The Fiddler’s Companion

© 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.

           

WE’LL  ALL BE MARRIED.  English, Country Dance Tune (whole time). G 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. 114.

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:

***

The worthy Boniface of a small inn in the neighborhood of Liverpool,

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

Leavin you behind

***

I wish I was in the Western Country

Settin in a big armchair

One arm around my whiskey jug

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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