The Fiddler’s Companion

© 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]

 

 

 

WAT YE HOW THE PLAY BEGAN. AKA and see “The Haughs o' Cromdale.

                       

WAT YE WHE I MET YESTREEN. AKA and see "Lord Haddo's Favorite." Scottish, Slow Air (4/4 time). A Mixolydian. AEae or Standard tunings. AABBCCDD. The title means "Guess who I met last night," and is the first line of Ramsay's song "The young laird and Edinburgh Katy," printed in the Tea Table Miscellany, volume I. Gow, who said the melody was “Very Old” in his 1788 collection, later re-titled the tune "Lord Haddo's Favourite."  Source for notated version: Trotter MS, 1780, pg. 63 [Johnson]. Neil Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 11 (3rd edition. Appears as “Wat ye wha I met the streen”). Johnson (Scottish Fiddle Music in the 18th Century), 1984; No. 49, pg. 114.

X:1

T:Wat ye wha I met the streen

T:Wat ye whe I met yestreen

M:C

L:1/8

R:Reel

B:Gow – 2nd Collection of Niel Gow’s Reels, pg. 11  (1788)

Z:AK/Fiddler’s Companion

K:D

F|B2 ~cB ~ce f2|e”tr”cac d/c/”tr”B/A/ F2|A>B {A/B/}c>B ABce|”tr”E2 F>A {A/B/}cBB:|

|:f|~b>c/ba (b/c’/d’/)c’/ “tr”b2|a>b (a/b/c’/)b/ (c’/b/).a/f/ ea|{^g}”tr”f2 ec (f/e/f/^g/) a>F|”tr”E2 FA {A/B/}cBB:|

                       

WATCH! WATCH! FORWARD! FORWARD!. AKA and see "Faire! Faire! Ar Aghaidh! Ar Aghaidh!," "The Pharroh or War March," "Yellow Wattle, 2nd set."

           

WATCH WHERE YOU TREAD. AKA – “The Duck-Shit Polka.” English, Polka. D Major. Standard. AAB. Composed by fiddler and melodeon player John Barry of Lewes, England.  It was written for a friend whose house had an open door, writes Chris Partington (Tradtunes 3.11.05), a haven of sorts for captive waterfowl who had access to the house and who made use of it for nesting.  One day while arriving for a rehearsal the composer chanced on a lodger just leaving the premises. “When you go in—watch where you tread,” he told John, who found ducks in the living room. Duck excrement dotted the living room, leaving John to fairly dance his way around it—and he continued the practice with a cockerel perched on his shoulders, as well! 

X: 1
T:Watch Where You Tread
T:Duck-shit Polka
M:C
L:1/8
Q:225
C:by John Barry of Lewes
S:Duck-shit Polka,aka
O:England
A:Sussex
Z:Chris Partington
K:D
||:F2G2|A2BA F2A2|G2AG E2G2|F2D2 AFD2|B4 B4|!
A2BA F2A2|G2AG E2G2|F2D2 ^C2E2|D4:|!
B2c2|(d3e/d/) B2G2|d2D2 G2B2|(d3e/d/) c2B2|A4 F2G2|!
A2BA F2D2|A2A,2 D2F2|A2BA G2F2|E4 B2c2|!
(d3e/d/) B2G2|d2D2 G2B2|(d3e/d/) c2B2|A4 F2G2|!
A2BA F2A2|G2AG E2G2|F2D2 ^C2E2|D4|]

           

WATCHMAKER, THE (An Uargaireacan/Uaireadoiride). AKA and see “Niel Gow’s Wife [1].” Irish, Reel. A Dorian. Standard. AAB. The strathspey “Niel Gow’s (Second) Wife” is a related tune. Source for notated version: James O’Neill (County Down/Belfast/Chicago) [O’Neill]. O'Neill (Krassen), 1976; pg. 159. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1539, pg. 284. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 755, pg. 132. Taylor (Traditional Irish Music: Karen Tweed’s Irish Choice), 1994; pg. 23. Great Meadow Music GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004).

X:1

T:Watchmaker, The

M:C|

L:1/8

R:Reel

S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 755

Z:AK/Fiddler’s Companion

K:A Minor

ed|:cAAc BGGB|cAAB cded|cAAc BGGB|(3cBA BG EAAB:|

||c2 ec gcec|G2 BG dGBG|c2 ec gcec|eaag eaab|geeg ^f<dd=f|

e>ccg d<BGB|ABcd efed|(3cBA BG EAAB||

 

WATCHMAN RING THAT BELL. Old-Time. In the repertoire of Roscoe and Leone Parish. County CD 3510, Ernest V. Stoneman - “Edison Recordings--1928" (1996. This instrumental, fiddled by Hattie Stoneman, was the last recording that the Stoneman band {from Carroll County, Va.} did for Edison).

 


WATCHMAN'S SONG. English, Air (4/4 time). G Major. Standard tuning. One part. From Charles Dibdin's ballad opera the "Touchstone." Dibdin was an actor and a singer who also composed much music for various ballad operas, though his chief claim to fame was a one-man-review called the Private Entertainment, for which over the years he wrote many songs.        

***

My name's Ted Blarney I'll be bound--

Man and boy upon this ground

Full twenty years I've beat my round

Crying Vauxhill Watch!

 

WATE YOU HOW THE PLAY BEGAN. AKA and see "The Oyster Wife's/Wives' Rant," "The Haughs o' Cromdale," "The Hillside [2]," "Welcome  Home," "(Fare Thee Well) Sweet Killaloe."

                       

WATER DOG’S HOLE, THE. AKA and see “The Otter’s Holt,” “The Water Hole.

                       

WATER HOLE, THE. AKA and see “The Otter’s Holt,” “The Water Dog’s Hole.

                       

WATER IS WIDE, THE. AKA and see “O Waly, Waly.” American, Air. An American hymn version of the old Scots ballad tune “O Waly, Waly.”

X:1

T:The Water is Wide

M:4/4

L:1/4

K:G

D/2 G/2G/2 A|B4-|B A/2A/2 GE|D4-|D>D GF|G4-|G G/2A/2 Bc|

A4-|A>A Bc|d4-|d c/2B/2 AG|B4-|B>A GE|D4-|D>E GF|G4||

                       

WATER MUSIC HORNPIPE. English, (Old) Hornpipe (3/2 time). D Minor. Standard tuning. AABB. From Handel’s Water Music? Plain Brown Tune Book, 1997; pg. 10.

                       

WATER OF TYNE, THE. English, Air (6/8 time). England, Northumberland. D Major. Standard tuning. One part. The River Tyne marks the border between County Durham and County Northumberland for much of its course, in the northeast of England.

***

 

I cannot get to my love, if I would dee,

The water of Tyne runs between him and me;

And here I must stand with the tear in my e'e,

Both sighing and sickly my sweetheart to see. (Bruce & Stokoe)

 

 

River Tyne, East Linton

***

Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 89.

X:1

T:Water of Tyne, The

M:6/8

L:1/8

R:Air

S:Bruce & Stokoe – Northumbrian Minstrelsy  (1882)

Z:AK/Fiddler’s Companion

K:D

A|AFF AFE|DD>D D2 E/F/|GGF EFA|BB>B A2 F/E/|

Dd>d de>f|dA>B B2 c/d/|AFA A>FE|DD>D D2||

                       

WATER OFF A DUCK.  Irish, Jig. Composed by the late County Tipperary fiddler Seán Ryan (d. 1985). Ryan (Seán Ryan’s Dream), 28.

 

WATER PARTED FROM THE SEA. 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.

                       

WATER RUNS (RUINS?) BRANDY. English. England, Northumberland. One of the "missing tunes" from William Vickers' 1770 Northumbrian dance tune manuscript.

                       

WATER STREET POLKA. AKA and see “The Halfdoor,” “The Grand Old Dame,” “The Lisdoonvarna Polka [2],” “The London Bridge Polka,” “Leather Away with the Wattle.

                       

WATERBED, THE. Irish, Reel. A Dorian. Lunasa.

X:1

T:The Waterbed

C:Diarmaid Moynihan, Black Hat Music

D:Calico, "Celanova Square", Ossian OSS CD 100

R:reel

M:4/4

L:1/8

K:Ador

EAAE c2 AG|EGDG ED (3EFG|AEGA cA ~A2|cdec dcAG|

EAAE c2 AG|EGDG EG (3bcd|ecdc AEGA|dcAG EA A2:|

|:~e2 de ge ~e2|cdeg dcAc|~e2 de ga ~a2|gedc AEGA|

~e2 de ge ~e2|cdeg dega|gaeg deGA|cAGA EA ~A2:|

                       

WATERBOUND. AKA and see “Stay All Night,” "Way Down in North Carolina." Old‑Time, Song/ piece. USA, Virginia. A Major. Standard. AB (Silberber): AABB (Kuntz). This piece is originally from Roscoe Holcomb, though the Bogtrotters also recorded an early version of the song. Source for notated version: Art Rosenbaum [Kuntz].

***

Chickens crowin' in the old plowed field, (x3)

Down in North Carolina.

***

Refrain (Verses 1‑3)

Waterbound and I can't go home, (x3)

I have to stay till morning.

***

Bill and Charlie lets go home, (x3)

Before the water rises.

***

The water's up and I can't get across, (x3)

I'll ride the old white horse.

***

The old man's mad but I don't care, (x3)

Just so I get his daughter.

If he don't give her up I'm a‑gonna run away, (x3)

Down in North Carolina.

***

Waterbound and I can't go home, (x3)

Down in North Carolina.    (Kuntz)

***

Kuntz (Ragged but Right), 1987; pg. 315‑316. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 165. Carryon Records 005, "The Renegades" (1993). County 534, Fields Ward‑ "Round the Heart of Old Galax, Vol. II" (various artists). Kicking Mule 203, Art Rosenbaum‑ "The Art of the Mountain Banjo." Rounder CD 0383, Mike Seegar and Paul Brown - “Down in North Carolina” (appears as “Way Down in North Carolina”).

X:1

T:Waterbound

L:1/8

M:2/4

B:Kuntz – Ragged but Right

K:A

c/c/B AA/B/|c/d/c/B/ AA|BB/B/ Bc/B/|A/B/A/F/ E>(E|E)F/F/ AA/B/|c/B/c/d/ e2|

fe/e/ cc/B/|A2A2|c/c/B AA/B/|c/d/c/B/ AA|BB/B/ Bc/B/|A/B/A/F/ E>(E|

E)F/F/ AA/B/|c/B/c/d/ e2|fe/e/ cc/B/|A2A2||

|:aa/a/ aa/a/|f/e/c e(B|c)c/B/ c/B/A|f/e/c/d/ ee|aa/a/ aa/a/|f/e/c ee|fe cB/c/|A2A2:|

                       

WATERFALL [1], THE. English, Hornpipe?  England, North‑West. A Minor. Standard. AA'B. Modern composition by Martin Lynott. Knowles (Northern Frisk), 1988; No. 155.

 

WATERFALL [2], THE. Irish, Reel. D Major. Standard. ABCD. Composed by fiddler and pianist Josephine Keegan (b. 1935), of Mullaghbawn, south County Armagh. Keegan (The Keegan Tunes), 2002; pg. 37.

                       

WATERFALL WALTZ. AKA and see "Caerdroea." English, Waltz. D Major. Standard. AAB. Barnes (English Country Dance Tunes), 1986.

                       

WATERFORD BOAT SONG, A. Irish, Air (4/4 time). F Major. Standard tuning. One part. Source for notated version: “From Mr. O’Kelly” [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 696, pg. 175.

X:1

T:Wateford Boat Song, A
M:C
L:1/8

R:Air

S:Stanford/Petrie (1905), No. 696

Z:AK/Fiddler’s Companion

K:F

C2 | F2 F>F F2 Ac | d>d d>c A2 GF | G2 G>G G2 Ac | d3A c3c |

f>f fe ed dc | f>A A>G GF DC | F2 A>F G2 G>F | F6 c2 |

f>f fe ed dc | f>A A>G GF DC | F2 A>F G2 G>F | G6 ||

                       

WATERFORD GIRLS (Cailíní Phort Láirge). AKA and see “Drive the World Before Me [1].” Irish, Scottish; Slip Jig. D Major. Standard tuning. AABB. Similar in the first part to “Sail round the Rocks.” See also the related “Shamrock (Slip Jig).” Source for notated version: an early 20th century manuscript by Bernard Bogue (Counties Monaghan and Tyrone) [Breathnach]. Breathnach (CRÉ IV), 1996; No. 32, pg. 19. Kerr (Merry Melodies), vol. 3; No. 243, pg. 27.

X:1

T:Waterford Girls

M:9/8

L:1/8

R:Slip Jig

S:Kerr – Merry Melodies, vol. 3, No. 243   (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

d2d d2e fga | d2d d2f ecA | d2d d2e fga | bag fge d3 :|

|: ABA F2G ABc | ded fed e3 | ABA F2G ABc | dcd ecA d3 ||

                       

WATERFORD HORNPIPE. AKA and see “Dwyer’s Hornpipe [2],” "Prime's Hornpipe," "Muddy Water [1]," "Durroch's Hornpipe," "O'Dwyer's Hornpipe [1]." Irish, Hornpipe. G Major. Standard. AABBCC. Neil Mulligan says the tune is “one of several tunes (O’Farrell) named and renamed after his favorite city,” Waterford. O'Farrell (Collection of National Irish Music for the Union Pipes), 1804; pg. 24. O’Farrell (Pocket Companion for the Irish or Union Pipes), 1797‑1800; pg. 24.

X:1

T:Waterford Hornpipe

M:C|

L:1/8

R:Hornpipe

S:O’Farrell – National Irish Music for the Union Pipes (1804)

Z:AK/Fiddler’s Companion

K:G

dc | BdGG G2 AG | FADE D3c | BdGG G2 Bd | egfa gedc | Bd GG G2 AG | FADE D3c |

BGdB ecAF | G2 GA G2 :: g/a/ | b3c’ bgdg | fgab gfed | efge abag | fadd d2 ga |

b3 c’ bgdg | fgab gfed | egfa gedc | B2G2G2 :: Bc | (dB) B2 DGBG | (dB) G2 DGBG |

cA A2 DFAF | cA A2 DFAF | dBGB ecAc | egfa gfga | bgaf gedc | B2G2G2 :|

                       


WATERFORD SPECIAL, THE. American, Reel. USA, southwestern Pa. C Major. Standard tuning. AB. The tune was given the name by the source for Waterford County, Pa., "where three out of five plays the fiddle." Bayard (1981) thinks that Christeson's (1973) "Lost Indian [4]" is a version. Source for notated version: Harry Queer (Westmoreland County, Pa., 1957) [Bayard]. Bayard (Dance to the Fiddle), 1981; No. 380, pgs. 365‑366.

                       

WATERFORD WALTZ. Irish, Waltz. D Major. Standard tuning. AABBCCDD. An early example of a waltz. The title can be found in O'Farrell's c. 1810 Pocket Companion, vol. IV, one of several tunes with County Waterford connections in his volumes.  Little is known about uilleann piper O’Farrell, save that he spent some years playing on the London stage, but the Waterford titles suggest he may have hailed from the county, or knew it well. Philippe Varlet reports that the tune was reintroduced by Micheal O'Suilleabhain's early band Oro Damhnaigh on a 1977 Gael-Linn LP and has since been recorded by the Boys of the Lough and Gerard Trimble. O’Farrell (Pocket Companion, vol. IV), c. 1810; pg. 138. Shanachie 79067, Boys of the Lough – “Farewell and Remember Me” (1987).

X:1

T:Waterford Waltz

M:3/8

L:1/8

R:Waltz

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

Z:AK/Fiddler’s Companion

K:D

F/G/ | AAd | BBe | c/B/A/B/c/A/ | dfa | AAd | BBe | c/B/A/B/c/A/ | d2 :|

|: e/f/ | g/e/A/c/e/g/ | f/d/A/d/f/d/ | c/e/g/e/d/c/ | dfa | g/e/A/c/e/g/ | f/d/A/d/f/d/ |

c/e/g/e/d/c/ | d2 :: F/G/ | A/d/F/d/A/d/ | B/d/G/d/B/d/ | c/e/g/e/d/c/ | d/f/a/f/d |

A/d/F/d/A/d/ | B/d/G/d/B/d/ | c/e/g/e/d/c/ | e d :: f/g/ | aa/b/c’/d’/ | bgg |

f/d/g/e/f/d/ | e/d/c/B/A/>f/ | aa/b/c’/d’/ | bgg f/d/g/e/d/c/ | ed :|

           

WATERHOUSE’S (WALTZ).  English, Waltz. A Major (‘A’, ‘B’ parts) & D Major (‘C’, ‘D’ parts). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 192, pg. 52.

           

WATERLOO [1]. Irish, Air (4/4 time). F Major/Mixolydian. Standard tuning. One part. Source for notated version: "Mr. M'Kenzie of Newtownards, a great lover of Irish Music and of the corresponding folk songs," c. 1879 (Joyce). Joyce (Old Irish Folk Music and Songs), 1909; No. 338, pgs. 155‑156.

X:1

T:Waterloo [1]

M:C

L:1/8

R:Air

S:Joyce – Old Irish Folk Music and Songs (1909)

Z:AK/Fiddler’s Companion

K:F

F2|B3A B2c2|d3c G2E2|FDCD F2F2|F4 z2_e2|d2c2d2=e2|f3d B2c2|

d2f2 fede |c4z2_e2|d3c d2=e2|f3d B2c2|d2f2 _edcB|

G4 z2B2|A2F2D2C2|B2G2F2D2|C3D F2F2|F4z2||

 

WATERLOO [2]. Scottish, Scotch Measure or Country Dance (cut time). D Major ('A' and 'B' parts) & B Minor ('C' part). Standard tuning. AABBCC. Stewart-Robertson (The Athole Collection), 1884; pg. 149.

X:1

T:Waterloo [2]

M:C|

L:1/8

R:Country Dance

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

Z:AK/Fiddler’s Companion

K:D

A/B/c|d2dA F2AF|D2D2D2FA|B2BA G2ed|cded cABc|d2dA F2AF|

D2D2D2FA|B2Bd cdec|d2f2d2:|

|:cd|ecAc fdAf|gfgf gece|dcdB BAGF|E2e2e2cd|ecAc fdAf|gfgf gece| dcde fef^g|a^gag a2:|

|:F2|B2B^A B2Bc|dcde f3e|edcd Bcde|f2F2F2^A2|B2B^A B2Bc| dcde fgfe|fgfe dcB^A|B2B2B2:|

 

WATERLOO [3]. Scottish, Reel. A Major. Standard tuning. AAB. Unrelated to versions #1 or #2 which are unrelated to each other. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pg. 35.

X:1

T:Waterloo [3]

M:C|

L:1/8

R:Reel

K:A

e2 ef edcd|e2 ef eaga|e2 ef edce|Bcde f2 e2:|

a2 ea fedc|a2 ea f2 e2|a2 ea fedc|Bcde f2 e2|a2 ea fedc|a2 ea f2 e2| aefa fedc|Bcde faef||

 

WATERLOO [4]. English, Reel. F Major. Standard tuning. AB. The tune appears in Hodsoll’s Collection of Popular Dances No. 24, an undated manuscript with tunes with Napoleonic-era titles and dance instructions for each melody.  

X:1

T:Waterloo

M:C

L:1/8

R:Reel

S:Hodsoll’s Collection of Popular Dances No. 24

K:F

c|f3c BAGF|GABG FEDC|DEFD EFGA|BABG F2 Ec|f3 c BAGF|GABG FEDC|

DEFD EFGB|AGFE F3||c|cfag fedc|(3def (3efg f2c2|dB B2 cA A2|BGAF FEDC|

cfag fedc|(3def (3efg f2 c2|dBBd cAAc|BGFE F3||

 

WATERLOO REEL [5]. AKA and see "The Scotch Rose," "The Scotch Patriot's Reel," "The Rakes of Drumlish," "The Rocks of Antiluce," "The Pride of Kildare," "My Heart with Love is Breaking," "The Duke of Gordon's Rant," "The Duke of Gordon's Favourite," "Lord Gordon's Reel," "Duke Gordon." Irish, Reel.

 

WATERLOO REEL [6].  American (?), Reel. Ryan’s Mammoth Collection, 1883; pg. 50.

 

WATERLOO DANCE. English, Country Dance Tune (2/4 time). D Major ('A' and 'C' parts) & A Major ('B' part). Standard tuning. AABBCC (Trim): AABC (Sumner). In addition to the Thomas Hardy family and Joshua Gibbons mss. (referenced below) the melody appears in a number of 19th century English musicians’ manuscript copybooks, including Thomas Shoosmith (Arlington, Sussex, early 19th c.), James Haslingden (Midlands, 1827), Thomas Lambert (Ferrybridge, Yorkshire, c. 1860), Robert Dale Owen (New Lanark, Scotland, 1826), Richard Pyle (Nether Wallop, Hamptonshire, 1822), William Carke (Feltwell, Norfolk, 1858) and George Spencer (Leeds, west Yorkshire, 1831). Sources for notated versions: the 1823-26 music ms. of papermaker and musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner]; the early 19th century Thomas Hardy manuscripts (Dorset) [Trim]. Callaghan (Hardcore English), 2007; pg. 69. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; No. 182, pg. 95. Trim (Thomas Hardy), 1990; No. 49.

X:1

T:Waterloo Dance

M:C|

L:1/8

K:D

AG|:F2 eB A2 fe|d2d2d2 cd|e2e2 dcBc|defd A2 AG|F2 dB A2 fe|d2d2d2 cd|

e2e2 dcBc|1 d6 AG:|2 d4 d4||:e2 ec a2 af|e2 ec A2A2|^GABc dBfe|d4 c4|

e2 ec a2 af|e2 ec A2A2|^GABc dBA^G|1 A8 :|2 A6 fg||: a2 aa a2 fa|

b2a2g2f2|e2e2 edef|d2e2f2g2|a2 aa a2 fa|b2a2g2f2|e2e2 edef|1 d6 fg:|2 d6||

 

WATERLOO HORNPIPE. Scottish, Hornpipe. D Major. Standard tuning. AABB. Published in Davie's Caledonian Repository (1829). Kerr (Merry Melodies), vol. 3; No. 339, pg. 36. Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 57.

X:1

T:Waterloo Hornpipe

M:C

L:1/8

R:Hornpipe

B:Kerr – Merry Melodies, vol. 3, No. 339  (c. 1880’s)

Z:AK/Fiddler’s Companion

K:D

(AG)|FGEF DFAd|cdBc Aceg|fgef decd|BcAB GBAG|FGEF DFAd|

cdBc Aceg|fage dfec|d2d2d2::(de)|fedf edce|dcBd cBAc|BAGB AGFA|

GFED DCB,A,|FGEF DFAd|cdBc Aceg|fafd egec|d2d2d2:|

 

WATERLOO (WALTZ), THE.  English, Waltz. G Major (‘A’, ‘B’ parts) & D Major (‘C’, ‘D’ parts). Standard tuning. AABBCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 193, pg. 52.

 

WATERMAN, THE. Scottish, Country Dance Tune (6/8 time). A Major. Standard tuning. AABB. John Glen (1891) finds the earliest appearance of the tune in print in Joshua Campbell's 1778 collection (pg. 58). McGlashan (Collection of Scots Measures), 17__; pg. 15.

X:1

T:Waterman, The

L:1/8

M:6/8

B:McGlashan – Collection of Scots Measures

Z:AK/Fiddler’s Companion

K:A

c/d/|efd cdB|AGA BGE|EFE EFE|d2c Bcd|efd cdB|AGA BGE|E>FE E2d|c>dB A2:|

|:A|A2c e2c|A2d f2d|FGA Bcd|cBA GFE|A2c e2c|A2d f2d|FGA Bcd|cdB A2:|

X:2

T:Waterman, The

M:6/8

L:1/8

S:John Rook manuscript (Wigton, Cumbria, 1840)

K:G

Bc|d>ec B>cA|GFG AFD|DED DED|DGB A2 B/c/|d>ec B>cA|

GFG AFD|DEF Gac|BcA G2::G|G2c edc|G2B dBG|EFG A/B/cA|

ABG FED|G2c edc|G2B dBG|Ece dec|BcA G2:|

                       

WATERMAN’S.  Irish. E Minor. Composed by flute player Michael McGoldrick. Mike McGoldrick – “Fused.”

X:1

T:Waterman's

M:7/8

L:1/8

C:Mike McGoldrick

K:Em

E2B2 BAG|A2GA B2E|GAA2 AGA|Bc BG AGF|

E2B2 BAG|A2GA B2E|GAA2 ABG|AB GF  E3:||

g2e2 efg|f2 BA BdB|c2A2 ABG|AB cd eaf|

g2e2 efg|f2 BA BdB|c2A2 ABG|AB GF EGB|

g2e2 efg|a2 gf efd|b2 ag fga|g2 fe fdB|

g2e2 efg|f2 BA BdB|c2A2 ABG|AB GF E3||

                       

WATERMAN’S DANCE, THE.  AKA and see “Old Spand Hornpipe.” English, “Old” Hornpipe (triple time). C Dorian. Standard tuning. One part. The tune appears in Marsden’s 1705 publication under the title “Old Spand Hornpipe.” Topic 12TS355, John Kirkpatrick & Sue Harris – “Shreds and Patches” (1977). Topic 473, John Kirkpatrick – “A Short History of John Kirkpatrick.”

X:1

T:Waterman’s Dance

M:9/4

L:1/8

R:Old Hornpipe

K:C Dorian

fcedBdcAc|e3efed2c|fcedBdcAc|f3fgf=e2c|

fcBA2Bc3|e3e3/2f/ed2c|fcBA2Bc3|f3fgf=e2c|

A2cG2cF2c|e3dfed2c|A2cG2cF2c|f3fgf=e2c|| 

 


WATERMAN'S HORNPIPE, THE. Shetland. Rhythm notated by the collector Shuldham‑Shaw in 5/2 time, collected in 1947 from the playing of Shetland fiddler John Stickle. Interestingly, "waterboy" and "waterman" are names for fairy spirits in Germany, the country of origin of John's fiddling grandfather Fredemann Stickle who was shipwrecked in the Shetlands and decided to settle there; of course, the Shetland Islands have numerous associations with the sea and seafaring apart from this. Supposedly the tune was of Norse and Scottish origins. Topic 12TS431, "Brass Monkey" (1983).

 

WATERMAN'S RANT. Scottish, Rant. John Glen (1891) finds the earliest appearance of the tune in print in Robert Bremner's 1768 2nd collection (pg. 105).

 

WATERMELON, THE. Canadian, Breakdown. Canada, Prince Edward Island. D Major. Standard tuning. AA’B. Perlman (1996) believes this is probably a PEI variant of an American old-time tune. Source for notated version: Attwood O’Connor (b. 1923, Milltown Cross, South Kings County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 158.

 

WATERMELON (HANGING) ON THE VINE. Old‑Time. USA, Georgia. “Watermelon on the Vine” is a well-known minstrel song, popular with early country music performers.  Georgia’s Skillet Lickers group and Tennessee entertainer Uncle Dave Macon both recorded the song in the mid-1920’s; the former’s became a best-seller. The Skillet Lickers (in the configuration of Gid Tanner and Clayton McMichen on fiddles, Riley Pucket on guitar and vocals, and Fate Norris on banjo) recorded the song in Atlanta on April 17th, 1926, one of eight sides for Columbia records. Wayne W. Daniel (in his book Pickin’ on Peachtree: A History of Country Music in Atlanta, Georgia, 1990) opines: “The output from this historic recording session makes for a rather unimpressive list of what even there were long-familiar tunes and songs: “Hand Me Down My Walking Cane,” “Bully of the Town,” “Pass Around the Bottle and We’ll All Take a Drink,” “Alabama Jubilee,” “Watermelon on the Vine,” “Don’t You Hear Jerusalem Moan,” “Ya Gotta Quit Kickin’ My Dog Aroun’,” and “Turkey in the Straw.”” African-American collector Thomas Talley, in his book Negro Folk Rhymes (1922), prints a stanza under the title “Watermelon Preferred”:

***

Dat hambone an’ chicken are sweet.

Dat ‘possum meat are sholy fine.

But give me,--now don’t you cheat!—

(Oh, I jes wish you would give me!)

Dat watermillon, smilin’ on de vine.

***

Columbia 15091 (78 RPM), The Skillet Lickers (1926). County 526, "The Skillet Lickers, vol. 2" (1973). Heritage 054, Wade Mainer ‑ "Brandywine '83: Music of French America" (1984). Vocalion 5063 (78 RPM), Uncle Dave Macon (1925).

 

WATER-OUZEL, THE. AKA and see "Bog An Locha(i)n."

 

WATERS OF HOLLAND. English, Country Dance Tune (cut time). A Minor. Standard tuning. AABB. Barnes (English Country Dance Tunes), 1986. Varrick VR‑013, Bare Necessities ‑ "English Country Dances" (1987).

 

WATERS OF KYLESKU, THE. Scottish, Slow Air (3/4 time). D Major. Standard tuning. One part. Martin (Ceol na Fidhle), vol. 2, 1988; pg. 19.

 

WATER(S) OF/IN THE SEA. Canadian, Reel. Canada, Cape Breton. G Major. Standard tuning. AABB'. The possible title for a tune listed as "Traditional Tune" in Dunlay and Reich who say, "Although the tune was played by fiddlers in the Mabou area it does not sound like a typical Cape Breton tune." Source for notated version: Duncan MacQuarrie via Mary (Beaton) MacDonald (Cape Breton) [Dunlay and Reich, Dunlay & Greenberg]. Dunlay & Greenberg (Traditional Celtic Violin Music from Cape Breton), 1996; pg. 102. Dunlay and Reich (Traditional Celtic Fiddle Music from Cape Breton), 1986; pg. 65. 02 50399, Dave MacIssac - “Nimble Fingers” (1995. Learned from his father, Alex Dan MacIssac).

 

WATERS OF TYNE, THE. English, Waltz. D major. Standard tuning. One part. Raven (English Country Dance Tunes), 1984; pg. 134.

 

WATKIN'S ALE. English, Country Dance Tune (6/4 time). F Major. Standard tuning. AABBCC (Chappell): AABBC {end on AA} (Barnes). The air appears in Francis Tregian’s Fitzwilliam Virginal Book, vol. 2 (1609-1619) and Dorothy Welde's Lute Book. Chappell finds a very few references to the tune in literature dating to 1592, and mentions two old ballads, one called “A Ditty delightful of Mother Watkin’s Ale” and another entitled “As Watkin walked by the way.” Neither ballad was “suitable for publication” he says, meaning that they were too bawdy or risqué for his Victorian-era publication. However, the ballad begins:

***

There was a maid this other day,
And she would needs go forth to play;
And as she walked she sithd and said,
I am afraid to die a mayd.
With that, behard a lad,
What talke this maiden had,
Whereof he was full glad,
And did not spare
To say, faire mayd, I pray,
Whether goe you to play?

Good sir, then did she say,

What do you care?
For I will, without faile,
Mayden, giue you Watkins ale;
Watkins ale, good sir, quoth she,
What is that I pray you tell me?

***

‘Watkin’s Ale’, as it turns out in the ballad, is semen (he promises to give her some of ‘Watkin’s ale’, which, when she has tasted it, she can’t get enough). Reginald Nettle, in his book Sing a Song of England (1954), says, “The Watkins celebrated in this tune was ‘Mother Watkins’, which will serve as a reminder that the brewing of ale was once a domestic duty.” Nettle finds Thomas Weelkes set to the tune the following words in his Ayeres of Phantasticke Spirites (1608), referring to Will Kemp, the famous Shakespearean actor, dancer and performer:
***

He did labour after the tabor,

For to dance then into France.

***

Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 139. Chappell (Popular Music of the Olden Times), vol. 1, 1859; pg. 265.

X:1

T:Watkin’s Ale

M:6/4

L:1/8

S:Chappell – Popular Music of the Olden Times  (1859)

Z:AK/Fiddler’s Companion

K:F

f4 e2 f4c2 | d4c2 d4A2 | B4A2 B4F2 | A4G2 F6 :|

|: F2A2F2A3Bc2 | G2B2G2B3cd2 | B2d2B2d3ef2 | g4 f2e2c4 :|

|: c2f4 e6 | A2d4 c6 | F2B4 A3G F2 | F2 E4 F6 :|

 

WATSON’S CLASS.  Scottish, Strathspey. E Minor. Standard tuning. AAB. Composed by Niel Gow (1727-1807). Gow (Second Collection of Niel Gow’s Reels), 1788; pg. 10 (3rd edition).

X:1

T:Watson’s Class

M:C

L:1/8

R:Strathspey

C:Niel Gow

B:Gow – 2nd Collection of Niel Gow’s Reels, pg. 10  (1788)

Z:AK/Fiddler’s Companion

K:E Minor

G/F/|E”tr”BG”tr”B EB {B}e>^c|d>B (A/d/A/G/) (G/F/E/D/) DG/F/|E”tr”BG”tr”B EB e>b|(a/g/).f/.e/ (g/f/).e/.^d/ eEE:||

“tr”g/f/|e>f ({e/f/}g)e (g/a/b/g/) e>f|(“tr”d>fad) (f/g/a/f/) df|e>fge (g/a/b/g/) ea|(g/a/b/g/) (f/g/a/f/) “tr”geeB|

e>fge (g/a/b/g/) ef|”tr”d>fad (f/g/a/f/) da|.g/.a/.b/.g/ .f/.g/.a/.f/ .e/.f/.g/.e/ .d/.e/.f/.d/|.B/.^c/.d/.B/ .e/.c/.d/.F/ GEE||

                       

WATSON’S HORNPIPE.  English, Hornpipe. D Major. Standard tuning. AABB. The ‘A’ part is shared with “Miss Sackville’s Fancy.” The melody appears as an untitled hornpipe in the George Henry Watson (Swanton Abbott, Norfolk) music manuscript collection, c. 1850-80. Callaghan (Hardcore English), 2007; pg. 26. Grand Union – “Hardcore English” (2007. Various artists). GUCD 003-10, Grand Union – “Union Specific.”

 


WATSON'S SCOTCH MEASURE. AKA and see "A Highland Lad my Love was Born," "O, An Ye were Dead, Guidman" "There was a Lad (was born in Kyle)," "The White Cockade [1]." Scottish, Scottish Measure. F Major. Standard tuning. AABB. Emmerson (1971) thinks that Watson must have been a dancer or musician, else the honorific 'Mr.' would have been inserted. “There was a lad born I Kyle” is a title and line from a Robert Burns song set to the melody of “Watson’s.” Gow (1799) calls it “A very old tune.” Emmerson (Rantin’ Pipe and Tremblin’ String), 1971; No. 26, pg. 128. Gow (Complete Repository), Part First, 1799; pg. 5. Henderson (Flowers of Scottish Melody), 1935 (appears as “There was a lad born in Kyle”). Howe (1000 Jigs and Reels), c. 1867; pg. 152. McGlashan, Collection of Scotch Measures, 17‑‑. McGlashan (Collection of Strathspey Reels), 1778; pg. 7.

X:1

T:Watson’s Scots Measure (sic)

M:C|

L:1/8

R:Scottish Measure

B:McGlashan – Collection of Strathspey Reels  (1778)

Z:AK/Fiddler’s Companion

K:F

CD | F2F2c2F2 | A2G4CD | F2F2c2F2 | A3fc3f | defc ABcA |

dcBA G2FD |F2f2 cdcB | A2F2F2 :: cd | fefg fgaf | gfga gagf |

cdfg fgag | fgfc ABcA | defc ABcA | fdcA G2FD | F2f2 cdcB | A2F2F2 :|

 

WATTIE LA(I)NG. AKA and see "The Lifting of the Linnen." Scottish, Reel. A Major. Standard tuning. AABBCCDD. The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of Ancaster at Drummond Castle), inscribed "A Collection of Country Dances written for the use of his Grace the Duke of Perth by Dav. Young, 1734." Carlin (The Gow Collection), 1986; No. 316. Gow (The First Collection of Niel Gow’s Reels), 1784 (revised 1801); pg. 12. Seattle (Over the Hills & Far Away).

X:1

T:Watie Laing or The Lifting of the Linnen

M:C|

L:1/8

R:Reel

S:Gow – The First Collection of Niel Gow’s Reels (1784)

Z:AK/Fiddler’s Companion

K:A

e|A/A/A “tr”ec Bcdf|A/A/A ec AAec|d/e/f c/d/e Bcdf|{f}(ed”tr”cB) AAce:|

|:A/A/A ec Bcdf|A/A/A ac A/A/A ac|(a/g/f/e/) a>c Bcdf|(ed”tr”cB) AAce:|

|:Aece Bcdf|Aece Aece|d/e/f c/d/e Bcdf|(ed”tr”cB) AAce:|

|:A/A/A ac Bcdf|A/A/A ac AAae|a/g/f/e/ ac Bcdf|(ed”tr”cB) AAce:|

 

WATTLE O'T, DA. Shetland, Reel. D Major. Standard tuning. AAB. "This was supposed to be a protest tune about high tax payments. Part of the tune was used in Fetlar for a song named 'Da Body it Cam Wi' Me'" (Anderson). Anderson (Ringing Strings), 1983; pg. 53.

 

WATTON TOWN'S END. AKA – “Watton Town End.” AKA and see "(Oh) London is a Fine Town." “Oh London is a Fine Town.” English, Country Dance Tune (cut time). F Major. Standard tuning. One part. Watton is a town in Norfolk, England. The tune appears in editions of Playford’s Dancing Master from 1665 on, in Walsh’s Dancing Master (1731) and D’Urfy’s Pills to Purge Melancholy (1719, vol. II, 150, vol. IV, 40). Bayard (in his article “A Miscellany of Tune Notes” in Studies in Folklore) begs comparison with “Loving Hannah” in Josephine McGill’s Folk Songs of the Kentucky Mountains (N.Y., 1917), pgs. 88-90. Words to the bawdy song begin:

***

As I cam up to Arpendeen

And straight to Wattontown

And there I met a pretty wench

That looked like lay me Down.

***

Cho:

At Watten Towns end,

At Watten Towns end,

At every door there stands a whore,

At Watten Towns end.

***

X:1

T:Watton Town’s End

M:C|

L:1/8

K:F

c/B/|AF FF Ac2 B/A/|G>A B>c d3e|f g/f/ e d/e/ fF FF|GG A>B G3||

 

WATTY’S FANCY.  English, Jig. D Major. Standard tuning. AABB. Kennedy (Traditional Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours), 1997; No. 192, pg. 45.

 

WAULKIN' O' THE FAULD, THE. AKA and see “My Peggy is a Young Thing.” Scottish, Slow Strathspey. Scotland; Outer Hebrides??, Lowlands. A Dorian. Standard tuning. AB. The tune was, according to fiddler John Cunningham, a Gaelic 'waulking' song from the Outer Hebrides Islands of Scotland, and "refers to the milling, or fulling, of a web of tween which, in the title, is called the 'fauld'." Cunningham maintains it is thus meant to accompany work, the rhythms corresponding to the pace of the work to be done. Another interpretation of the title is offered by Stuart Eydmann, who, writing in the liner notes of the Whistlebinkies second album (1980), states that ‘waulkin of the fold’ refers to the shepherd’s task of watching the sheep fold at the time of weaning lambs to prevent them from returning to their mothers. This necessitated shepherds staying awake all night, and since shepherds at this time often were older children and adolescents, this occasioned an opportunity for socializing and play to alleviate boredom, as well as an opportunity for young people of the opposite sex to convene away from the eyes of the village.

***

The tune was played by the town clock in Pitenweem, Fife at one time, according to Edymann, who maintains that the tune’s provenance is Lowland Scotland rather than Hebridean, as Cunningham suggested. A descendent of this tune is "Paddy on the Turnpike," while a close variant is "Sandy McGregor's" (Bruce & Emmett, pg. 59). In Cape Breton the tune is played as a slow(ish) strathspey. The air was used by Allan Ramsay for his ballad opera The Gentle Shepherd (1725) {lending credence to Edyman’s comments about the title referencing a shepherd’s task} where it appears as "My Peggy is a young thing, just entered in her teens." This song appears to have been first published in the second edition of Orpheus Caledonius (1733), while another early appearance is in the c. 1740 MacFarlane Manuscripts (where it is titled “Wakin of the Falds”).

***

Women at the Quern” by Thomas Pennant, showing women waulking (fulling) cloth.

***

Cranford (Jerry Holland: The Second Collection), 2000; No. 42, pg. 18. Crosby (The Caledonian Musical Repository), 1811; pg. 234. Gow (Vocal Melodies of Scotland), 1822; pg. 33. Johnson (The Scots Musical Museum), 1787‑1803, vol. 1, No. 87. Kerr, vol. 1; Set 9, No. 3, pg. 7. McGibbon (Collection of Scots Tunes), 1768?, pg. 105. O’Farrell (Pocket Companion, vol. II), c1806; pg. 125 (appears as “Waaking of the Fauld”). Oswald (Caledonian Pocket Companion), 1780?, vol. 1, pg. 92. Robinson (Massachusetts Collection of Martial Music, 2nd ed.), 1820; pg. 54. Robinson, 3rd ed., 1826; pg. 57. Smith (Scottish Minstrel), 1820‑24, vol. VI, pg. 90. Stewart-Robertson (The Athole Collection), 1884; pgs 164-165. Surenne (Songs of Scotland without Words). Thompson (Orpheus Caledonius), 1733, vol. 2; pg. 6 (the earliest version extant, says Glen). Green Linnet SIF 1047, John Cunningham ‑ "Fair Warning" (1983). Green Linnet SIF 1101 ‑ John Cunningham ‑ "Playing with Fire: the Celtic Fiddle Collection" (1989). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005).

See also listings at:

Alan Snyder’s Cape Breton Fiddle Recording Index

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

X:1

T:Waking of the Fauld, The

L:1/8

M:C

Q:140

R:Slow Strathspey

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

K:Ador

A/G/|E<A A>B A2 g>e|d>BA>G E2 D>E|G>AB>A G<E D>E|

G<A B>A G<E D>G|E<A A>B A2 G>A|B>AB>d e2 g>a|

b>ag>e de/f/ g>B|A<G E>G A3||

A<a a>b a2 g>a|b2 a>g e2 d>e|g>ag>b G>AB>G|g/f/g/a/ g>b G>AB>G|

A<a a>b a2 g>f|e>de>g a2 g>a|(3bag (3age de/f/ g>B|A>GE>G A3||

X:2

T:Waulkin'O'the Fauld

S:Johnny Cunningham CD "Fair Warning"

Q:250

L:1/8

M:C

K:Ddor

C3A,|\

D4D3E|D4c3A|G3ED2C2|A,4G,2A,2|

C3DE3D|CA,3G,2A,2|C3DE3D|C3A,G,2A,2|

A,D3D3E|D4C2D2|E3DE2G2|A4c2d2|

e3dc2A2|G2ABc2E2{FE}|D3CA,C3|1D4:|2D6z2||

Ad3d3e|d4c2d2|e4d3c|A4G2A2|

c3de.gz2|C3DE.Cz2|{B}cBcd c2.ez|C2D2E2F2|

Ad3d3e|d4c2B2|A3GA2c2|d4c2d2|

edc2dcA2|G2ABc2E2{FE}|D3CA,C3|D6z2|

                       

WAVE, THE. English, Slip Jig. F Major. Standard tuning. AABB'CC'. Modern composition by Pat Knowles. Knowles (Northern Frisk), 1988; No. 125.

                       

WAVE THAT FRAME. Old-Time. Lowe Stokes (1898-1983) was a north Georgia fiddler who was a member of the famous Skillet Lickers but who also fronted his own bands and made recordings in his own name. “Wave that Frame” was recorded in 1928 with a band fronted by Stokes. The melody to the song was used a year later by the Georgia Yellow Hammers for Bud Landress’s song “Rip Van Winkle Blues.” Document 8045, “Lowe Stokes, Vol. 1: 1927-1930” (1999 reissue).

                       

WAVERLEY BALL, THE. Scottish, Reel. A Major. Standard tuning. AABCCD (Hunter): AA’BB’CC’D (Cranford). Composed by Joseph Lowe, who published a collection of dance music in 1840. Source for notated version: Winston Fitzgerald (1914-1987, Cape Breton) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 69, pg. 31. Hunter (Fiddle Music of Scotland), 1988; No. 256. Greentrax CDTRAX 9009, Hector MacAndrew (1903-1980) - “Scottish Tradition 9: The Fiddler and his Art” (1993).

           

WAVERLY.  Old-Time, Breakdown. USA, Missouri. G Major. Standard tuning. AAB. A similar tune is “Hell Agin the Barn Door.” However, Galbriath family lore has it that the tune is an old Scottish tune, perhaps associating it not only with the town of Waverly, Lafayette County, central Missouri, but perhaps also with Waverley {1814} an early novel by Sir Walter Scott). Art Galbraith (1909-1993) originally had the tune from his Uncle Tobe, but, since it wasn’t part of his on-going repertoire, he had to remember it and re-learn it later in life. The ‘B’ part is irregular. Source for notated version: Art Galbraith (Springfield, Mo.) [Beisswenger & McCann]. Beisswenger & McCann (Ozarks Fiddle Tunes), 2008; pg. 42. Rounder Records 0133, Art Galbraith – “Dixie Blossoms” (1981).

           

WAVERLY STEPS, THE. Scottish, Reel. D Major. Standard tuning. AAB. Composed by R. Black. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979). Tommy Shand – “Awa Frae Hame.”

X:1

T:Waverley Steps

C:R Black

S:Radio Scotland, Dec 1991

N:As played by the Iain MacPhail Band

M:4/4

L:1/8

Z:Transcribed by Nigel Gatherer

K:D

(3ABc|d2 de dcBA|B3 c BAGF|A3 B AGFA|G2 E2 E2 (3ABc|

d2 de dcBA|B3 c BAGF|A2 Bc d2 AG|F2 D2 D2:|]

FE|D2 d2 d2 cB|c2 e2 e2 de|f2 d2 d2 f2|edcB AGFE|

D2 d2 d2 cB|c2 e2 e2 dc|BABc dBAG|F2 D2 DGFE|

D2 d2 d2 cB|c2 e2 e2 de|f2 d2 d2 f2|edcB AGFE|

DEFG A2 de|fedB A2 GF|EFGA Bcde|f2 d2 d2|]

 

WAVERLY TWO-STEP.  Canadian, Two-Step. Canada, Ontario. Composed by Ontario fiddler Graham Townsend. Peter Yarensky remarks that the tune is popular with French Canadian fiddlers in New England (Marcel Robidas, Simon St. Pierre).

 

WAVES OF TOREY [1], THE. Irish, Long Dance (2/4 time). E Dorian. Standard tuning. AABB. This tune belongs to the "Hillside [2]" group of tunes‑‑for more on this tune family see Bayard's (1944) note for "Red Brick House in Georgia Town." Roche Collection, 1982, Vol. 2; No. 292, pg. 37. Tradition 2118, Jim MacLeod & His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).

 

WAVES OF TOREY [2], THE. Irish, Long Dance (2/4 time). A Major ('A' part) & D Major ('B' part). Standard tuning. AB. Roche Collection, 1982, vol. 3; No. 136, pg. 42.

 

WAVES OF TORY [3]. AKA – “Waves of Torey.” Irish, Set Dance (2/4 time). D Major. Standard tuning. AABBCCDDEEFF. The “Waves of Tory” is the name of a set dance (a line dance, rather than a figure dance, with ‘over and under’/’dip and dive’ movements representative of ocean waves) for which many tunes have been the vehicle. Sometimes it is danced to jigs and marches, sometimes to reels and marches, and, unlike other set or ceili dances, it seems to have no signature tune. The ones printed in Allan’s under the “Tory” title start with "Leather Away with the Wattle" and end with “The Rose Tree [1].” The set dance has no standard number of figures and can last as long as the dancers. Tory is an Island off the coast of Donegal. Allan's Irish Fiddler, No. 120, pg. 31.

 

WAVES OF TRAMORE, THE. AKA and see “Bliven’s Favorite,” "The Butchers of Bristol [1]", "By your leave, Larry Grogan," "Coppers and Brass [2]", “The County Limerick Buckhunt," "Finerty's Frolic," “Green Sleeves [3],” "Hartigan's Fancy," “The Humors of Ennistymon [1],” "The Humours of Milltown [2]” "Larry Grogan(‘s) [1]", "The Lasses of Melrose," “Lasses of Melross,” "Little Fanny's Fancy," "Lynn's Favourite," "Lynny's Favourite," "Pingneacha Rua agus Pras," “Queen of the Rushes,” "The Waves of Tramore," “Willie Clancy’s.” Irish, Jig. G Major. Standard tuning. AABB’. A variant of the “Coppers and Brass” and “Larry Grogan” tune family. O’Neill (1922) remarks: “’The Waves of Tramore’, obtained from our versatile friend Mr. McCormick, who swings a bow, or fingers a chanter with equal facility, is a much better jig than ‘Larry Grogan’ of which it is a variant. The latter was composed early in the 18th century by Lawrence Grogan of Johnstown Castle, Kilkenny, a ‘gentleman piper’, celebrated in song and story. ‘Larry Grogan’ was printed in Aird's Selections of Scotch, English, Irish and Foreign Airs (Glasgow, 1782), and in The Hibernian Muse (London 1787). An unmusical second part detracted from its popularity, altho few Irish dance tunes have been favored with such liberal publicity.” O’Neill (Waifs and Strays of Gaelic Melody), No. 124.

X:1

T:Waves of Tramore

M:6/8

L:1/8

S:Wm. J. McCormick, Chicago

Z:Paul Kinder

K:G

d/2c/2|BGB BGB|AFA ABc|ded cAF|GBd g2 d/2c/2|

BGB BGB|AFA ABc|d/2e/2fd cAF|AGF G2:|

|:B/2c/2|def gag|fed cBc|def gag|fef g2 B/2c/2|

1def gag|fed cAG|B/2c/2dB cAF|AGF G2:|

2dgb afd|e/2f/2ge dBG|B/2c/2dB cAF|AGF G2||

 


WAVES ON THE OCEAN. AKA and see "Old Woman, Old Woman," "Pleasures of the Single Life." Old‑Time, Breakdown. USA, southwestern Virginia. G Major. Standard tuning. AAB (Krassen): AABB (Phillips). Miles Krassen (1983) says that Galax fiddler Emmett Lundy claimed this tune developed from a song popular in the area called "Old Woman, Old Woman, Don't You Want To Marry?" Source for notated versions: Emmett Lundy (Grayson County, Virginia) [Krassen, Phillips]. Krassen (Masters of Old Time Fiddling), 1983; pg. 33. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 253. Rounder, Huston Caudill (Va.) ‑ "Old Originals, vol. 2" (1978).

X:1

T:Waves on the Ocean

L:1/8

M:2/4

S:Joe Caudill, from notation by Tom Sauber

K:G

B(A/E/ D/)EGA|g/(a/g/)d/ ed/g/|e/d/B/G/ AG/A/|B/A/B/(d/ B/A/)G/B/|

A/G/E/G/ (D/E/)G/e/|(g/a/g/)d/ ed/g/|e/d/B/G/ AG|(A/B/)B/A/ B>(B|

B)(G/E/ D/)E/G/A/|g/a/g/d/ ed/g/|e/d/B/G/ AG/A/|B/A/B/(d/ B/A/)G/B/|

A/G/E/G/ (D/E/)G/A/|(g/a/g/)d/ ed/g/|e/d/B/G/ AG|(A/B/)B/A/ B(B|

B)(B/d/ d)(d/B/|d)(d/B/ d/)d/e/d/|c/(B/A/B/) A/B/A/(F/|D/F/)A (A/B/)c/c/|

B/(G/G) (d/B/)G/B/|d(d/B/) d/d/e/d/|c/(B/A/B/) A/B/A/(F/|D/F/)A (A/B/)c/c/|

B/G/G/(E/ D/E/)G/e/| g/a/g/(d/ e)d/g/|e/d/B/(G/ A)G/A/|(B/A/)B/d/ B/A/G/B/|

A/G/E/G/ (D/E/)G/G/|(g/a/g/)d/ ed/g/|e/d/B/G/ AG|(A/B/)G/A/ B>(B|

 

WAXIES DARGLE, THE. AKA and see “The Girl I Left Behind Me [1].” The term “waxies’ is slang for candlemakers, while the ‘Dargle’ was the their annual excursion to Bray.

 

WAY DOWN IN NORTH CAROLINA. See "Waterbound."

 

WAY DOWN SOUTH (IN DIXIE). AKA and see "Whistling Rufus." Old‑Time, Breakdown. USA, Ky.  Kentucky fiddler Doc Roberts' version of the Kerry Mills ragtime piece "Whistling Rufus." County 412, "Fiddling Doc Roberts." Melotone 13455 (78 RPM), Doc Roberts (1934). Morning Star 45005, Doc Roberts - "Way Down South in Dixie."

 

WAY DOWN THE OLD PLANK ROAD. See "Old Plank Road."

 

WAY DOWN YONDER. AKA and see "Down Yonder." The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from the playing of Ozark Mountain fiddlers in the early 1940's.

 

WAY TO AIR, THE. Scottish, Reel. E Dorian. Standard tuning. AABBCCDD. Air = Ayr, Scotland. McGlashan (A Collection of Reels), c. 1786; pg. 8.

X:1

T:Way the Air, The

M:C|

L:1/8

R:Reel

S:McGlashan – Reels

Z:AK/Fiddler’s Companion

K:Edor

E/E/E E>F D>EF>D|E/E/E E>F G>AB>c|d>ed>F D>EF>f|eBdF F2 E2:|

|:e/e/e ef d>ef>d|e/e/e eb ag f<d|f/g/b e>f d>ef>d|e>Bd>F F2 E2:|

|:E>eG>e D>E G/F/E/D/|E>eg>e E>eG>e|f/g/a e>f D>E Ff|e>Bd>F F2E:|

|:b|g<e e>f d>e f<d|g<e e>b a>g f<d|f/g/b e>f d>ef>d|e>Bd>F F2 E2:|

 

WAY TO DUBLIN, THE. AKA and see "The High Road to Dublin [1]," "The Boy in the Basket," "An Bothar Mor go Baile Atha Cliath."

 

WAY TO ELGIN, THE. Scottish, Strathspey. G Major. Standard tuning. AB. McGlashan (A Collection of Reels), c. 1786; pg. 11.

X:1

T:Way to Elgin, The

M:C|

L:1/8

R:Strathspey

S:McGlashan – Reels

Z:AK/Fiddler’s Companion

K:G

G3d B<G d>G|B<G d>G B2 G<B|A3 e c<A e>A|c>AeA c>A A<g|G3d B<G d>G|

B<G d>G B2 G<B|A>Bc>d e>fg>a|b/a/g/f/ g>d B2A||g|e>gd>g B>gd>g|e>gd>g B2 G<B|

e<a ^c>a e>ac>a|e>de>f g>de>g|e>gd>g B>gd>g|e>gd>g B2 G>B|A>Bc>d e>fg>a|b/a/g/f/ gd B2 A2||

 


WAY TO JUDIQUE, THE. AKA - “The Judique Jig.” Canadian, Jig. Canada; Cape Breton, Prince Edward Island. A Major. Standard tuning. AABB’ (Perlman): AA’BB’ (Cranford, Dunlay & Greeberg).  Named for the town of Judique, Cape Breton, Nova Scotia. The first tune of Winston Fitzgerald’s “Judique Jig Medley” (and so it is sometimes known as “The Judique Jig”). The tune was untitled, so Dunlay & Greenberg gave it the title “Way to Judique” to differentiate it from the “Judique Jig [1]” they gave to the second tune in the medley, composed by Winston Fitzgerald. Fitzgerald learned the tune from Angus Chisholm who may have been responsible for composing or arranging the tune, believes John Donald Cameron (Dunlay & Greenberg). John Campbell, however, remembers his father playing a four-part jig of which “The Way to Judique” is the middle two turns. Source for notated version: Angus Chisholm (Margaree Forks, Cape Breton) via Winston Fitzgerald (1914-1987, Cape Breton) [Cranford, Dunlay & Greenberg]; Andrew Jones (b. 1918, Roseville, West Prince County, Prince Edward Island; now resident of Pleasant View) [Perlman]. Cranford (Winston Fitzgerald), 1997; No. 178, pg. 71. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 104. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 139. ACC-4925, Tara Lynne Touesnard - “Heritage” (1988. Appears as “Judique Jig”). Arc 527, Joe MacIsaac - “The Sound of Cape Breton.” Audat 477-9010, Lee Creemo - “And the Eastern Variation” (appears as “Judique Jig”). Celtic CX 041, CX1, Winston “Scotty” Fitzgerald. Rounder 7007, Graham Townsend (Ontario) - “Classics of Irish, Scottish... Fiddling.”

 

WAY TO KEEP HIM, THE. English, Country Dance Tune (2/4 time). G Minor. Standard tuning. AABB. The melody appears unique to London publisher Charles and Samuel Thompson’s 1765 country dance collection. There were other, different, period tunes with this title, which may have been a companion piece or follow-up to a tune called “The Way to Get Married.” Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 2), 1765; No. 80.

X:1

T:Way to keep him, 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:Gmin

B/c/|d d2 ^f|g d2 e|dcBA|G/^F/G/A/ GB/c/|d d2 ^f|g d2 e|dcBA|G3:|

|:B/c/|dced|cBdc|BA^FG|A/G/^F/=E/ DB/c/|dced|^fdge|dcBA|G3:||

 

WAY TO NORWICH, THE. AKA and see "Hey Boys, Up Go We [2]." English, Country Dance Tune (6/8 time). D Major. Standard tuning. AABB. The tune dates to 1721. Barnes (English Country Dance Tunes), 1986. Karpeles & Schofield (A Selection of 100 English Folk Dance Airs), 1951; pg. 24. Raven (English Country Dance Tunes), 1984; pg. 27.

X:1

T:Way to Norwich, The

M:6/8

L:1/8

R:Jig

K:D

D|D2d c2B|A2G F>GA|G2F E2D|(d3 d2)::A|d2e fgf|

ecd B2A|d2B B2A|(A3 A2)e|a2g f>ed|g2e c>Bc|d2F E2c|(d3 d2):|

 

WAY TO SHERCOCK, THE. Irish, Reel. D Mixolydian. Standard tuning AABB’. Composed by County Cavan/Philadelphia fiddle player and composer Ed Reavy (1898-1988). Reavy (The Collected Compositions of Ed Reavy), No. 35, pg. 37.

X:1

T:The Way to Shercock

R:Reel

C:Ed Reavy

M:2/2

L:1/8

Z:Joe Reavy

N:When Ed returned with us to Ireland for a visit in 1969,

N:we were amazed at his recall of the old roads in his native region.

N:He knew which ones stood and which were changed. He never lost his

N:childhood sense of direction. To this day, he could still show us the

N:way to Shercock.

K:G

c |: d2 Ad fdAB | [E2=c2] Gc EcGc | d=cAG FGAF | G2 E=C EFGB |

A2 FA FGAB | [E2=c2] Bd cAGB | Addc defd | cAGE D3 :||

c |: defg afdB | =cdef gedA | defg adfa | ge^ce d2 fg | adfa g=ceg |

fedc dcAG |1 FGAB cded | cAGE D3 :|2 FGAB (3ccd ed | cAGE D3 :||

                       

WAY UP IN CLACHAN. AKA and see "One Night in the Shieling."

                       

WAY UP ON CLINCH MOUNTAIN. AKA and see "Drunken Hiccups [1]." Old‑Time, Breeakdown. USA, Ky. Recorded in 1928 for Victor by Jilson Setters (under the name Blind Bill Day), b. 1860, Rowan County, Ky.

                       

WAY UP ON THE MOUNTIAN. AKA and see “Lynchburg Town.” Old-Time, Breakdown. In the repertoire of African-American fiddler Joe Thompson, who played the piece in FCGD tuning.

                       

WAYNE MERRILL’S. American (?), Jig. Great Meadow Music GMM 2002, Rodney Miller & David Surette – “New Leaf” (2000).

                       

WAYNESBORO. AKA and see "Waynesburgh."

                       

WAYNESBURGH. AKA ‑ "Waynesboro." AKA and see “The Green Meadow(s) [1],” “Over the Moors to Maggie [2],” “The Willow Tree [5].” Old‑Time, Breakdown. USA; Kentucky, West Virginia. G Major. Standard tuning. AB (Silberberg): ABB (Titon): AABB (Phillips, Songer). An American version of the Irish reel perhaps known best as “Over the Moors to Maggie.” The tune was popularized by Kentucky fiddler Doc Roberts, who attributed his version (learned from his brother Liebert) to African-American fiddler Owen Walker, a source of many of Roberts’ tunes. See also the related tune "Ladies in the Ballroom." The tune is most often seen as “Waynesboro,” and Waynesburg is the name of towns in both Kentucky and Ohio (Jeff Titon {2001} also finds Waynesburghs in Illinois, Georgia, Mississippi, Pennsylvania, Tennessee and Virginia). Titon finds that the tune was played by five different fiddlers at the 1919 and 1920 Berea, Kentucky, fiddle contests, making it one of the most popular tunes of the contests. It was in the repertoire of West Virginia fiddler Edden Hammons. Mike Yates (2001) points out that some of Edden's ancestors came originally from Knox and Whitley Counties in eastern Kentucky, not too far from Madison County, and he speculates that some of the Hammons family tunes may have originated in that part of the mountains. Mike also says, “Darley Faulks (b.1895), yet another eastern Kentucky fiddle-player, commented that his version of Waynesboro, which he called Andrew Jackson (possibly after General Andrew Jackson (1767 - 1845) - seventh President of the USA), had been played by both his grandfather and uncle, and that the tune was well-known long before Doc Roberts made his recording.” See also the related part of “Billy in Waynesboro,” recorded by Mike Seegar and Alan Jabbour. Sources for notated versions: Bartow Riley [Phillips]; Armin Barnett (Seattle, Washington) [Songer]; Doc Roberts (Ky.) [Titon]; Tony Mates [Silberberg]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 263. Silberberg (Tunes I Learned at Tractor Tavern), 2002; pg. 166. Songer (Portland Collection), 1997; pg. 208. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 164, pg. 190. County 703, Bartow Riley – “Texas Hoedown” (1965). Davis Unlimited DU 33015, “Fiddlin’ Doc Roberts” (c. 1975). Gennett 6257 or 13042 (78 RPM), Doc Roberts (1927. Learned when a young man from his brother Liebert). Heritage XXXIII, Dave Spilkia ‑ "Visits" (1981. Learned from Doc Roberts' recording). Rounder 0193, Rodney Miller ‑ "Airplang" (1985). Rounder CD0262, Mike Seeger - "Fresh Oldtime String Band Music" (1988. Appears as part of "Billy in Waynesboro). Edden Hammons Collection I.

See also listings at:

Jane Keefer’s Folk Music Index: An Index to Recorded Sources 

X:1

T:Waynesboro

M:C|

L:1/8

R:Breakdown

K:G

GFGA Bdef | gfga gedB | e [A3a3] abag | (3efg ab aged | efga bgag |

fage dcBG | BGAG FGDG |1 E G2A G2 DF :|2 E G2A [D4G4] |:

(3DEF GA BGAB | GBeB dBAG | E [E3A3] ABAG | (3EFG AB AGEG |

G,B,DF GABd | gbge dBAG | BGAG FGDG |1 E G2A [D4G4] :|2 EG2A [D2G2] DF ||

X:2

T:Waynesboro

M:C|

L:1/8

R:Reel

S:Simon Mayor

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

K:G

d2 |: GFGA BABc | d g2e dBAG | E A2 A ABAG | AGAB dBAD | GFGA BABc |

dg2e dBAG | E G2 G GAGE |1 DB,A,B, G,2D2 :|2 DB,A,B, G,2A2 ||

|: B3 B A2A2 | GAGE D2D2 | E A2 A ABAG | AGAB dBAD | B3B A2A2 |

GAGE D2D2 | EG2G GAGE |1 DB,A,B, G,2A2 :|2 DB,A,B, G,2 z2 ||

 

WAYS OF THE WORLD [1]. Old‑Time, Bluegrass; Breakdown. USA; Tennessee, Kentucky, southwestern Va. D Major. Standard tuning. AABB. The tune was first recorded in 1937 by Alan and Elizabeth Lomax from the playing of Dalesbury, Ky., fiddler Luther Strong. Tom Carter and Blanton Owen (1976) identify it as a popular Patrick County, Va., fiddle tune belonging to an early repertoire established before the "band" style, or fiddle/clawhammer banjo combination, became popular. Tom Paley thinks Strong may have used a DDae tuning. Jeff Titon (2001) notes that three fiddlers played “Ways of the World” (probably this version) at the 1919 Berea, Kentucky, fiddle contest. Source for notated version: Highwoods String Band (Ithaca, N.Y.) [Brody]. Brody (Fiddler’s Fakebook), 1983; pg. 286. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 253. Bobville, “The Red Hots.” Front Hall FHR‑021, John McCutcheon ‑ "Barefoot Boy with Boots On" (1981. Learned from a recording by W.H. Stepp, Ky.). Meadowlands MS1, "Allan Block and Ralph Lee Smith." Philo 1023, Jay Ungar and Lyn Hardy‑ "Songs, Ballads and Fiddle Tunes" (1975. Appears as second tune of "Twin Fiddle Medley"). Revonah RS‑924, "The West Orrtanna (Pa.) String Band" (1977). Rounder 0023, Highwoods String Band‑ "Fire on the Mountain."

 

WAYS OF THE WORLD [2]. Old-Time, Breakdown. A Major. AEae tuning. AABBCC. Not related to “Ways of the World” [1]. The source for modern versions of the tune is Magoffin County, Kentucky, fiddler William Stepp, who was recorded by Elizabeth and Alan Lomax for Library of Congress in 1937. When the index cards for the recording were typed up, explains Kerry Blech, the name Wm., for William, was rendered ‘W.M.’ and this error was repeated for many years. The fiddler’s name was actually William Hamilton Stepp. Bruce Greene theorized that the tune was misnamed either by him or his source, and that Stepp’s tune was similar to tunes Greene had heard generally played in the key of ‘A’ and going by the “Who’s Been Here Since I’ve Been Gone” title. Greene may have been talking about local Kentucky tunes, for the tune that usually goes by the name “Who’s Been Here Since I’ve Been Gone” does not sound like Stepp’s “Ways of the World.” Although played mainly in the key of ‘A’, crosstuned as Stepp played it, some fiddlers maintain it sounds better to their ears played in G with the fiddler tuned GDad. Source for notated version: W.H. Stepp (Salyersville, Magoffin County, Ky., 1937) [Titon]. Titon (Old Time Kentucky Fiddle Tunes), 2001; No. 165, pg. 191. Library of Congress, 1937, Bill Stepp (Lakeville, Magoffin County, Ky.). Rounder 18964-1518-2, Various Artists (Bill Stepp) – “American Fiddle Tunes” (a reissue of the 1971 Library of Congress LP of field recordings). Rounder CD1518, Various Performers – “American Fiddle Tunes” (1971. Played by W.H. Stepp). Yazoo 2013, William Stepp – “The Music of Kentucky, vol. 1.” Reed Island Rounders – “Goin’ Home” (2002).

X:1

T: Ways of the World

C: Old-Time

M: C|

L:1/8

K:D

a2|:e2a4e2|g2d4ef|gfga bagf|g(ee)de4|e2a4e2|g2d4ef|gfgf efed|c2A6:|

|:ce2fe3A|cABcA2Bc|d2ff efed|cABc A4:|

|:E2(A2A)BcA|BcBE F^GAF|E2(A2A)BcA|BE^G2 A4|

E2(A2A)BcA|BcBB ABc2|d2ff efed|cABc A4:|

X:2

T:Ways of the World

M:4/4

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

[(A,2E2]|:[A,2)E2] [E2A2] (AB)[ce]A|(BA)[Be]A (GA)(BG)|[A,2E2][E2A2] (AB)[ce]A|

(B[ce)]B(G [EA)] [(A,2E2]|[A,2)E2] A2 (AB)cA|(Bc)BA GABc|d3 (d ef)ed|c2[(E2A2][E2)A2][(A,2E2]:|

|:[A,2)E2]a2 abae|=g2(d2d2)(ef|

M:6/4

L:1/8

=gf)ga b2(ab/a/g)d3|

M:4/4

L:1/8

e3(^d e2)[(A,2E2]|[A,2)E2]a2 abae|=g2(d2[E2e2)] (ef|=ga)ge (dg)ed|1 c2[(E2A2][E2)A2][A,2E2]|2

c2 [(E2A2][E2)A2z2||(ce2)((ee)f)ed|(Bd)BA (GA)Bc|d3 (d ef)ed|c2(A2[E2)A2] (AB|

c)e2f e2dc|(BdBA (GA)Bc|d3 (d ef)ed|c2[(E2A2][E2)A2]z2 ||

 

WAYS OF THE WORLD [3]. Old-Time, Breakdown. A Major ('A' and  'C' parts) & A Mixolydian ('B' part). Standard tuning. AABBCC. Source for notated version: Tony Marcus [Phillips]. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 253.

 

WAYSIDE WAGON, THE. Irish, Reel. B Flat Major. Standard tuning. AA'B. Roche Collection, 1982, vol. 3; No. 74, pg. 23.

 

WAYWARD WIFE, THE. AKA and see "Bide Ye Yet [2]," "O That I Had Never Been Married," "Crowdie," "Three Times Crowdie in One Day." Scottish. Fraser, 1816; Nos. 144, 184, and 210. Gow (Complete Repository), 1806; vol. 3, pg. 11 (2nd tune). Gow (Vocal Melodies of Scotland), 1822; Pt. 2, pg. 35. JEFDSS, vol. 3, pg. 251 (from Balfour's Ancient Orkney Melodies). Johnson (The Scots Musical Museum), 1787‑1803; vol. VI, No. 593. The Scottish Country Dance Book, 1930‑57, Pt. 13, No. 8. McDonald (A Collection of Highland Vocal Airs), 1784; Air 25. pg. 37. Smith (Scottish Minstrel), 1820‑24, vol. V, pgs. 82‑83.

 

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