37a, pg. 12.
WALTZ NO. 4. Old-Time, Waltz. Missouri State Old Time
Fiddlers' Association, Casey Jones (1910-1967) - "Rocky Road to
Jordan."
WALTZ OF LOVE, THE. AKA and see "La
Valse d'Amour."
WALTZ OF THE BIG PINES. AKA and see "Valse des
Grands Pins."
WALTZ OF THE FLOATING
BRIDGE. American, Waltz. A Dorian. Standard
tuning. AA'BB'. Composed in 1991 by Jeremiah McLane (East Randolph, VT), named
after a bridge that floats in Brookfield, Vermont. Matthiesen (Waltz Book II), 1995; pg. 74.
WALTZ OF THE LITTLE GIRLS (La valse pour les
petites juenes filles). French, Waltz. F Major. Recorded by Scottish accordion player Phil
Cunningham and Shetland fiddler Aly Bain. The first part of the tune is French
Traditional, the second part supplied by Terry Rassmussen of Colorado. Flying Fish FF‑266, Malcolm Dalglish & Grey Larsen
‑ "Thunderhead" (1982).
X:1
T:Waltz of the Little Girls, The
D:The Pearl, Phil Cunningham/Aly Bain
C:Trad/Rasmussen
N:Originally in Eb
Z:Nigel Gatherer
M:3/4
L:1/8
K:D
dc BA|F2 FE DE|F2 dc BA|F2 FE DF|G2 GF GA|B2 BA GF|E2 EF GA|
B2 BA Bc|BAdc BA|F2 FE DE|F2 dc BA|F2 FE DF|G2 GF GA|B2 BA GF|
E2 EF GA|Bd/B/ Ac Ac|d2::DF Ad|c2 cB AF|DF BF AF|E3 A Ec|
d2 DF Ad|c2 cB AF|DF BF AF|E3 A Ec|d2:|]
WALTZ OF THE ORPHANS. Cajun, Waltz. USA, Louisianna. Heritage 054,
Dewey Balfa's Cajun Band ‑ "Brandywine '83: Music of French
America" (1984).
WALTZ OF THE PAST. AKA and see "Valse du Passe."
WALTZ OF THE OZARKS
[1]. Old‑Time, Waltz. USA,
Arkansas. D Major. Standard tuning. AB (Christeson): AA’B (Beisswenger &
McCann). Source for notated versions: Kermit Moody (1909-1977, Mountain View,
Stone County, Arkansas) [Beisswenger & McCann, Christeson]. Beisswenger
& McCann (Ozark Fiddle Music), 2008; pg. 99. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2),
1984; pg. 142. Rimrock LP 278, Kermit Moody –
“Rackensack, vol. 1” (1972).
WALTZ OF THE OZARKS [2].
Old-Time, Waltz. USA, Missouri. G Major. Standard tuning. AB. A
different tune that “Waltz of the Ozarks [1].” The ‘B’ part, as played by Bob
Walsh, is ‘crooked’ or irregular with several measures getting added beats.
Source for notated version: Bob Walsh (1929-1990, Shannon County, Missouri)
[Beissenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Music),
2008; pg. 161.
WALTZ OF THE REED
MARSHES. AKA and see "Valse des Meches."
WALTZ OXFORD. Old‑Time, Waltz. USA, Nebraska. B‑Flat Major. Standard
tuning. ABC. "This was a popular ballroom dance years ago," says
collector R.P. Christeson. Source for notated version: Bob Walters (Burt
County, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddlers Repertory, vol. 2), 1984; pg. 152.
WALTZ QUADRILLE [1]. American, Waltz. G Major. Standard tuning. ABCD. A generic-titled
medley for a dance form called the waltz quadrille. Paul Gifford knows the
waltz-quadrille as a singing call from the 1920’s, and believes it may have
been one of the first of the genre. See the similar "Waltz Quadrille" [3]. Source for notated
version: Zeke Holdren (Lincoln, Nebraska) [Christeson]. R.P. Christeson (Old Time Fiddler’s Repertory), 1973,
vol. 1; No. 245, pg. 204.
WALTZ QUADRILLE [2], THE. Canadian, Waltz. F Major. Standard tuning.
ABC. A generic title, with tune credited to John Burt by Jarman. Jarman (The Cornhuskers Book of Square Dance Tunes),
1944; pg. 26‑27.
WALTZ QUADRILLE [3]. American, Waltz. USA, Wisconsin. G Major. Standard tuning. AB or AABB.
The tune bears some resemblance to a Nebraska waltz quadrille in Christeson
(1973, Vol. 1, No. 245, pg. 204). These words were collected with the tune:
***
Give me‑ee that man that'll never get drunk,
That'll never go out on a spree;
That'll stay the whole night, what'll stay with the wife,
And right rock the baby to sleep.
***
Source for notated version: Gustav
Erdmann {b. ca. 1882} (Wisconsin) [Reiner & Anick]. Reiner & Anick (Old Time Fiddling Across America), 1989;
pg. 127.
WALTZ QUADRILLE [4]. AKA and see "Valse-Quadrille."
Yet another piece in this composition dance form.
WALTZ THAT CARRIED ME
TO MY GRAVE, THE. Cajun, Waltz. See also related
tunes "Valse des Grands Chemins"
(Highway Waltz) and "Mon
Coeur est Barre dans l'Armoire." USA, La. Columbia
15275 (78 RPM), accordion player Joseph Falcon and Cleoma Breaux, 1928.
WALTZ THE HALL. Old-Time, Waltz. Document 8043, Doc Roberts.
WALTZ
WALTZ YOU SAVED FOR ME, THE. Old‑Time, Waltz.
WALTZING ARMADILLO, THE. Irish, Jig. G Major. Standard tuning. AABBCC.
Composed in 1992 during a trip to
X:1
T: Waltzing Armadillo
C: © B. Black
Q: 300
R: jig
M: 6/8
L: 1/8
K: G
A | Bcd gdd | BGF G2 A | Bcd eBA | GED E2 A |
Bcd
A | BAG EB,B, | DEF G2 A | Bcd ged | BAG A2 A |
BAG DB,D | ECA, G,2 e | bag egd | BGF G2 :|
e | fdf fdf | gba gfe | fdf fdA | BGF G2 e |
fdf
ece | dBd efg | bag egd | BGF G2 :|
WALTZING OVER THE
WATER.
AKA and see “’Italian’ Waltz,” “Step Waltz.”
WALTZING THROUGH THE LEAVES. Canadian, Waltz. Composed by the
late
WALTZING WITH THE ONE
I LOVE. Old‑Time, Waltz.
WALTZING
WITH YOU. American, Waltz. D Major. Standard
tuning. AB. Composed in 1992 by Molly Mason (West
WALY WALY. Scottish, Air (3/4 time). D Major. Standard tuning. AABB. McGibbon (Scots Tunes, book III), 1762; pg. 87.
X:1
T:Waly Waly
M:3/4
L:1/8
R:Air
N:”Slow”
S:McGibbon
– Scots Tunes, book III, pg. 87 (1762)
Z:AK/Fiddler’s Companion
K:D
D | FG A3d
| e>f ({f}e3E | F>GA2de2 | ({f}e)(d/c/) d2 :: =c | (B>A) G3A | (BA)
=c3 (B/A/) |
Bd A2g2 |
({a}g)”tr”(f/e/) d3d | (BA) ({G}F3) d | “tr”BA E3=c | BA (B>^cd)F |
({G}G)(F/E/) D2 :|
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