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1996-2010 Andrew Kuntz
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WEL - WEZ |
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] |
WELCH RABBIT, THE. English, Jig. D Major. Standard tuning. AABB.
From the Hardy Collection, 19th century. Raven (English Country Dance Tunes), 1984; pg. 211. Trim (Thomas Hardy), 1990; No. 35.
WELCH MORGAN. AKA and see “Morgan Megan.” The air appears under this
title in Daniel Wright’s Aria Di Camera
(London, 1730).
WELCOME, THE. AKA and see "A
Western Lilt," "The
Lark in the Morning [1]," "Galway
Tom [1]," "Galloway Tom,"
"Galway Town," "The Goats’ Horn(s)," "The Spotted Cow," "The Thrush's Nest," "The Little Yellow Boy," "Come in the Evening," "The Kelso Races," "An Buachaillín Buí."
WELCOME BROTHER DEBTOR. AKA and see "Debtor's Welcome to their Brother." English, Air
(3/4 time). G Major. Played by British bands the evening before their surrender
at Yorktown.
WELCOME, CHARLIE STEWART(, YOU’RE WELCOME). AKA and see “Charlie Stuart [2],” “McAlman’s Reel,” “Queensbury House,” “Taking a Wife,” “Ye’re Welcome Charlie Stewart.”
Scottish, Canadian; Reel. Canada, Cape Breton. D Major. Standard tuning. ABCD
(sometimes played only first and last turns of this version)[Dunlay &
Greenberg, Dunlay and Reich]: AAB (Skye). The title efers to the Jacobite
Prince Charlie (Stewart). MacDonald’s Skye
Collection has the tune in two parts, as does Bremner’s Collection (1751-1761) where it appears under the title
“Queensbury House.” Dunlay and
Greenberg (1996) find several tunes with similarities; in the Inverness Collection (Book II) “There’s
Nae Luck About the House” has a second part that is similar to Buddy
MacMaster’s second turn, and the editors believe it may have become attached to
“Welcome, Prince Charlie” because the melodic contour of the first parts of
both tunes is similar. They also find the second part of “Up and War Them a’ Willie” is
almost the same as the first part of the “Welcome” tune. Donald MacLellan’s
“Taking a Wife” is a crooked or irregular version of “Welcome, Charlie
Stewart.” See notes for “Ye’re Welcome Charlie Stewart” for more history and
Scottish versions of the piece. Source for notated version: Buddy MacMaster (Cape
Breton), who had the last turn from Joe MacLean who found it in a collection
[Dunlay & Greenberg, Dunlay and Reich]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape
Breton), 1996; pg. 82. Dunlay and Reich (Traditional Celtic Fiddle Music of Cape Breton), 1986; pg. 55.
MacDonald (The Skye Collection),
1887; pg. 45. Shears (The Cape Breton
Collection of Bagpipe Music), 1995. Cape Breton's
Magazine Tape, Mike MacDougall‑ "Mike MacDougall's Tape For Fr.
Hector." Celtic CX 054, Donald MacLellan (Appears as “Taking a Wife”).
X:1
T:Welcome, Charlie Stewart
T:Ye’re Welcome, Charlie Stewart
M:C|
L:1/8
R:Reel
S:MacDonald – Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:D
B|(AF)(ED) G3B|(GF)(ED) E3B|(AF)(ED) GABd|AGFE D2D:|
A|defd gfec|defd ecBA|defd
gfeg|f/g/a ef d3A|
defd gfec|defa ecBA|defd gfeg|faef
d2d||
WELCOME CHRISTMAS HOME. Scottish, Waltz. A two-part waltz recorded by Jimmy
Shand in the 1970's.
WELCOME FROM HANOVER.
English, Country Dance Tune (2/4 time). G Major. Standard tuning. AABB.
The melody first appeared in print in John Johnson’s Choice Collection of 200
Favourite Country Dances, vol. 6 (London, 1751). The title presumably had
association with the ancestral home of the Hanoverian kings of England. At the
time of Johnson’s publication George II was on the throne. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 10.
X:1
T:Welcome from Hanover
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:G
G(dd)c|B(BB)A|G(gg)f|”tr”e2 d2|c(ee)d/c/)|B(dd)A/G/|F2 G2|A/G/F/E/ D/C/B,/A,/|
G,(dd)c|B(BB)A|G(gg)f|”tr”e2 d2|c(ee)d/c/|dFGc|BA”tr”GF|”tr”G2G2:|
|:B(ee)d|^cA”tr”AG|Fd”tr”d=c|BG”tr”GF|E(c”tr”c)B|A(FF)G|F2
“tr”G2|A/G/F/E/ D/C/B,/A,/|
G,(dd)c|B(BB)A|G(gg)f|”tr”e2d2|c(ee)d/c/|dFGc|BAGF|”tr”G/F/G “tr”G/F/G:||
WELCOME FROM HAVANAH. AKA – “Welcome from the Havanna.” English, Country Dance Tune (cut
time). D Major. Standard tuning. AAB. The melody was originally published by
Charles and Samuel Thompson in their Compleat Collection, vol. 3 (London,
1773). In manuscript form, it was copied (as were numerous other tunes from the
Thompsons’ 1773 collection) into the 1788 music copybook of fiddlers John and
William Pitt Turner (Norwich, Conn.). “Welcome from the Havanna” is also one of
the "missing tunes" from William Vickers' Northumbrian dance tune
manuscript, begun in 1770. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 3), 1773; No. 185.
X:1
T:Welcome from the Havanna
M:C|
L:1/8
N:Play AABA
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 3 (London, 1773)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
F/G/|A>BA>F ED (E/F/G)|A>BAF dBAF|A>BA>F ED Ea/f/|edef d3:||
f/g/|agfe dcBA|B>cdF EFEF|GABc defe|dBAF D3 f/g/|
af
de/f/ ge cd/e/|fd Bc/d/ ecAc|defe defe|dBAF E3||
WELCOME HERE AGAIN. AKA and see “Bayham Abbey,” “Duncan Davi(d)son,” “The 1812 March,” “Gentle Ann,” "Handy Andy's Highland Fling,"
“He is Long a Coming,” "Maggy's Weame Is Fu I Trow,”
“Welcome Home,” "Ye'll Aye Be Welcome Here
Again." Scottish, Country Dance Tune or Reel. D Major. Standard
tuning. AABB. The tune dates to before 1734 when it appeared in a MS
collection. Church of Ireland cleric and uilleann piper James Goodman
(1828-1896) included the melody in his mid-19th century music
manuscript. Goodman collected in tradition in Cork and elsewhere in Munster,
but also obtained tunes from manuscripts and printed collections, and it is not
known where he came across “Welcome Here Again.” There is also an apocryphal
story that the tune was composed in 1775 by Robert Steele, a drummer boy at the
battle of Bunker Hill in Boston, published by Preston in 1786. Source for
notated version: the music manuscript of John Greenwood, pg. 56 [Johnson]. Cole
(1000 Fiddle Tunes), 1940; pg. 3.
Emmerson (Rantin' Pipe and Tremblin'
String). Huntington (William Litten's),
1977; pg. 22. Johnson (A Further Collection of Dances, Marches, Minuetts and
Duetts of the Latter 18th Century), 1998; pg. 12. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 194, pg. 45. Morrison (Twenty-Four Early American Country Dances,
Cotillions & Reels, for the Year 1976), 1976; pg. 59. Ryan’s Mammoth Collection, 1883; pg.
24. Shields (Tunes of the Munster Pipers), 1998; No. 346, pg. 140. Sweet
(Fifer’s Delight), 1965/1981; pg. 60.
North Star Records NS0038, "The Village Green:
Dance Music of Old Sturbridge Village."
X:1
T:Welcome Here Again
M:2/4
L:1/8
Z:AK/Fiddler’s Companion
K:D
D>E Dd | AF Ad | D>E Dd | AF
E2 | D>E Dd | AF Ad | fd ef | d2d2 :|
|: fd de/f/ | gf ed | cA eA | cA eA
| fd de/f/ | gf ed | cd ef | d2d2 :|
WELCOME HOME [1] (Failte Romad a Baile). Irish, Reel. D Major. Standard
tuning. AB (O'Neill/1850 & 1001): AA'B (O'Neill/Krassen). O'Neill
(Krassen), 1976; pg. 151. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1499, pg. 277. O'Neill (Dance Music of Ireland: 1001 Gems),
1907/1986; No. 722, pg. 127.
X:1
T:Welcome Home [1]
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 722
Z:AK/Fiddler’s Companion
K:D
AG|FEFG AFDc|BAGB AGFD|FEFG A3g|fdec
dcAG|FEFG AFDc|
BAGB AGFD|FEFG A3g|fdec d2||de|fedf
edce|dcAB cAGg|fedf edcA|
Adce d2 de|fedf edce|dcAB cAGE|FEFG
A3g|fdec d2||
WELCOME HOME [2]. English, Jig. England, North‑West. A Minor. Standard tuning. AAB.
Knowles (Northern Frisk), 1988; No.
68.
WELCOME HOME [3]. AKA and see "Oro, Welcome
Home." The title Bayard (1981) assigned to a huge tune family of
myriad and diverse members with similar characteristics.
WELCOME HOME AGAIN.
English, Country Dance Tune (2/4 time). B Flat Major. Standard tuning.
AABB. The melody is unique to London publisher Charles and Samuel Thompson’s
1757 country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 1), 1757; No. 47.
X:47
T:Welcome Home Again
M:2/4
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:Bb
F|B>cB>F|B>cB>F|B>cd>e|f3 g|f>gf>b|f>gf>b|fedc|B3:|
|:g|_.b(agf)|.g(gfe)|.f(fed)|e3 e|.f(fed)|.e(edc)|dcBA|B2F2|
B>cB>F|B>cB>F|Bcde|f3
g|ffbb|ffdd|BBFF|B,3:||
WELCOME HOME FROM
NEWFOUNDLAND. Irish, Jig. F Major. Standard
tuning. AABB. Joyce (Old Irish Folk Music
and Songs), 1909; No. 726, pg. 361.
X:1
T:Welcome Home from Newfoundland
M:6/8
L:1/8
R:Jig
S:Joyce – Old Irish Folk Music and Songs, No. 726 (1909)
Z:AK/Fiddler’s Companion
K:F
cAF FGF|f3 edc|dBG GAG|d2c def|cAF
FGF|
f3 edc|def gfe|f3 f3::agf f2g|a2b
c’af|gec cdc|
b3 b2z|agf f2g|a2b c’af|gec cde|f3
f3:|
WELCOME HOME GRAINNE
[1]. Irish, Reel. Green Linnet SIF‑1109, Altan ‑ "The Red
Crow" (1990. Learned from John & Mickey Doherty).
WELCOME HOME GRAINNE
[2]. Irish, Jig. Green Linnet SIF-1095, Altan - "Horse with a Heart" (1989.
Identified as a tune of Co. Donegal fiddler John Doherty's).
WELCOME HOME MY DEARIE
[1]. AKA ‑ "You've Been Long
Away, Welcome Home My Dearie." AKA and see "Nine Nights
Away/Awa, Welcome Home My Dearie." Scottish, English; Old Hornpipe
(3/2 or 3/4 time). England, Northumberland. D Major. Standard tuning. AAB
(Vickers): AABB (Johnson). Johnson (1964) thinks the tune dates from the late
17th century. Later it was published in Neil Stewart's 1761 collection, the Gillespie Manuscript of Perth (1768),
and Vickers' 1770 Northumbrian collection. There are words associated with the
tune from which are taken the title:
***
You've been long away. Welcome home my Dearie.
***
Source for notated version: Stewart's
Reels, pg. 9 [Johnson]. Johnson (Scottish Fiddle Music in the 18th Century),
1984; No. 77, pg. 226. Seattle (William
Vickers), 1987, Part 2; No. 213.
WELCOME HOME MY DEARIE
[2]. English, Dance Tune (3/4 time).
England, Northumberland. D Mixolydian. Standard tuning. AABB. Seattle (William Vickers), 1987, Part 3; No. 416.
WELCOME HOME, ROYAL
CHARLIE. Irish, Jig. County Donegal. The
second part of this tune is the same as the first part of “Blackthorn Stick [1]”/“The Coach Road to Sligo” family
of tunes.
WELCOME, ROYAL CHARLIE .Scottish, Reel. A Major. Standard tuning. AABB. Kerr (Merry Melodies), vol. IV, No 22, pg. 5.
X:1
T:Welcome Royal Charlie
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 22
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:A
e|dcBA GABc|dcBA Aaae|dcBA GABd|ceBc
(A2A):|
|:d|ceef dedB|ceef a/g/f/e/ ae|ceef dedB|ceBc (A2A):|
WELCOME THE PIPER (Fáilte don Piobaire). AKA and see "The Swaggering Jig [1]," "The Noggin of Cream," "The Old Woman's Consort," “An Seanduine Coileáilte,” “Give Us a Drink of Water” [2],
"The Munster Rake." The air
appears in Walsh and Glen's Irish Tunes
for the Scottish and Irish War Pipes, pg. 46. It is related to “The Drunken Gauger” [1] and
“Munster Rake” family.
WELCOME TO ALL
STRANGERS. Scottish; Country Dance Tune (6/8
time). D Minor. Standard tuning. AAB. The piece first appears in McGlashan's Scots' Measures. Kidson’s version is identical to that found in
McGlashan. Kidson (Old English Country
Dances), 1890; pg. 11. McGlashan (Collection
of Scots Measures), c. 1780; pg. 21.
X:1
T:Welcome to All Strangers
M:6/8
L:1/8
R:Jig
B:McGlashan – Collection of Scots Measures
(c. 1780)
Z:AK/Fiddler’s Companion
K:Dmin
D|FGA D2E|^C2D ECA,|FGA DEF|A,D^C
D2:||:e|
fed fga|g2f edc|fed fed|^c>de A3|
AGF EFD|fed ^c>de|AGF EFD|A,D^C
D2:|
WELCOME TO CORK (Failte Romad Sa Corcac/Corcaige). Irish, Double Jig. G Major/G
Mixolydian. Standard tuning. AABB. The 'B' part is in "double tonic"
tonality. O'Neill (Krassen), 1976; pg. 20. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 733, pg. 137.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 30, pg. 32. Sweet (Fifer’s Delight), 1965/1981; pg. 28.
X:1
T:Welcome to Cork
M:6/8
L:1/8
R:Jig
S:O’Neill – 1001 Gems (1903), No. 30
Z:AK/Fiddler’s Companion
K:G
B/c/|dBG dBG|efg dBG|cec BdB|cAG
FED|dBG ecA|gag fed|fed cAF|AGG G2:|
|:G|Ggf gag|=fde f3|=Ffe fgf|edc
dcA|Ggf gag|=fde f3|cde =fcA|AGG G2:|
WELCOME TO DUNBLANE. Scottish, Reel. Tradition 2118, Jim MacLeod &
His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels" (1979).
WELCOME TO SKYE. AKA and see “Failte
Don Eilean Sgitheanach.”
WELCOME TO HON. CAPT. FATHER JAMES
MACLELLAN. Canadian, Pipe March (2/4 time). Canada,
Nova Scotia. A Mixolydian Standard tuning. AA’BB’CC’DD’. Composed by the late
Ronald J. Gillis of Margaree, Cape Breton, both a pipe and fiddle player.
Shears (Gathering of the Clans Collection,
vol. 1), 1986; pg. 30.
WELCOME TO THE TOWN
AGAIN. English, Reel. England,
Northumberland. G Major. Standard tuning. AAB. Peacock (Peacock’s Tunes), c. 1805/1980; No. 2, pg. 1.
WELCOME TO THE TROSSACKS.
Canadian, March (2/4 or cut time). Canada, Nova Scotia. A Mixolydian (Shears):
A Major (Cranford/Holland). Standard tuning. AABB (Shears): AABBCCDD’
(Cranford/Holland). Composed by fiddler Wilfred Gillis (1923-2002) of Arisaig,
Antigonish County, Nova Scotia, one of the original members of the Cape Breton
Symphony, a traditional group playing dance music. Gillis came from a long line
of traditional musicians, some eight generations. Trossacks is a place in
Antigonish County, Nova Scotia. Cranford
(Jerry Holland: The Second Collection), 2000; No. 8, pg. 4. Shears
(Gathering of the Clans Collection,
vol. 1), 1986; pg. 32. Natalie MacMaster – “In My
Hands.”
See also listing at: Alan Snyder’s Cape Breton Fiddle
Recording Index |
WELCOME TO YOUR
FEET/FOOT AGAIN. Scottish, Reel or Strathspey. C
Major. Standard tuning. AB (Gow): AAB (Glen, Kerr): ABB' (Cranford, Honeyman):
AABB (Bremner): AA'BB' (Athole). The tune appears in the Drummond Castle Manuscript (in the possession of the Earl of
Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best
Highland Reels written by David Young, W.M. & Accomptant." John Glen
(1891) finds it in Robert Bremner's
1757 collection, where it is set as a reel. Source for notated version: Winston
Fitzgerald (1914-1987, Cape Breton) [Cranford]. Bremner (A Collection of Scots Reels), 1757; pg.
14 (appears as “Your welcome to your feet again”). Cranford (Winston
Fitzgerald), 1997; No. 114, pg. 47. Glen (The Glen Collection of Scottish Music), Vol. 1, 1891; pg. 9. Gow (Complete Repository), Part 1, 1799; pg.
19. Honeyman (Strathspey, Reel and
Hornpipe Tutor), 1898; pg. 15. Kerr (Merry
Melodies), Vol. 1; Set 20, No. 5, pg. 13. Stewart-Robertson
(The Athole Collection), 1884; pg.
61. Breton Books & Music BOC 1HO, Winston “Scotty”
Fitzgerald - “Classic Cuts” (originally issued on Celtic Records CX 40).
Rounder Records, Carl MacKenzie - “Welcome to Your Feet Again” (1976). WMT002,
Wendy MacIsaac – “That’s What You Get” (1998?).
X:1
T:Welcome to Your Feet Again
M:C|
L:1/8
R:Strathspey
B:Stewart-Robertson – The Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:C
E|:C>EG>A cE D2|C>EG>A c<G A>G|F<cE<c d<E D>E|1 C>EG>A c>G A<c:|2 c>G A<a||
|:g<c g>a g<c d>e|g<c g>a g>ag>e|f>g a/g/f/e/ d>=c d<e|1 c>GA>G c>GAa:|2 c>de>d c<GA<c||
WELCOME WHISKY BACK
AGAIN. AKA ‑ "Whiskey Welcome Back Again."
Scottish, Strathspey. B Flat Major (Gow, Skye): A Major (Skinner): C Major
(Hardings): D Major (Little): G Major (Williamson). Standard tuning. AB
(Cranford): AAB (Little, Skinner, Skye): AABB (Hardings, Williamson).
"Alluding to permitting whiskey to be distilled in the year 1801. It is a
merry dancing tune" (Gow). Composed by famed Perthshire fiddler-composer
Niel Gow (1727-1807). In many collections (beginning with the Gow family’s Fifth
Collection, 1809) it is paired with
Gow's "Farewell to Whiskey
[1]", lamenting the ban on whiskey‑making in the late 18th
century. It has been set in several keys, however, the composer set it in B
flat major. Source for notated version: Winston Fitzgerald (1914-1987, Cape
Breton) [Cranford]. Athole Collection.
Carlin (Gow Collection), 1986; No.
229 (appears as "Whiskey Welcome Back Again"). Cranford (Winston Fitzgerald), 1997; No. 103, pg.
43. Gow (Fifth Collection of Strathspey Reels), 1809; pg. 36. Hardings
All Round Collection, 1905; No. 28, pg. 9. Little (Scottish and Cape Breton Fiddle Music in New Hampshire), 1984; pg.
10. MacDonald (The Skye Collection),
1887; pg. 136. Skinner (Harp and Claymore),
1904; pg. 96. Williamson (English, Welsh,
Scottish and Irish Fiddle Tunes), 1976; pg. 67. Breton
Books and Records BOC 1HO, Winston “Scotty” Fitzgerald - “Classic Cuts”
(reissue of Celtic Records CX 44).
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:Welcome Whisky Back Again
M:C
L:1/8
R:Strathspey
S:MacDonald – The Skye Collection (1887)
Z:AK/Fiddler’s Companion
K:Bb
B,<B B>d c>Bcd|BcGB F>D
C2|B,<B B>d c>Bc>d|B<F G<B F>D B,2:|
d<f f>g f>dc>B|d<f
f>g f<d c2|B<f f>g f<dc>d|B<F G<B FD B,2|d<f f>g
f<dc>B|
d<f f>g fdc>e|d<fc<e
B>cd>c|B>F G<B FD B,2||
WELDMANS MINUET. Scottish, Minuet. The melody appears in the Gillespie Manuscript of Perth, 1768.
WELL A DAY. AKA and see "Essex's
Last Goodnight." Irish, English; Ballad Air (3/4 time). G Dorian.
Standard tuning. AB. This sixteenth, or perhaps fifteenth, century air appears
in Sir John Hawkins' transcripts of virginal music. The original ballad is
lost, though the air was used for many others, as was the convention of the
time. The tune appears in William Ballet's Lute
Book of 1594, though Flood (1906) also dates from the early part of the
16th century. It obtained the title "Essex's Last Goodnight" in 1576
when new words were set to it upon the death of the "unfortunate"
Walter Devereux, Earl of Essex, in Dublin. Somewhat confusingly, another Earl
of Essex, Walter, was similarly lamented in a different set of lyrics to the
same air after his beheading on Ash Wednesday, 1601; this second Anglo‑Irish
song was printed by Margaret Allde in 1603 (Flood, 1906). Chappell (Popular Music of the Olden Time), vol.
1, 1859; pg. 130.
X:1
T:Well-a-Day
M:3/4
L:1/8
S:Chappell
– Popular Music of the Olden Time,
vol. 1, pg. 130 (1859)
N:Originally
from Sir John Hawkins’ transcripts of virginal music
Z:AK/Fiddler’s Companion
K:Gdor
A2d2A2|B2G2d2|c3d
B2|A3^F D2|A2d2A2|
B2G2d2|c3d
B2|A6||d2f2c2|d2A2d2|c3dB2|
AG ^FE
D2|d2f2e2|d3c B2|A3G A2|G6||
WE'LL ALL AWAY TO
SUNNISIDE. English, Reel. England,
Northumberland. A Minor. Standard tuning. AB. Bruce & Stokoe (Northumbrian Minstrelsy), 1882; pg. 168.
X:1
T:We’ll All Away to Sunnyside
M:2/4
L:1/8
R:Reel
S:Bruce & Stokoe – Northumbrian Minstrelsy (1882)
Z:AK/Fiddler’s Companion
K:C
f|eccf|ecgc|ecgc|A2 ff|edcf|ecgc|BddB|G2 Bg|/
eccf|ecgc|ecgc|A2 f2|edcf ecgc|BdB|G2B||/
B|AcBd|cedf|ecgc|A2c2|AdBd|cedc|BGdB|G2B2|/
AcBd|cedf|ecgc|A2c2|AcBd|cedc|BGdB|G2B2||
WE'LL ALL AWAY TO THE
LOW LIGHTS. 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.
X:1
T:We’ll all be Married
M:C
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:G
B>GB>G d>dd>d|c>Ac>A e>ee>e|B>Gd>G e>f g2|f>aA>^c d2D2:|
|:d>Bd>B e>ee>e|c>Ac>A d>dd>d|B>GB>G c>cc>c|A>GF>E D4|
G>dB>G d>dd>d|c>Ac>A
e>ee>e|d>Bd>B g2 fe|d>cB>A G4:||
WE'LL
ALL BE WED IN OUR OLD CLAES, WE CANNA TELL WHEN WE'LL GET NEW. AKA and see "I'll
Get Wedded in My Auld Claes." Northumbrian. Title appears in Henry
Robson's list of popular Northumbrian song and dance tunes ("The Northern
Minstrel's Budget"), which he published c. 1800.
WE'LL ALL GET GOLD IN
GOWPINS. AKA and see "Gold In Cowpens." Northumbrian. Title
appears in Henry Robson's list of popular Northumbrian song and dance tunes
("The Northern Minstrel's Budget"), which he published c. 1800.
WE’LL
ALL GO TO HEAVEN WHEN THE DEVIL GOES BLIND. Old-Time, Breakdown. G Major. Standard tuning
(fiddle). AA’BB’CC’. Reminiscent of Burl Hammons’ “Big Scioty/Sciota” or John Salyer’s “Kentucky Winder”. Rounder 0421, Bruce
Molsky - “Big Hoedown” (1997. From the 1930's Library of Congress recording {by
Jean Thomas} of fiddler Ed Morrison of Breathitt County, Ky.). Rounder
11661-0533-2, Roger Cooper – “Essence of Old Kentucky” (2006).
X:1
T:We'll All Go to Heaven
When the Devil Goes Blind
M:2/4
L:1/8
R:Reel
S:Ed Morrison, via Roger
Cooper
Z:AK/Fiddler's Companion
K:G
[Bg]-|[Bg]g/g/
[Bg]d/d/|e/[dg][d/g/] [dg][dg]-|[dg]g/e/ de/d/|1 B/G/A/F/ G[Bg]-:|
|2 B/G/A/G/ GG/A/||:
B/d/g/a/ b>a|b/a/g/e/ de/f/|g/e/g/e/ de/d/|
|1 B/G/A/F/ GG/A/:|2
B/G/A/F/ G>A||: [G/B/]A/[G/B/]G/ A/G/E/G/|[GB]A [GB]_B-|
[B/G/]A/[G/B/]G/
A/G/E/G/|1 D/GF/ G>A:|2 D/GF/ G||
WE’LL
ALL GO TO TO KELSO. Scottish, Jig. G Major. Standard
tuning. AABB. Kelso is a town in the Scottish Borders region. Aird (Selections), Vol. II, 1782; No. 94, pg.
34.
X:1
T:We’ill a’
go to Kelso (sic)
M:6/8
L:1/8
S:Aird,
Vol. II (1782)
Z:AK/Fiddler’s Companion
K:G
D | G>AB g>ag | f>ed g2d | e/f/ge dBA | A>BA c>de |
G>AB g>ab | afd g2d | e/f/ge dBG | B3 g2 :|
|: g/a/ | gbg afa | geg dBd | G>AB gdB | AaA c>de |
G>AB
gag | afd g2d | e/f/ge dBG | B3 g2 :|
WE'LL ALL TAKE A COACH AND TRIP IT AWAY. AKA and see "Old Grey Goose [1]." Irish, Jig. E Minor. Standard tuning. AABBCCDDEE. O’Farrell (Collection of National Irish Music for the Union Pipes), 1804; pg. 39.
X:1
T:We’el (sic) all take Coach and trip it away.
M:6/8
L:1/8
R:Jig
S:O’Farrell – National Irish Music for the Union Pipes (1804)
Z:AK/Fiddler’s Companion
K:Emin
BA | GBG FAF | GEE E2F | GBG FAG | FDD DEF | GAG AGA | BcB gfe |
dBG AGF | GEE E2 :: F | G2G dBG | GBA/G/ dBG | A2A ecA | ABc/d/ ecA |
GAG dcB | egf gfe | dBG AGF | GEE E2 :: c | BGG AF/G/A/F/ | GEE E2c |
BGG dGG | FDD D2c | BGG AGF | GEE gfe | dBG AGF | GEE E2 :: f |
gbg faf | gee e2f | gbg fag | fdd def | gbg faf | egf gfe | dBG AGF | GEE E2 :: f |
gdc BcA | GEE E2 f | gdB dAG | FDD DEF | “tr”G3 AGA | BcB gfe | dBG AGF | GEE E2 :|
WE’LL ALL TAKE A SUP IN OUR TURN.
See “We All Take a Sup in
Our Turn.”
WE'LL ALL TO KELSO GO. Scottish, Jig. F Major: G Major. John Glen (1891) finds the earliest
appearance of the tune in print in Robert
Bremner's 1768 2nd collection (pg. 105). Also published by Aird, Oswald and
Reinagle.
WE'LL AYE GANG BACK TO
YON TOWN. Scottish, Reel. G Minor. Standard
tuning. AAB. Composed by Alexander Walker, born in Strathbogie, Scotland, in
1819, the title undoubtedly a take-off on the famous “I’ll/We’ll Gang nae
Mair tae Yon Toon.” According to Paul Stewart Cranford (1991) the tune
still has currency among Cape Breton fiddlers. Walker (A Collection of Strathspeys, Reels, Marches, &c.), 1866; No.
192, pg. 66. Rounder
RO7023, Natalie MacMaster - “No Boundaries” (1996).
WE’LL DANCE ALL NIGHT.
English, Country Dance Tune (2/4 time). A Major. Standard tuning. AABB.
The melody is unique to London publisher Charles and Samuel Thompson’s 1765
country dance collection. Thompson (Compleat Collection of 200
Favourite Country Dances, vol. 2), 1765; No. 111.
X:1
T:We’ll Dance all Night
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:A
e>fe>f|e>ac>d|e>fe>f|e>ac>d|e>fg>a|b>ga>f|g2 “tr”f2|e4:|
|:B>cd>c|B>Ec>E|d>Ec>E|”tr”B4|a>fe>f|e>dc>a|c2”tr”B2|A4:||
WELL DONE,
CRIES SHE, BRAVE DONNELLY. Irish, Air (6/8 time). F Major.
Standard tuning. One part. Stanford/Petrie (Complete
Collection), 1905; No. 316, pg. 79.
WELL DANE/DONE JACK
[1]. English, Reel. England, Northumberland.
A Minor. Standard tuning. AABB. For another, unrelated tune of the same title
see the jig "Weel Done Jack."
Seattle (William Vickers), 1987, Part
2; No. 374.
X:1
T:Well Dane Jack
M:C|
L:1/8
S:William Vickers collection (1770)
K:Amin
a|geae ge f2|edBA GBBa|geae ge
f2|ecBA EAA:|
|:e/d/|cAce ac d2|edBA GBBe|cAce ac
d2|ecBA EAA:|
WELL DONE JACK [2].
English, Country Dance Tune (cut time). A Major. Standard tuning. AABB.
The melody was composed by dancing master Nathaniel Kynaston (1683-1757).
Although very little is known about him, Kynaston appears to have been active
from 1705 to about 1722 in the Shropshire/Wales border area. Walsh published
some 120 of Kynaston’s tunes and dances over several publications. This tune
appears in Walsh’s Twenty-Four Country Dances for the Year 1718 and his Second
Book of the Compleat Country Dancing Master (London, 1719), republished in
1735 and 1749. London musician Thomas Hammersley also included the melody in his
1790 music copybook.
***
The Selattyn parish register in
Shropshire records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth
Davies, both of Oswestry” married on August 25th, 1719—although
whether this was the dancing master is unknown. Kynaston appears to have been a
not uncommon name in Shropshire, and the family includes Sir Humphrey Kynaston,
a notorious 16th century highwayman and Robin Hood figure, who
preyed on the wool merchants of Shrewsbury. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 140. Wild Goose Records
WGS 314, Belshazzar’s Feast – “Mr. Kynaston’s Famous Dance, vol. 2” (2003).
X:1
T:Well Done Jack [2]
M:C|
L:1/8
S:Walsh – Second Book of the
Compleat Country Dancing Master (London, 1719)
K:A
a2|g2 fe a2e2|g2 fe f4|e2 dc B2A2|G2 (B2B2)a2|g2 fe a2e2|
g2 fe f4|e2 dc B2A2|E2
(A2A2)::ed|c2A2c2e2|a2 c2 d4|
c2 dc B2A2|G2 (B2B2)
ed|c2e2a2c2|d2a2c2a2|c2 dc B2A2|E2(A2A2):|
WELL DONE JACK [3]. English, Country Dance Tune. G
Major. Standard tuning. AABB. Gibbon’s tune mimics the contour of Kynaston’s
original (“Well Done Jack [2]”), but has suffered much in quality over the
century. Source for notated version: the 1823-26 music mss of papermaker and
musician Joshua Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire
Wolds) [Sumner]. Sumner (Lincolnshire
Collections, vol. 1: The Joshua Gibbons Manuscript), 1997; pg. 95.
X:1
T:Well Done Jack [3]
M:C
L:1/8
S:Joshua Gibbons ms. (1823-26)
K:G
gf g2 dB e2|cB AG FG A2|gf g2 dB
de2|cB AG DG G2:|
|:Bc dB e2d2|cB AG FG A2|Bc dB
e2d2|cB AG DG G2:|
WE'LL DRINK GOOD
HEALTH (Olamaoid Slainte
Mait). Irish,
Hornpipe. D Major. Standard tuning. AABB. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 955, pg. 163.
X:1
T:We’ll Drink Good Health
M:C|
L:1/8
R:Hornpipe
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No.
955
Z:AK/Fiddler’s Companion
K:D
(3ABc|dcec dBAF|DCEC DEFG|Adcd
BGED|CDEF E2 (3ABc|
(3dcd ec dBAF|DCEC DEFG|Adcd BGEC|D2
DD D2:|
|:FG|Abcd edeg|fdec dcde|fdec
dBAF|E2 EE E2 (3ABc|
(3dcd ec dBAF|DCEC DEFG|Adcd BGEC|D2
DD D2:|
WE’LL DRINK TO THE
HEALTH OF KEENAN. Irish, Air (6/8 time). D Major.
Standard tuning. AB. Source for notated version: “Set from Mary O’Donohoe,
Arran-More, Sept. 19th, 1857" [Stanford/Petrie]. Stanford/Petrie (Complete Collection), 1905; No. 327, pg.
82.
WE’LL GANG NAE MAIR
TAE YON TOON.
Scottish, March. Not to be confused with the unrelated, but similarly
titled, reel “I’ll
Gang nae Mair tae Yon Toon,” to which the poet Robert Burns set verses
to. “We’ll Gang nae Mare tae Yon Toon”
was the regimental march of several British army units at one time, including
the 2nd Battalion The Queen’s Royal Regiment, the 1st
Battalion The Essex Regiment and the 2nd Battalion The Royal
Hampshire Regiment. The Scottish tune was introduced into English regimental
repertoire by the first commanding officer of the 2nd Queens when it
was raised in 1858. The Colonel, a man named Bruce, had transferred in from a
Highland regiment and took the melody with him (according to David Murry, Music of the Scottish Regiments,
Edinburgh, 1994, pg. 205). These regiments have since been consolidated and
amalgamated several times into other units, and have long ceased to exist.
Murray writes:
***
Soldiers were not popular in Victorian England—except, sentimentally,
when engaged in fighting far away—and the title of the march might
well have found an echo in the hearts of the soldiers as they marched
out of an unpopular station where, perhaps, the people were unfriendly,
the girls unapproachable, and the publicans hostile.
WELL HALL. English; Country Dance Tune (3/2 time) or Waltz. F Major (Barlow,
Barnes): G Major (Johnson). Standard tuning. AABB. The tune was published in
the supplement to the 6th edition of Henry Playford's English Dancing Master of 1679. Well Hall, Eltham, was a
magnificent mansion dating from Tudor times, then located outside London. It
came into the hands of the Roper family in the 16th century, and the
stone bridge and Tudor barn of the Roper-era estate are still extent. Well Hall
remained a seat of the Ropers until 1733, when it was sold, to be torn down and
replaced by another house by Sir Gregory Page, who retained the name Well House.
Barlow (Compleat Country Dance Tunes from
Playford’s Dancing Master), 1985; No. 237, pg. 61. Barnes (English Country Dance Tunes), 1986.
Johnson (The Kitchen Musician's
Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 8. Varrick 013, Bare Necessities ‑ "English Country
Dances" (1987).
X:1
T:Well Hall
M:3/4
L:1/8
S:Playford – Dancing Master, 6th edition (1679)
K:F
FAdcfA|G2E2B2|Acdcfg|a4
g2|agfc(d/e/f)|c2F2A2|
GABcBA|B3c B2::BFGF(G/A/B)|D3E
D2|EGAG (A/B/c)|
E3FE2|Acdcfc|d3 e/f/gd|edcaga|f3 g
f2:|
WELL HOUSE. English, Country Dance Tune
(cut time). G Minor. Standard tuning. AABB. The melody appears in John Young’s Dancing Master, vol. II, 1st
through 3rd editions (London, 1710, 1714, 1718), and in Walsh and
Randall’s New Country Dancing Master, 2nd
Book (London, 1710). Barnes (English
Country Dance Tunes, vol. 2), 2005; pg. 26.
WELL, I KNOW WHAT
KITTY WANTS. Irish, Slide (12/8 time). G Major.
Standard tuning. AA'BB'. Taylor (Where’s
the Crack), 1989; pg. 31.
WE'LL
MAKE NAE BEDS BUT ANE, AND A' LIE TOGETHER. Northumbrian. Title appears in Henry Robson's list of popular
Northumbrian song and dance tunes ("The Northern Minstrel's Budget"),
which he published c. 1800.
WELL MAY CHARLIE WEAR
THE CROWN (Gu ma maidh a thig an
crùn dhuit a Thearluich oig). Scottish, Slow Air (4/4 time). D Major. Standard tuning. AAB (Fraser):
AABB (Hardie). "This air is one of a directly opposite tendency (then
"The King's Health"), though the enthusiasm attached to it, when
anticipating their hopes of success, has now died away. But so beautiful an air
belonging to that period may now take the name of Charlotte in place of
Charles, and be associated with our sentiments of attachment to the present
Royal Family" (Fraser). The title literally means "Well may the crown
suit you, young Charles." Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 110, pg. 43. Hardie (Caledonian
Companion), 1992; pg. 90.
X:1
T:Well may Charlie wear the Crown
T:Gu ma maigh thig an crùn dha Tearlach
M:C
L:1/8
R:Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:D
f>e|d2 c>B B>c d>D|F2 A>B A2 f>e|d2 c>B B>c d>^E|F2 B>c B2 f>e|
d2 c>B B>c d>D|F2 A2 a2 zg|f>ed>c B>c D^E|F2 B>c B2||B/A/B/c/|
d>cde f3e|d>dcB A2 fe|d2 c>B B>c d>^E|F2 B>c B2 B>c|d>cd>e f3e|
e>dc>B
a3g|f>ed>c B>c d>^E|F2 B>c B2||
WELL
MAY I BEHOLD MY FAITHFUL BROWN HAIR'D MAID (Gu mo slan a chi mi mo chailin dileas donn). Scottish, Air (4/4 time). F Major.
Standard tuning. AB (Fraser): AAB (Neil). The title also translates as "Oh
Happy May I See Thee." "The editor has often listened with delight to
his father singing this air; it is so far preferrable to the set of it now
bandied over the country, as not to admit of the smallest comparison"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 78, pg. 29.
Neil (The Scots Fiddle), 1991; No.
164, pg. 211.
X:1
T:Well may I behold my faithful brown hair’d Maid
T:Gu mo slan a chi mi chailin dileas donn
M:C
L:1/8
R:Air
S:Fraser Collection (1874)
Z:AK/Fiddler’s Companion
K:Dmin
D|F<F G>A d2 cB|A<F D>E F2 zD|F<F G>A f2 ec|d>cAc d2 zD|
F<F G>A f2 ec|d>cAc d2 zA|c>dcA d2 cB|A<F D>E F2 z||A|
c>dcA d2 cB|A<F D>E F2 z A/>G/|FFGA f2 ec|d>cAc d2 zA/>G/|
FF GA f2 ec|d>cAc d2 zA|c>dcA d2 cB|A<F D>E F2
z||
WELL MAY MY TRUE LOVE
ARRIVE (Slàn gun tig mo rùn
a nall).
Scottish, Slow Air (4/4 time). E Flat Major. Standard tuning. AAB. "The
editor's father used to sing verses to this air, composed by a young lady under
engagements to an officer in the same service with himself, under Wolfe, at
Québec. Their friends, however, mutually objected to their union"
(Fraser). Fraser (The Airs and Melodies
Peculiar to the Highlands of Scotland and the Isles), 1874; No. 180, pg.
74. Hunter (Fiddle Music of Scotland),
1988; No. 66.
X:1
T:Well may my true love arrive
T:Slàn gun tig mo rùn a nall
M:C
L:1/8
R:Air
S:Fraser Collection
(1874)
Z:AK/Fiddler’s Companion
K:Eb
B,|[G,E]>GBB, (C>E)E>d|e>cBB, DFF>G|[G,E]>GBB, (CE)(Ac)|B<G F2 [G,3E3]:|
(B/4c/4d/)|e>f d>e (c/=B/c/d/) e z/g/|agfe (d/c/d/e/) f(B/4c/4d/)|
e>f d>e (c/B/c/)(d/4e/4) (f/e/)(d/c/)|(c/B/)AG (B/A/)G/F/ [G,E] [B,G] [G,E] (B/4c/4d/)|
e>f
d>e (c/=B/c/d/) e>f|a>gf>e d>efg|(e<g) (A<c)
G>AB>c|e>c B<G [G,3E3]||
WELL MAY THE KEEL ROW. See "Keel Row," "Weel May the Keel
Row,"
WE'LL RALLY ROUND THE
FLAG. American, Song Tune (4/4 time). D Major.
Standard tuning. AB. A popular Civil War melody espousing the Union cause.
Sweet (Fifer’s Delight), 1965/1981;
pg. 18.
WE’LL SIT UPON THE
GATE. AKA and see “Rickett’s Hornpipe,” “Pidgeon on the Gate.”
WE’LL TAKE AGAIN A CRUISKEEN, A CRUISKEEN LAUN (Faghaim Arís A’ Cruiscín As Biodh sé Lán). Irish, Air (4/4 time). D Major.
Standard tuning. AB. Joyce notes that
he took down the Irish song from his source, “every verse of which ended with
the name of the air as chorus.”
***
Cho: And
we’ll take a-gain a crusi-keen, a Cruiskeen laun!
***
Source for
notated version: “noted in 1851 from the singing of John Dinan, of Glenanair,
in the county Limerick” [Joyce]. Joyce (Ancient
Irish Music), 1890; No. 36, pg. 38.
X:1
T:Faghaim
Arís A’ Cruiscín as Biodh Sé Lán
T:We’ll
Take Again a Cruiskeen, a Cruiskeen Laun
M:C
L:1/8
R:Air
N:”Spirited”
S:Joyce – Ancient
Irish Music (1890)
Z:AK/Fiddler’s
Companion
K:D
D2 | {F}A2A2A2 FE | FAAB A2 FE | FBBB BdcB | A>Bce d2 d>e |
f2 ed e2 dc | BdcB A2 FE | FBBB BdcB | A>Bce d2 ||
“chorus”
cd | BAFB | (AF) EF | D2D2D2 ||
WE'LL TAKE THE HIGHWAY
AKA and see "Gabhaidh Sinn an Rathad Mor,"
"The Stewart's March." "An
old Highland marching air" (Patrick {Peter} Murphy).
WE'LL WED AND WE'LL
BED. AKA and see "Dublin Bay."
WELLINGTON HORNPIPE. English, Hornpipe. England, Shropshire. G Major. Standard tuning. AABB.
Editor Ashman believes this may have been a locally composed hornpipe, since
Wellington was a small semi-industrial town in east Shropshire where his
source, John Moore, was born and worked, however, a variant called
"Borobridge Hornpipe" appears in a Yorkshire MS collection of the
mid-19th century, suggesting to him that perhaps the melody was more widely
known and that only the name was local. Source for notated version: a c.
1837-1840 MS by Shropshire musician John Moore [Ashman]. Ashman (The Ironbridge Hornpipe), 1991; No.
72a., pg. 29.
WELLINGTON
NEW WALTZ, THE. English, Waltz. A Minor. Standard
tuning. ABC. The tune appears in Hodsoll’s
Collection of Popular Dances No. 24, an undated manuscript of tunes with
Napoleonic-era titles and country dance directions. “There has existed in
Liverpool for more than half a century a select and fashionable institution
framed after the model of the old Almack’s of London, known as the Wellington
Rooms. Election to it is by ballot; the claims and positions of candidates are
closely scrutinized. To be a member of the society is to obtain a sort of
hall-mark of social consideration. Dances are given once a fortnight during the
winter, and the building is used for no other purpose. Parties from the
different noblemen’s seats in the neighbourhood attend frequently, and always
in the race week.” (Thomas Hay Sweet Escott, England: Her People Polity, and Pursuits, New York, 1880, pg. 92).
X:1
T:Wellington
New Waltz, The
M:3/8
L:1/8
S: Hodsoll’s Collection of Popular Dances No.
24
K:Amin
(3G,A,B,|C2
(3G,A,B,|C2 (3G,A,B,|CB,C|[B,2D2] [B,D]|EEE|FFF|GAB|c2||
g|^f/g/a/g/=f/d/|c/e/G/c/e/c/|B/d/G/B/d/B/|c/e/G/c/e/g/|^f/g/a/g/=f/d/|
c/e/G/c/e/c/|B/d/G/B/d/B/|c2||E|A/B/cA|B/c/dB|A/B/c/B/c/A/|B^GE|
A/B/c/B/c/A/|B/c/d/c/d/B/|eBc|A2||
WELLINGTON'S ADVANCE
(Ruatair/Ruatar Uellington). Irish, Double Jig. A Dorian. Standard tuning. AABB. The tune is
obviously commemorative of the Duke of Wellington, England's Napoleanic Wars
hero.
***
Arthur Wellesley (1769-1852), the Duke of Wellington, c. 1814/15.
***
So popular was the Duke with the
British that his image graced a number of taverns and inns named for
him…although this did not guarantee patronage in and of itself, as the
following story relates:
***
not less
known by its sign of the ‘Gray Ass’ than by the virtues of its
home-brewed
ale, having taken it into his head that his symbol was
scarcely
commensurate with the dignity and importance of his estab-
lishment,
resolved to change it the first fitting opportunity. The result
of the
battle of Waterloo, so exhilarating to all loyal Englishmen,
afforded him an excellent excuse for carrying his
intentions into effect.
He
accordingly imployed an intinerant artist to paint him a picture of
the Duke
of Wellington, which he substituted for the effigy of poor Neddy.
In the
meantime, a shrewd rival, who knew the value of a name, took a
house
immediately opposite mine host of the ‘Wellington,’ and adopted
his
discarded sign. The country people, who knew more of the character
of the
‘Gray Ass’ than of the qualifications of the great captain of the
age, all
flocked to the inn designated by their favorite appellative, until
at
length the elder publican had little or no custom left. Finding that his
friends
were ebbing from him like a spring tide with a breeze from the
shore,
he bethought him of an expedient to put a stop to the desertion.
The derneir resort was to attach to
the portrait of his Grace of Wellington
a
supplemental panel, containing, in huge and legible characters, the
following
pity inscription: ‘This is the Original Gray Ass!’ It is scarcely
necessary
to add that the intimation had the desired effect. (Hawkwood,
1909)
***
O’Neill (Irish Folk Music) identifies this as an Ulster tune. O'Neill (O’Neill’s Irish Music), 1915/1987; No.
144, pg. 83. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No.
813, pg. 151. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 84, pg. 30.
X:1
T:Wellington’s Advance
M:6/8
L:1/8
R:Jig
S:O’Neill – Dance Music of
Ireland: 1001 Gems (1907), No. 84
Z:AK/Fiddler’s Companion
K:A Minor
G|EAA A^GA|cBA c2d|efe e^fg|dBG
G^FG|EAA A^GA|cBA c2d|efe dcB|cAA A2:|
|:(3e/f/g/|aee aee|aed
cBA|BAB gfe|dBG G^FG|eaa a^ga|egg g^fg|efe dcB|cAA A2:|
WELLINGTON’S BUGLE. English, Jig. D Major. Standard tuning.
AABBCC. One of many tunes patterned after the intervals of a bugle to imitate
martial music. The title, of course, honors the Duke of Wellington, victor at
Waterloo. Gibbons originally set the tune in the key of ‘C’ major. Source for
notated version: the 1823-26 music mss of papermaker and musician Joshua
Gibbons (1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner].
Sumner (Lincolnshire Collections, vol. 1:
The Joshua Gibbons Manuscript), 1997; pg. 72.
WELLINGTON’S COMING. Irish, Slip Jig. G Major. Standard
tuning. AAB. One of the few tune O’Farrell put his name to (as ‘Farrell’), so
presumably he is the composer. Irish uilleann piper O’Farrell was apparently
based in London for much of twenty years, starting from the 1790’s, as indicated
by his name on various playbills during that time. Dublin-born Arthur Wellesley, the Duke of Wellington, was in
command of the English armies facing Napoleon during the Peninsular Campaign at
the end of the first decade of the 19th century, and was beginning
to be regarded as England’s pre-eminent commander at the time O’Farrell’s
volume was published. Kennedy (Fiddler’s
Tune-Book: Slip Jigs and Waltzes), 1999; No. 87, pg. 20. O’Farrell (Pocket Companion, vol. IV), 1810; pg.
87.
X:1
T:Wellington’s Coming
M:9/8
L:1/8
R:Slip Jig
S:O’Farrell – Pocket Companion, vol. IV (1810)
Z:AK/Fiddler’s Companion
K:G
c | BAG GDE G2c | BAG GBd efg | BAG GDG dBG | AEA ABd e2 :|
|| f | (b/a/)ge dBB dBB | (g/a/)ge dBB e2f | (g/a/)ge dBB dBG | ABA ABd e2f |
(g/a/)ge
dBB dBB | (g/a/)ge dBB e2f | gbg ege dcB | ABA ABd e2 ||
WELLINGTON'S REEL [1]
(Ríl Wellington).
AKA ‑ "Wellington's Reel No. 1." AKA and see "Sheehan's Reel," "The Galway Reel," “Lord Wellington” [2], "Tiarna
Wellington," "Paddy Finlay's Favourite," "Fairy
Hurlers," "Walsh's Favourite." Irish, Reel. A Major. Standard
tuning. AABB. Another version is in Breathnach’s CRE II, 160. Source for notated version: fiddler James Morrison
(County Sligo, Ireland/New York) [Breathnach]. Breathnach (CRE II), 1976; No. 161 (appears as “Gan anim/Untitled reel”).
Breathnach (CRE III), 1985; No. 110,
pg. 55. Intrepid Records, Michael Coleman - “The
Heyday of Michael Coleman” (1973). Shanachie Records 33004, "The Pure
Genius of James Morrison" (1978).
WELLINGTON'S REEL [2]. AKA and see "The Galway Rambler."
WELLINGTON’S REEL [3]. AKA
and see “Copperplate [1].”
WELLINGTON’S (WALTZ). English, Waltz. D Major. Standard tuning. AABCCDD. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes), 1999; No. 181, pg. 48.
WELLS HUMOUR. English, Country Dance Tune (3/4 time). E Minor. Standard tuning. AAB. “Wells Humour” was first published in Henry Playford’s Dancing Master, 11th edition (London, 1701). It was retained in subsequent editions of the long-running series, through the 18th edition, published by John Young in 1728. The melody was also published by John Walsh in his Compleat Country Dancing Master (London, 1718, with later editions in 1731 and 1754). “Wells Humour” is attributed to English composer Henry Purcell (1659-1695), and is sometimes called “Purcell’s Hornpipe.” Barlow (The Complete Country Dance Tunes from Playford’s Dancing Master), 1985; No. 476, pg. 108. Barnes (English Country Dance Tunes, vol. 2), 2005; pg. 141.
X:1
T:Wells Humour
M:3/4
L:1/8
S:Playford – Dancing Master, 11th edition (1701)
K:E Minor
e/f/|g e2 d/c Bc/d/|eE2 F/G/ AB/c/|Be/d/ c/B/A/G/ F/G/A/F/|G E2Be:||
g/f/|eg2 f/e/ d/e/d/c/|B d2 d/e/ d/c/B/A/|G/B/d B/d/g d/g/b|g d2 g/a/ b/a/g/f/|
e g2 f/g/ a/g/f/e/|d f2 g/f/ ed/c/|Be/d/ c/B/A/G/ F/G/A/F/|GE2 Be:|
WELLS WALTZ. English, Waltz. G Major. Standard tuning. AABB’. Source for notated version: dulcimer player Molly Whittaker (Well-next-the-Sea, Norfolk), recorded in 1975 by Steve Shipley [Callaghan]. Callaghan (Hardcore English), 2007; pg. 87.
WELSH FAIR. English, Country Dance Tune (4/4 time). D
Minor. Standard tuning. AB. Geoghegan
(Compleat Tutor for the Pastoral or New
Bagpipes), c. 1745-46; pg. 31.
X:1
T:Welsh
Fair
M:C
L:1/8
S:Geoghegan
– Compleat Tutor for the Pastoral or New
Bagpipes (c. 1745-46)
Z:AK/Fiddler’s Companion
K:D Minor
a4 gf e2 |
defg af b2 | ge a2 fd g2 | fdAf e^c A2 | a4 gf e2 | defg af b2 | ge a2 fd g2 |
fdA^c d4 ||
A2 FA cA f2 | G2 EG BG e2 | F2 DF AF dA | fd gf e^c A2 | a4 gf e2 |
defg af b2
| ge a2 fd g2 | fdA^c d4 ||
WELSH/WELCH FUSILEERS. AKA and see "Maid of the Mill." Scottish, Country Dance Tune (6/8 time). D Major. Standard tuning. AB. The melody appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed "A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740." Mellor (Welsh Dance Tunes), 1935; pg. 17.
WELSH JIG, THE. AKA and see “Mopsy’s Tune; the Old Way.”
WELSH MORRIS DANCE [1]. Welsh, Morris Dance Tune (probably){3/4 time}. A Major/ F# Minor.
Standard tuning. One part. Printed in Walsh's Dancing Master (c. 1735). Williamson (English, Welsh, Scottish and Irish Fiddle Tunes), 1976; pg. 44.
WELSH (PROCESSIONAL) MORRIS [2], [3]. See "Processional
Morris" [1], [2].
WELSH (WALTZ), THE.
English, Waltz. G Major. Standard tuning. AAB. Kennedy (Traditional
Dance Music of Britain and Ireland: Slip Jigs and Waltzes), 1999; No. 195, pg. 53.
WELSHMAN FROM WENS.
English, Jig. F Major. Standard tuning. AABB. Kennedy (Traditional
Dance Music of Britain and Ireland: Jigs & Quicksteps, Trips & Humours),
1997; No. 193, pg. 45.
WEMYSS CASTLE. Scottish, Strathspey. B Flat Major. Standard tuning. AAB. The melody
appears in Robert Petrie's c. 1790 1st collection. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 39.
X:1
T:Wemyss Castle
M:C
L:1/8
R:Strathspey
S:Glen Collection, Vol. 1
(1891)
Z:AK/Fiddler’s Companion
K:Bb
F|B>cBF G>F E<D|EC
e/d/c/=B/ cGGA|B/c/d/c/ BF G>FE>D|E<C F>E DB,B,:|
d/e/|f<bd<f B<fd<f|e<cd<B
c>B G<g|f<bd<f B<fd<B|AF f/e/d/c/ dBBg|
f<bd<f B<bf<d|ec
e/d/c/B/ c>BGB|A<BG<B F>BG>g|f>ed>c dBB||
WENCHES DAUGHTER AND
THE SAILOR (Inion An Toice Agus
An Mairnealach).
AKA and see "A
Sailor Loved a Farmer's Daughter."
WENDEL’S WEDDING. Scottish, Reel. G Major. Standard tuning. AABB. Composed by the late great Scottish guitarist Tony Cuffe, in honor of his neice’s wedding.
X:1
T:Wendel's
Wedding
M:4/4
L:1/8
Q:80
C:Tony Cuffe
N:Composed for Tony's niece
Z:Derek
Hoy
K:G
g>f |
e2 d<e B3 A | G>B A<G E2 gf | e2 d<e B>A B<d | (e4 e2)
z d | !
e2 d<e B3 A | G>B A<G E2 GA | B<e dA | {B}A(G3 G2) :||: !
GA | B2 AG e2 de/2f/2 | gf ed e2 de/2f/2 | gf ed B>A (3Bcd | (e4 e2) z d | !
e2 d<e B3 A | G>B A<G E2 GA | B<e dA | {B}A(G3 G2) :|]
WENLOCK EDGE. English, Waltz (6/8 time). D Major. Standard tuning. AABB. A modern
composition by Michael Raven. Raven (English
Country Dance Tunes), 1984; pg. 197. Wild Goose
WGS 320, Old Swan Band – “Swan-Upmanship” (2004).
WENT TO THE RIVER AND I COULDN'T GET ACROSS. AKA‑ "Old Aunt Mary Jane," "Ho Babe." Old‑Time, Breakdown. USA, Oklahoma.
A Aeolian. Standard or AEae tunings. AABCCD. J.S. Price (Pottawatomie County,
Oklahoma; Thede).
***
Went to the river, I couldn't get across;
I jumped on a bullfrog and thought
he was a hoss.
***
Thede (The Fiddle Book), 1967; pg. 64
WENTWORTH HOUSE. English. The Sussex Tune Book.
WENTWORTH PARK. English, Reel. England, North‑West. D Major. Standard tuning.
AABB. Knowles (Northern Frisk), 1988;
No. 106.
WE'RE A' DRY WI' DRINKING. Northumbrian. Title appears in Henry Robson's list
of popular Northumbrian song and dance tunes ("The Northern Minstrel's
Budget"), which he published c. 1800.
WE'RE
A' LAID IDLE WI' KEEPING THE BAIRN. 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.
WE'RE ALL MERRY. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Neil Stewart's 1761 collection (pg. 40).
WE'RE A NODDING. English, Country Dance Tune (2/4
time). C Major. Standard tuning. AABB. Raven (English Country Dance Tunes), 1984; pg. 148.
WE'RE
ALL FORSAKEN FOR WANT OF SILVER. Scottish, Country Dance Tune (9/8
time). The melody 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."
WE’RE GONNA HUNT THE BUFFALO.
AKA and see “Hunting the
Buffalo.” Old-Time, Breakdown. USA, Arkansas.
WERE I A CLERK (Da m-Bud Cleireac Me). AKA and see "You Remember
Ellen." Irish, Air (6/8 time). G Major. Standard tuning. AB. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 113, pg. 20.
X:1
T:Were I a Clerk
M:6/8
L:1/8
R:Air
N:”Moderate”
S:O’Neill – Music of Ireland (1903), No. 113
Z:AK/Fiddler’s Companion
K:G
(B/c/) | d2e ({e}d2)c | BAG G2A |
(Bdc) (BAG) | FGE D2 (B/c/) |
d2e edB | BAG G2A | .B(dc) (BA).G |
FED G2 || D |
(D<E)G G2B | (BAG) (FE).c |
(B>AB) d2e | edB A2 (B/c/) |
d2e (e<d).B | BAG G2A | (Bdc)
(BA).G | FED G2 ||
WERE I LAID ON GREENLAND'S COAST. AKA and see "Over the hills and far away
[2]," "The
wind has blawn my plaid away." Scottish, English; Air. This Scottish
air appears under this title in John Gay's Beggar's
Opera, 1729.
WERE NA MY HERT LICHT. Scottish, Air. The title derives from the song by Lady Grizel Baillie.
WE’RE NO AWA’ TAE BIDE AWA’. AKA – “Carnwath Mill,” “Johnnie Scobbie.” Scottish, March. D Major. Standard tuning. One part. A song air (originally a drinking song), by custom sung at the end of events as a kind of farewell. Pipers sometimes play the tune, for example, when a ship leaves the quay. There are various sets of words, but the chorus usually goes:
***
For we're no' awa' tae bide awa',
For we're no' awa tae le'e ye,
For we're no' awa' tae bide awa',
We'll aye come back an' see ye.
***
X:1
T:We're No' Awa Tae Bide Awa'
M:2/4
L:1/8
R:March
K:D
|:DE|F3 A|GFED|F2 D2|D2 FA|d3 e|dcBA|B4|A2 Bc|
d2 d2|d3F|G2 B2|A3 A|B2A2|d2F2|E4|D2:|
WE'RE
NO VERY FOU, BUT WE'RE GAYLY YET. AKA ‑ "Laird of Skene's
Favorite." Scottish, Jig ("Slowly"). D Minor. Standard tuning.
AABB. Carlin (Gow Collection), 1986;
No. 379. Gow (Complete Repository),
Part 3, 1806; pg. 11.
X:1
T:We’re no very fou, but we’re gayly
yet
M:6/8
L:1/8
R:Jig
S:Gow – 3rd Repository (1806)
Z:AK/Fiddler’s Companion
K:Dmin
z|A2d ~d>ef|A2c c2B|A2d
d>ef|A2d d2c|A2f f>ga|A2c ~c2B|A2G F2G|A2d d2:|
|:B|A>GF F2G|A2c BAG|A>GF
F2G|A2d d2B|A>GF F2G|A2c BAG|A2d d>ef|A2d d2:|
WERE YOU AT THE FAIR? AKA and see “Donny Brook [1],”
“O’Flynn’s Fancy,” “Over Young to Marry,” “The Pretty Lass.” Irish, Fling. O'hAlmhain
(Tutor for the Feadog Stain).
X:1
T:Were You at the Fair?
M: 4/4
L:1/8
R:Fling
K: D
AFDE FEFG|AFDE 2F 2E|AFDE FEFG|ABAF 2E 2D:|
FAde 2d dB| ABdB AFED|FAde 2d dB| ABAF 2E 2D|
FAde 2d dA|ABdB AFED|2d de ~3DB| AdAf EF 2D|
WERE YOU AT THE ROCK?
[1] (“An/’A’ Rabais ag an
gCarraig?” or “An Raibh Tú ar a’ Charraig?”). AKA and see "An Raibh Tu ag an gCarraig."
Irish, Slow Air (3/4 time, with irregular measures in some settings). Ireland,
Munster. D Dorian (Roche): E Dorian (Cranitch,Ó Canainn). Standard tuning. One
part (Cranitch,Ó Canainn): AB (Roche). Hamish Henderson (1971) remarks that the
tune is one of the best‑known Munster song‑tunes. The Gaelic title
can mean 'Have you been at Carrick?' or "Have you been at the Rock?', the
latter giving rise to speculation that the piece was a 'secret' song during the
Penal Age, containing a covert message about a secret rite of Mass at a Mass‑Rock
during the time when such ceremonies were outlawed by the English, or that it
refers to the removal of the rock from Christ’s tomb. The periodical An
Piobaire records that the song was originally a love song, afterwards
appropriated by nationalists. Henderson himself also believes it to be a
straightforward love song, and in fact several others (such as Prof. Michael
Robinson) have also voiced skeptecism over the mass-rock legend, pointing out
that the Gaelic “An Carraig", as well as meaning "the rock", is
also a fairly common name for a town (there is a Carraig in south Donegal, for
example) and that the lyrics could simply be a straight-forward love ballad.
Further, regarding the level of repression necessary for a coded message, there
are many political songs from the 18th and 19th century which are very
explicitly anti‑English but which are without any sort of code and which
presumably were discretely though popularly sung, and there is only a very
small number of sean‑nos songs in the body of the literature referring to
religion or religious issues. Linguistic evidence argues against the Mass Rock
theory, Harry O’Prey argues, for “In Irish Language placenames, those
preceded by the definite article (an or na) require the use of
the preposition ar indicating English ‘in’. In the case of
non-placenames, as would be the case if the reference were to a ‘Mass Rock’,
then the ordinary Syntax of the language takes over and the Preposition ag
= ‘at’ is used.” Music for the
piece appears in Poets and Poetry of
Munster (1849), though Ó Canainn (1978) says the version in that volume “is
a rather frightening example of the worst excesses of a player who feels that
the more notes he puts into a tune the better it is.” Cranitch (Irish Fiddle Book), 1996; No. 99, pg.
167. Ó Canainn (Traditional Slow Airs of
Ireland), 1995; No. 55, pg. 50. Roche
Collection, 1982, Vol. 1; No. 61, pg. 30. Shanachie
79023, "Cheiftains 3" (1971/1982). Smithsonian Folkways SFW CD 40481,
Brian Conway – “First Through the Gate” (2002. Learned from a recording by Cork
city fiddler Matt Cranitch).
X:1
T:A' Raibh T\'u ag an gCarraig?
T:Were You At The Rock?
B:Matt Cranitch, The Irish Fiddle Book
M:3/4
L:1/8
E:7
K:EDor
ed|BB3 Bd|ee3 ef|gg‑ga/g/
fe|ff‑fe (3dBA|B4 ef|\
gg‑ga/g/ fe|ff‑fe dB|e4 de|\
M:2/4
L:1/8
f6 (3gfe|\
M:3/4
L:1/8
e4 g(3a/g/f/|ed B(3d/B/A/
Bc|d2B2gf|e3d BA|\
M:2/4
L:1/8
F6E2|\
M:4/4
L:1/8
D4‑Dz EF|GGG4 e/d/B/A/|FFF4
AF|\
M:3/4
L:1/8
E4 DE|F4E2|E4|]
WERE YOU AT THE ROCK? [2] (‘A’ Rabhais ag an
g-Carraig?). AKA
– “Were you at Carrick?” Irish, Air (cut time, “Andante”). G Major. Standard
tuning. One part. Source for notated
version: a manuscript collection dated 1861, compiled by Church of Ireland
cleric and uilleann piper James Goodman (1828-1896) who collected largely in
County Cork [Shields]. Shields (Tunes of the Munster Pipers), 2001; No.
30, pg. 15.
WERE YOU AT THE
WEDDING. See "Was Yow at the Wedding."
WERE YOU EVER IN SWEET
TIPPERARY?
AKA and see "Fair at
Dungarvan," "Alas, My
Bright Lady," "Lament
for Kilcash," "Nelly, My
Love, and Me," "Rose
Connolly," "There
is a Beech‑tree Grove."
WES MUIR'S TUNE. AKA and see "The New House
Was Built."
WESLEY BEATON MARCH. Cape Breton, March. Composed by Mabou Coal Mines, Cape Breton, Nova
Scotia, fiddler Kinnon Beaton. Rounder 7011, "The
Beatons of Mabou: Scottish Violin Music from Cape Breton" (1978).
WESLEY GILLIS REEL. Canadian, Reel. Canada, Cape
Breton. Composed by Cape Breton fiddler Kinnon Beaton. The tune has gathered
some currency among modern Cape Breton fiddlers. Beaton (The Beaton
Collection).
WEST ADAM STREET CLUB. Scottish, Highland Schottische. D Major. Standard tuning. AABB'.
Composed by J. MacKenzie. Kerr (Merry
Melodies), vol. 2; No. 213, pg. 24.
X:1
T:West Adam St. Club
M:C
L:1/8
R:Highland Schottische
S:Kerr – Merry Meolodies, vol. 2, No. 213.
Z:AK/Fiddler’s Companion
K:D
(3DFA d>F (A<F) A2 | (3DFA
d>F (A<F) E2 | (3DFA d>F (A<F) A>F | (3GBG (3FAF (3EFG F2 :|
|: d>B A<F A<F A2 | d>B
A>f g>f e2 |1 (3fec d>A (3BAG F2 | G<B F<A E<G F2 :|2
(3dfd (3cec (3BdB (3AGF | (3GBG
(3FAF (3EFG F2 ||
WEST CLARE RAILWAY, THE. Irish, Reel. A composition of West Clare
fiddler Martin “Junior”
Crehan. Mick O’Brien - “May Morning Dew.”
WEST CLARE REEL, THE. AKA and see “Dan Breen’s Reel” “Kevin Burke’s,” “The Shepherd’s Daughter [1],”
"Up to Your Knees in Sand."
Irish, Reel. G Major ('A' part) & E Minor ('B' part). Standard tuning.
AABB. According to a personal communication from fiddler Patrick Ourceau, it
was Clare fiddler Junior Crehan who adapted “Tear
the Calico,” transforming it into the “West Clare Reel.” Seane Keane - “50
Fiddle Solos.” Taylor (Through the
Half-Door), 1992; No. 24, pg. 19. Green Linnett
GLCD 1155, Martin Hayes - “Under the Moon” (1995). Shaskeen - "Atlantic
Breeze."
WEST COAST, THE. Irish, Hornpipe. D Major. Standard tuning.
AABB. Composed by fiddler and pianist Josephine Keegan (b. 1935), of
Mullaghbawn, south County Armagh. Keegan (The
Keegan Tunes), 2002; pg. 74.
WEST CORK REEL, THE. AKA and see “The Spailpin Fanac(h) [2].” Irish,
Reel. G Major. Standard tuning. AA’B. The tune is played in Ireland’s Sliabh
Luachra region as a polka in the key of ‘D’ major. The alternate title
“Spailpain Fanach” comes from Joe Conway from Rathmore, reports Alan Ward in
the booklet to Julia Clifford’s album. Kells Music
KM9505, Tommy Keane & Jacqueline McCarthy – “The Wind Among the Reeds.”
Topic, Julia Clifford – “The Humours of Lisheen” (appears as untitled polka).
X:1
T:West Cork Reel, The
R:Reel
M:4/4
L:1/8
K:G
Bcde fddc|dggf g3a|bgag fdde|1 fdcA
G3A:|2 fdcA G2ga||\
bgag fdda|bgaf g3a|bgag fdde|fdcA
G2ga|\
bgag fdd+da+|bgab c'2 ba|(3bc'b ag
fdde|fdcA G4||
WEST-END HORNPIPE [1], THE. Scottish, Hornpipe. D Major. Standard tuning.
AABB. Honeyman printed versions of the tune in his three hornpipe playing
styles: Sand Dance, Newcastle, and Sailor's. Honeyman (Strathspey, Reel and Hornpipe Tutor), 1898; pgs. 38‑39.
X:1
T:West End Hornpipe
M:C
L:1/8
R:Hornpipe
S:Honeyman – Strathspey, Reel and Hornpipe Tutor (1898)
Z:AK/Fiddler’s Companion
K:D
A>G|F>DF>A d2
d2|c>de>f g2 g2|f>af>d c>fe>d|c2 (A2 A2) A>G|F>DF>A
d2 d2|
c>de>f g2 g2|f>af>d
e>ge>c|d2 (d2 d2)::f>g|a>fd>f a>fd>f|g>ec>e
g>ec>e|
a>fd>f a>fd>f|e2 (A2 A2)
A>G|F>DF>A d2 d2|c>de>(g g2) g2|f>af>d e>ge>c|d2 (d2
d2):|
WEST-END [2], THE. English, Scottish; Hornpipe. D Major. Standard
tuning. AAB (Kennedy, Raven): AABB (Gatherer). Gatherer (1987) identifies this
as a "slight adaptation" of version #1. Gatherer (Gatherer’s Musical Museum), 1987; pg.
43. Kennedy (Fiddlers Tune Book),
vol. 2, 1954; pg. 10. Raven (English
Country Dance Tunes), 1984; pg. 161.
WEST FORK GALS/GIRLS. AKA ‑ "Westfort Gals." Old‑Time, Breakdown. USA;
West Virginia, Virginia. D Major. Standard tuning. AABB. Known as a (central)
West Virginia tune. Perlman (1979) thinks it may be related to the Irish reel
"The Wexford Lasses" (both title
and music?). Clay County, West Virginia, fiddler Wilson Douglas identifies the
location of the title as the West Fork of the Little Kanawha river, in West
Virginia, and thinks that influential regional (eastern Ky., West Va.) fiddler Ed Haley learned the tune
in Clay County, W. Va. The West Fork is where "they used to have their big
dances when (his mentor, French Carpenter) was a young man, back when they were
logging," states Douglas, who also said that French played the tune in the
1920's along with one Anderson Dawson, who knew Ed Haley. Gerry Milnes says the
river flows through Calhoun County, W.Va., and that there is a large,
traditional old-time music community in that area. Krassen (1973) notes the
tune is popular with fiddlers in the Gilmer County, West Virginia, region.
Sources for notated versions: Fuzzy Mountain String Band (North Carolina)
[Brody]; Danny Gardella [Phillips]; French Carpenter via Wilson Douglas (W.Va.)
[Phillips]. Brody (Fiddler’s Fakebook),
1983; pg. 288. Carlin (English Concertina),
1977; pg. 24. Krassen (Appalachian Fiddle),
1973; pg. 30. Phillips (Traditional
American Fiddle Tunes), vol. 1, 1994; pg. 254 (two versions). Silberberg (Tunes
I Learned at Tractor Tavern), 2002; pg. 166. Fretless
119, Rodney and Randy Miller‑ "Castles in the Air." Marimac
AHS#1, Wilson Douglas. Rounder 0024, "Hollow Rock String Band" (1974.
Learned from Lee Triplett, Clay County, W.Va.). Rounder 0035, Fuzzy Mountain
String Band‑ "Summer Oaks and Porch" (1973. Learned from Ira
Mullins & Wilson Douglas, Clay County, W.Va.). Rounder 0047, Wilson Douglas
- "The Right Hand Fork of Rush's Creek" (1975). Rounder CD 0392, John
Hartford - “Wild Hog in the Red Brush and a Bunch of Others You Might Not Have
Heard” (1996. Learned from Wilson Douglas). Shanachie Records 6040, Gerry
Milnes & Lorriane Lee Hammond – “Hell Up Coal Holler” (1999). Tennvale 002,
Roaring Ramblers‑ "Galax 73."
See also listing at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources |
X:1
T:West Fork Girls
M:C|
L:1/8
K:D
fgfe d2 ef|g2g2 B4|e3d c2A2|ABAG
F/G/E D2|f2 fe d2 ef|
g2ge B4|e2 ed c2A2|ABcA d4::A3G
F2F2|d2d2F3F|
G2F2E2EF|G2F2E3A|efed c2A2|ABAG
F/G/E D2|d2 dA e2 de|f2d2 d4:|
WEST GALE, THE. AKA and see "The Reel of Bogie," "The Showman's Reel," "Spence's Reel [1]," "The Castlebar Traveller,"
"The Yeoman's Reel," "The Laurel Bush," "The Humours of Loughrea,"
"Lough Aisles Return,"
"The Gossan the Beat His
Father."
WEST INDIAN, THE. English, Reel. England, Northumberland. D
Major. Standard tuning. AABB. Seattle (William
Vickers), 1987, Part 3; No. 448.
WEST KILBRIDE. Scottish, Reel. A Major. Standard tuning. AABB'. Composed by A.M.
Volti, presumably a relation to the Carl Volti who contributed numerous
melodies to the Kerr’s collections. A companion tune is the strathspey “East Kilbride.” Kerr (Merry Melodies), vol. 3; No. 86, pg. 11.
X:1
T:West Kilbride
M:C
L:1/8
R:Reel
e2|a>A A/A/A (Ac)BA|GABc
defg|a>A A/A/A (Ac)BA|dBGB A2:|
|:e2|a2 ae f2 fe|a2 ae f2 fe|agfe
dcBA|1 GABc defg:|2 GEFG G2||
WEST LEYDEN WALTZ. A local Central New York regional tune, composed by Jimmy Nelson, but
commonly played by regional fiddlers, according to Chad Miller.
WEST MABOU HALL. Canadian, March (4/4 time). Canada, Cape Breton. C Major. Standard
tuning. AABB’. The town of West Mabou, Cape Breton, has a dance hall, the site of
summer dances. Composed by fiddler Jerry Holland (Inverness, Cape Breton).
Cranford (Jerry Holland’s), 1995; No.
69, pg. 21. Fiddlesticks cass., Jerry Holland -
“Fathers and Sons” (1992).
WEST MABOU REEL. Canadian, Reel. Canada; Cape Breton, Prince Edward Island. G Major
(most versions): A Major (Shears). Standard tuning. AB (most versions): AAB
(Shears). Mabou is a town in western Cape Breton. A classic double-tonic reel
thought at one time to have been composed by Donald John (the Tailor) Beaton (1854-1919),
a Mabou fiddler renowned to this day in the region. Dunlay and Greenberg (1996)
remark, however, that the melody seems to have “Irish variants and probable
origins.” Paul Cranford finds three similar tunes in Irish tradition: “The Mayo Lasses,” “Johnny When You Die [1],” “The Old Maid(s) of Galway.”
See also Patrick Street’s “The Turf House Reel.”
Dunlay & Greenberg note the tune facilitates “doubling the melody” (i.e.
two fiddles, one playing an octave below the other). Source for notated
version: Donald Angus Beaton (Mabou, Cape Breton) [Dunlay & Greenberg,
Dunlay & Reich]; Carl and Jackie Webster (Cardigan, central Kings County,
Prince Edward Island) [Perlman]. Dunlay & Greenberg (Traditional Celtic Violin Music of Cape Breton), 1996; pg. 94.
Dunlay & Reich (Traditional Celtic
Fiddle Music of Cape Breton), 1986; pg. 61. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 48. Shears
(Gathering of the Clans Collection, vol.
1), 1986; pg. 56. Audat 477-9010, Lee Creemo - “And the Eastern Variation.”
BM-91, Buddy MacMaster – “Glencoe Hall.”
BRG 012, BRG 013, Cape Breton Symphony - “Pure Cape Breton” (1987).
Celtic CX 48, The Five MacDonald Fiddlers‑ "Scottish Reels...".
Culburnie CUL 113D, Alasdair Fraser & Tony MacManus – “Return to Kintail”
(1999. Learned from Buddy MacMaster). DAB4‑1985, Donald Angus Beaton‑
"A Musical Legacy" (1985). Rounder 7003, John Campbell‑
"Cape Breton Violin Music" (1976). SA93130, Donny LeBlanc - “Rosining
Up the Bow” (1993). Smithsonian Folkways Records, SFW CD 40507, The Beaton
Family of Mabou – “Cape Breton Fiddle and Piano Music” (2004). Topic 12TS354,
Alex Francis MacKay‑ "Cape Breton Scottish Fiddle" (1978).
UCCBP 1007 (Univ. College of Cape Breton), Donald MacLellan‑ "Celtic
Music of Cape Breton, vol. 1" (various artists). WMT002, Wendy MacIsaac –
“That’s What You Get” (1997?). Cape Breton's Magazine Tape, Mike MacDougall‑
"Mike MacDougall's Tape For Fr. Hector" (1985).
X:1
T:West Mabou
L:1/8
M:2/4
R:Reel
K:G
e|g2 dg e2 dB|g2 dg eaab|g2 dg e2 dB|A2 GA BGGe|
g2 dg e2 db|g2 dg eaag|bgaf gfed|efga babg| eddB dedB|
A2 GA BAAg|eddB dedB|A2 GA BGGg| eddB dedB|
A2 GA BAAe|g2 bg e2 dB|A2 GA BGG||
WEST POINT JIG. AKA and see “Kent County Jig.”
Canadian, Jig. Canada; Cape Breton, Prince Edward Island. D Major. Standard
tuning. AA’BB’. Perlman (1996) believes this is probably a Cape Breton jig.
Source for notated version: Johnny Joe & Foncey Chaisson (b. 1918 &
1929, Souris, North-East Kings County, Prince Edward Island) [Perlman]. Perlman
(The Fiddle Music of Prince Edward Island),
1996; pg. 131.
WEST POINT REEL. Canadian, Reel. Canada, Prince Edward Island. G Major. Standard tuning.
AABB. Source for notated version: Joseph Doucette (b. 1910, Deblois Road, West Prince
County, Prince Edward Island) [Perlman]. Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 46.
WEST RIVER ROAD, THE. Canadian, Reel. Canada, Cape Breton. D Major.
Standard tuning. AB. Composed by Cape Breton fiddler and composer Dan R.
MacDonald (1911-1976). Cameron (Trip to
Windsor), 1994; pg. 27.
WEST THE HILL (Siar an Cnoc). AKA and see "The Happy Couple," "The Sports of Listowel." Irish,
Hornpipe. G Major. Standard tuning. AABB. Source for notated version: accordion
player Finbarr Dwyer (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 228, pg. 103. Outlet
Records SOLP 1032, Finbarr Dwyer ‑ "Ireland's Champion Traditional
Accordionist" (1977).
WEST VIRGINIA FAREWELL. AKA‑ "West Virginia Highway," AKA and see "Ebenezer." Old‑Time, Breakdown. USA,
Virginia. G Major. Standard tuning. AABB. Source for notated version: Charlie
Higgins (Grayson County, Virginia) [Krassen] {Krassen says Higgin's performance
is in the Green Leonard/Emmett Lundy tradition}. Krassen (Masters of Old Time Fiddling), 1983; pg. 43.
WEST VIRGINIA GIRLS. Old‑Time, Breakdown. USA, West Virginia. A Dorian. Standard
tuning. AABB. May be related to a version of "Fire On the Mountain"
(Frank George). Source for notated version: Henry Reed (Va.) via Alan Jabbour
[Krassen]. Krassen (Masters of Old Time
Fiddling), 1973; pg. 39. Document 8041, The Hill Billies/Al Hopkins and His Buckle
Busters: Complete Recorded Works in Chronological Order, vol. 3.”
WEST VIRGINIA HIGHWAY. See "West Virginia Farewell"
and "Ebenezer."
WEST VIRGINIA
HORNPIPE [1].
American, Hornpipe. A Major. Standard tuning. AB (Silberberg): AA'AA'BB'BB'
(Phillips). Source for notated version: Stuart Williams and Jim Hoots
[Phillips, Silberberg]. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 231. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 162.
WEST VIRGINIA HORNPIPE [2]. American, Hornpipe. C Major (‘A’ part) & G Major (‘B’ part).
Standard tuning. AABB.
X:1
T:West Virginia Hornpipe
M:4/4
L:1/8
Q:160
Z:Llarry Brandon
K:C
G2 A2 B2|:cdea gedB|cdea gede|fgfe
dedc|BcBA BcdB|!
cdea gedB|cdea gede|fgfe dedc|BcdB
c2 cc:||!
K:G
DFAB dBAc|BGBd g2 gg|Acef afeg|fefe
d2 dd|!
DFAB dBAc|BGBd gd g2|Acef afeg|fefe
de f2|!
gedg edBd|cBAc BAGE|DEFD FGAG|ABcA
Bdef|!
gedg edBd|cBAc BAGE|DEFD FGAc|BABA
G2 G2||
WEST VIRGINIA POLKA. American, Polka. C Major. Standard tuning. AA'BB'. Source for notated
version: Lynn Smith [Phillips]. Phillips (Traditional
American Fiddle Tunes), Vol. 2, 1995; pg. 356.
WEST VIRGINIA RAG. Old‑Time, Breakdown. Rounder C‑11565,
Allan Jabbour ‑ "Rounder Fiddle" (1990). Rounder 0024,
"Hollow Rock String Band" (1974. Learned from Henry Reed of Glen Lyn,
Va.).
WEST VIRGINIA SPECIAL. A construct of Kanawha County, West Virginia, fiddler Clark Kessinger
(1896-1975), pieced together from parts of different tunes. Recorded by him on
a 78 RPM for the Brunswick label.
WEST WIND [1], THE (An Ghaoth Aniar). AKA and see "Gilbert Clancy's Reel," “James Ryan’s Favourite,”
"Sean Reid's Reel." Irish,
Reel. G Major/Mixolydian. Standard tuning. ABC. The melody is melodically
related to the hornpipe "An
Buachaill Dreoite [1]" and the jig "Bimid ag ol is a' pogadh
na mban." Breathnach (1963) says the melody, or at least the first
part of it, is the same as the reel “James Ryan’s Favourite” in Irish Folk Dance Music (153). Compare
also with an untitled reel in Feldman & O’Doherty’s Northern Fiddler (1979, pg. 76). Sources for notated versions:
piper Liam Mac Flannchadha/Willie Clancy (1918-1973, Miltown Malbay, west
Clare) [Breathnach, Mitchell]; set dance music recorded live at Na Píobairí
Uilleann, mid-1980’s [Taylor]. Breathnach (CRÉ
I), 1963; No. 72, pg. 33. Mitchell (Dance
Music of Willie Clancy), 1993; No. 33, pg. 47. Taylor (Music for the Sets: Yellow Book), 1995; pg. 29. Claddagh 4CC 32, Willie Clancy – “The Pipering of Willie
Clancy, Vol. 1” (1980). Shanachie 97011, Duck Baker - "Irish Reels, Jigs,
Airs and Hornpipes" (1990. Learned from a recording by Sean O'Riada).
X:1
T:West Wind, The
R:reel
Z:id:hn-reel-430
Z:transcribed
by henrik.norbeck@mailbox.swipnet.se
M:C|
F:http://home.swipnet.se/hnorbeck/abc/hnr4.abc 2003-05-15 18:26:20
UT
K:G
BdGA BGdB|ADFG ABcA|(3Bcd GA BGdB|cAFG AG~G2|
BdGA BGdB|AD~D2 ABcA|GABd ~g3e|fdcA BGFA:|
|:G2Bd ~g3e|~f3d ABcA|G2Bd ~g3e|fdcA BGFA|
G2Bd ~g3e|~f3d ABcA|dg~g2 bgag|1 fdcA BGGF:|2 fdcA BGGA||
|:B2GB ~B2GB|A2FA ~A2FA|B2GB ~B2GB|cADF AGGA|
B2GB GBdB|A2FA dAFA|G2 (3Bcd ~g3e|fdcA BGGA:|
WEST WINDS [2], THE. Scottish, Reel. G Major. Standard tuning.
AABBCCDDEE. No relation to “West Winds [1]." Kerr (Merry Melodies), vol. 4; No. 95, pg. 12.
X:1
T:West Winds [2], The
M:C|
L:1/8
R:Reel
S:Kerr – Merry Melodies, vol. 4, No. 95
(c. 1880’s)
Z:AK/Fiddler’s Companion
K:G
Bdgd
B2G2|cBAG FDdc|Bdgd B2G2|cAdF G/G/G G2:|
|:DCB,C
DGBG|cBAG FGEF|DCB,C DGBG|cAdF G/G/G G2:|
|:dgbg
dgbg|dfaf dfaf|dgbg dgbg|fadf g/g/g g2:|
|:dcBA
GFED|cBAG FEDC|B,CDE FGAB|cAdF G/G/G G2:|
|:dgba gfed|cfag
fedc|Bdba gfed|cAdf g/g/g g2:|
WEST WIND [3], THE.
English, Waltz. A Major. Standard tuning. AABBCC. Kennedy (Fiddler’s Tune-Book: Slip Jigs and Waltzes),
1999; No. 181, pg. 48.
WESTERING
HOME (Trasna na dTonnta). Scottish (originally), Irish; Air
and Waltz (3/4 time). G Major. Standard tuning. One part (Martin): AB
(Tubridy). An old Scottish chestnut, popular in Ireland as well. Speeded up in
jig time it resembles “The
Muckin’ o’ Geordie’s Byre.” The song, a modern Gaelic composition by Ian
(Kaid) MacLean, has words that go:
***
Tell me o' lands o' the Orient gay,
Sing o' the riches and joys o' Cathay
Man! But it's grand to awaken each day
And find yourself nearer to Isla.
***
Chorus:
For we're Westering home wi' a song
in the air
Light in me heart an' it's goodbye to care
Laughter o' love and a welcomin' there
Isle o' me heart, me own land.
***
Wha' are the folks like the folks o' the west?
Canty an' couthy an' kind to the best
There I would lay me and there I would rest
At home wi' my ain folks at Isla.
***
Martin (Traditional Scottish Fiddling), 2002; pg. 40. Tubridy (Irish Traditional Music, vol. 1), 1999;
pg. 1. Brian
Rooney – “Godfather.”
X:1
T:Westering Home
L:1/8
M:3/4
R:Waltz
K:G
D3ED2|D2B,2D2|G4A|B6|c3BA2|B3AG2|E4E2|D6|D3ED2|D2B,2D2|
G4A2|B4c2|d3BG2|B4A2|(G6|G6)||d3BG2|G3AB2|A3BA2|D6|D2E2F2|
G3AB2|c3Bc2|A6|d3BG2|G3AB2|A3BA2|D4c2|B3AG2|B4A2|G6|G2F2E2||
X:2
T:Westering Home
M:3/4
L:1/8
R:Air
K:D
ABA DFG | Ade f2d | g2e fad | ege fdB |
ABA DFG | Ade f2a | afd efe |1 dge fdB :|2 ~d3 def ||
|: ~g3 bag | ~f3 afd | eaf g2e | fed ~B3 |
ABA AFG | Ade f2a | afd efe |1 ~d3 def :|2 ~d3 d2B ||
WESTERN
COUNTRY. AKA and see “Blue Eyed Girl/Gal,” “Fare Thee Well My
Pretty Little Miss,” "Fly Around My Pretty
Little Miss," “Susannah/Suzanna
Gal [1].” Old‑Time,
Breakdown. USA; West Virginia, Virginia, North Carolina, Kentucky. D Major.
Standard tuning. AABB. A variant of the song perhaps better known to old-time
musicians as “Fly Around My Pretty Little Miss” or “Fly Around My Pretty Little
Pink.” The 78 RPM era group The Hillbillies, a 1920’s stringband from around
Galax, Virginia, recorded the tune in 1926 under the title “Blue-Eyed Girl.”
Lyrics go:
***
I'm going to the
Western Country
Leavin you behind
I'm going to the
Western Country
***
Settin in a big
armchair
The other round my
dear
***
Banjo
player Dent Wimmer of Floyd, Floyd County, Virginia, sang:
***
When I was in the western country,
Where the weather was so dry;
The sun came out and froze me,
Suzannah don’t you cry.
***
Wimmer’s
playing partner, fiddler Sam Connor, called the tune “Little Pigee” from the
verse:
***
Run the old hog over the fence,
And the little pigs through the cracks.
***
This verse
was used by The Hillbillies in the 1925 recording of “Whoa Mule” for Okeh
Records. See note for “Pretty Little
Pink.” Source for notated version: Kyle Creed (North Carolina) [Brody].
Brody (Fiddler’s Fakebook), 1983.
Songer (Portland Collection), 1997;
pg. 208. Appleseed APR CD 1036, Frank Proffitt.
Biograph 6003, "The Original Bogtrotters." Mountain, Kyle Creed‑
"Blue Ridge Style Square Dance Time." County 713, Cockerham, Jarrell,
and Jenkins‑ "Down to the Cider Mill" (appears as "Suzanna
Gal"). County 201, The Old Virginia Fiddlers‑ "Rare
Recordings" (appears as "Susanna Gal"). Document DOCD-8039, The
Hillbillies (reissue). Folkways FA 2375, "Old Reliable String Band"
(appears as "Fly Around"). Folkways FA 2398, New Lost City Ramblers‑
"vol. 3" (appears as "Fly Around"). Library of Congress
(2741-A-1), 1939, J.W. "Peg" Thatcher (& the Bogtrotters). Musical Traditions MTCD 321-2, Sam Connor & Dent Wimmer
(et al) – “Far in the Mountains, vols. 1 & 2” (2002). Rounder CD 1702,
Hobart Smith. Smithsonian Folkways SFCD 40077, Lee Sexton – “Mountain Music of
Kentucky.” Vocalation 5017 (78 RPM), The Hillbillies (1926). Yazoo CD 2028,
Frank Blevins & his Pilot Mountaineers (reissue).
X:1
T:Western Country
R:Reel
M:4/4
L:1/8
N:from Dirk Powell, Rounder CD 0444, transcribed by Bruce Thomson
K:D
|:fafe dABc|dBAG F4|A2A2 BABd|f3f f4|fafe dABc|
dBAG F4|A2AA BABc|d3d d4::fgag f2a2|b3a bafg|
abag fga2|e3e e2fg|abag fga2|b3a bafg|abag fgfe|d3d d4:|
WESTERN GEM REEL. AKA and see "Chicoutimi
Reel [2]." American, Reel or Hornpipe. A Major (‘A’ part) & E
Major (‘B’ part) . Standard tuning. AABB. The ‘B’ part was used by Prince
Edward Island fiddler Sidney Baglole for his “Sidney Baglole’s Reel.” Cole (1000 Fiddle Tunes), 1940; pg. 49. Ryan’s Mammoth Collection, 1883; pg. 77.
X:1
T:Western Gem
M:2/4
L:1/8
R:Reel or Hornpipe
S:Ryan’s Mammoth Collection (1883)
Z:AK/Fiddler’s Companion
K:A
(3E/F/G/ | A/c/B/A/ A/c/e/c/ |
d/e/f/g/ a/f/e/c/ | .A(c/B/) A/c/e/c/ | B/c/B/A/ G/E/F/G/ |
.A(c/B/) A/c/e/c/ | d/e/f/g/
(3a/4g/4a/4(e/c/) | f/e/d/f/ e/c/A/c/ | B/A/G/B/ A :|
K:E
|: G/A/ | (c/B/).B/.B/ .Bc/d/ |
e/d/e/f/ .g(f/g/) | a/g/f/a/ g/f/e/g/ | f/e/d/c/ B/A/G/A/ |
(c/B/).B/.B/ .Bc/d/ | e/d/e/f/
.g(f/g/) | a/g/f/a/ g/f/e/g/ | f/e/d/f/ e :|
WESTERN JIG. AKA and see "Gillandrouar."
One variant of a large tune family.
WESTERN HORNPIPE, THE. AKA and see “The Athlone Hornpipe,” “Mountain Stream (Hornpipe)
[1],” "The Tara Brooch," "Paddy O'Brien's Hornpipe [1]."
Irish, Hornpipe. C Major. Standard tuning. AABB. Although the tune is usually
played in the key of ‘C’ (esp. by fiddlers, c.f. Michael Coleman’s recording),
it is occasionally heard in ‘D’. It is set in that key in Breathnach’s Ceol Rinnce na hÉireann, vol. 3, No.
217, from the playing of fiddler Séamus Thompson, although it is said that he
played it in the key of ‘C’ on the source recording, and that it was
erroneously transcribed in ‘D’. Coleman recorded the melody on a 78 RPM in New
York, in a medley as the second tune paired with “The Stage Hornpipe [1].”
Source for notated versions: New York fiddler Michael Coleman (1891-1945,
originally from County Sligo, Ireland) [DeMarco & Krassen, Miller &
Perron]. DeMarco & Krassen (A Trip to
Sligo), 1978; pgs. 34, 48, 62. Fiddler Magazine, Winter 2005/06,
vol. 12, No. 4; pg. 49. Miller & Perron (Irish Traditional Fiddle Music), 1977; vol. 3, No. 16. Miller &
Perron (Irish Traditional Fiddle Music),
2nd Edition, 2006; pg. 124. Mulvihill (1st Collection), 1986; No. 21, pg. 94. Bellbridge Records, Bobby Casey – “Casey in the Cowhouse” (1992.
Originally recorded 1959). IRC Records, Michael Coleman. Shanachie 34014, James
Kelly, Paddy O’Brien & Daithi Sproule – “Traditional Music of Ireland”
(1995).
See also listings at: Alan Snyder’s Cape Breton Fiddle Recording
Index Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Western Hornpipe
Z:lesl
M:C|
L:1/8
K:D
ag|:fdBd ABF2|fdBd ABFA|B~G3 D~G3|1(3Bcd ce d2ag:|2(3Bcd ce d||
|:fag|ffdf abaf|g2eg bbag|ffdf bagf|edcB A2ag|
fAdf a2af|ggeg b2ag|fAdf gece|d2dc d:||
WESTERN ISLES, THE.
Scottish (?), Reel. D Major. Standard tuning. AABB. Miller (Fiddler’s Throne), 2004; No. 265, pg.
159.
WESTERN LASSES ("Na Cailinide On N-Iar" or "Na
Cailini on Iartar"). AKA and see "The Graf Spee."
Irish, Reel. C Major. Standard tuning. ABC. O'Neill (Music of Ireland: 1850 Melodies), 1903/1979; No. 1552, pg. 286.
O'Neill (Dance Music of Ireland: 1001
Gems), 1907/1986; No. 165, pg. 133.
X:1
T:Western Lasses
M:C|
L:1/8
R:Reel
S:O’Neill – Dance Music of Ireland: 1001 Gems (1907), No. 165
Z:AK/Fiddler’s Companion
K:C
GF|EGcG AGcG|EGcG EDDG|EGcG
AGcG|EGDF ECCG|EGcG EDDG|
EGAB cdef|gefd ec c2||e3e d2 dc|AcGc
AcGc|e2 e d2 dc|(3ABc GE ED D2|
efec dedc|(3ABc Gc (3ABc Gc|ea{b}ag
egdc|(3ABc GF EC C2||efge c2 cd|
ea{b}ag aged|(3efg ed cBcd|ea{b}ag
(3efg dg|efge c2 cd|ea{b}ag aged|
(3efg ed cBcG|(3ABc GF EC C2||
WESTERN LILT, A. AKA and see "The Lark in
the Morning [1]," "Come
in the Evening," "The Kelso
Races," "The Welcome," "The Goats’ Horn(s)," "The Spotted Cow," "The Little Yellow Boy," "Galway Tom [1]," "Galloway Tom," "Galway Town," "The
Welcome," "An Buachaillín
Buí," "The Thrush's Nest."
Irish, Jig. D Major. Standard. AABBCC.
Allan's Irish Fiddler, No. 5, pg. 3.
WESTERN UNION. Old-Time, Breakdown. USA, southwestern Virginia. A very rare fiddle
tune from southwestern Virginia, in the repertoire of Franklin County, Va.,
fiddler Howard Maxey (1882-1947). OKeh 45150 (78 RPM),
Howard Maxey (1927).
WESTERN WALTZ. Old‑Time, Waltz. USA, Mo. E Flat Major ('A' part) and B Flat
Major ('B' part). Standard tuning. AB. Source for notated version: Taylor
McBaine (Mo.) [Phillips]. Phillips (Traditional
American Fiddle Tunes), Vol. 2, 1995; pg. 323. Missouri
State Old Time Fiddlers Association 002, Taylor McBaine (b. 1911, Mo.) ‑
"Boone County Fiddler."
WESTFORT GALS. See "West Fork Gals."
WESTMEATH. Irish, Jig. D Mixolydian. Standard tuning. AABB. Treoir.
X: 1
T: Westmeath
S: "Treoir"
M: 6/8
L: 1/8
R: jig
Z: Transcribed by Bill Black
K: Dmix
D | EFG A2 B | cBc E2 D | DEF GFA | GED GED |
EFG A2 B | cBc EFG | ABA GFE | FDD D2 :|
e | fed cde | fdd d2 e | fgf e2 d | cAA ABc |
def
gfg | age dec | ABA GFE | FDD D2 :|
WESTMEATH HUNT, THE. AKA and see "Jackson's Reel [2]," "The Twelve Locks," "The Twister," "Athens," "Victor
Wild," "The Shuffle Reel,"
"The Union Reel," "The Dublin Lasses [3]," "The Dublin Reel," "Miss Daly's Reel."
WESTMINSTER BRIDGE.
English, Country Dance Tune (whole time). D Major. Standard tuning.
AABB. There are other tunes with this title, but this melody appears to be
unique to Charles and Samuel Thompson’s 1757 country dance collection (London).
At the time of the Thompson’s publication, Westminster Bridge was relatively
new, having been completed in 1750. It was designed by Swiss architect Charles
Labelye and begun in 1739 (despite intense lobbying from the London watermen),
financed by lotteries, grants and private investment. The original structure lasted for 100 years but
was replaced in 1862. The original proprieters had to pay compensation to the
watermen and a nearby ferry. Thompson (Compleat Collection of 200 Favourite Country Dances,
vol. 1), 1757; No. 96.
X:96
T:Westminster Bridge
M:C
L:1/8
B:Thompson’s Compleat Collection of 200 Favourite Country Dances, vol. 1 (London, 1757)
Z:Transcribed and edited by Flynn Titford-Mock, 2007
Z:abc’s:AK/Fiddler’s Companion
K:D
D|FAdc
B2A2|Begf (e/d/c/B) AG|FAdc B2 Af|eacB A3:|
|:e|ceag f2 a2|bgfe dcBA|(3FDF B2 (3AFA d2|BdFE D3:||
WESTMINSTER ELECTION. English, Reel. England, North‑West. D Major. Standard tuning.
AABB. Knowles (Northern Frisk), 1988;
No. 61.
WESTMINSTER HALL [1]. English, Country Dance Tune (cut time). G Minor. Standard tuning.
AABBC. There are a few different tunes named “Westminster Hall” published
variously by Playford, Walsh and Johnson in the early 1700’s. Barnes (English Country Dance Tunes, vol. 2),
2005; pg. 89 (appears as “Mr. Merrill’s Maggot”, the name of a dance composed
by Fried de Metz Herman in 1986 in honor of New York dance pianist Phil
Merrill).
WESTMINSTER HALL [2]. English, Country Dance Tune
(3/2 time). D Minor. Standard tuning. AAB. “Westminster
Hall [2]” appears in a supplement to Henry Playford’s Dancing Master, Part II, 2nd edition, published in London
in 1698. Westminster Hall is outside Westminster Palace and was the site of
several famous trials, including that of King Charles I. Oliver Cromwell was
made Lord Protector there. Barlow (Complete
Country Dance Tunes from Playford’s Dancing Master), 1985; No. 392, pg. 92.
X:1
T:Westminster Hall [2]
M:3/2
L:1/8
S:Henry Playford – Dancing Master, Part II, 2nd
edition, supplement (1698)
K:Dmin
d4f4A4|e3fe2 d2^c2e2|A3B
A2G2F2d2|E2c2c2 G2 GA B2|F2d2d2 A2B2c2|
G2e2e2 B2 Bc d2|A2f2 f2 ^c2d2
gf|efdf e2^c2 d4:||f4a4c4|f3ag2 f2e2g2|
c3dc2 B2A2f2|G2f2g2 e2f2g2|a2 ga
b2g2a2f2|g2 ef g2e2 f2d2|e2 Bc d2B2^c2A2|d2 ef e2^c2 d4||
WESTMORELAND. AKA – “Westmorland.” English, Country Dance Tune (6/4 or 6/8 time). G
Major. Standard tuning. AB. “Westmorland”
was first printed in John Playford’s Dancing Master, 7th
edition (London, 1686) and appeared in all subsequent editions of the
long-running series, through the 18th, published by John Young in
1728. It was picked up by the Walsh’s and appears in The Compleat Country
Dancing Master (London, 1718, with editions in 1735 and 1754). Westmorland
was one of the traditional 39 counties of England, located in the north-west of
the country. It presently forms part of Cumbria. Source for notated version:
Walsh’s Compleat Country Dancing Master
(1718) [Knowles]. Barlow (Complete Country Dance Tunes from Playford’s
Dancing Master), 1985; pg. 66. Barnes (English Country Dance Tunes,
vol. 2), 2005; pg. 141. Knowles (A
Northern Lass), 1995; pg. 19. Dorian Records DOR
90290, Hesperus – “The Food of Love” ().
X:1
T:Westmorland
M:6/8
L:1/8
N:In 6/4 time in Playford’s original
setting, converted to 6/8 for modern playing
S:Playford – Dancing Master (1686)
K:G
d/c/|B>AG FED|E>FG F2G|A>Bc
B>cd|e>fg f>ef|g2g gdB|
c2B A>Bc/d/|BGB AFD|(G3
G2)::g/a/|b>ag a>gf|g>fe d>ef|g>fe deB|
A3 d3|B>AB GgB|c2B A>Bc/d/|BGB
AFD|(G3 G2):|
WESTMORELAND WALTZ. English, Waltz. G Major.
Standard tuning. AB. The tune was picked up by the Boat Band from an untitled
6/8 time dance tune in Walsh’s Compleat
Dancing Master (1718), and named and re-set as a waltz. Callaghan (Hardcore English), 2007; pg. 87. EFDSSCD13, The Boat Band - “Hardcore English” (2007. Various
artists). Harbourtown HAR CD047, The Boat Band – “Trip to the Lakes.”
WESTMOUNT. Canadian, Hornpipe. Canada, Cape Breton. B Flat Major. Standard tuning.
AB. Composed by Cape Breton fiddler and composer Dan R. MacDonald (1911-1976).
Cameron (Trip to Windsor), 1994; pg.
67.
WESTPHALIA WALTZ. American, Canadian; Waltz. USA; widely known in New England, Southern
and Mid-West repertoire. Canada, Prince Edward Island. G Major. Standard
tuning. AB (Beisswenger & McCann): AA'B (Johnson): AA'BB' (Brody, Matthiesen,
Perlman, Phillips). Widely held to be composed by one Cotton Collins, a Texas
fiddler and member of the Lone Star Playboys, but popularized by Hank Thompson
in 1955 on a Capitol Records recording. Paul Wells (1978) finds evidence the
waltz was composed by Vince Icadona, a member in the 1930’s of the Crystal
Springs Rambers, out of Dallas Texas. Johnson and others report, however, that
it is the vehicle for a ribald drinking song called "Pytala Sie Pani"
(What the Woman Said), an old and well-known (and somewhat bawdy) Polish song,
sometimes played at weddings by Polish-American bands. Documentary film
producer Joe Weed has traced the vicissitudes of “Westphalia” from its Polish
folk origins in the 1920’s (where it was known also by the names “Wszystkie
Rybki,” and later “Dreamy Fish Waltz”) to its circulation in the 1930’s in the
northern United States (see his well-researched DVD “Westphalia
Waltz Story”). It was Collins, however, who transformed the tune (which
Weed says he learned in Germany during World War II) into an American country
waltz, naming it after a small village about 35 miles south of Waco, where his
group was from. “Westphalia Waltz” is one of the ‘100 essential Missouri fiddle
tunes’ according to Missouri fiddler Charlie Walden, and, according to
Beisswenger & McCann, “likely gained much of its popularity in the Ozarks
through fiddle contests.” Indeed, note the authors, some Ozark fiddlers believe
it to be an indigenous regional tune. Around the Philadelphia, Pa., area it is
known as the “West Philly Waltz” perhaps through folk-processing, but more
likely from humor. Melodic material
from this tune appears in "Shadow of the Mountain." Sources for
notated versions: Arm and Hammer String Band (Vermont) [Brody]; Forrest
Daugherty (Texas) [Phillips]; Attwood O’Connor (b. 1923, Milltown Cross, South
Kings County, Prince Edward Island) [Perlman]; Cotton Combs (1921-1984,
Fayetteveille, Arkansas), who called it “West Sedalia Waltz” after the central
Missouri town of Sealia, according to Gordon McCann [Beisswenger & McCann].
Beisswenger & McCann (Ozarks Fiddle Music), 2008; pg. 25. Brody (Fiddler’s Fakebook), 1983; pg. 289.
Johnson (The Kitchen Musician's
Occasional: Waltz, Air and Misc.), No. 1, 1991; pg. 8. Matthiesen (Waltz Book I), 1992; pg. 66. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 169. Phillips (Traditional
American Fiddle Tunes), vol. 2, 1995; pg. 324. Silberberg (Tunes I
Learned at Tractor Tavern), 2002; pg. 167. American
Heritage 1, Herman Johnson‑ "Champion Fiddling" (1946). C‑102,
Cece Webster ‑ "Dulcimer Wizardry." Blue Bonnet Records 102-8
(78 RPM), Lone Star Playboys (w. Cotton Collins, fiddle) – “Westphalia Waltz.”
County 782, Kenny Baker and Bobby Hicks‑ "Darkness on the
Delta." Gillian Recording Studio, Cotton Combs – “Parkin’ Lot Jammin’” (c.
1978). Kicking Mule 216, Arm and Hammer String Band‑ "New England
Contra Dance Music" (1977). John Edwards Memorial Foundation JEMF‑105,
Doug Goodwin ‑ "New England Traditional Fiddling" (1978). Philo
2000, "Louis Beaudoin" (1973. Learned in the U.S. from fellow players
in the Northeast Fiddler’s Association). Stoneway 143, Ernie Hunter‑
"All About Fiddling.” Lonnie Robertson – “Fiddle Tunes Ozark Style.”
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:Westphalia Waltz
M:3/4
L:1/8
R:Waltz
K:G
DEF|:G4A2|B4e2|(d6|d3) DEF|G4
A2|B4c2|(A4 A)B|A4G2|
F4G2|A4g2|(f4 f)g|f4 e2|d3 ^cde|1
d2^c2=c2|(B4 B)c|B3 DEF:|2
d2F2A2|G6|G2B2d2||:g6|f6|e2f2g2|B6|(3BcB
A2G2|(3BcB A2G2|
c3 Bcd|c6|e6|e6| e2f2g2|f4e2|d3
^cde|1d2^c2=c2|(B4 B)c|B4d2:|2 d2F2A2|G6|G3||
WESTPORT CHORUS. Irish, Reel. D Major. Standard tuning. AAB. Related to
“O’Rourke’s.” Anthony Buffery
notes similarities with “Captain Byng,”
“Brosna Polka No. 3,” “Mrs. Ryan’s,” “The Stool of Repentance” (slide), “The Templeglantine Reel [1]," "Pope’s Toe,” “Maids of Mitchellstown,” “My Love is in the House,” and
“The Silver Slipper.” “They are
all different settings but recognizably derived from the same root tune,”
states Anthony. The tune was recorded for Victor in 1926 by the fiddle and box
duet of Frank Quinn (b. 1893) and P. Crowley, in New York. Reg Hall (1995)
records that Quinn was a native of Greagh, Drumlish, County Longford, who had
emigrated with his family to the United States in 1903, where he eventually became
a policeman. Hall is of the opinion that Quinn’s recording, perhaps more than
other contemporary sides, typifies the music and atmosphere of the Irish
country-house dance, the breeding ground of Irish musicians from the 1880’s on.
Liam O’Flynn – “The Pipers Call” (Appears as last tune
in Carrigaholt Set. Learned from Cathal O’Connell who traces it to Donegal
fiddler John Doherty). Topic TSCD602,
Frank Quinn & P. Crowley – “Irish
Dance Music” (1995. A reissue of the 1926 original).
X:1
T:Westport Chorus
R:reel
D:Liam O'Flynn: The Piper's Call
Z:Transcribed by Bill Reeder
M:C|
L:1/8
K:D
AG|FDAF GFED|FDAF G2AG|FDAF GFED|dBcA G2:||
FG|~A3B cAGE|~A3B cded|cAAB cAGE|dBcA G3A|
EAAB cAGE|EAAB cdeg|f2fd e2ec|dBAF G2||
WESTPORT NEW GROVE. Irish, Reel. A Dorian. Standard tuning. AAB. Kennedy (Traditional Dance Music of Britain and
Ireland: Reels and Rants), 1997; No. 195, pg. 45.
WEST'S HORNPIPE. AKA and see “Czar of Russia’s Favorite.” Scottish, Hornpipe. D Major.
Standard tuning. AABB (Athole, Skye): AA'BB (Kerr). The title of this hornpipe
is said to have been written for the stage and derives from the name of the
dancer for whom it was composed. West was a dancing partner of the great clog
dancer Johnnie Queen, according to Don Meade, who toured Britain in the 1880’s.
The melody appears as “Czar of Russia’s Favorite” in Ryan’s Mammoth
Collection (1883) from Boston publisher Elias Howe. Charles Gore dates the
tune to a c. 1790 publication. Some see similarities to “Morpeth Rant [1].” Kerr (Merry Melodies), vol. 1; No. 25, pg. 45.
MacDonald (The Skye Collection),
1887; pg. 173. Stewart-Robertson (The
Athole Collection), 1884; pg. 296.
X:1
T:Wests
M:C|
L:1/8
R:Hornpipe
B:Stewart-Robertson – The
Athole Collection (1884)
Z:AK/Fiddler’s Companion
K:D
A2|d2 FG AFAF|d2 FG AFAF|BAGF E2 ef|gfed cABc|
d2 FG AFAF|D2 FG AFAF|BAGF E2 eg|fdec d2:|
|:de|f2 df dfdf|e2 ce cece|f2 df dfdf|edcB A2 Bc|
dBdB cAcA|dBdB cAcA|afge fdec|d2 d2 d2:|
WESTVILLE POLKA, THE. American, Polka. USA, Pennsylvania. In the
repertoire of Susquehanna County, Pennsylvania, fiddler Jehile Kirkhuff, who
played it in response to a request for a ‘local’ tune rather than one he
learned from a collection. Joel Shimberg, who collected from Kirkhuff, says
that the fiddler lost his sight in his teens but played quite slowly and
clearly, often tunes from Cole’s 1000.
“For years he traveled a few circuits in Pennsylvania and New York, where
people looked forward to the next square dance he would play.” Shimberg finds a
version of this tune was played by Missouri fiddler Joe Politte.
X:1
T:Westville Polka
S:Jehile Kirkhuff, Susquehanna Co.,
PA
Z:Joel Shimberg
Q:400
M:C
L:1/8
K:G
B>A | G2DG B2GB | d2Bd g3g | f2
e2 ed^cd | e2 d2 dcBA |
| G2DG B2GB | d2Bd g3g | f2 e2 ecAF
| G2B2G2:|
K:D
|: zG | A2f2 f3A | G2e2 e3e | d2c2
BA^GA | B2A2 A2 z2 |
| A2f2 f3A | G2e2 e3d | d2c2 B2c2
|d6 :|
WESTWIND. AKA
‑ "The Jig." New England, Reel. D Major. Standard tuning. AABB.
Sannella, Balance and Swing (CDSS). F&W Records 1, "F&W String Band."
WET AND WEARY. Scottish. John Glen (1891) finds the earliest appearance of the tune in
print in Neil Stewart's 1761 collection
(pg. 25).
WET DAY HORNPIPE. English, Hornpipe. G Major.
Standard tuning. AABB. Composed by teacher, musician, composer, dancing master
and fiddler Robert Whinham (1814-1893), originally from Morpeth. Source for
notated version: the T. Armstrong manuscript (c. 1850), in the John Armstrong
of Carrick collection [Dixon]. Dixon (Remember
Me), 1995; pg. 18.
WET JEANS. Canadian, Reel. Canada, Cape Breton. C Major. Standard tuning. AABCD.
Composed by fiddler Jerry Holland (Inverness, Cape Breton). Cranford (Jerry Holland’s), 1995; No. 67, pg. 20.
WEXFORD HORNPIPE. AKA and see “The Brighton Hornpipe,” “Duke of Leinster [3],” “The Five
Pound Note,” “Hennessy’s,” “The Kildare Hornpipe,” “O’Neill’s Hornpipe,” “Peggy
Morrissey,” “Pretty Maggie Morrissey,” “The Strip of Turf (Ciumhais na Móna).” Scottish, Hornpipe. A Major. Standard tuning. AABB. The
hornpipe is also common in Irish tradition. Martin (Taigh na Teud), 1990; pg. 13.
X:1
T:Wexford Hornpipe
L:1/8
M:2/4
R:Hornpipe
K:A
c/d/|e/c/A/c/
d/B/G/B/|AA/B/ A/B/c/d/|e/a/g/a/ f/g/a/f/|e/c/A/c/ Bc/d/|
e/c/A/c/ d/B/G/B/|AA/B/
A/B/c/d/|e/a/g/a/ f/d/B/G/|AA/B/ A:|
|:c/d/|e/a/g/a/ f/g/a/f/
|e/a/g/a/ f/g/a/f/|e/a/g/a/ f/g/a/f/|e/c/A/c/ Bc/d/|
e/c/A/c/ d/B/G/B/|AA/B/
A/B/c/d/|e/a/g/a/ f/d/B/G/|AA/B/ A:|
WEXFORD LASSES, THE ("Cailinide Ua Loc-Carman" or
"Cailini Loca Gcarman"). AKA and see “Killoran’s Reel [3]," “Last Night’s Fun” [3]. Irish, Reel.
D Major. Standard tuning. AB (O'Neill/1850 & 1001): AA'BB'
(O'Neill/Krassen). Philippe Varlet remarks that the alternate title
“Killorans’s” comes its association with fiddler Paddy Killoran, who recorded
it after World War II accompanied by Mike Flynn, a flute player. On their recording
it was called "Martin Wynne's." Breathnach prints it as “Last Night’s
Fun,” transcribed from the playing of Charlie Lennon & Mick O’Connor.
O'Neill (Krassen), 1976; pg. 130. O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1390, pg. 259. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 634, pg. 114.
X:1
T:Wexford Lasses, The
R:reel
S:James Byrne
N:From a tape of James Byrne --
first time through
Z:Transcribed by Larry Sanger
M:4/4
K:D
dcdA BFAF|EBeg fdec|dzcA BdAF|GBAG
FDDA|
dcdA BFAF|EBeg fdec|defd cdec|dBAG
FDDg||
fedc dfaf|gfga bgeg|fd{e}dc
dfaf|g/a/b eg fddg|
fedc dfaf|gfgb agef|g/g/g fa
gbag|fgef dgfe||
WEXFORD REBEL, THE. Irish, Slow Air (4/4 time). G Major. Standard
tuning. AAB. The title refers to the rising of 1798 against the British, in
which County Wexford was one of the centers of rebellion. Source for notated
version: "Mr. Patrick O'Leary of Graignamanagh, Co. Kilkenny, a good
amateur musician with a great knowledge of the popular airs of that part of Ireland,"
c. 1902 (Joyce). Joyce (Old Irish Folk
Music and Song), 1909; No. 297, pg. 140.
WEXFORD REEL, THE (Ríl Loch Garman). AKA and see “Last Night’s Fun [3].” Irish, Reel.
D Major. Standard tuning. AB. Source for notated version: whistle player Jimmie
McGettrick, 1966 (Bunanadden, Co. Sligo, Ireland) [Breathnach]. Breathnach (CRÉ II), 1976; No. 215, pg. 112.
WEXFORD TRAGEDY, THE. Irish, Slow Air (4/4 time). G Mixolydian.
Standard tuning. AB. Source for notated version: Hugh O'Beirne, professional
fiddler from Ballinamore, Co. Leitrim, c. 1846. Joyce (Old Irish Folk Music and Song), 1909; No. 642, pg. 325.
WEYMOUTH
QUICKSTEP, THE. AKA – “Weymouth Fleet.” English,
Quickstep or March (6/8 time). D Major. Standard tuning. AABBCCDD. Weymouth, on
the Dorset coast, has long been popular as a seaside resort. King George III
came to bathe is the sea at Weymouth as a cure for his nervous disorder, and
between 1789 and 1805 the King and members of the Royal Family spent fourteen
holidays there. Weymouth features a fine sand beach that sweeps around the bay.
The melody appears in the music manuscript collections of James Winder (1835,
Wyresdale, Lancashire) and James Haslingden (Midlands?, 1827). The former had
it as an untitled quick march, while the latter called it “Weymouth Fleet.”
Callaghan (Hardcore English), 2007;
pg. 94. Hall & Stafford (Charlton
Memorial Tune Book), 1974; pg. 11. Raven (English Country Dance Tunes), 1984; pg. 112. EFDSS CD13, The Posh Band – “Hardcore English” (2007. Various artists).
TMM1927 CD, The Posh Band – “English.”
X:1
T:Weymouth
Quickstep, The
M:6/8
L:1/8
K:D
f/e/|d2A
AFA|d2e f2g|a2f def|g2e e2f|d2A AFA|d2e f2g|a2f ede|f2d d2:|
|:A|d3
cBc|dAF DFA|d3 cBc|d2f d2A|d3 cBc|dAF DFA|d3 cBc|d3 d2:|
|:A|B3
dcB|B2A A2F|E2F GFE|F2G A3|B3 dcB|B2A A2G|FGF EDE|D3 D2:|
|:A|d3d3|e3d3|cBc ABc|d2e f2A|d3
d3|e3 d3|cBc ABc|d3 d2:|
WEYMSS CASTLE STRATHSPEY.
Scottish, Strathspey. B Flat Major. Standard tuning. AAB. Composed by
Kirkmichael, Perthshire, fiddler Robert
Petrie. Petrie (Collection of
Strathspey Reels and Country Dances), 1790; pg. 20.
X:1
T:Weymss
Castle Strathspey
C:Robert
Petrie
S:Petrie's
Collection of Strathspey Reels and Country Dances &c., 1790
Z:Steve
Wyrick <sjwyrick@astound.net>, 3/20/04
N:Petrie's
First Collection, page 20
L:1/8
M:C
R:Strathspey
K:Bb
F
| TB>cBF G>FE<D | EC e/d/c/=B/
cGGA | (B/c/d/c/) BF G>FE>D | E<C F>E DB,B, :|
d/e/|
f<bd<f B<fd<f | e<c{e}d<{c}B Tc>BG<f | f<bd<f
B<fd<B | AF f/e/d/c/ dBBg |
f<bd>f
B<bf<d | ec e/d/c/B/ Tc>BGB | A<BG<B F<BG>g |
f>eTd>c dBB |]
____________________________________________________
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