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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
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
X:1
T:Watchmaker, The
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of
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 - “
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>
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
***
I cannot get to my love,
if I would dee, The water of And here I must stand with
the tear in my e'e, Both sighing and sickly my
sweetheart to see. (Bruce & Stokoe) |
River |
***
Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 89.
X:1
T:Water
of
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
WATER PARTED FROM THE
SEA. English.
WATER RUNS (RUINS?)
BRANDY. English.
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, "
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.
***
Chickens crowin' in the old plowed field, (x3)
Down in
***
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
***
Waterbound and I can't go home, (x3)
Down in
***
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
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?
WATERFALL [2], THE. Irish, Reel. D Major. Standard. ABCD. Composed by fiddler and pianist Josephine
Keegan (b. 1935), of Mullaghbawn, south
WATERFALL WALTZ. AKA and see "Caerdroea."
English, Waltz. D Major. Standard. AAB. Barnes (English Country Dance Tunes), 1986.
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 ||
X:1
T:
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 :|
|:
X:1
T:
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 :|
T:
M:3/8
L:1/8
R:Waltz
S:O’Farrell – Pocket Companion, vol. IV (c. 1810)
Z:AK/Fiddler’s Companion
K:D
|: 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.
X:1
T:
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||
X:1
T:
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:|
X:1
T:
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||
X:1
T:
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||
X:1
T:
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||
X:1
T:
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
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.
WATERMELON (HANGING)
ON THE VINE. Old‑Time.
***
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.
***
WATER-OUZEL, THE. AKA and see "Bog An Locha(i)n."
WATERS OF
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.
WATERS OF
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.
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,
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.
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
***
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.
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
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,
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 ‑ "
See also listings at: Jane Keefer’s Folk
Music Index: An Index to Recorded Sources |
X:1
T:
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
(3DEF GA BGAB | GBeB dBAG | E [E3A3]
ABAG | (3EFG AB AGEG |
G,B,DF GABd | gbge dBAG | BGAG FGDG
|1
X:2
T:
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,
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
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
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