© 1996-2009 Andrew Kuntz
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WAM – WAS |
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, 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] |
WAMBLE
MOUNTAIN RAMBLE. Old-Time, Breakdown. G Major.
Standard tuning. AB. Stacy Phillips notes the name is a new one for an old
tune. Source for notated version: Lynn Smith [Phillips]. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 161.
WANDERER’S MUSINGS, THE. AKA – “The
Works of the Land.” Irish, Air (6/8 time). G Major. Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 34,
pg. 10.
WANDERING BOY. Old‑Time, Breakdown and Song.
WANDERING GIRL. English, Jig. D Major. Standard tuning. AABB.
The melody (which may be a song air) appears in the 1840 music manuscript
collection of John Rook, of the Wigton, Cumbria, area.
X:1
T:Wandering Girl
M:6/8
L:1/8
R:Jig
S:John Rook manuscript (Cumbria,
1840)
K:D
A|dcd ecA|fef age|dfA Bge|dec
d2A|dcd ecA|fef afe|dfA Bge|dec d2:|
|:a|afd Ace|gec A2 B/c/|dcd fed|cBc
d2A|dcd ecA|fef age|dfA Bge|dec d2:|
WANDERING HARPER, THE. AKA and see “The Lass from Collegeland,” “The Unfortunate Rake [1],” “The Wee, Wee Man,” “Bundle and Go [3],” “The Basket of Turf,” “The Disconsolate Buck.”
WANDERING
MINSTREL, THE (An Ceoltóir Fánach). AKA and see “Cape
Breton Jig,” “The Dandy Scholar,” “Guiness is Good for You.” Irish
(originally), Canadian; Double Jig.
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Wandering Minstrel, The
R:jig
L:1/8
M:6/8
K:D
B|ADD BAF|Ade fdB|ADD BAG|F3 GFG|ADD
BAF|Ade fdB|AdB AFE| FDD D2:|
|:e|fdf ede|fdB AFA|~B3 Afd|AGF
E2g|~f3 ede|fdB AFA|~B3 AFE|FDD D2:|
|:e|fef afd|gbe gbe|~f3 afd|ceA
ceA|fef afd|gbe gbe|~f3 ede|fdc d2:|
WANDERING TINKER, THE. AKA and see “The Atholl Brae(s),” “The Drinking Reel,” “The Drunken Tailor,” “Gallagher’s Best,” “Lagan
Slashers,” “League and Slasher,”
“Pigeon on the Pier [2],” “The Pigeon on the Gate [1],” “Reidy’s Reel,” “The
Scotch Braes.” Scottish, Reel. C Major (Athole, Hardie, Kerr/2): D Major
(Kerr/1). Standard tuning. AAB (Athole, Hardie, Kerr/1): AABB’ (Kerr/2). This
reel first appears in Joseph Lowe’s Collection,
Book 5. Source for notated version: William Hardie Jr. of
X:1
T:Wandering Tinker
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
G|c2ec egec|Bddc Bdde|c2ec egec|BagB c2cKA|GFEF GABc|
Bddc Bdde|cGEF GABc|AagB c2cA|GFEF GABc|Bddc Bdde|
cedf
egfa|gefd c2c ||
WANDERING WILLY [1] (Uilliamin Seaboideac). Irish, Hornpipe. G Major. Standard
tuning. AABB. Source for notated version: Chicago Police Sergeant James
O’Neill, a fiddler originally from
X:1
T:Wandering Willy [1]
M:2/4
L:1/8
R:Hornpipe
S:O’Neill – Music of
Z:AK/Fiddler’s Companion
K:G
d/c/|B/G/D/G/ Bc/B/|A/^G/A/B/
cB/A/|B/g/d/g/ B/g/d/B/|cA Ad/c/|
B/G/D/G/ Bc/B/|A/^G/A/B/ cd|e/g/d/g/
B/g/A/c/|BG GK
|:B/c/|d/g/f/g/ e/d/B/d/|e/a/^g/a/
eg/a/|b/a/g/f/ g/e/d/B/|cA AB/c/|
d/g/f/g/ e/d/B/d/|e/a/^g/a/
ed|e/g/d/g/ B/g/A/c/|BG GK
WANDERING WILLY [2]. Scottish, Slow Air (3/4 time). F Major (Gow): G Major (Barnes, Plain
Brown). Standard tuning. One part (Gow): AB (Plain Brown): AABB’
(Barnes). Source for notated version: an 1845-47 music manuscript by Ellis
Knowles, a musician from Radcliffe,
X:1
T:Wandering Willy [2]
M:3/4
L:1/8
R:Air
S:Gow – 4th Repository
Z:AK/Fiddler’s Companion
N:”Very Slow”
K:F
c3B AG|F3G F2|G3F G2|A2d4|c3B AG|F3G
A2|A3^G A2|D6|c3 BAG|F3GF2|
G3FG2|A2d4|c3B AG|F3G
A2|A3^GA2|D6|A2d2^c2|~d3ef2|c3 dcB|A3B c2|
A2d2^c2|~d3e
f2|A3^GA2|D6|A2d2^c2|d3e f2|c3 dcB|A3Bc2|A2d2e2|f3ga2| A3^G A2|D6||
WANG WANG BLUES. Country Blues Tune.
WANT
TO GO TO MEETING AND GOT NO SHOES. Old‑Time, Breakdown.
AABBC. The melody of the first
phrase is similar to “Johnson Gal(s).”
The tune is better known as “Calico” from the
rhyme:
***
Don’t care where in the world I go,
Can’t get around for the calico.
***
Tom Rankin
(1985) believes the title “Want to go to Meeting and Got No Shoes” is “almost
certainly” the second line of a rhyme as well. The source, Frank Kittrell (b. 1871)
of Lauderdale County, Mississippi, learned the tune from his uncle David
Kittrell of the same county and recalled going to a party when he was ten years
old (c. 1881) and hearing his uncle fiddle it while a cousin seconded on the
straws. In 1939, when he recorded the tune, he told one of the collectors that,
“Nowadays, they are playing ‘
WANT TO GO TO
WANTON BETTY’S VAGARIES.
English, Jig. G Major. Standard tuning. AABB. The melody is unique to
London publishers Charles and Samuel Thompson’s 1757 country dance collection.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 44.
X:44
T:Wanton Betty’s Vagaries
M:6/8
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
GAG G2e|dBG A3|c3 BAG|FGA AFD|GAG G2e|dBG {ef}g3|fed e3|d3 D3:|
|:ded
b2c|cdc a2B|BcB g2G|FGA AFD|ded b2c|cdc gfe|dcB A3|G3 G,3:||
WANTON SEASON. English, Country Dance Tune (cut time). D Dorian. Standard tuning. AB.
The tune is set for lute by Anthony Holborne in an early manuscript now at
the University Library of Cambridge,
although the composer is unknown. Chappell (1859) believes it to be a variant
of “Mall Sims.” Chappell (Popular Music of the Olden Times), Vol.
1, 1859; pg. 272.
X:1
T:Wanton
Season
M:C|
S:Chappell
– Popular Music of the Olden Times
(1859)
Z:AK/Fiddler’s Companion
K:Ddor
A4f4e4^c4 |
d2f2e2d2 ^c4A4 | f2d2g2e2a2d2^c2A2 | Bc d4 ^c2d2D2 D4 ||
f2a2d4e2g2c3e | d2f2e2d2 | ^c4A4 |
f2d2g2e2a2d2^c2A2 | Bcd4 ^c2d2D2 D4 ||
WANTON TOWDIE. Scottish. The melody, whose title refers to female genitals, appears in
the Gillespie Manuscript of Perth,
1768.
WANTON WIDOW, THE. English, Reel. D Major. Standard tuning. AABB.
The melody originally appeared in London publisher Charles and Samuel
Thompson’s 1765 country dance volume. It was later included in the 1770 music
manuscript collection of Northumbrian musician William Vickers, about whom,
unfortunately, nothing is known. Seattle (William
Vickers), 1987, Part 2; No. 226. Thompson (Compleat Collection of
200 Favourite Country Dances, vol. 2), 1765; No. 84.
X:1
T:Wanton Widow, The
M:C|
L:1/8
R:Reel
S:William Vickers’ music manuscript
(Northumberland, 1770)
Z:AK/Fiddler’s Companion
K:D
a|fedf gbeg|fadf e/d/c/B/ Aa|fedf
gbeg|(3fga (3ABc d3:|
|:A|FAdf eAgA|fadf e/d/c/B/ AA|FAdf
eAgA|faAc d2d:|
X:2
T:Wanton Widow, The
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 2 (London, 1765)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
a|{g}fedf|gbeg|fadf|e/d/c/B/
Aa|{g}fedf|gbeg|(3fga (3ABc|d3:|
|:A|FAdf|eAgA|fadf|e/d/c/B/ AA|FAdf|eAgA|faAc|d3:||
WANTONESS FOR EVER MORE.
Scottish, Country Dance Tune. B Minor. Standard tuning. AABBCCDD. The tune
appears in Kirkmichael, Perthshire, fiddler Robert
Petrie’s first collection. Petrie (Collection
of Strathspey Reels and Country Dances), 1790; pg. 10.
X:1
T:Wantoness
for ever more
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick'at'astound'dot'net>,
N:Petrie's First Collection, page 10
L:1/8
M:C
K:Bm
"^Slow"
EFGA
B2B2 | BAFA {A}B4 | E2FG A3d | AFEF D3
F |
EFGA
B2Bd | BAFA B2 de | fdeB dBAF | {F2}B4
E4 :|
|:
Tf3 e d2f2 | e2 de B3^c | d3B A2d2 |
AFEF D2 de |
f3
e d2f2 | e2 de B2 de | fdeB dBAF | B4 E4 :|
"^Var."
|:
(E/F/E/F/)(G/A/G/A/) BfeB | (B/c/B/A/)(F/E/F/A/) B4 |\
EB,GE
AFdB | AB/A/ FE DdAF | (E/F/E/F/)(G/A/G/A/) .B(bgf) | (efg).f (ed)(cB) |\
.A(cBA)
BGAF | {A}B4 E4 :: (fgfe) dDdf | efed ^cABc |\
dfdB
AB^cd | AGFE DAde | (fgfe) d^cdf | efde B^cde |\
fd/f/
eB/e/ (d/^c/B/A/)(B/A/G/F/) | B4 E4 :|
WAP AT THE WIDOW MY
LADDIE. See “Wappat the Window My Lady.”
WAPPAT THE WINDOW MY
LADY. AKA – “Wap at the Window,” “Wap at
the Widow My Laddie.” Scottish, Jig. D Major. Standard tuning. AABB
(McGlashan): AABBCCDD (McGibbon). The tune appears in Henry Playford’s 1700
collection of Scottish dance tunes. McGlashan erroneously designates the tune
as a Scottish Measure. McGibbon (Scots
Tunes, book II), c. 1746; pg. 53. McGlashan (Collection of Scots Measures), 177?; pg. 6 (appears as “Wap at the
Widow my Laddie”).
X:1
T:Wap at the Widow my Laddie
M:6/8
L:1/8
R:Jig
B:McGlashan – Collection of Scots Measures
(177?)
Z:AK/Fiddler’s Companion
K:D
G|B>AB GBG|ADB A2G|B>AB
G/A/BG|G>AB g>ag|f>ed e>dB|
GdB A>ba|(g/f/e/f/g) deG|B3d2:|
|:d|g>ab abg|gdb a2g|g>ab
bag|f>ed g>ag|f>ed edB|gdB Aba|
(g/f/e/f/g) deG|B3d2:|
X:2
T:Wap at the Widow my Laddie
M:3/8
L:1/8
R:Air
N:”Brisk”
S:McGibbon – Scots Tunes, book II, pg. 53
(c. 1746)
Z:AK/Fiddler’s Companion
K:G
d | B>AB (G/A/BG) | ADB/c/
“tr”A2G | “tr”(B>AB) (G/A/B)G | B>AB g>ag | “tr”g>ed (B/c/de) |
(d<B)g “tr”A2G | “tr”(B>A)B
(G/A/B)G | “tr”B3d2 :: (e/f/ | g)dB g”tr”fe | acA A(b/a/g/f/) |
g>ab abg | “tr”f>ed Bdg |
f>ed edB | gdB Aaf | (g/f/e/f/g) dgG | “tr”B3d2 :: d | (B/c/d)B (G/A/B)G |
(A<D)a ({g}”tr”f2)d | (B/c/d)B
(G/A/B)G | B/A/B/d/e/f/ g/f/g/b/a/g/ | f/g/f/e/f/d/ (B/c/d)e |
de/f/g/B/ Af/g/a/f/ | g/b/a/g/f/e/
d/c/B/A/B/G/ | “tr”B3d2 :: e/f/ | g/f/g/d/B/d/ g/f/e/f/g/e/ |
acA ab/a/g/f/ | g/f/g/a/b/g/
a/g/a/b/a/g/ | f/g/f/e/f/d/ Bdg | f/g/f/e/f/d/ ed/e/f/d/ | g/f/e/d/c/B/
Af/g/a/f/ |
g/f/e/f/g/e/ dgG | “tr”B3d2 :|
WAPPINSCHAW, THE. Scottish, Reel. D Minor. Standard tuning. AAB.
Stewart-Robertson (The Athole Collection),
1884; pg. 218.
X:1
T:Wappinschaw, The
M:C|
L:1/8
R:Reel
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:Dmin
DEFD F3c|GFED CDEC|D>EFD F2Fc|d=BcE D/D/D D2K
d>edA d/d/d f2|g>fed cdec|d>edA d/d/d f2|ed^ce d2D2|dedA d/d/d f2|
gfed
cdec|decd AbcA|GecE D/D/D D2||
WAR OR PEACE (I care not which). AKA and see “Cogaidh no Sith.”
WAR WHOOPS. AKA and see “Indian War Whoops.” Old-Time,
Breakdown. D Major. Standard tuning. AB. Source for notated version: Geff
Crawford [Silberberg]. Silberberg (Tunes I Learned at Tractor Tavern),
2002; pg. 165.
WAR WIDOW WALTZ. See “Valse de Calcasieu.”
WARD ALLEN BREAKDOWN. Canadian, Breakdown. B Flat Major (‘A’ part) & F Major (‘B’ part).
Standard tuning. AABB. Composed by Ward Allen, a one-time Canadian Champion
fiddler in the middle of the last century. Condor 977‑1489,
“Graham & Eleanor Townsend Live at
X:1
T:Ward
Allen’s Breakdown
C:Ward Allen
R:Breakdown
M:4/4
L:1/8
Z:Transcribed
by Bruce Osborne
K:Bb
B,2 DF E2
GE|F2 Ac B2 FA|B2 FB d2 cB|Ac=eg f4|
B,2 DF E2
GE|F2 Ac B2 cB|A2 FA ecAc|BdcA B2 z2K
K:F
|:c4
cBAG|FGAc f2 ef|g2 bg efge|fgaf cBAB|
c4 cBAG|FGAc f2 ef|g2 bg efge|fefg
f2 z2K
WARD’S BRAE. English, Reel;
WARD’S DROP. AKA and see “The Drop.”
WARD’S FANCY. English, Reel.
WARDS HORNPIPE (Keith). Scottish, Hornpipe. A Major. Standard tuning.
AABB. Originally printed in his Harp and
Claymore collection, it was composed by J. Scott
Skinner. Skinner (The Scottish
Violinist), pg. 43. Skinner (Harp and
Claymore), 1904; pgs. 132-133.
X:1
T:Ward’s
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:A
c/>d/ | e/>c/A/>a/
g/>B/d/>f/ | e/>A/c/>f/ e/>(E/A/>)c/ | d/>F/B/>d/
c/>E/A/>c/ | B/>E/G/>B/ e/>d/c/>d/ |
e/>c/A/>a/ g/>B/d/>f/ |
e/>A/c/>f/ e/>(E/A/>)c/ | d/>F/B/>d/ c/>E/A/>c/ |
B/>E/G/>B/ A ||
c/>d/ | (3e/f/g/ a/>b/
c’/>a/g/>a/ | f/>a/d/>f/ ({f}e)c/>e/ | d/>F/B/>d/
c/>E/A/>c/ | B/>e/ (3^d/e/f/ e(c/>=d/) |
(3e/f/g/ a/>b/ c’/>a/g/>a/
| f/>a/d/>f/ e/>a/c/>e/ | d/>F/B/>d/ c/>E/A/>c/ |
B/>E/G/>B/ A ||
WARD’S JIG. Irish, Double Jig. G Major. Standard tuning. AABB. Source for notated
version: Tony Smith (County Cavan & Dublin) [Mulvihill]. Mulvihill (1st Collection), 1986; No.
32, pg. 71.
WARD’S PILL. AKA and see “The Pill.”
WARFIELD [1]. Old‑Time, Breakdown.
***
C’mon boys, let’s go to Warfield;
C’mon boys, let’s go to Warfield;
Naugytuck’s done gone dry, dry, Naugytuck’s done gone dry.
***
Warfield and
WARFIELD [2]. Old‑Time, Breakdown.
WARKSBURN WALTZ. English, Waltz.
WARLEGGAN OX DRIVER. English, Air.
X:1
T:Warleggan Ox Driver
S:RACCA 2
H:OLD
M:3/4
L:1/8
Q:180
K:D
F2G2|A2B2c2|d4F2|F2G2A2|B4B2|A2F2D2|A2F2D2|F2E2E2|
E4E2|F3EF2|G2F2G2|A2F2D2|B4B2|c3Bc2|d2F2A2|AGF2E2|D4A2||
A2F2A2|G2F2E2|D2A2A2|A4A2|A2F2A2|G2F2E2|D2A2A2|
A4A2|B2G2B2|AF3A2|B2G2B2|AF3A2|d3AF2|B3GE2|
A2G2F2|E4A2|d3cB2|A2A2G2|F2F2E2|D4||
WARLOCK’S STRATHSPEY. AKA – “The Warlock(‘s).” Scottish, Strathspey. E Minor. Standard
tuning. AABB. Composed by Robert Lowe, this 19th century strathspey
has since become popular in
WARM BROTH. English, Reel. D Major.
Standard tuning. AABB.
X:1
T:Warm Broth
M:C
L:1/8
S:John
Rook music manuscript (
K:D
A|d2 AF d2 AF|Eeed cABc|dfef dfef|ABAG Add:|
|:f/g/|afdd dfaf|bgee egbg|afdd dfaf|Bgfe fdd:|
WARM STUFF. AKA and see “Kelton’s Reel,” “Old Dad,” “Pigtown
Fling,” “Ston(e)y Point [1],”
“Wild Horse,” “Wild Horses at Stoney Point.”
The tune appears under this title in Harding’s Collection.
WARPIPER’S DRONE, THE. Irish,
Reel. Giblin (Collection of Traditional
Irish Dance Music), 1928; 31.
WARRIOR O’ PERSIE, THE. Scottish, Slow Air and Strathspey. D Major.
Standard tuning. AAB. Composed by J. Scott Skinner,
dedicated to “W. McCombie Smith, F.S.A., Schoolhouse, Persie, by
Blairgowrie.” William McCombie Smith was an author, among other things, whose
works include Memoir of the Families of M’Combie and Thomas (1890) and The
Romance of Poaching in the Highlands (1904). Smith also prolifically wrote
about and participated in Highland Games, where he competed as a heavy athlete,
although his performance has been described as “mediocre”. In fact he was far
outshadowed by his brother-in-law, Donald Dinnie, called the greatest
X:1
T:Warrior o’ Persie, The
M:C
L:1/8
C:J. Scott Skinner
R:Strathspey or Slow Air
Z:AK/Fiddler’s Companion
K:D
A,|{C}[D2D2] FD A,DFD|G/A/B/c/ dD CE
E>F|{C}[D2D2] F>D B,D .G,.B|A/B/c/d/ A/F/G/E/ FD[A,D] :|
|| g|({D/A/}f>)ga.f
.d.A.F.D|g>abg .e.B.G.E|f>ga.f .d.A.F.D| C/D/E/F/ G/E/A/G/ FD[A,D]g|
({D/A/}f>)ga.f .d.A.F.D |
({G,/B/}g>)abg .e.B.G.E | {C}[D2D2] f>d .B,.D .G,.B|A/B/c/d/ A/F/G/E/
FD[A,D] ||
WARRIOR’S GRAVE, THE. Scottish, Air. D Minor. Standard tuning. AAB. From J. Scott Skinner’s collection Harp and Claymore, composed by Skinner, who called it a “Wild Melody” in his Scottish Violinist, and an “imitation of Welsh Melody” in the Harp and Claymore. Skinner (Harp and Claymore), 1904; pg. 10. Skinner (The Scottish Violinist), pg. 42.
X:1
T:Warrior’s Grave, The
M:C
L:1/8
R:Air
N:”Wild Melody”
S:Skinner – Harp and Claymore
Z:AK/Fiddler’s Companion
K:Dmin
{^c}[E2d2] (A>G) .F.E .D2 | (B,>>D)
(A,>>D) (^C>>E) A/^c/e |
{^c}[E2d2] (A>G) (FE/D/)
(=CB,/A,/) | (G,>>B) (A,>>A) [D2D2] D :|
c | (f>e).d.c (=Bc) .A.F |
B>AGF ED^CA | (f>e).d.^c (da) (A,>^G, |
(A,F) .F.E [D2D2] D.c | (f>e)
.d.c (=Bc) .A.F | (D>^C =C>)F ^C>E) A/^c/e |
{^c}[E2d2] (A>G) (FE/D/)
(=CB,/A,/) | (G,>>B) (A,>>A) {A}(D2D2) ||
WARS IS ALL OVER. English. England, Northumberland. One of the “missing tunes” from
William Vickers’ 1770 Northumbrian dance tune manuscript.
WARST
CARLE IN A THE WORL’, THE. Scottish, Jig. D Major. Standard
tuning. AABB. Kerr (Merry Melodies),
vol. 3; No. 248, pg. 28.
X:1
T:Warst Carle in a the Worl’, The
M:6/8
L:1/8
R:Jig
S:Kerr – Merry Melodies, vol. 3, No. 248
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:D
f|ecA ABc|d2c B2A| ecA AcA|B2c
d2f|ecA AcA|d2c B2A|
cec BdB|AAA A2::g|fdf ece|fdf
ecA|AAA (f2e)|
fBB Bcd|efg afe|fac B2A|cec BdB|AAA
A2:|
WARWICK COURT. English, Country Dance Tune (2/4 time). The melody was originally
published by Charles and Samuel Thompson in their Compleat Collection,
vol. 3 (London, 1773). As with numerous other tunes from the Thompson’s 1773
collection, it was entered into the 1788 music manuscript collection of
fiddlers John and William Pitt Turner (Norwich, Conn.). It is also one of the
“missing tunes” from William Vickers’ c. 1770 Northumbrian dance tune
manuscript. Warwick Court, Holburn, was once the site of Warwick House, the
city residence of the Earls of Warwick in the 17th century, but
replaced by the court in 1708. There was a College of Physicians nearby in the
18th century. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 3), 1773; No. 131.
X:1
T:Warwick Court
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:A
E|A
e2 c|d f2 B|G B2 G|A[Ec][Ce][A,a]|A e2 c|G B2 d|cAGF|E3:|
|:B|GEBE|D B2 D|[Cc] A2 [Cc]|[B,B]DGB|FdEc|DB[Cc]f|edcB|A3:||
WARWICKSHIRE LADS. English, March. G Major. Standard tuning. ABB. A British march from the
Revolutionary War period. Howe catagorizes it with his ‘Scotch Airs’. Howe (1000 Jigs and Reels), c. 1867; pg. 143.
X:1
T:Warwickshire Lads
M:6/8
L:1/8
R:March
S:Howe – 1000 Jigs and Reels
Z:AK/Fiddler’s Companion
K:G
(d/e/4f/4) | (gd).d (ec).c | (dB)z
z2 (d/e/4f/4) | gdd ecc | dBz z2B | {c}BAB G2B | d^cd A2G |
FAd GBe | Adf Beg | fed ^cBc | d2d
d2 |: B/c/ | (dcd) e3 | (dcd) e3 | (dB)B (cA)A | (BG)G G2 :|
WARWICKSHIRE WILL. English, Country Dance Tune (whole time). B Flat Major. Standard
tuning. AABB. The melody was first published in Charles and Samuel Thompson’s Compleat
Collection, vol. 3 (London, 1773). “Warwichshire Will” is one of the
“missing tunes” from Northumbrian musician William Vickers’ music manuscript
collection, begun in 1770. The title is from a song called “The Warwickhshire
Lad,” probably penned by actor David Garrick, performed at the Stratford
Jubilee in 1769 (see note for “Stratford
Jubilee”). It goes, in part:
***
Old Ben, Thomas Otway, John Dryden,
And half a score more we take pride in,
Of famous Will Congreve we boast too the skill,
But the Will of all Wills, was a Warwickshire Will,
Warwickshire Will,
Matchless still,
For the Will of all Wills, was a Warwickshire Will.
***
Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 3), 1773; No. 125.
X:1
T:Warwickshire Will
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
g|fdBF G B2d|F A2 c BFD[B,B]|fdBF GBdg|fedc (B2B)::F|AFcA ecgf|edcB BAGF|
Egab
fdcB|Aced “tr”d2c2|bfdB gfed|edcB AGFE|GEBE FDce|dcBA (B2B):||
WAS EVER A MAN SO TOST
IN LOVE. AKA and see “Sir Guy.”
WAS YOW AT THE WEDDING. AKA and see “Dick a Dollis,” “Lady Jane Stuart’s Rant,” “Stewart’s Rant,” “Stuart’s Rant.” Scottish. John Glen (1891)
finds the earliest appearance of the tune in Joshua Campbell’s 1778 collection
(pg. 22).
WASH WOMAN, THE. AKA and see “The Irish Washerwoman.”
WASH YOUR FACE. Irish, Air (6/8 time). E Flat Major. Standard. AB. “From A.P.’s MS.
Book” (Joyce). Joyce (Old Irish Folk
Music and Songs), 1909; No. 738, pgs. 365‑366.
WASHDAY. See “Washing Day [1], The.”
WASHING DAY [1], THE. AKA
and see “There’s
Nae Luck Aboot the Hoose (There’s Nae Luck Ava) [1],” “Up and Waur Them A’, Willie [1].”
English, American; Schottische. USA, northern New York. G Major (Bohrer): A
Major (Kennedy, Raven). Standard tuning. AAB (Kennedy, Raven): AA’BB’ (Bohrer).
A version of “Nae Luck about the House,” titles from another song sung to the
tune. Musicians in southern
X:1
T:Washing Day, The [1]
M:C|
L:1/8
K:A
|: e | afec defg |afec B2 Be | afec
defa | edcB (A2A) :|
B | c2cA d2dB | c2 cA B2 Be | cccA
defa | edcB A2 AB |
(3cdc cA (3ded dB | (3cdc cA B2 Be |
(3cdc cA defa | edcB (A2A) ||
WASHING DAY [2]. English, Morris Dance Tune (6/8 time). F Minor. Standard tuning. AB. In
the Cotswold village of Adderbury, Oxfordshire, these words are sung during the
dance:
***
Thump! Thump! Scrub! Scrub! Scrub,
scrub away!
The devil a bit of peace I git upon
the washing day!
***
Bacon (The Morris Ring), 1974;
pg. 10.
WASHING WOMAN, THE. AKA and see “The Irish Washerwoman.”
WASHINGTON AND LEE
SWING [1]. American, March (cut time). A
Major. Standard tuning. One part. A chromatic swing tune. Source for notated
version: Cecil Brower and Cliff Bruner with Milton Brown’s Musical Brownies
(Texas) [Phillips]. Marimac 9017, Vesta Johnson (Mo.)
– “Down Home Rag.”
WASHINGTON AND LEE
SWING [2]. AKA and see “Washington County.”
“Washington and Lee Swing” is a swing tune popular in the “big band” era,
although it is said to have been derived from like Glen Miller, and that tune
was derived from a marching band tune.
WASHINGTON COUNTY. AKA and see “Washington and Lee
Swing” [2]. Bluegrass, March (cut time). USA. A Major. Standard tuning. One
part (Phillips): AB (Brody). A bluegrass double-stop show-piece “composed” by
bluegrass fiddler Kenny Baker, although it apparently is based on “Washington
and Lee Swing.” Baker was Bill Monroe’s fiddler with the Bluegrass Boys for
twenty years. Kenny Baker [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 285. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 163 (appears
as “Washington and Lee Swing” [B]). County 719, Kenny
Baker‑ “Portrait of a Bluegrass Fiddler.” County 2705, Kenny Baker –
“Master Fiddler.” Rounder 0086, Butch Robbins‑ “Forty Years Late.”
WASHINGTON FUNERAL
DIRGE. American, Slow Air or March (4/4
time). USA, southwestern Pa. D Major. Standard tuning. AB. Bayard identifies
this tune as a development of the wedding march in “Lohengrin,” though he is
unsure whether the tune is named for the Pennsylvania town or the first
president. Source for notated version: Mount Pleasant Tablatures (a fife MS
from southwestern Pa., 1950’s) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 24, pg. 27.
WASHINGTON HORNPIPE. AKA and see “Good for the Tongue,”
“Jenkin’s Hornpipe,” “Na Cois
Céimeanna,” “The Stoney/Stony Steps.”
Scottish, Hornpipe. B Flat Major (Honeyman, Kerr): A Major (‘A’ part) & D
Major (‘B’ part) {Brock}. Standard tuning. AABB (Honeyman): AA’BB (Kerr). An
early recording of the tune is by accordion player William McElligot in New
York in 1934. McElligot was from Newcastle West, County Limerick, but spent
most of his life in the United States. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 51. Kerr (Merry Melodies), vol. 1; No. 31, pg. 46.
Ryan’s Mammoth Collection, 1883; pg.
127. Gael Linn 155, Paul Brock – “Mo chairdin.” Sue
Richards – “Hazel Grove.”
X:1
T:Washington Hornpipe
M:4/4
L:1/8
K:A Major
ABcd eA (3AAA | fAgA aA (3AAA | fAeA
dBcA | (3BcB GB AGFE |
ABcd eA (3AAA | fAgA aA (3AAA | fAeA
dBcA |1 (3BcB GB A (3EFG :|2 (3BcB GB A (3F_G^G ||:
AD (3DDD BD (3DDD | dcBA BAFD | dcBA
BAGF | E2 CE DCB,A, | AD (3DDD BD (3DDD |
dcBA BAFD | dcBA BAGF |1 (3EFE CE D
(3FG^G :|2 (EFE CE D2 ||
WASHINGTON HORNPIPE
[2]. AKA and see “Tumbler’s Hornpipe [1].”
WASHINGTON QUICKSTEP. AKA and see “Steamboat Quickstep.”
American, Quickstep (6/8 time). A Major. Standard tuning. AABB. Sanella (Balance and Swing); CDSS.
WASHINGTON QUADRILLE. AKA and see “Up and Down
Old Eagle Creek,” “Taylor’s
Quickstep [2].” Old‑Time, Breakdown. USA, Kentucky. C Major (‘A’
part) & G Major (‘B’ part). Standard tuning. AA’BB’. Source for notated
version: fiddler Andy Palmer of north-central
***
Printed American versions appear in
Daniel Steele’s New and Complete Preceptor for the German Flute (Utica,
N.Y., 1815), John Ashton’s New and Complete Preceptor for the Clarionet
(Boston, 1825), and Firth and Hall’s Newly Improved Instructor for the
Clarinet (New York, 1832). Sources for notated versions: Smith Paine (
X:1
T:
T:General Washington’s March
M:C
L:1/8
S:Captain George Bush MS.
K:G
D2 | G2 G>A G>B d>B | AG AB
A2 GA | B>A B>c B>c d>c | B>G G>G G2 :|
|: gf | e2 c>c c2 a/g/f/e/ | d2
BB B2 G/B/d/g/ | c2 AA A>e d>c |
B2 G>G G>e d>c | (3Bcd
(3efg B2 A2 | G2 GG G2 K
|: ga | b2 G>G G2 ga | (3gab
G>G G2 gf | e>f g>a g2f2 | e2 ee ef a/g/f/e/ |
dc de dg bB | cB cd ce dc | BA Bc
B2A2 | G2 GG Gg d/c/B/A/ | G2 G>G G2 :|
X:1
T:
M:C
L:1/8
S:William Sidney Mount (1807-1868)
manuscripts
N:Mount dates his manuscript page
for this tune “Stony Brook (
N:August 30th 1843.” At
the top right of the page is the note “Old Music.” Professor
N:Samuel Bayard (1981) describes this
tune as an “international tune” often played as a
N:march, although sometimes utilized
for dancing. He finds that it appears twice in
N:Glasgow publisher James Aird’s Selections
of Scotch, English, Irish and Foreign Airs
N:782), Vol. II, No. 152 (the tune
does not seem related to my ear), and Vol. III, No.
N:544. Kennedy (vol. 2) gives it as
“The Golden Farmer.” Somewhat distanced Irish
N:hornpipe versions appear in
O’Neill’s Music of Ireland as “Tomorrow Morning” and in
N:the Roche Collection (Vol.
II) as “The Black Horse.” Continental versions can be
N:found in Boehme (1886, No. 345)
given as a Dutch Dance, in Forestier & Anderson
N:Norway Music Album, 1881, No. 5, pg. 114) as a wedding march, and
in the Journel
N:of the Welsh Folk Song Society (Vol. 2, Pt. 1, pg. 40) in a vocal set.
Bayard’s own
N:version was collected in the field
from a Juniata County, Pennsylvania, fiddler named
N:Samuel Losch in the 1930’s. Other
American versions are printed in Ford (“Exhibition
N:March No. 1”) and in Ryan’s
Mammoth Collection (1883) as the hornpipes “Morning
N:Fair” and “Texarkana.”
Z:Transcribed and annotated by
Andrew Kuntz
K:D
AB/c/ | d2
dd d2 (f>d) | e2 e>e e2 g>e | f2 ff fagf | edcB AGFD |
dAFA dfed |
ecAc egfe | (f/g/a fd e/f/g ec | d2 d>d d2 || fg |
agfg aagf |
gfef ggfe | fede fagf | edcB AGFE | dAFA dfed |
ecAc egfe | (f/g/a) fd (e/f/g) ec |
d2 d>d d2 ||
WASHINGTON’S MARCH
[2].
American, March (2/4 time). USA, southwestern Pa. G Major. Standard tuning. AB.
Source for notated version: St. Clair (elderly fifer from Greene County, Pa.,
1960; learned from his father) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 298, pgs. 252‑253.
WASHINGTON’S MARCH
[3]. Old‑Time,
Breakdown. USA, West Virginia. D Major. DDad tuning. AA’. Despite the title,
the tune is played in reel tempo. May possibly be a very distant derivative
of “Washington’s Grand March,” although
there were many melodies in America that carried the Washington name, an
indication of his influence even in backwoods areas. Betty Vornbrock notices a similarity in the high part of Hammons’
version and the ‘B’ part of the Shetland tune “Sleep Soond i’da Moarnin’”.
Allan Jabbour (in 1984 notes to Edden Hammons recording) says that this is one
of the tunes in the Hammons family repertoire that has special family
associations, in that it was considered to have been composed by early family
members, “or at least uniquely preserved by them.” The original 1947 field
recorder, a folklorist named Louis Watson Chappell, stated that Edden Hammons
won the 1939 Greenbrier Valley fiddle championship playing “Washington’s
March,” and the he had learned it “59 years ago and first played it on a gourd
covered by a deer skin” (quoted by Jabbour). Randolph County, West Virginia,
fiddler Woody Simmons (b. 1911) remarked in a 1979 interview for Goldenseal Magazine:
***
(Edwin Hammons) made that old “George Washington March” up
himself. One day I said, “Edwin, play me that ‘George Washington
called Dewey Hamrick ‘Jewey’—he said, “I won’t play her fer Jewey,
but I’ll play her for you.” And he did, he played me the “George
contest in Glenville with it. I could never win nothing at Glenville
(the West
Virginia State Folk Festival), only with
the old “George
Washington March.” You tune the
fiddle altogether different to
play that. Edwin Hammons would drop the G string down to D,
and the E string down to D. (Mountains
of Music, 1999, John Lilly ed., pg. 22)
***
The melody was also played in this
tuning by eastern Kentucky fiddler Ed Hayley. Source for notated version: Edwin/Edden Hammons
via his nephew Burl Hammons (Pocahontas County, West Virginia) [Krassen].
Krassen (Masters of Old Time Fiddling),
1983; pg. 81. WVU Press SA-1, “Edden Hammons
Collection I” (1999). Yazoo 2103, Eddon Hammons – “American Rural Classics
1927-37.”
WASHINGTON’S MARCH
[4]. AKA – “Washington’s March at the Battle of
Trenton.” American, March. G Major. Standard tuning. AABB. The melody appears
in a number of very late 18th century and early 19th
century American publications and musicians manuscripts, and was very popular,
judging from its apparent inclusion in most of the surviving musicians
copybooks of the era (esp. those of fifers). It was printed in Benjamin Carr’s Military
Amusement (New York, 1796), Gilfert’s Gentleman’s Pocket Companion for
the German Flute or Violin (New York, 1802), Riley’s Flute Melodies,
vol. 1, 1814, Daniel Steele’s New and Complete Preceptor for the Fife
(Albany, 1815), and Joseph Herrick’s The Instrumental Preceptor (Exeter,
N.H., 1807), among others. “Washington’s March” appears in the music manuscript
collections of Ira Clark (Simsbury, Ct., 1801), flute player H. Canfield
(Hartford, 1823), fiddler John Curtiss (Cheshire, Conn., 1800), Silas Dickenson
(Amherst, Mass., 1800), Daniel Henry Huntington (Onondage, N.Y., 18), Gurden
Trumbull (Stonington, Conn, 1801), and John Treat (Durham, compiled c.
1779-1802), to name just a few. The “Washington’s March at the Battle of
Trenton” is the name printed with the tune on various songsheets of the era.
Oscar George Theodore, writing in his book A Bibliography of Early American
Secular Music (1905), finds the melody of “Washington’s March at the Battle
of Trenton” in R. Shaw’s Flute Preceptor or Columbian Instructor
(Philadelphia, 1802), in which it is titled “The President’s New March.” From
this he concludes that “Washington’s March [4]” is a turn of the century
composition. Mattson & Walz (Old Fort Snelling…Fife), 1974; pg. 89.
X:1
T:Washington’s March [4]
M:C
L:1/8
K:G
G2 D>G B2 G>B|d2 B>d g4|e2
g>e d2 g>e|d>cB>A B2G2|e2 g>e d2 g>e|d>cB>A B2G2|
B/c/B/c/ dd edcB|A2 d>d
d4|B/c/B/c/ dd edcB|A2 A>A A3g|gfed fedc|d2 d>d d4:|
|:A/B/A/B/ cc dcBA|B/c/B/c/ dd
edcB|A/B/A/B/ cc dcBA|A2 A>A A4|
d/e/d/c/ B/c/B/A/ G3d|g2 fe f2
de/f/|g2 d2 d>d d/e/f/d/|g2 G>G G2 de/f/|ggfe dcBA|G2 G>G G4:|
WASHINGTON’S REEL. AKA and see “Widow Dickens.” American, Reel. G Major. Standard tuning. AABB. There are many tunes, nearly all American, that are named for George Washington. This particular tune was better known under variants of the title “Widow Dickens.” “Washington’s Reel” appears in several early 19th century music publications and musicians’ copybooks. In print, the melody appears in Joshua Cushing’s Fifer’s Companion No. 1 (Salem, Mass., 1805), Samuel Holyoke’s Instrumental Assistant (Exeter, N.H., 1800), William Williams’ New and Complete Preceptor for the Fife (Utica, N.Y., 1819), and John Trumbull’s Gentleman’s and Lady’s Companion (Norwich, Conn., 1798). Manuscript versions appear in the copybooks of Samuel Morse (Newburyport, Mass., 1811), Josiah Adams (Framingham, Mass., compiled 1808-1818), Gurden Trumbull (Stonington, Conn., 1801), and fifer Thomas Nixon (Danbury, Conn., compiled c. 1776-1778). Its inclusion in the Trumbull manuscript dates it to the time of the American Revolution. “Washington’s Reel” can even be heard being played by the mechanism of a musical clock by the famous Trenton, N.J., clockmakers Leslie and Williams, c. 1798-1799.
X:1
T:Washington’s Reel
M:2/4
L:1/8
R:Reel
K:G
GB/G/ GB/G/|A/B/c/d/ c/B/A/G/|B/d/g/d/ B/d/g/d/|e/c/A/F/ G2:|
|:c/B/c/d/ e/f/g/e/|d/c/B/A/ BG|gd/B/ gd/B/|e/c/A/F/ G2:|
WASHROOM REEL. Similarities to "Billy in the Lowground.”
WASN’T SHE FOND OF ME? (“Nac Bi
Grad Aci Orm Sa?” or “Nac Raib Grad Aici Orm”). Irish, Double Jig. A Dorian. Standard tuning.
AABB. O’Neill (Krassen), 1976; pg. 35. O’Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 865, pg. 160. O’Neill (Dance Music of Ireland:
1001 Gems), 1907/1986; No. 125,
pg. 36.
X:1
T:Wasn’t She Fond of Me?
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 125
Z:AK/Fiddler’s Companion
K:A Minor
g/f/|:eAA eAA|efe edB|eAA eAA|ded
BAG|eAA eAA|efe edB|de^f gfg|edc BAG :|
|:de^f gfg|edB eAA|de^f gfg|edc
BAG|de^f gfg|aba abc’|bag g^fe|dge dBG :|
WASOLY KOMINIARCZYK. Polish. USA, Pa. In the repertory of Buffalo Valley, Pa., region dance
fiddler Ralph Sauers.
WAST
SIDE TROWS’ REEL. Shetland, Reel. D Major. Standard
tuning. AABB. Early in the 19th century one Hakki Johnson lived at
Tumlin, Aithsting, Shetland, who was reputed to have been an excellent fiddler
“but rather weak‑minded when the moon was full. His neighbours said he
was ‘No aa dere.’ One winter night he called on a neighbouring fiddler and
played a weird tune, asking when he had finished, ‘Kens du yon ton?’ On getting
a negative reply he told the following story: ‘Twa nights ago I was playing at
yon rant at Aith an left for hame some time efter tree in da moarnin. When I
was below da Broch a Houlland I tocht I heard a fiddle playin. I stopped and
listened and heard da reel going on for some time. When it stopped I gied on my
way. Yon was hit I played een‑noo’” (Anderson & Georgeson, 1970).
Source for notated version: A. Abernethy (Shetland) [Anderson & Georgeson].
Anderson & Georgeson (Da Mirrie
Dancers), 1970; pg. 14.
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